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GENERAL INFORMATION
Thank you for having chosen a PROEL product.
The new models in the M Series have been updated with new and improved features, repacked into a new stylish
package. While keeping the superior audio quality, the full set of features and the highest number of MIC inputs in the
category that have been the hallmarks of the previous M Series, the M models feature the new PROEL 24bit PROFEX
DSP, one of the fi nest digital eff ect of its class, providing 256 studio-grade algorithms (including mono and stereo TAP
DELAY) and a convenient 2 digit LED display.
Designed and engineered in Italy by PROEL, M mixers are hosted in an ultra-rugged stylish metal case with ABS sides,
providing extended durability for a stage-proof use. As in the previous series, all the models include both a padded
carrying bag and metal brackets for 19” rack moun ng.
M1622USB, off ering 16 inputs and 12 microphone channels, has been fi ed not only with one more AUX send and
with the USB rou ng, but also with an easy-to-use COMPRESSOR sec on on each MONO channel.
OPERATING INSTRUCTIONS (FIG. 1 / 2)
1. MIC Input
This is a female XLR connector, which accepts a balanced microphone input from almost any type of microphone. The
XLR inputs are wire as follows:
Pin 1 = shield or ground
Pin 2 = + posi ve or “hot”
Pin 3 = - nega ve or “cold”
2. LINE Input
This is a ¼” (6.3mm) jack connector, which accepts a balanced or unbalanced line level input signal from almost any
source. When connec ng a balanced signal, wire them as follows:
Tip = + posi ve or “hot”
Ring = - nega ve or “cold”
Sleeve = shield or ground
When connec ng an unbalanced signal, wire them as follows:
Tip = + posi ve or “hot”
Sleeve = shield or ground
3. INSERT Input-output
This is where you connect serial eff ects such as compressors, equalizers, de-essers or fi lters. The send is low-impedance
(150 ohms), capable of driving any line-level device. The return is high-impedance (10k ohms) and can be driven by
almost any device. Specialty “Y” cables, developed just for these jacks, are widely available on shops. Proel suggested
type is DHT540 (1.8 mt - 5.9 ). See also connec on chapter on this manual.
4. MONO CHANNEL GAIN Control
The gain control adjusts the input sensi vity of the mic and line inputs. This allows the signal from mics and instruments
to be adjusted to op mal internal levels. If the signals are plugged into the XLR input there is a 0 dB of gain with the
knob turned all way down, rising up to 60 dB of gain fully up. When connected to the jack input of any channels, there
is 20 dB of a enua on all way down and 40 dB of gain fully up, with a unity gain (0 dB) if centered.
5. LO CUT switch
This switch cuts bass frequencies below 75 Hz at a rate of 18 dB per octave. We recommend that you use the LO CUT
fi lter on every microphone applica on except kick drum, bass guitar, bassy synth patches, or recordings. These aside,
there isn’t much down there that you want to hear, and fi ltering it out makes the low stuff you do want much more
crisp and tasty. Not only that, but the LO CUT fi lter can help reduce the possibility of feedback in live situa ons and
it helps to conserve the amplifi er power. Another way to use the LO CUT fi lter is in combina on with the LOW EQ on
vocals during live performances. Many mes, bass shelving EQ can really benefi t voices. Trouble is, adding LOW EQ also
boosts stage rumble, mic handling clunks, and breath pops. LO CUT removes all those problems so you can add LOW
EQ without losing a woofer.
6. COMP compressor control and LED
Each mono channel features a single-control compressor, able to adjust the overall dynamic range of the signal and to
increase its loudness. When rota ng the control to the right, the loudest signals are reduced in order to avoid clipping,
while the quietest parts are boosted, producing a smooth, unifi ed sound with no excessive peaks or distor on.
The adjacent LED lights when the eff ect is engaged.
NOTE: Avoid se ng the compression too high, as the higher average output level that results may lead to feedback.
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