O W N E R ’ S M A N U A L
48V
MUTE
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Contents
Features
Important Safety Instructions .................................. 2
Contents / Features................................................ 3
Introduction / Getting Started................................. 4
Hookup Diagrams.................................................... 5
1. Power Connection / 2. Power Switch............. 7
3. USB Input / Output....................................... 7
4. Main L/R XLR Outputs / 5. Mic Inputs .......... 8
6. Line / Hi-Z Switch ........................................ 9
7. Line Inputs / Hi-Z Input ................................ 9
8. Stereo Line Inputs / 9. Insert ...................... 10
10. Gain / 11. Level Set LED........................... 11
12. Low Cut Switch......................................... 11
13. Hi EQ / 14. Mid EQ / 15. Freq.................. 12
16. Mid EQ / 17. Low EQ / 18. Aux Mon........ 12
19. Aux FX / 20. Pan / Bal / 21. OL LED........ 13
22. Mute Switch / 23. Assign Switches ........... 13
24. PFL Solo Switch / 25. Channel Fader.......... 14
26. Compressor .............................................. 14
27. USB Switch............................................... 15
28. Mon Send / 29. FX Send........................... 16
30. FX Footswitch........................................... 16
31. Stereo (Aux) Return L/R........................... 16
32. Main Out L/R / 33. CR Out L/R ............... 17
34. Sub Out 1-4 / 35. Phones......................... 17
36. Tape Inputs / Outputs............................... 17
37. 48V Phantom Power Switch...................... 18
38. Power LED / 39. Stereo Graphic EQ........... 18
40. Main Mix / Mon 1 Switch......................... 18
41. EQ In / Bypass Switch / 42. Main Meters . 18
43. Rude Solo LED........................................... 19
44. Aux Masters / 45. Stereo (Aux) Returns... 20
46. Internal FX / 47. Preset Selector............... 20
48. Preset Display / 49. Sig / OL LED............. 20
50. Int FX Mute Switch and LED....................... 20
51. Mute and OL LED ...................................... 21
52. USB Input Level / 53. USB Thru................. 22
54. USB Out Switch ........................................ 22
55. 2-Track Return Tape / USB Switch ............. 22
56. 2-Track Return Level / 57. Tape Level........ 22
58. Break Switch and LED................................ 22
59. CR / Phones / 60. Sub Assigns Switches... 23
61. Sub 1-4 Faders / 62. Main Mix................. 23
Appendix A: Service Information............................ 24
Appendix B: Technical Information .......................... 26
Appendix C: Table of Effects Presets....................... 38
Limited Warranty.................................................. 39
Unmatched Sound Quality
• Extremely low-noise Vita™ mic preamps designed
to add life to any input
• All-new ReadyFX™ effects engine with 16 great-
sounding effects like reverbs, delays and choruses
• Single-knob channel compression for smooth,
1
even dynamic control
No-Compromise Live Mixing Toolkit
• Graphic EQ for tuning mains or monitors
• Built-in USB interface to record the show
or provide music playback
2
• 4 flexible subgroups for professional mix
1
management
• Aux output(s) perfect for driving a monitor mix,
fill speakers and more
• Additional stereo channels
• Extra stereo/aux return for external effects
or stereo playback devices
• High-headroom line level inputs
• Individual channel mutes and overload indication
2
2
2
• Channel inserts for connecting outboard processing
• EQ on all channels
2
• 60mm faders
• Directly connect guitar, bass and other instruments
3
via Hi-Z input
• 100Hz low-cut filter and 48V phantom power
on all mic channels
• Stereo RCA tape I/O with input level control
• Headphone output with separate level control
• Control room / headphone outs with level control
• Balanced XLR and/or balanced/unbalanced
¼-inch main outputs
• FX mute with remote control via footswitch
3
1
4
• Break switch mutes all channels for music playback
2
between sets
2
No-Hassle USB Recording/Playback
• Built in USB recording interface with simple
setup via Mac or PC
o Choose to record subgroups 1/2
or main L/R mix
o Separate USB input level control to mains
1
2
1
o USB routable to full-featured channel strip
• Great for live recording and perfect for home studios
• Stream playback music for live or studio applications
• Includes user-friendly Tracktion® recording software
Rugged, Roadworthy Design
• Legendary “Built-Like-A-Tank” design
• Solid steel chassis protects your investment
• Tough ABS side protection
2
• Robust internal multi-voltage power supply
1 Available on ProFX16v2, ProFX22v2, ProFX30v2.
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2 Available on ProFX8v2, ProFX12v2, ProFX16v2, ProFX22v2, ProFX30v2.
3 Available on ProFX8v2, ProFX12v2.
4 Available on ProFX8v2, ProFX12v2, ProFX16v2, ProFX22v2.
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3
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Introduction
Getting Started
Our ProFXv2 Series mixers provide a comprehensive
live sound solution, with models from 4- to 30-channels,
covering a huge range of applications.
The following steps will help you set up the ProFXv2
mixer quickly.
1. Turn down all knobs except the channel EQ and
pan knobs, and set all the faders fully down.
Delivering unmatched sound quality, ProFXv2
features all-new Vita™ preamps, which are virtually
noiseless and designed specifically for the highly-
dynamic world of live sound.
2. Set all channel EQ knobs, pan knobs, and the
graphic EQ sliders at their center detent.
3. Set all buttons to the “out” position.
ProFXv2 also includes the immensely powerful new
ReadyFX™ effect engine, harnessing floating-point DSP
to deliver 16 rich effects that elevate any performance.
4. Plug signal sources into the mixer, such as:
•
Microphones plugged into the mic inputs.
Engage phantom power if your mics need
it. Check the mic's user manual to be sure.
The ProFXv2 no-compromise live sound toolkit
includes a room-shaping GEQ, flexible I/O and a built-in
USB interface for hassle-free recording/playback.
•
Line-level sources such as keyboards, drum
machines, or CD players plugged into the
line-level inputs.
With a rugged steel chassis and unmatched sonic
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
your amp with speaker cables, and turn it on.
Adjust your powered speaker or amplifier level
controls to however the manufacturer
recommends.
After this introduction, a getting started guide will
help you get things set up fast. The hookup diagrams
show some typical setups, while the remaining sections
provide details of the ProFXv2 Series mixers.
8. Plug something into an input. This could be an
instrument, you singing or speaking, or a line
level source such as a keyboard or CD player.
This icon marks information that is critically
important or unique to ProFXv2. For your own
good, read and remember them.
9. Engage the channel's PFL Solo switch
[ProFX16v2, ProFX22v2, ProFX30v2] to
view the input level via the main meters.
This icon leads you to in-depth explanations
of features and practical tips. They usually
have some valuable nuggets of information.
10. Be sure that the volume of the input is the
same as it would be during normal use, or
you may have to readjust the gain in the middle
of a set. You can listen with headphones if you
carefully turn up the channel fader and
headphones level a little.
This icon draws attention to certain
features and functions relating to the usage
of ProFXv2.
11. The mono channel gain affects the mic and the
line inputs. The stereo channel gain adjusts the
stereo line inputs. Adjust as desired, and make
sure that the OL LED does not come on during
the loudest passages.
Things to Remember:
• Never listen to loud music for prolonged periods.
Please see the Safety Instructions on page 2 for
information on hearing protection.
There are hybrid channels that have both mono
mic and stereo line inputs. In these channels,
the gain control affects only the mic gain.
• Save the shipping box and packing materials!
You may need them someday. Besides, the cats
will love playing in them and jumping out at you
unexpectedly. Remember to pretend like you are
surprised!
12. To get sound out of the speakers and into a
waiting world, engage a channel's L-R assign
switch [ProFX16v2, ProFX22v2, ProFX30v2]
turn up that channel’s fader to the “U” (unity
gain) position, and slowly bring up the main
fader to a comfortable listening level.
• Save your sales receipt in a safe place.
13. Repeat steps 8 to 12 for the other channels.
4
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Hookup Diagrams
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.
Typical Live Sound System
5
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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
PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.
AVIS: RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR
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.
Typical Recording System
6
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ProFXv2 Rear Panel Features
1
2
4
3
3. USB Input / Output
Connections
The built-in USB interface allows for some
powerful and flexible routing. It is a 2x2 interface
allowing you to record two streams from the mixer, or to
input stereo playback from a computer and route it to
nearly any output or pair of outputs on the mixer
[ProFX16v2, ProFX22v2 and ProFX30v2].
1. Power Connection
This is a standard 3-prong IEC power connector.
Connect the detachable linecord (included in the box
with your mixer) to the power receptacle, and plug the
other end of the linecord into an AC outlet.
The ProFX8v2 and ProFX12v2 USB return
only goes to main L/R via the USB input level
control.
ProFXv2 Series mixers have a universal power supply
that accepts any AC voltage ranging from 100 VAC to 240
VAC. No need for voltage select switches. It will work
virtually anywhere in the world. That’s why we call it a
“Planet-Earth” power supply! It is less susceptible to
voltage sags or spikes, compared to conventional power
supplies, and provides greater electromagnetic isolation
and better protection against AC line noise.
The USB routing capabilities are as follows:
USB input TO the mixer – playback:
(1) Stereo channel 15/16 (on the ProFX16v2),
21/22 (on the ProFX22v2) and 29/30 (on the
ProFX30v2) features a USB button, so one may route
computer output (such as iTunes®) down the last
stereo channel of the board. This stereo signal may
then be EQ'd, sent to auxiliaries (i.e. to feed monitors,
headphones or effects) and is routable to mains
and/or subgroups via the fader routing features that
are available on all other channels. In short, this signal
may be sent to nearly any desired output or pair of
outputs. Additionally, the gain knob at the top of this
channel strip adjusts the USB input level to the mixer
to achieve an optimal signal level.
Disconnecting the plug’s ground pin is
dangerous. Don’t do it.
2. Power Switch
Press the top of this rocker switch inwards to turn
on the mixer. The front panel power LED will glow
with happiness...or at least it will if you have the mixer
plugged into a suitable live AC mains supply.
Press the bottom of this switch to put the mixer into
(2) The 2-Track Return section [ProFX16v2,
standby mode. It will not function, but some circuits are ProFX22v2, ProFX30v2] features a switch to select
still live. To remove AC power, either turn off the AC
mains supply, or unplug the power cord from the mixer
and the AC mains supply.
either a “Tape” source (such as an iPod® connected
via RCA cables) or the USB signal from a computer
(playing Windows Media Player® files, for example)
may be routed to the main bus. This section also
features an input level adjustment for fading house
music up and down between bands, at a house
of worship, or any other event where this may
be necessary.
As a general guide, you should turn on the
mixer first, before any external power
amplifiers or powered speakers, and turn it off
last. This will reduce the possibility of any turn-on, or
turn-off thumps in your speakers.
7
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USB output FROM the mixer – recording, etc:
ProFXv2 Front
Panel Features
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
points for the subgroups are pre-fader and signals
will show up on the DAW dependent upon how they
are panned on the channels.
Connections and Channel Strip
The vertical channel strips look very
similar, and have only a few differences
between them. Each channel works
independently, and just controls the
signals plugged into the inputs directly
In other words, if subgroups 1 and 2 are used to
submix drums and those drums have a stereo image
(e.g. overheads and toms channels are panned accord-
ing to desire), this stereo image is retained in the DAW
inputs. Any adjustments made to the subgroup drum
levels during the show only pertain to the live show
itself; recording levels are not adjusted in the
5
above them.
6
7
5. Mic Inputs
ProFXv2 mixers use 3-pin female
XLR connectors on all microphone
DAW unless they are adjusted on the channels.
Likewise, it is possible to record the main mix to
take home a copy of the live show. These levels are
also pre-main fader. Therefore, levels may be mixed
up or down in the DAW later depending on the needs
of the recording versus the live show. The end result
is that fade-ins and/or fade-outs made during the
show do not affect recorded levels.
9
inputs, with pin 1 wired to the
grounded (earthed) shield,
pin 2 wired to the high (hot
or positive polarity) side of
11
10
the audio signal and pin 3 wired
to the low (cold or negative
12
polarity) side of the signal.
ProFX8v2
ProFX12v2
4. Main L/R XLR Outputs
These female XLR connectors
accept balanced mics or line level
The male XLR connectors provide a balanced
line-level signal that represents the end of the mixer
chain, where the fully mixed stereo signal enters the
real world. Connect these to the left and right inputs
of your main power amplifiers, powered speakers,
or serial effects processor (like a graphic equalizer
or compressor/limiter).
inputs from almost any type of source.
The Vita mic preamps feature higher fidelity and
headroom rivaling any standalone mic preamp on
the market today.
We use phantom-powered, balanced inputs just like
the big mega-consoles, for exactly the same reason: This
kind of circuit is excellent at rejecting hum and noise.
They are wired as follows, according to standards
specified by the AES (Audio Engineering Society):
Professional ribbon, dynamic, and condenser
mics all sound excellent through these inputs.
The mic/line inputs will handle any kind of level
you can toss at them, without overloading.
XLR Balanced Wiring:
Pin 1 = Shield (ground)
Pin 2 = Positive (+ or hot)
Pin 3 = Negative (– or cold)
Microphone-level signals are passed through
the mixer's splendid microphone preamplifiers
to become line-level signals.
SHIELD
1
They are wired as follows, according to standards
specified by the AES (Audio Engineering Society).
3
COLD
3
2
HOT
SHIELD
COLD
HOT
1
XLR Balanced Wiring:
Pin 1 = Shield (ground)
Pin 2 = Positive (+ or hot)
Pin 3 = Negative (– or cold)
2
The main L/R XLR outputs are located on
the rear panel of the ProFX8v2 and ProFX12v2
and on the front panel of the ProFX16v2,
ProFX22v2, and ProFX30v2.
2
SHIELD
HOT
1
3
COLD
The XLR outputs are 6 dB hotter than
the TRS outputs.
SHIELD
COLD
HOT
1
3
2
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Phantom Power
Most modern professional condenser mics require
48V phantom power, which lets the mixer send
low-current DC voltage to the mic’s electronics
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.
5
7
9
8
The ProFX mixer’s phantom power is
26
globally controlled by the phantom power
switch (meaning that phantom power for
all mic inputs is turned on and off together.)
10
12
13
14
15
17
Never plug single-ended (unbalanced)
microphones or ribbon microphones into
the mic input jacks if phantom power is on.
Do not plug instrument outputs into the mic input jacks
with phantom power on unless you know for certain it
is safe to do so.
27
16
6. Line / Hi-Z Switch [ProFX8v2 / ProFX12v2]
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
19
In the out position, channel 1's 1⁄4" TRS input
becomes a line input just like the other mono line
inputs.
To use guitars or other instruments on other
channels, you will need to use an external DI box
first. Without the DI box – or if this switch is not
pressed in – guitars may sound dull and muddy.
20
21
22
23
23
23
25
7. Line Inputs
Hi-Z Input (Channel 1 Only) [ProFX8v2 / ProFX12v2]
In addition to accepting balanced mic or line-level
signals using an XLR connector, ProFXv2 Series mixers
may also accept 1/4" line-level signals driven by
balanced or unbalanced sources. These 1/4" jacks
share circuitry (but not phantom power) with the
mic preamps.
24
Mono Channels
Stereo Channels
To connect balanced lines to these inputs, use
a 1/4" Tip-Ring-Sleeve (TRS) plug. “TRS” stands for
Tip-Ring-Sleeve, the three connection points available
on a stereo 1/4" or balanced phone jack or plug.
Channels 1-2 on ProFX8v2
Channels 1-4 on ProFX12v2
Channels 1-8 on ProFX16v2
Channels 3-8 on ProFX8v2
Channels 5-12 on ProFX12v2
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
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TRS jacks and plugs are used for balanced signals and
stereo headphones and are wired as follows according
to standards specified by the AES (Audio Engineering
Society):
9. Insert
These unbalanced 1/4" jacks are for connecting
serial effects processors such as compressors,
equalizers, de-essers, or filters.
1/4" TRS Balanced Mono Wiring:
Sleeve = Shield (ground)
The insert point is after the gain control and low
cut filter, but before the channel’s EQ and level.
The channel signal can go out of the insert jack
to an external device, be processed and come back
in on the same insert jack.
Tip = Positive (+ or hot)
Ring = Negative (– or cold)
RING SLEEVE
TIP
SLEEVE RING TIP
To do this requires a standard insert cable that must
be wired thusly:
RING
TIP
Tip = send (output to effects device)
Ring = return (input from effects device)
Sleeve = common ground
SLEEVE
To connect an unbalanced line to this input, use
a 1⁄4" mono (TS) phone plug or instrument cable.
They are wired as follows, according to standards
specified by the AES (Audio Engineering Society):
SEND to processor
ring
tip
(TRS plug)
tip
sleeve
This plug connects to one of the
mixer’s Channel Insert jacks.
ring
RETURN from processor
1/4" TS Unbalanced Mono Wiring:
Sleeve = Shield (ground)
Tip = Positive (+ or hot)
Insert jacks may be used as channel direct outputs;
post-gain, and pre-EQ. If you insert a TS (mono)
1⁄4" plug only partially (to the first click) into an insert
jack, the plug will not activate the jack switch and will
not open the insert loop in the circuit (thereby allowing
the channel signal to continue on its merry way through
the mixer).
SLEEVE
SLEEVE
TIP
TIP
TIP
SLEEVE
The channel 1 line-level input on the
ProFX8v2 and ProFX12v2 may also accept
instrument-level signals if the hi-z switch
This allows you to tap out the channel signal without
interrupting normal operation.
If you push the 1⁄4" TS plug in to the second click,
you will open the jack switch and create a direct out,
which does interrupt the signal in that channel.
See illustration below.
is engaged. This allows you to connect guitars directly
into channel 1 without the need for a DI box.
8. Stereo Line Inputs
Do not overload or short-circuit the signal
you are tapping from the mixer. That will
affect the internal signal.
The stereo line inputs are designed for 1/4" TRS
balanced or 1/4" TS unbalanced signals. They may
accept any line-level instrument, effects device, CD
player, etc.
Level control is available –20 dB to +20 dB.
If you are connecting a mono source, use the left
(mono) input, and the mono signals will appear
on both sides of the main mix.
MONO PLUG
Channel Insert jack
Direct out with no signal interruption to master.
Insert only to first “click.”
The first two stereo channels of each ProFXv2
Series mixer are hybrid channels, each with a mic
input XLR jack and low cut switch. Here the gain
control only affects the mic input.
MONO PLUG
Channel Insert jack
Direct out with signal interruption to master.
Insert all the way in to the second “click.”
Hybrid Channels:
• ProFX8v2 – Channels 3/4 and 5/6
• ProFX12v2 – Channels 5/6 and 7/8
• ProFX16v2 – Channels 9/10 and 11/12
• ProFX22v2 – Channels 15/16 and 17/18
• ProFX30v2 – Channels 23/24 and 25/26
STEREO
PLUG
Channel Insert jack
For use as an effects loop.
(TIP = SEND to effect, RING = RETURN from effect.)
10
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For stereo channels (no mic input)
the gain control affects the line-level
inputs, with 20 dB of gain, and 20 dB
of attenuation.
“U” like Unity gain
ProFXv2 Series mixers have a “U” symbol on almost
every level control. It stands for “unity gain,” meaning
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
• ProFX30v2 – Channels 27/28 and 29/30
10. Gain
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
the quieter, exquisitely-delicate passages might be lost
in background noise.
11. Level Set LED [ProFX8v2 / ProFX12v2]
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
world to be adjusted to run through each channel at
optimal internal operating levels.
If one or more channels are distorting, check the level
set LEDs. If they are on continuously, turn down the
gain.
For mono channels (mic input with
a mono line input), the gain knob
adjusts the input sensitivity of the
mic and line inputs.
11
10
12
If the signal originates through the mic XLR jack,
there will be 0 dB of gain with the knob fully down,
ramping to 50 dB of gain fully up.
ProFX8v2
ProFX12v2
Through the 1⁄4" mono line inputs, there is 20 dB of
attenuation fully down and 30 dB of gain fully up, with
unity gain “U” at 12:00.
12. Low Cut Switch
This 20 dB of attenuation can be very handy when you
are inserting a hot signal, or when you want to add EQ
gain, or both. Without this “virtual pad,” there is more
chance of channel clipping.
All mono channels have a low-cut switch (often
referred to as a high-pass filter) that cuts bass
frequencies below 100 Hz at a rate of 18 dB per octave.
We recommend that you use low-cut on every
microphone application except kick drum, bass guitar,
or bassy synth patches. These aside, there isn’t much
down there that you want to hear, and filtering it
out makes the low stuff you do want much more crisp
and tasty. Not only that, but low-cut can help reduce
the possibility of feedback in live situations, and it
helps to conserve amplifier power.
For hybrid channels (mic input and stereo
line input), the gain control just affects the
microphone input.
Hybrid Channels:
• ProFX8v2 – Channels 3/4 and 5/6
• ProFX12v2 – Channels 5/6 and 7/8
• ProFX16v2 – Channels 9/10 and 11/12
• ProFX22v2 – Channels 15/16 and 17/18
• ProFX30v2 – Channels 23/24 and 25/26
Another way to consider low-cut’s function
is that it actually adds flexibility during live
performances. With the addition of low-cut,
you can safely use low equalization on vocals.
Many times, bass shelving EQ can really benefit voices.
Trouble is, adding low EQ also boosts stage rumble,
mic handling clunks and breath pops from way-down
low. Applying low-cut removes all those problems,
so you can add low EQ without blowing the woofers.
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Channel Equalization (EQ)
14. Mid EQ
15. Freq
All ProFXv2 mono channels – except for the
ProFX4v2, which is covered in its own owner's manual
– have 3-band EQ with shelving hi, peaking mid with
adjustable mid frequency [ProFX16v2, ProFX22v2,
ProFX30v2] and shelving low. The stereo channels
have a peaking mid EQ control in addition to the
shelving hi and shelving low EQ controls.
[ProFX16v2, ProFX22v2, ProFX30v2]
+15
The mono channels employ
a semi-parametric mid-sweep
EQ. The gain (up to 15 dB
of boost or cut) is set via the
mid EQ, and then “aimed” at
a specific frequency, from
100 Hz to 8 kHz, via the freq
control.
+10
+5
0
–5
–10
–15
20Hz
100Hz
1kHz
10kHz 20kHz
Shelving means that the circuitry boosts or cuts all
frequencies past the specified frequency. For example,
the low EQ boosts bass frequencies below 80 Hz and
continuing down to the lowest note you never heard.
Peaking means that certain frequencies form a “hill”
around the center frequency.
16. Mid EQ
+15
+10
Short for “midrange,” this
knob provides up to 15 dB of
boost or cut, centered at
+5
0
With too much EQ, you can really upset things.
We’ve designed a lot of boost and cut into each
equalizer circuit because we know that
2.5 kHz, also flat at the center
detent. Midrange EQ is often
thought of as the most
–5
–10
–15
everyone will occasionally need that. But if you max the
EQ on every channel, you’ll get mix mush. Equalize
subtly and use the left sides of the knobs (cut), as well
as the right (boost). If you find yourself repeatedly using
a lot of boost or cut, consider altering the sound source,
such as placing a mic differently, trying a different kind
of mic, a different vocalist, changing the strings, or
gargling.
dynamic, because the frequencies that define1kany
20Hz
100Hz
Hz
10kHz 20kHz
particular sound are almost always found in this range.
You can create many interesting and useful EQ changes
by turning this knob down as well as up.
17. Low EQ
+15
The low EQ provides up to
15 dB of boost or cut below
+10
+5
80 Hz. The circuit is flat at
0
the center detent position.
This frequency represents the
–5
13
14
–10
–15
punch in bass drums, bass
guitar, fat synth patches, and some really serious male 20k
20Hz
100Hz
1kHz
10kHz
Hz
singers who eat raw beef for breakfast.
16
18. Aux Mon
These knobs tap a portion of each channel's signal to
set up a nice monitor mix feeding stage monitors,
independent of the main mix. Adjust these controls on
each channel until the band is happy with the stage
monitor mix.
15
17
The controls are off when fully turned down, deliver
unity gain at the center detent, and can provide up to
15 dB of gain turned fully up.
The pan, mute and channel fader do not affect the
monitor output, but the other channel controls will.
The aux mon is pre-fader.
13. Hi EQ
The hi EQ provides up to
15 dB of boost or cut above
12 kHz, and it is also flat
(no boost or cut) at the
detent. Use it to add sizzle
to cymbals, an overall sense
of transparency, or an edge to keyboards, vocals, guitar
and bacon frying. Turn it down a little to reduce
sibilance or to mask tape hiss.
+15
+10
+5
The overall output level may be adjusted with the aux
master mon controls and monitor 1's EQ tweaked with
the graphic EQ if the main mix/mon 1 switch is engaged.
Internal FX may also be added to the monitor mix with
the internal FX to mon knobs.
0
–5
–10
–15
20Hz
100Hz
1kHz
10kHz 20kHz
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19. Aux FX
22. Mute Switch
These knobs tap a portion of each channel's signal to
set up a nice FX mix feeding the internal FX processor,
and to feed external processors via the FX send.
Mute switches do just what they sound like they do.
They turn off the signal by “routing” it into oblivion.
Engaging a channel's mute switch (almost) provides
the same results as turning the fader all the way down
(a pre-aux send is not affected by the channel fader, but
it is by the mute switch in the ProFX16v2, ProFX22v2
and ProFX30v2).
The controls are off when fully turned down, deliver
unity gain at the center detent, and can provide up to
15 dB of gain turned fully up.
The mute, channel fader and other channel controls
affect the FX output, but pan does not. The aux FX is
post-fader.
Any channel assignments [ProFX16v2, ProFX22v2
and ProFX30v2] to main mix, subgroup 1-2, or subgroup
3-4 will be interrupted and all of the aux sends will be
silenced (both pre- and post-fader).
The FX signal reaching the internal FX processor
and the FX send output jack is the sum (mix) of all
the channels whose aux FX control is set to more than
minimum.
In the ProFX8v2 and ProFX12v2, the aux mon signal
is unaffected by the mute switch. The channel insert
will continue to provide a signal when a channel is
muted. The OL LED will illuminate when a channel's
mute switch is engaged [ProFX16v2, ProFX22v2 and
ProFX30v2].
The overall output level may be adjusted with the
aux master FX knob. FX are added to the main mix by
increasing the level of the internal FX to main L/R knob.
Internal FX may also be added to the monitor mix by
increasing the level of the internal FX to mon knobs.
20. Pan / Bal
18
19
This control allows you to adjust how much of
the channel signal is sent to the left versus the right
outputs.
With the knob panned hard left, the signal feeds
the main left, sub 1, or sub 3 busses, depending on
the setting of the assign switches. With the knob
panned hard right, the signal feeds the main right,
sub 2, or sub 4 busses, again dependent on the setting
of the assign switches.
20
Subgroups are on the ProFX16v2, ProFX22v2
and ProFX30v2.
21 22
The pan control employs a design called “Constant
Loudness.” If you have a channel panned hard left
(or right) and then pan to the center, the signal is
attenuated about 3 dB to maintain the same apparent
loudness. Otherwise, it would make the sound appear
much louder when panned center.
23. Assign Switches
[ProFX16v2, ProFX22v2, ProFX30v2]
Alongside each channel fader are three buttons
referred to as channel assignment switches. Used in
conjunction with the channel's pan knob, they are used
to determine the destination of the channel's signal.
21. OL LED
With the pan knob at the center detent, the left and
right sides receive equal signal levels (main mix L/R,
sub 1-2 and sub 3-4). To feed only one side or the other,
turn the pan knob accordingly.
This LED indicates the channel’s signal level after the
gain and EQ controls, but just before the channel’s level.
So even if the level is turned down, you can see if the
channel is being overloaded.
If you are doing a mixdown to a 2-track, for example,
simply engage the main mix switch on each channel
that you want to hear, and they will be sent to the main
mix bus. If you want to create a group of certain
channels, engage either the 1-2 or 3-4 switches instead
of the main mix, and they will be sent to the appropriate
subgroup faders. From there, the groups may be sent
back to the main mix (using the group assign switches
above the group faders), allowing you to use the group
The OL (overload) LED will come on when the
channel’s input signal is too high. This should be
avoided, as distortion will occur. If the OL LED comes
on regularly, check that the gain control is set
correctly for your input device, and that the channel
EQ is not set with too much boost. The OL LED will
also illuminate when a channel's mute switch is
engaged [ProFX16v2, ProFX22v2 and ProFX30v2].
faders as a master control for those Ochwannneerls’s. Manual
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If you are creating new tracks or bouncing existing
ones, you will also use the 1-2 and 3-4 switches, but not
the main mix switch. Here you do not want the groups
sent back into the main mix bus, but sent out, via the
sub out jacks, to your multitrack inputs.
26
27
26. Compressor
[ProFX16v2, ProFX22v2, ProFX30v2]
23
Each of the last four mono channels of the ProFXv2
mixer has an in-line compressor circuit with a variable
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,
rather than one of the other channels.
25
23
23
When the incoming signal exceeds the threshold level
set by this knob, the signal level is automatically
compressed. This reduces the dynamic range and
reduces the chance of distortion due to overloading the
input signals.
24
Dynamic range is the difference in level
between the quietest and loudest parts of a
song. A compressor “squeezes” the dynamic
range, resulting in an overall steadier, more constant
volume level for the signal. It helps sources, such as
vocals, “sit” properly in the mix; it is very useful for live
sound.
24. PFL Solo Switch
[ProFX16v2, ProFX22v2, ProFX30v2]
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 CR/phones
knob. The solo levels appearing on the meters are not
controlled by the CR/phones knob – you would not want
that, anyway. What you do want to see is the actual
channel level on the meters regardless of how loud the
control room and phones output levels might be.
The compression ratio is fixed at around 6:1, with a
soft knee response. The threshold can be adjusted
clockwise from off (no compression) to 0 dBu (max).
COMP
+20
OFF
MAX
+15
+10
+5
PFL means Pre-Fader Listen (post-EQ). With the PFL
Solo switch engaged, solo will not be affected by a
channel's mute switch position.
COMP
OFF
MAX
Remember, PFL taps the channel signal before
the fader. If you have a channel's fader set
way below “U” (unity gain), solo will not know
that and will send a unity gain signal to the CR outs,
phones output and meter display, which may raise some
eyebrows.
COMP
OFF
MAX
+0
-5
25. Channel Fader
-10
-10
-5
+0
+5
+10
+15
+20
This is the last control in a channel’s signal path, and
it adjusts the level of each channel onto the main mix.
The “U” mark indicates unity gain, meaning no increase
or decrease of signal level. All the way up provides an
additional 10 dB, should you need to boost a section of a
song. If you find that the overall level is too quiet or too
loud with the level near unity, check that the gain
control is set correctly.
INPUT SIGNAL STRENGTH dBu
As an example, suppose the threshold is set to
maximum. An incoming signal reaches the threshold of
0 dBu. As it increases beyond the threshold, it becomes
compressed at a ratio of 6:1. This means that even if the
input further increases by 6 dB, the actual output only
increases by 1 dB. This compresses the output signal, so
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there is more protection to your system from distortion
and overload due to poor microphone technique (say
it ain't so) and general pops, bangs and heavy metal
screaming. The soft knee means that the compression
slowly ramps up to 6:1 from the threshold. It does not
jump abruptly to 6:1, as this would be hard knee
compression, and harder on the ears too.
26
27
The graph on the previous page shows the input signal
level going into the compressor, versus the output level
coming out of it. It is the typical graph to view when
compressors are discussed, and is just the kind of thing
our engineers like to discuss during the company
Christmas party1.
27. USB Switch
[ProFX16v2, ProFX22v2, ProFX30v2]
The USB switch on the last stereo channel provides
stereo playback of iTunes®, or a DAW via the USB
connection. Like any other input, this signal may
also be EQ'd, sent to an aux bus, or mixed in with
the other signals and assigned to subgroups or main
outs. This switch overrides the TRS inputs.
If the compressor is off, then the input = output. For
example an input signal level of +5 dBu results in an
output level of +5 dBu. The diagonal line from lower left
to upper right represents x = y, that is, input = output.
At the maximum compression, the threshold is
set at 0 dBu, and the input to output relationship
is represented by the lower curve. If the input is
–5 dBu (that is, below the threshold), the output
is –5 dBu. As the input reaches 0 dBu, the output
is a bit less than 0 dBu. If the input is +5 dBu, the
output is about +2 dBu. If the input reaches +10 dBu,
then the output is +3 dBu. Notice the shapely curve
of the soft knee between the diagonal slope of x = y
and the compressor slope of 6:1 (the compression
ratio).
The other green curves represent in-between
positions of the compressor knob, with higher
thresholds before compression begins.
Outboard compressors often have controls such as
compression ratio, threshold, soft knee/hard knee,
attack time, and release time. These last two affect how
quickly the compressor kicks in when the input exceeds
the threshold, and how quickly it is released after it
drops below the threshold. In this compressor, these
parameters are specially chosen to give you the best
overall performance.
Adjust the threshold carefully, so your dynamic range
is still lovely, without distortion or overload during the
performance. Run through a few practice screams and
high-notes, and adjust the compression as required.
1
My High School math teacher, Mr. Marvin, thought that
graphs might come in handy for me one day. Finally!
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29. FX Send
Additional Inputs and Outputs
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
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.
36
(The processed output of the internal FX does not
come out of this output, but is added internally to the
main mix or monitor mix.)
28
29
30
35
31
32
The overall output level may be adjusted with the
aux master FX knob. (This knob also affects the level
going into the internal FX.)
ProFX8v2 • ProFX12v2
The output is “post-fader,” so any changes to the
channel faders will also affect the level going to the
external processor.
28. Mon Send
Stage monitors allow the talented musicians in the
band to hear themselves clearly on stage. This can be a
good thing! The monitor mix may be carefully adjusted
in level using the aux mon controls. These tap a portion
of each channel's signal to provide a 1/4" TRS output
here to feed external stage monitors. These could
either be passive stage monitors powered by an
external amplifier, or powered stage monitors with
their own built-in amplifier.
The processed output from the effects processor
is usually returned to the aux/stereo returns or a
spare channel, and you may carefully mix the original
unprocessed channel (dry) and the processed channel
(wet). Altering the original channel fader increases
both the wet and dry signals and keeps them at the
same delicate ratio. For example, the reverb remains
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
than minimum. If they want “more me and less Brian,”
you may turn up their channel's aux mon control,
and turn down Brian's.
30. FX Footswitch
[ProFX8v2, ProFX12v2, ProFX16v2, ProFX22v2]
This 1/4" TRS connector is where to connect your
favorite footswitch. This allows you to easily mute or
un-mute the internal effects at will. Any one-button
on/off footswitch will work.
The overall output level may be adjusted with the
aux master mon knob and mon 1 may have its EQ
tweaked with the graphic EQ if the main mix/mon 1
switch is engaged. Alternatively, you could add an
external graphic EQ between this output and your
powered monitors. This will allow you to adjust
the EQ, and minimize the chance of feedback from
nearby microphones.
If the internal FX have already been muted with the
internal FX mute switch, then the footswitch has no
effect.
The ProFX30v2 has an additional mon send
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
it change when a channel fader or the main mix fader
is adjusted. This is known as “pre-fader.”
31. Stereo (Aux) Return L/R
The stereo (aux) returns are designed for 1/4" TRS
balanced or 1/4" TS unbalanced signals, from -20 dB to
+20 dB. They allow the stereo processed output from
external effects processors or other devices to be added
to the main mix.
There is one mon send jack on each ProFX8v2
and ProFX12v2, two mon send jacks on each
ProFX16v2 and ProFX22v2 and three mon
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.
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32. Main Out L/R
35. Phones
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
(compressor/limiter), or directly to the inputs of the
main amplifier. These are the same signal that appears
at the XLR main outputs, but 6 dB lower than the XLR
outputs. When the meters read “0”, these TRS outputs
are at 0 dBu.
control room outputs.
The phones volume is controlled with...
• ...the phones knob right above the mon fader
[ProFX8v2, ProFX12v2].
• ...the cr/phones knob right above the main
mix fader [ProFX16v2, ProFX22v2, ProFX30v2].
The male XLR connectors provide a balanced
line-level signal that represents the end of the mixer
chain, where your fully mixed stereo signal enters the
real world. Connect these to the left and right inputs
of your main power amplifiers, powered speakers,
or serial effects processor (like a graphic equalizer
or compressor/limiter). The XLR outputs are 6 dB
hotter than the TRS outputs.
Whenever a solo switch is engaged, you will only hear
the soloed channel(s) in the headphones. This gives
you the opportunity to audition the channels before
they are added to the main mix. (Solo signals reaching
the headphones are not affected by the channel level or
main level, therefore turn down the phones level first, as
soloed channels may be loud.)
The phones output follows standard conventions:
Tip = Left channel
The XLR output jacks on the ProFX8v2
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
intermediate levels may be painfully loud
30
with some headphones. BE CAREFUL! Always turn the
phones level control all the way down before connecting
headphones or pressing a solo switch, or doing anything
new that may affect the headphone volume. Then turn it
up slowly as you listen carefully.
36
34
28
32
35
29
31
33
36. Tape Inputs / Outputs
The stereo unbalanced RCA inputs allow you to
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.
ProFX16v2 • ProFX22v2 • ProFX30v2
The stereo unbalanced RCA outputs allow you to
record the main stereo mix onto a hard disk recorder
or automatic CD burner, for example. This lets you
make a recording for posterity/archive/legal purposes
whenever the band gets back together again.
33. CR Out L/R
[ProFX16v2, ProFX22v2, ProFX30v2]
These 1/4" jacks are usually patched to the inputs
of a control room amplifier or a headphone distribution
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
These four 1/4" jacks are usually patched to the
inputs of a multitrack deck or to secondary amplifiers
in a complex installation.
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Stereo Graphic EQ, Main Meters and more!
39. Stereo Graphic EQ
This 7-band graphic equalizer adjusts the main
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
are pre-EQ and pre-main fader.
37
38
39
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
switch.
42
43
40
41
Each slider allows you to adjust the level of its
frequency band, with up to 15 dB of boost or cut,
and no change in level at the center (0 dB) position.
The frequency bands are: 125 Hz, 250 Hz, 500 Hz,
1 kHz, 2 kHz, 4 kHz and 8 kHz.
37. 48V Phantom Power Switch
Most modern professional condenser mics require
48V phantom power, which lets the mixer send low-
The EQ section comes before the main mix fader
and meters. As with the channel EQ, just take it easy.
There is a large amount of adjustment, and if you
are not careful, you can upset the delicate balance
of nature. Although it may not seem cool to actually
turn down controls, with EQ it is often the best option.
Turn down the offending frequency range rather than
boosting the desired range. You may use it to reduce the
level of some frequency bands where feedback occurs.
current DC voltage to the mic’s electronics 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.
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
that phantom power is active. This is a global switch
that affects all mic channels' XLR jacks at once.
40. Main Mix / Mon 1 Switch
This switch allows you to choose if the stereo
graphic EQ is used for the stereo left and right main
mix or if it is used for monitors. For example, there
may be times when the graphic EQ may be used wisely
in the monitor mix to reduce feedback in the monitors
from nearby microphones. This only affects the monitor
1 output.
Never plug single-ended (unbalanced)
microphones, or ribbon mics into the
mic input jacks if phantom power is on.
Do not plug instrument outputs into the mic XLR
input jacks with phantom power on, unless you know
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
This switch allows you to quickly engage or
disengage the stereo graphic EQ. This may be used
for quick checks of your EQ settings, or to shorten
the signal path if you do not need to use the EQ.
38. Power LED
This LED will illuminate green when the mixer is
turned on, as a reminder of how on it really is. If it is
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.
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42. Main Meters
These peak meters are made up of two columns
43. Rude Solo LED
[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)
at the top.
what you hear in the control room and headphones
is the soloed channel(s). If you forget that you are
in solo mode, you can easily be tricked into thinking
that something is wrong with your mixer. Hence,
the rude solo light. Please forgive its rudeness,
it is only trying to help, and wants to be your friend.
When a channel is soloed [ProFX16v2, ProFX22v2,
ProFX30v2], the right meter shows no reading, and
the left meter shows the level of that channel’s signal
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).
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Aux Masters, Aux Returns and Internal FX
44. Aux Masters
48. Preset Display
These provide overall control over the aux mon and
aux FX levels just before they are delivered to the aux
mon and aux FX outputs, as well as internal FX in the
case of the FX master.
This display shows the number of the currently
selected effects preset, as shown in the list of presets
above. Rotate the preset selector knob right or left to
change a preset.
Auxiliary is usually the control you turn up when the
lead singer glares at you, points at his stage monitor,
A new preset will be loaded approximately 1/4 of
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
down, but that never happens.)
When the mixer is turned on, the FX section will load
up the last-used preset.
The aux master mon 1 knob on the
ProFX16v2, ProFX22v2 and ProFX30v2 is the
mon fader on the ProFX8v2 and ProFX12v2.
44
45
46
48
47
50
45. Stereo (Aux) Returns
49
These controls set the overall level of line signals
received from the stereo (aux) return L/R jacks.
Signals passing through these controls go directly
to the main mix and monitor mix where they are com-
bined with signals from the channels.
ProFX16v2 • ProFX22v2 • ProFX30v2
49. SIG / OL LED
This bi-colored LED illuminates green when the signal
level going into the effects processor is within a good
operating range (sig). It illuminates red if the effects
processor is overloaded with too strong of a signal (ol).
Turn down the FX send master level and check the
channel sends if these light red regularly.
46. Internal FX
These knobs route the effects output to the mon
and mains independently. Use the mon controls
to provide effects to monitors. Slowly add effects
to the monitors by turning the mon knobs clockwise.
Use the aux master to monitor the amount sent.
The FX output to the mains will be heard directly
from the PA.
The signals going into the processor are affected by
the channel gain, EQ, and channel faders, as well as the
channel FX sends and the FX send master.
47. Preset Selector
Rotate this endless control to select one of the 16
preset effects. When the rotation stops, that preset
will be loaded and become operational. The current
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.
Only one preset may be selected at a time.
This LED only illuminates green (sig) on
the ProFX16v2, ProFX22v2 and ProFX30v2.
50. Int FX Mute Switch and LED
When engaged, the internal effects processor is
muted, and its output will not appear on the main mix
or monitor mix. The adjacent mute LED will illuminate
as a reminder that the effects are muted. When power
is first applied, this LED will illuminate and the FX will
be muted for about 10 seconds while the little FX gerbils
inside settle down.
1
2
3
4
5
6
7
8
Bright Room
Warm Lounge
Small Stage
Warm Theater
Warm Hall
9
Chorus
10 Chorus + Reverb
11 Doubler
12 Echo
13 Delay 1 (Fast)
14 Delay 2 (Medium)
15 Delay 3 (Slow)
16 Pan Delay
If this switch is not engaged, then the internal effects
are set free and may be added as required to the main
mix and/or monitor mix.
Concert Hall
Plate Reverb
Cathedral
If this switch is not engaged, then the internal
effects may be muted or un-muted with a footswitch
[ProFX8v2, ProFX12v2, ProFX16v2 and ProFX22v2].
20
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51. Mute and OL LED (for stereo returns)
[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
50
49
44
46
MUTE
51
45
44
44
ProFX8v2 • ProFX12v2
21
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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
channels coming in from the computer, via the
USB port, relative to the mix of the other channels.
Adjust it carefully to achieve the desired mix with
the other channels.
This switch allows flexibility on the recordable
signals. The default switch configuration (disengaged)
allows the main L/R mix to be recorded for convenient
stereo mixes of the show. Engaging the switch routes
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)
or USB (switch engaged).
52
56. 2-Track Return Level
53
59
58
57
[ProFX16v2, ProFX22v2, ProFX30v2]
This knob controls the overall level to the mains of
the tape (RCA) or USB, depending on the position of
the 2-track return tape/USB switch. This knob's level
ranges from off, through unity (center detent position),
on up to 15 dB of extra gain (fully clockwise).
MON MAIN
44
62
57. Tape Level
[ProFX8v2, ProFX12v2]
This knob controls the input level of signals
entering the tape inputs. It is conveniently located
close to the break switch so all channels may be
quickly muted while bringing up the background
music while the band is taking a break.
ProFX8v2 • ProFX12v2
53. USB Thru
[ProFX8v2, ProFX12v2]
58. Break Switch and LED
In addition to a mix of the other channels, the USB
output to the computer may contain any input from
the computer if this switch is down. (This switch only
affects the output to the computer, not the headphones
or main mix.)
This important “take-a-break” switch quickly mutes
all the microphones and line-level inputs to the main
outs, cr outs and phones when the band is between sets.
This will prevent protestors or rogue karaoke singers
from storming the stage at the interval.
•
If disengaged (out), the USB output to the
computer will just be the main mix. This is a
good position for overdubbing, as any playback
from the computer may be played through the
main speakers and headphones, while playing
along with a guitar and recording only the
guitar via USB. This is also good for live
The monitor send and FX send are not affected.
If there is no sound coming out of the system, be sure
to check this switch first.
It is possible to play the stereo RCA tape inputs in
the main stereo mix or play audio coming in from the
computer via the USB inputs. For example, a soothing
CD may be played while the band is off stage.
recording as a safeguard against feedback.
Here, the USB level knob should also be down.
The adjacent break LED [ProFX16v2,
ProFX22v2 and ProFX30v2] will illuminate
as a reminder that the channels are muted.
•
If pressed in, the USB output to the computer
will be the main mix, including any audio
coming in from the computer. This is a good
position to record live performances where
playback of audio from the computer is also
part of the performance.
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59. CR / Phones
As one might expect, this knob controls the levels
of both the stereo control room and the headphones.
61. Sub 1-4 Faders
[ProFX16v2, ProFX22v2, ProFX30v2]
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
quality is just as impeccable as the main outputs.
It may be used as an additional main mix output
and this one will have its own level control.
However, be aware that if a solo switch is engaged,
the mix will be interrupted:
The sub signal is off when its fader is fully down,
the “U” marking is unity gain, and fully up provides
10 dB additional gain. Remember that if you are treating
two subs as a stereo pair, sub 1 and 2 for example,
make sure that both sub faders “ride” together to
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
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
regardless of how loud the control room and phones
output levels might be.
54
60
55
56
58
59
62
Control room is available on the ProFX16v2,
ProFX22v2 and ProFX30v2.
61
Solo signals reaching the headphones
and monitor outputs are not affected by
the channel level or main level; therefore,
turn down the phones level and monitor level first,
as soloed channels may be loud.
ProFX16v2 • ProFX22v2 • ProFX30v2
62. Main Mix
This stereo fader allows you to adjust the levels
of the main mix signals sent to the XLR and 1/4" main
line-level outputs and the tape outputs.
60. Subs Assign Switches
[ProFX16v2, ProFX22v2, ProFX30v2]
One popular use of the subs is to use them as
master faders for a group of channels on their way to the
main mix fader. Let us say you have a drum kit hogging
up seven channels and you are going to want to control
their group volume more conveniently. You do not want
to try that with seven hands or seven fingers, so just
unassign these channels from the main mix and reas-
sign them to subs 1-2, engage the assign to main mix left
on sub 1 and assign to main mix right on sub 2.
Now you may ride the entire drum mix with two
faders – subs 1 and 2.
This gives you the ultimate feeling of power and
control over the sound levels sent to your audience.
Adjust this control carefully, with your good eye on
the meters to check against overloading, and your
good ear to the levels to make sure your audience
(if any) is happy.
The main mix signals are off with the fader fully
down, the “U” marking is unity gain, and fully up
provides 10 dB of additional gain. This additional
gain will typically never be needed, but once again,
it’s nice to know that it’s there. The fader is stereo,
as it affects both the left and right of the main mix
equally. This is the ideal control to slowly bring down
at the end of a song (or quickly in the middle of a song
if the need ever arises).
If you engage just one assign to main mix button per
group (left or right), the signal sent to the main mix
fader will be the same level as the sub outs. If you want
the subgroup to appear in the center of the main mix,
engage both the assign to main mix left and right but-
tons. The signal will be sent to both sides, and reduced
in level by 3 dB like a pan pot, so the overall level is the
same, whether the group is assigned to main left, main
right, or both.
This control does not affect the mon send or FX send
outputs.
23
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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
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
Bad Channel
Noise
•
•
•
•
•
•
Is the channel EQ set up nicely?
•
Turn the channel gains down, one by one. If the
sound disappears, it’s either that channel or
whatever is plugged into it, so unplug whatever
that is. If the noise disappears, it’s from your
whatever.
Is the channel gain set correctly?
Is the channel level up enough?
Is the channel OL led on?
Is the channel pan set in the middle?
Try the same source signal in another channel,
set up exactly like the suspect channel.
•
Is phantom power required for your
microphone?
Power
Bad Output
•
The power LED should come on if the mixer is
connected to a suitable live AC mains outlet,
and the power switch is on. Check to make sure
that the power cord is securely plugged in.
•
•
•
•
Is the main level turned up?
Are the EQs set to reasonable levels?
Are any aux returns maxed out?
Unplug anything from the other line-level
outputs, such as monitor out, just in case
one of the external pieces has a problem.
•
Make sure that you are not overdriving the
amplifiers. Check the loudspeaker average load
impedance is not less than the minimum the
amplifier can handle. Check the speaker wiring.
24
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Repair
For warranty service, refer to the warranty
information on page 39.
Non-warranty service is available at a factory-
authorized service center. To locate your nearest
“Support” and select “Locate a Service Center.”
Service for ProFXv2 Series mixers living outside
the United States can be obtained through local
dealers or distributors.
If you do not have access to our website, you can call
our Tech Support department at 1-800-898-3211,
Monday-Friday during normal business hours, Pacific
Time, to explain the problem. Tech Support will tell you
where the nearest factory-authorized service center is
located in your area.
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Appendix B: Technical Information
Specifications
Noise Characteristics
Equalization
Equivalent Input Noise (EIN)
ProFX8v2 • ProFX12v2
(150 Ω Source Impedance, 20 Hz to 20 kHz)
Low
15 dB @ 80 Hz
–125 dBu1
–128 dBu2
Mid
High
Low Cut Filter
15 dB @ 2.5 kHz
15 dB @ 12 kHz
18 dB/octave @ 100 Hz
Mic in to Insert Send out, max gain
Residual Output Noise
All outputs, master levels off, all channel levels off
–95 dBu
All outputs, master levels unity, one channel level unity
–80 dBu1
–85 dBu2
ProFX16v2 • ProFX22v2 • ProFX30v2
Mono Channels
Low
Mid
15 dB @ 80 Hz
15 dB
100 Hz – 8 kHz
15 dB @ 12 kHz
18 dB/octave @ 100 Hz
Frequency Response
Mic input to any output (gain at unity, +0 dB / –1 dB )
High
Low Cut Filter
20 Hz to 30 kHz1
Stereo Channels
20 Hz to 40 kHz2
Low
Mid
15 dB @ 80 Hz
15 dB @ 2.5 kHz
15 dB @ 12 kHz
High
Distortion (THD+N)
(22 Hz to 80 kHz bandwidth)
Maximum Voltage Gain (EQ Flat)
Mic in to Main Out (+4 dBu output)
<0.03%1
<0.01%2
Mic Input Channel to
Insert Output
Tape Output
50 dB
60 dB
50 dB1
60 dB2
70 dB
76 dB
76 dB1
81 dB2
90 dB
USB Output
Attenuation and Crosstalk
Adjacent Inputs @ 1 kHz
1/4" Main Output
XLR Main Output
Monitor Send
–90 dBu
–80 dBu
–75 dBu
Inputs to Outputs @ 1 kHz
Fader Off @ 1 kHz
FX Send
Mute Switch / Break Switch Mute @ 1 kHz
–90 dBu1
–100 dBu2
Mono Line Input Channel to
Insert Output
30 dB
40 dB
30 dB1
40 dB2
56 dB
56 dB1
61 dB2
70 dB
Tape Output
USB Output
Common Mode Rejection Ratio (CMRR)
Mic in to Main out, max gain, 1 kHz
XLR Main Output
Monitor Send
70 dB
FX Send
Maximum Levels
All inputs
Stereo Line Input Channel to
Tape Output
30 dB
30 dB
46 dB
46 dB1
51 dB2
60 dB1
55 dB2
+22 dBu
+28 dBu
+22 dBu
USB Output
XLR Main Output
Monitor Send
Main Out XLR
All other outputs
FX Send
Impedances
Mic in
Tape Input to
3.8 kΩ1
XLR Main Output
36 dB
36 dB
3.3 kΩ2
USB Input to
Channel Insert Return
All other inputs
Tape out
10 kΩ
≥20 kΩ
1 kΩ
XLR Main Output
Stereo Return to
Mon Output
30 dB2
26 dB
XLR Main Output
Phones out
25 Ω
All other outputs
120 Ω Unbalanced,
240 Ω Balanced
1 ProFX8v2, ProFX12v2.
2 ProFX16v2, ProFX22v2, ProFX30v2.
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Specifications continued...
Digital Effects
I/O
ProFX16v2
Height
3.8 in / 97 mm
18.7 in / 475 mm
16.0 in / 407 mm
13.0 lb / 5.9 kg
Mono Input,
Stereo Output
Width
Depth
Weight
Number of Presets
16
ProFX22v2
Height
Width
Depth
Weight
3.8 in / 97 mm
25.1 in / 639 mm
16.0 in / 407 mm
18.0 lb / 8.2 kg
Meters
Main L/R Mix
Two columns of 12 segments each:
OL (+20 dBu), +15, +10, +6, +3, 0 (0 dBu),
–2, –4, –7, –10, –20, –30
ProFX30v2
Height
Width
Depth
Weight
3.8 in / 97 mm
33.6 in / 853 mm
16.6 in / 422 mm
25.0 lb / 11.4 kg
Graphic EQ
Frequency Centers
125, 250, 500, 1k, 2k, 4k, 8k
15 dB
Gain
Assignable to Main or Monitor, bypassable
Options
ProFX8v2
Bag
Cover
P/N 0020636
P/N 0020638
USB
Format
USB 1.1
I/O
Stereo Input,
Stereo Output
ProFX12v2
Bag
Cover
P/N 0020637
P/N 0020639
P/N 2045757-00
A/D/A
16 bit, 44.1 kHz / 48 kHz
Rack Ear Kit
ProFX16v2
Phantom Power
48 VDC to all Mic channels simultaneously
Bag
Cover
P/N 2036809-10
P/N 2036809-12
P/N 2036168-00
Rack Ear Kit
ProFX22v2
AC Power Requirements
Power Consumption
Bag
Cover
P/N 2036809-11
P/N 2036809-13
20 watts (ProFX8v2)
30 watts (ProFX12v2)
40 watts (ProFX16v2)
45 watts (ProFX22v2)
50 watts (ProFX30v2)
ProFX30v2
Cover
P/N 2036809-30
Universal AC Power Supply
Power Connector
100 – 240 VAC, 50 – 60 Hz
3 Pin IEC
LOUD Technologies Inc. is always striving to improve our products by
incorporating new and improved materials, components,
and manufacturing methods. Therefore, we reserve the right to
change these specifications at any time without notice.
Physical Dimensions and Weight
ProFX8v2
Height
Width
3.6 in / 91 mm
11.4 in / 290 mm
14.1 in / 358 mm
7.1 lb / 3.2 kg
The “Running Man” is a registered trademark of LOUD Technologies
Inc. All other brand names mentioned are trademarks or registered
trademarks of their respective holders, and are hereby acknowl-
edged.
Depth
Weight
Please check our website for any updates to this manual:
ProFX12v2
Height
3.6 in / 91 mm
14.6 in / 370 mm
14.1 in / 358 mm
9.0 lb / 4.1 kg
©2015 LOUD Technologies Inc. All Rights Reserved.
Width
Depth
Weight
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ProFX8v2 and ProFX12v2 Dimensions
3.6
[91]
Weight
7.1 lb
3.2 kg
14.1
[358]
11.4
[290]
3.6
[91]
Weight
9.0 lb
4.1 kg
48V
14.1
[358]
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
14.6
[370]
28
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ProFX16v2 Dimensions
POWER
3.8
USB
[97]
AVIS: RISQUE DE CHOC ELECTRIQUE
SERIAL NUMBER
—
NE PAS OUVRIR
REVISION
Weight
13.0 lb
5.9 kg
16.0
[407]
18.7
[475]
29
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ProFX22v2 Dimensions
3.8
[97]
16.0
[407]
WEIGHT
18.0 lb
8.2 kg
25.1
[639]
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ProFX30v2 Dimensions
3.8
16.6
WEIGHT
25.0 lb
11.4 kg
[97]
[422]
33.6
[853]
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ProFX8v2 and ProFX12v2 Block Diagram
) t s o ( p X F
) t s p ( o X F
) e r p n o ( M
) r e ( p n o M
R
L
R
n i a M
n i a M
L
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ProFX16v2 and ProFX22v2 Block Diagram
Solo
Solo
FX (post)
FX (post)
Mon 2 (pre)
Mon 1 (pre)
Mon 2 (pre)
Mon 1 (pre)
4
4
3
3
Sub
Sub
2
1
2
1
R
L
R
L
Main
Main
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ProFX30v2 Block Diagram
Solo
Solo
FX (post)
Mon 3 (pre)
Mon 2 (pre)
Mon 1 (pre)
FX (post)
Mon 3 (pre)
Mon 2 (pre)
Mon 1 (pre)
4
4
3
3
Sub
Sub
2
1
2
1
R
L
R
L
Main
Main
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Track Sheet – Mono Channels
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Track Sheet – Comp & Stereo Channels
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Track Sheet – Master Section
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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
reflections to simulate harder, more reflective surfaces.
Useful on vocals that require a brighter reverb to
cut through the mix, or for giving acoustic
instruments a livelier vibe.
02 Warm Lounge
03 Small Stage
04 Warm Theater
05 Warm Hall
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.
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.
This reverb has a warm bodied tone and medium long
reverb time to simulate the live acoustics of a theater
space.
Perfect for vocals, drums, acoustic and electric
guitars, keyboards and more.
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
especially warm tone.
to close-mic’ed orchestral instruments.
06 Concert Hall
This hall reverb is characterized by its large, spacious
sound, long pre-delay, and vibrant tone.
Adds life to acoustic instruments and vocals from
solos to full-on symphonies and choirs.
07 Plate Reverb
This preset emulates vintage mechanical reverberation
that was generated with a metal plate. Its sound is
characterized by lots of early reflections and no
pre-delay.
Perfect for thickening percussive instruments, such
as a snare drum, or tight vocal arrangements.
08 Cathedral
09 Chorus
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.
This preset provides a soft, ethereal sweeping effect
that is useful for thickening and for making a
particular sound pop out of the mix.
Perfect for enhancement of electric and acoustic
guitar and bass, or to add a dramatic effect to
vocals, particularly group harmonies and choirs.
10 Chorus + Reverb
11 Doubler
12 Echo
This preset perfectly combines the chorus effect above
with a large, roomy reverb.
This effect thickens the sound with chorus while
adding warmth and spaciousness thanks to the
smooth reverb.
This effect simulates the sound of a vocal or instrument
being recorded twice (double-tracked) on a multi-track
recorder.
Provides a vibe that is similar to chorus without
the subtle swirl.
A single-repeat echo, not as fast as the Doubler.
This effect provides a single, relatively rapid delay
of the original signal, with the added warmth that
vintage tape-based echo units provided.
Also known as Slap Back Echo, use it to make a
vocal or guitar stand out in the mix without extra
volume.
13 DLY 1 (Fast)
14 DLY 2 (Med)
15 DLY 3 (Slow)
These three presets provide delay with delay times
of fast, medium and slow.
These work best with full, up-beat music like rock
where the delay needs to cut through the mix.
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.
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ProFXv2 Series Limited Warranty
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.
Need help with your mixer?
FAQs, manuals, addendums, and other useful information.
• Telephone 1-800-898-3211 to speak with one of our splendid technical
support chaps (Monday through Friday, normal business hours, Pacific Time).
39
Owner’s Manual
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16220 Wood-Red Road NE
Woodinville, WA 98072 • USA
Phone: 425.487.4333
Toll-free: 800.898.3211
Fax: 425.487.4337
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