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ProFX8 and ProFX12

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1. Meters 1 1 O Dimensions X Two columns of 12 segments each LL OL 420 dBu 15 10 6 3 0 0 dBu 2 4 7 10 20 O and 30 QO TBandGraphic EQ Frequency Centers 125 250 500 1k 2k 4k 8k U 15 dB pd Assignable to Main or Monitor Bypassable 1 5 78 s 55 USB E 00 O o o o o o E gt lt Format USB 1 1 09 0 See Y LL Stereo Input Stereo Output uel o n ADIA 16 Bit 44 1 kHz 48 kHz amp lle lolo lo lo o E O O ood gt Phantom Power ox 48 VDC to all Mic channels at once E gt io ooo ee od AC Power Requirements b t 3 E Voltage Range 100 240 VAC 50 60 Hz HEEL I d Power Consumption 20 Watts ProF X8 LI YV 25 Watts ProF X12 1L41in 290 mm Power Connector 3 Pin IEC Dimensions H x W x D ProFX8 14 05 x 11 41 x 3 58 357 mm x 290 mm x 91 mm ProFX12 14 05 x 14 6 x 3 58 357 mm x 370 mm x 91 mm Weight T ProFX8 7 11b 3 2 kg jimm ProFX12 9 0 Ib 4 1 kg 1 7 S 22 uu o 6 O o o o 0 0 Oo O Ojo o Tr lo o o n T o o o o o o gm bood 10 jo n o o jo j
2. U EQ s Low E S A EQ ES s Hs n MD 256 SiS apt FO n et EQ 10 O B d s die n Q CORME 2 Qe per DE Ex Us AUX 5 s n S HS REVERE DOY str 990 9 ER FX MASTER 11 2 ProFX8 and ProFX12 Important Safety Instructions 1 Read these instructions Keep these instructions Heed all warnings Follow all instructions Do not use this apparatus near water Clean only with a dry cloth Do not block any ventilation openings Install accordance with the manufacturer s instructions 8 Do not install near any heat sources such as radiators heat registers stoves or other apparatus including amplifiers that produce heat 9 Do not defeat the safety purpose of the polarized or plug A polarized plug has two blades with one wider than the other A grounding type plug has two blades and a third grounding prong The wide blade or the third prong are provided for your safety If the provided plug does not fit into your outlet consult an electrician for replacement of the obsolete outlet 10 Do not overload wall outlets and extens
3. without injecting a ton of subsonic debris into the mix sl On 20 k Low EQ with LowCut Dk 20k MODERATION DURING EQ With EQ you can also upset things royally We ve de signed a lot of boost and cut into each equalizer circuit because we know everyone will occasionally need that But if you max the EQs 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 Very few gold record album engineers ever use more than about 3 dB of EQ If you need more than that there s usually a better way to get it such as placing a mic differently or using a different kind of mic entirely 26 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 your band is happy with the stage monitor mix The aux mon feed from hybrid and stereo channels is a mono sum of the left and right sides of these channels The controls are off when turned fully down deliver unity gain at the center detent and can provide up to 15 dB of gain turned fully up The channel fader 31 pan 28 or mute 30 do not affect the monitor output but the other channel controls will The aux mon is pre fader The monitor signal from the monitor output jack 13 is the sum mix of all the channels whose
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5. Mackie SRM 450v2 powered speakers are connected to the left and right main output Two of these speakers are also set up as stage monitors and connectto the mixer s monitor output via a graphic EQ The aux mon controls of each channel allow you to create a stage monitor mix that is independent of the main mix Use the external graphic EQ to adjustthe stage monitor EQ 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 and allows the 2 channel main mix of the performance to be re corded using Tracktion software Two channels of audio can also play from your computer to the main mix Band System ProFX12 Le ProFX8 and ProFX12 Acoustic Guitar and Mic Electric Guitar INS Lavalier i Clip on Mic MET Assistive Listening System E Headphones Mono Effects D Effects Processor Mono in Stereo out Dual Compressors SRM450v2 Powered Monitors This diagram shows various microphones attached to channels 1 to 4 a guitar mic on channel 5 6 a guitar effects processor connected to the left line level input of channel 7 8 and a keyboard attached to channel 9 10 s line level inputs An iPod docking station is attached to the stereo tape inputs An effects processor receives a mono input from the FX send and its stereo outputs connect to the stereo return inputs A
6. explain the problem and obtain a Service Request Number Have your M ackie product s serial number ready You must have a Service Request Number before you can obtain factory authorized service Pack the product in its original shipping carton Also include a note explaining exactly how to duplicate the problem a copy of the sales receipt with price and date showing your daytime phone number and return street address no P O boxes or route numbers please and the Service Request Number If we cannot duplicate the problem or establish the starting date of your Limited Warranty we may at our option charge for service time and parts Ship the product in its original shipping carton freight prepaid to the authorized service center Write the Service Request Number in BIG PRINT on top of the box The address of your closest authorized service center will be given to you by Technical Support or it may be obtained from our website Once it s repaired the authorized service center will ship it back by ground shipping pre paid if it qualified as a warranty repair Note Under the terms of the warranty you must ship or drop off the unit to an authorized service center The return ground shipment is covered for those units deemed by us to be under warranty Note You must have a sales receipt from an authorized Mackie dealer for your unit to be considered for warranty repair IMPORTANT Make sure that the Service Request Number i
7. CONNECTIONS 27 GEMEINT 19 APPENDIX C TECHNICAL INFORMATION 29 24 MID EQ a ee 19 APPENDIX D USB INTERFACE ene 32 25 LOW EQ 19 PROFX8 AND PROFX12 LIMITED WARRANTY 35 26 27 Need help with your new mixer Visit www mackie com and click Support to find FAQs Frequently Asked Questions manuals addendums and user forums e Email us at techmail mackie com Telephone 1 800 898 3211 to speak with one of our splendid technical support representatives Monday through Friday from 7 a m to 5 p m PST Owner s Manual a Footswitch Headphones gt HOOKUP DIAGRAMS a P U s gt N Station o LL oO Laptopi Com Computer ion Ton Effects Processor Mono in Stereo out Drum eerte SRM450v2 Powered Monitors SRM450v2 Powered S peakers This diagram shows a guitar connected directly to channel 1 with the hi z switch pressed in micro phones attached to channels 2 3 and 4 guitar effects processors connected to the left line level input of channel 5 6 and 7 8 a keyboard attached to channel 9 10 s line level inputs and a drum machine connected to channel 11 12 An iPod docking station is attached to the stereo tape inputs An effects processor receives a mono input from the FX send and its stereo outputs connect to the stereo return inputs
8. two cords use stereo return left and right Mono Device If you have an effects device with a mono output one cord plug that into the stereo return left mono and leave the right unplugged The signal will be sent to both sides magically appearing in the center as a mono signal 13 MON SEND Stage monitors allow the talented musicians in your band to hear themselves clearly on stage and this can often be a good thing The monitor mix can be care fully adjusted in level using the aux mon controls 26 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 amplifier built in The monitor signal is the sum mix of all the chan nels whose aux mon control is set to more than mini mum If they want more me and less Keith you can turn up their channel s aux mon control and turn down Keith s The overall output level can be adjusted with the monitor fader 47 and its EQ tweaked with the graphic EQ 37 if the main mix mon switch 38 is pressed in Alternatively you could add an external graphic EQ be tween this output and your powered monitors This will allow you to adjust the EQ and minimize the chance of feedback from nearby microphones The monitor output is not affected by the main fader 48 or the channel faders 31 This allows
9. If the signal comes through the mic jack there will be 0 dB of gain U for unity with the knob fully down ramping to 50 dB of gain fully up Through the 1 4 mono input there is 20 dB of attenuation fully down and 30 dB of gain fully up with a U unity gain mark at 12 00 This 20 dB of attenuation can be very handy when you are inserting a very hot signal need to add a lot of EQ boost or both Without this virtual pad this scenario might lead to channel clipping ProFX8 and ProFX12 For hybrid channels mic input and stereo line input the gain control just affects the microphone input For stereo channels no mic input the gain control just affects the line level inputs with 20 dB of gain and 20 dB of attenuation There is no level set LED 20 GAIN 21 LEVEL SET LED These LE Ds are used with the gain control 20 to set the channel preamplifier gain just right for each source If you hear distortion on one or more of your channels check the level set LEDs are not on continuously and turn down the gain if they are 22 LOW CUT Each channel with a mic input has a low cut switch that cuts the bass frequencies below 100 Hz at a rate of 18 dB per octave All mic inputs are affected and the line inputs of the mono channels We recommend that you use low cut on every micro phone application except kick drum bass guitar and bassy synth patches These aside there isn t much down there
10. Should remain readily accessible to the user 5 RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR CAUTION TO REDUCE THE RISK OF ELECTRIC SHOCK DO NOT REMOVE COVER OR BACK ATTENTION FOU ETE ES RSGUES DE ETL NE AG EMLEVER LE COUVERCLE C OT UJ NJ PORTABLE CART WARNING Carts and stands The Component should be used only with a cart or stand that is recommended by the manufacturer A Component and cart combination should be moved with care Quick stops excessive force and uneven surfaces may cause the Component and cart combination to overturn CONFIER L ENTRETIEN AU PERSONNEL QUALIFIE AVIS POUR EVITER LES RISQUES D INCENDIE OU D ELECTROCUTION N EXPOSEZ PAS CET ARTICLE ALA PLUIE OU A L HUMIDITE The lightning flash with arrowhead symbol within an equilateral triangle is intended to alert the user to the presence of uninsulated dangerous voltage within the product s enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons Le symbole clair avec point de fl che l int rieur d un triangle quilat ral est utilis pour alerter l utilisateur de la pr sence l int rieur du coffret de voltage dangereux non isol d ampleur suffisante pour constituer un risque d l ctrocution The exclamation point within an equilateral triangle is intended to alert the user of the presence of important operating and maintenance se
11. We use phantom powered balanced microphone inputs just like the big studio mega consoles for exactly the same reason This kind of circuit is excellent at re jecting hum and noise You can plug in almost any kind of mic that has a standard XLR male mic connector Professional ribbon dynamic and condenser mics will all sound excellent through these inputs The ProFX mixer s mic inputs will handle any kind of mic level you can toss at them without overloading Be sure to perform the gain setting procedure on page 3 PHANTOM POWER Most modern professional condenser mics require phantom power which lets the mixer send low cur rent 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 The ProFX mixer s phantom power is globally controlled by the phantom power switch 32 This means that phantom power for all the mic inputs is turned on and off together phones 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 Never plug single ended unbalanced micro 7 LINE HI Z SWITCH To connect a gu
12. able setting This means going into the audio interface property page of your recording program and setting the latency property to the lowest setting the device and your system will accept without any drop outs distor tion or CPU overburdening The buffer is an area of computer memory that your DAW uses to hold audio as it works The smaller the buffer the faster audio gets in and out of your com puter and the lower the latency The size of the buffer is measured in samples The more samples the higher the latency time value This time value varies by sample rate Higher latency settings are fine and even necessary when in live record mode The same is true for mix down mode especially when you start adding lots of plug ins The latency will never be zero but generally we can lower it enough so its effect cannot be heard ProFX8 and ProFX12 Limited Warranty Please keep your sales receipt in a safe place A LOUD Technologies Inc warrants all materials workmanship and proper operation of this product for a period of one year from the original date of purchase You may purchase an additional 24 month Extended Warranty for a total of 36 months of coverage Visit our website and follow the Product Registration links for details www mackie com If any defects are found in the materials or workmanship or if the product fails to function properly during the applicable warranty period LOUD Technologies at its option w
13. and 2 a CD player connected to the line level inputs of channel 3 4 a CD turntable connected to the line level inputs of channel 7 8 An iPod docking station is attached to the stereo tape inputs An effects processor receives a mono input from the FX send and its stereo outputs connect to the stereo return inputs A reverb and compressor are con nected to the insert of channel 1 allowing vocal compression and a touch of reverb Mackie SR1530z powered speakers are connected to the left and right main output Two SRM 450v2 powered speakers are set up as stage monitors and connect to the mixer s monitor output The aux mon controls of each channel allow you to create a stage monitor mix that is independent of the main mix Switch the internal graphic EQ to adjust the stage monitor EQ if desired Headphones are used for moni toring A laptop connects to the USB port and allows 2 channel output of DJ software to play in your main mix It also can be used to record your set on the computer for posterity DJ System ProFX8 ProFX8 and ProFX12 Microphones TV monitor O aha A Ab gt lt y gw 2 J D CD G Player Video m ye I BE gt Headphones gt CU D 9 d C mar rl East 1 2 3 4 5 6 oe i Zee Me D Laptop Computer with eee Software Effects Processor SRM450v2 Eos Powered 69 Speaker Du
14. fader can just live at the unity U mark and the external device s output control set at whatever they call unity gain check the manual of the effects unit CD player drum machine or whatever If that turns out to be too loud or too quiet adjust the external device s outputs not the mixer That way the mixer s faders are easy to relocate at the unity U mark The range is off to 10 dB Jenuey sJSuA 46 FX RETURN FADER Use this fader to gently adjust the level of the stereo output from the internal FX processor being added to the main mix The range is off to 10 dB with unity at U 47 MONITOR FADER This fader controls the overall level of the monitor send signal sent out to your stage monitors Adjust it carefully and check that your band are happy with the levels The fader does not affect the main mix level The monitor send signals are off with the fader fully down the U marking is unity gain and fully up pro vides 10 dB of additional gain 48 MAIN FADER This fader controls the level of the main mix and affects the meters 34 and main line level outputs 4 15 Thelevel adjustment occurs after the stereo graphic EQ 37 in the signal path This gives you ultimate control over your audience Adjust it carefully with your good eye on the meters to check against overloading and your good ear on the levels to make sure your audience is happy The control does not affect the monitor send 13 tape
15. it down until you ve put the phones on Then turn it up slowly VERY IMPORTANT Owner s Manual MIC MIC MIC MIC MIC BALANCE 10 97 TAPE TAPE i 66 MACKIE 8 D 1 D PROFX MIXER WITH FX Eas 1 2 3 56 7 8 11 12 MONO MONO MONO Te a ME i LINE HIZ IN 1 LINEIN2 LINEIN 3 uNEINS ouNEIN7 PAC uNENS 800 uwENT GA I FOOTSWITCH INSERT INSERT INSERT LINE IN 8 LINE IN 10 LINE IN 12 MAIN OUT PHONES 18 TAPE INPUT These stereo unbalanced RCA inputs are designed to work with semipro as well as pro player recorders You can also connect any standard source with an unbal anced line level output such as a CD or DVD player iPod dock and so on ProFX8 and ProFX12 Connect your source s line level outputs here using good quality hi fi RCA cables You can use these with a tape or CD player to feed music to a PA system between sets when the break switch 35 is engaged The level coming into the mixer can be adjusted with the tape level knob 36 For ex ample you could press the break switch to mute all the other channels at once then play your tape or CD player and bring up its level slowly 19 TAPE OUTPUTS These stereo unbalanced RCA outputs allow you to record the main stereo mix onto a tape deck hard disk recorder automatic CD burner or a computer etc This allows you to make a re
16. mixer has a problem please check out the following troubleshooting tips and do your best to confirm the problem Visit the support section of our website www mackie com where you will find lots of useful information such as FAQs documentation and user forums You may find the answer to the problem without having to send your mixer away Troubleshooting Bad Channel e Has the gain been set correctly sthe mute switch on e sthefader turned up sthechannel OL LED on e sthe channel EQ set moderately e Try unplugging any insert devices Try the same source signal in another channel set up exactly like the suspect channel ProFX8 and ProFX12 Bad Output e 15 associated level fader if any turned up e Are any OL LEDS on in the channels main meters or internal FX Ifit s one of the main outs try unplugging all the others For example if it s the 1 4 left main out unplug the RCA and XLR left outputs If the problem goes away its not the mixer 115 stereo pair try switching them around For example if a left output is presumed dead switch the left and right cords at the mixer end If the problem switches sides it s not the mixer Noise e Turn the channel gain and faders down by one If the sound disappears it s either that channel or whatever is plugged into it so un plug whatever that is If the noise disappears it s from your whatever Power e Unplug
17. playback of audio from the computer is also part of the performance 42 PHONES LEVEL This controls the volume of the headphones output from off to maximum gain Waming The headphone amplifier is de signed to drive any standard headphones to a very loud level can cause permanent hear ing damage Even intermediate levels may be painfully loud with some headphones Be careful Always start with the phones level control turned all the way down before connecting headphones or making any connec tions Keep it down until you ve put on the headphones and turn it down first whenever you play a new source or instrument 43 OL LED for stereo return This LED will light if the signal coming into the stereo return inputs 12 is too high and this may cause dis tortion due to overloading The OL LED comes before the stereo return fader 45 so the fader has no effect in your efforts to turn off the OL LED Check your external processor or other device and turn down its level until the OL LED does not come on 44 MUTE for stereo returns Press this switch in to mute the signals coming into the stereo return inputs 12 45 STEREO RETURN FADER Use this fader to lovingly adjust the level of any audio coming into the stereo return inputs 12 from your external processors or other equipment The audio is added to the main mix and it can also be muted with the stereo return mute switch 44 Typically this
18. power and aren t affected by it anyway Jenuey sJSuA Qo Never plug single ended unbalanced micro phones 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 33 POWER LED This LED comes on when the mixer is plugged into the AC mains supply and the rear panel power switch 3 is on If the LED does not turn on make sure the AC power is live both ends of the power cord are correctly in serted your electricity bill has been paid and the lights in town are on the power cord before removing and inspect L If you suspect the fuse is blown disconnect ing the fuse located below the AC input E 34 METERS These meters have 2 columns of 12 LEDs each with dB markings from 30 to 15 and OL overload at 20 dBu They indicate the stereo signal strength of the main mix after the main fader 48 Typically you want to see these meters bouncing between the 0 and the 3 LEDs It is okay if the OL LEDs light occasionally but if they light frequently or continuously turn down the main fader until they blink occasionally or not at all 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 Owner s Manual Im ProFX8 and ProFX12 STERE
19. should turn on your Q E mixer first before any external power ampli i fiers or powered speakers and turn it off last This will reduce the possibility of any turn on or turn off thumps in your speakers n ProFX8 and ProFX12 PRO PROFESSIONAL MIC LINE MIXER WITH FX MAIN FX12 4 XLR MAIN OUTS These XLR connectors provide stereo line level sig nals from the main mix Connect these to the balanced inputs of the powered speakers or the power amplifier powering your main speakers The main mix is the sum of all active channels cur rently playing including any 2 channel USB input from your computer How much of a channel that is heard in the main mix is determined by that channel s fader 31 A The XLR outputs are 6 dB higher output than the 1 4 TRS main outputs 15 Balanced ES connections offer better immunity to external noise specifically hum and buzz than unbalanced connections Because of this it is the preferred inter connect method especially where very long lengths of cable are being used 5 USB PORT The USB serial 1 0 interface allows you to transfer digital audio to and from your computer The interface provides two audio outputs to your computer Main mix output left and right These output signals are independent of any adjustments made to the main fader 48 and graphic EQ 37 This allows you to easily record your live performance directl
20. that call for a live space sounding reverberation WARM THEATER This reverb has a warm bodied tone and medium Perfect for vocals drums acoustic and long reverb time to simulate the live acoustics of a electric guitars keyboards and more theater space WARM HALL This reverb simulates the sound of a spacious Perfect for adding natural concert hall yet cozy heavily draped and carpeted concert hall ambience to close mic ed orchestral with an especially warm tone instruments CONCERT HALL This hall reverb is characterized by its large spa Adds life to acoustic instruments and cious sound long pre delay and vibrant tone vocals from solos to full on symphonies and choirs PLATE REVERB This preset emulates vintage mechanical rever Perfect for thickening percussive instru beration that was generated with a metal plate ments such as a snare drum or tight Its sound is characterized by lots of early reflec vocal arrangements tions and no pre delay CATHEDRAL This reverb emulates the extremely long tails Gives amazing depth to choirs wind dense diffusion and long pre delays and reflec instruments organs and soft acoustic tions that would be found in a very large stone guitars walled house of worship CHORUS This preset provides a soft ethereal sweeping Perfect for enhancement of electric and effect that is useful for thickening and for making acoustic guitar and bass or to add a dra a particular sound pop
21. that you want to hear and filtering it out makes the low stuff you do want much more crisp and tasty Not only that low cut can help reduce the possibility of feedback in live situations and help to conserve the amplifier power 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 EQ on vocals Many times bass shelving EQ can really ben efit voices Trouble is adding low EQ also boosts stage rumble mic handling clunks and breath pops Low cut removes all these problems so you can add low EQ with out losing a woofer out the window 3 BAND EQ The ProFX mixer has 3 band equalization at carefully selected points low shelving at 80 Hz mid peaking at 2 5 kHz and high shelving at 12 kHz Shelving means that the circuitry boosts or cuts all frequencies past the specified frequency For example rotating the low EQ knob 15 dB to the right boosts bass starting at 80 Hz and continuing down to the lowest note you never heard Peaking means that certain frequencies form a hill around the center frequency 2 5 kHz in the case of the mid EQ The following graphs of frequency vs signal level show the approximate overall effect of EQ adjustment on the frequency range 23 HI EQ This control gives you 55 up to 15 d
22. 15 14 MAIN OUTS These outputs feed the main mix out into the waiting world You can feed your amplifiers this way or through the XLR main outputs 4 To use these outputs to drive balanced inputs con Y nect 1 4 TRS Tip Ring Sleeve phone plugs like this Tip hot lt Ring cold J m 16 FX FOOTSWITCH This 1 4 TRS connector is where you can connect your favorite footswitch This will allow you to easily mute or un mute the internal effects while stamping your foot and looking like you were mad about some thing Any one button on off footswitch will work If the internal effects have already been muted with the internal FX mute switch 51 then the footswitch has no effect but you can still stamp your foot and pout if that helps any Cultivate that bad boy image 17 PHONES This 1 4 TRS stereo jack will drive any standard head phone to very loud levels The wiring follows standard conventions Tip Left channel Ring Right channel Sleeve Common ground The headphones output is the stereo main mix not affected by the main fader 48 or the graphic EQ 37 Waming when we say the headphone out put is loud we re not kidding It can cause permanent ear damage Even intermediate levels may be painfully loud with some earphones Be careful Always turn the phones level control 42 all the way down before connecting headphones adding new sources or making any other changes Keep
23. B boost or cut 7 above 12 kHz and itisflat no boost or cut at the detent Use it to add sizzle ti to cymbals and an overall sense of transparency or B Do k T Whe edge to keyboards vocals High EQ guitar and bacon frying Turn it down a little to reduce sibilance or to hide tape hiss 24 MID EQ Short for midrange this knob provides 15 dB 7 B of boost or cut centered at et 2 5 kHz also flat at the cen ter detent Midrange EQ isoftenthoughtofasthe E most dynamic he The 20 frequencies that define any MidEQ 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 Used in conjunction with 25 LOW EQ Q This control gives you up to 15 dB boost or cut below LTR 80 Hz The circuit is flatat the center detent position 0 This frequency represents H in the punch bass drums 28 bass guitar fat synth Me Do k The Zhe lt LowEQ patches and some really CU serious male singers 5 G B the low cut 22 switch 0 you can boost the low EQ
24. B cable Here are some steps showing how to record a first track and then record additional tracks while monitor ing ones that have already been recorded 1 Connect to the mixer the sound source you wish to record to your audio software for ex ample Amicrophone for a voice or instrument A line level source such as an electronic keyboard e An instrument connected directly to the instrument input 1 with the hi z switch 7 pressed in 2 Make sure the USB thru switch 41 is not pressed in This will ensure that during each recording pass the audio software only receives the track in progress as an audio signal and not the pre existing mix from the computer as well 3 Setthe gain knob 20 at the top of the channel you are using to an appropriate level for the source being recorded using the level set LED 21 as a guide Once the gain has been set set the channel fader 31 to unity U The signals going out to your computer not affected by the main fader 48 or the head phones knob 42 4 Ifyou are recording an acoustic source through a microphone monitor it through headphones not through speakers This will prevent sound from the speakers from leaking into the micro phone If working in this fashion turn down the main fader and instead turn up the phones knob for safe listening levels in the head phones Monitoring When recording to computer software with a ProF X mixer us
25. CH sss 22 Y 4 XLR MAIN OUTS sson 12 36 TAPE LV El censa 22 Se USB PORN RS 12 37 STEREO GRAPHIC 0 22 FRONT PANEL FEATURES sessirnir 13 38 MAIN MIX MON 22 CONNECTION SECTION sisses 13 39 EQ IN BYPASS 22 6 MICINPUSS acsi conim 13 40 USB INPUT LEVEL 22 7 LINE HI Z SWITCH 13 23 8 LINE HI Z INPUT CHANNEL 1 ONLY 13 42 PHONES LEVEL oett tite 23 9 LINE INPUTS 14 43 OLLED FOR STEREO RETURNS 23 10 STEREO 1 14 44 MUTE FOR STEREO RETURNS 23 11 CHANNEL INSERT seeen 14 45 STEREO RETURN 23 12 STEREO RETURN 14 46 FX RETURN 23 13 MON SEND ocio seca tdi mias 15 47 MONITOR FADER nns 23 14 FX SEND obomEP Hen 15 48 MAIN 23 15 14 MAIN OUTS sns 15 STEREO EFFECTS 0 50 24 16 FX FOOTSWITCH sissien 15 49 PRESET 1 24 17 PHONES ceci baud die UR 15 50 PRESET SELECTOR 24 18 PAPE INPUT caeci Ee ciim 16 51 INTERNAL FX 24 19 TAPE OUTPUTS Locus tornado ot 16 52 FX MASTER NR 24 CHANNEL CONTROLS sisisi 17 53 OL LED 24 20 GAIN RENTUR 18 54 FX TO MON isses 24 21 LEVEL SET LED 18 APPENDIX A SERVICE 26 22 LOW CNT in dura hoe 18 APPENDIX B
26. FX12 MAIN LEFT BALANCED RIGHT BALANCED 1 POWER CONNECTION This is a standard 3 prong IEC AC power connector Securely connect the supplied detachable linecord in here and plug the other end into an AC outlet The mixer has a universal power supply that can accept any AC voltage ranging from 100 VAC to 240 VAC No need for voltage select switches or step up or step down transformers it will work virtually anywhere in the world It is less susceptible to voltage sags or spikes than conventional power supplies and provides greater electromagnetic isolation and better protection against AC line noise 2 FUSE The ProFX mixer is fused for your and its own protection If you suspect a blown fuse disconnect the power cord pull this fuse drawer out and replace the fuse with exactly the same type and rating E wrong and must stop using the mixer Please call our toll free number 1 800 898 3211 from within the U S or call the distributor in your country and find out what to do If two fuses blow in a row something is very 3 POWER SWITCH Press the top of this rocker switch to turn on the mixer The front panel power LED 33 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 turn off the mixer whenever you feel that this would be a safe thing to do E As a general guide you
27. O GRAPHIC EQ e 3 15 10 10 5 5 0z 0 5 5 10 10 15 15 125 250 500 1K 2K 4k 8K 32 38 MORM it Fx POWER FX PRESETS POWER 01 BRIGHT ROOM MAIN METERS 0 mnm 02 WARM LOUNGE 03 SMALL STAGE 04 WARM THEATER 05 WARM HALL 06 CONCERT HALL 07 PLATE REVERB 08 CATHEDRAL 09 CHORUS 10 CHORUS REV 11 DOUBLER 12 TAPE SLAP 13 DELAY 1 300ms 14 DELAY 2 380ms 15 DELAY 3 480mg 16 REVERB DLY MAIN EQINS BYPASS ua N 35 BREAK SWITCH This important take a break switch quickly mutes all the microphones and line level inputs when the band is between sets This will prevent protestors or rogue karaoke singers from storming the stage at the interval The monitor send 13 and FX send 14 are not af fected Check this switch first if you are having trouble with no sound in your system You can still play the stereo RCA tape inputs 18 in the main stereo mix and play audio coming in from your computer via the USB inputs For example you could play a soothing CD while the band is off stage 2 ProFX8 and ProFX12 36 TAPE LEVEL This allows you to control the input level of signals entering the tape inputs It is conveniently close to the break switch 35 so you can qu
28. ProFX8 and ProFX12 Professional Mig Line Mixers with FX and USBI O FUSE T1 AL AC2SOV 100 240V 50 60 Hz 25W OWNER S MANUAL WARNING auc me st FFE en acm AN CAUTION i Saree RSKOFELECTRICSHOCK DONOT OPEN AVIS sue CTE iens DIVER MANUFACTURING DATE SERALRUMBER THS DEVICE COMPLIES WITH PART 15 OF THE FCC RULES AND THE ICES 003 FOR CANADA OPERATION SUBJECT TO THE FOLLOWING TWO CONDITIONS 1 THs DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE AND THIS DEVICE MUST ACCEPT ANC INTERFERENCE RECEIVED INCLUDING INTERFERENCE THAT MAY CAUSE UNDESIRED OPERATION DESIGNED BY MACKOIDS IN WOODINVILLE WA USA MANUFACTURED IN CHINA X FABRIQUE EN CHINE COPYRIGHT 60008 AND THE RUNNING MAN FIGURE X E RE TADEMA OF LOUD TECHNOLOGIES PATENT PENDONG UNBALANCED 9 TI as 1 9 10 11 2 e UNE HIZIN 1 UNEIN2 UNEING UNEINS BALA BALL BAL BAL say UNEIN7 UNEINS unaa UNEINTI MON SEND e INSERT INSERT LINE IN 12 ST RETURN FXSEND MAIN OUT EJ GAIN Loweur GAIN Loweur P GAIN vow cur STEREO GRAPHIC MESA fee rs a GAIN GAIN eum
29. Sleeve TRS plug To connect unbalanced lines to these inputs use a 1 4 mono TS phone plug or instrument cable Eg If you have a stereo source and the stereo 4 E and hybrid channels are in use you can use EJ two mono channels Traditionally an odd numbered channel receives the left signal For example you could feed the ProFX mixer a stereo signal by inserting the device s left output plug into the chan nel 1 jack fully left and its right output plug into the channel 2 jack pan fully right 10 STEREO LINE INPUTS These 1 4 jacks can be driven by stereo or mono balanced or unbalanced sources They can be used with just about any professional or semi pro instrument ef fect or tape player To connect balanced lines to these inputs use a 1 4 Tip Ring Sleeve TRS plug To connect unbalanced lines to these inputs use a 1 4 mono TS phone plug or instrument cable If you just have a mono source plug it into the left input labeled mono and the signal will appear as if by magic equally on the left and right of the main mix 11 CHANNEL INSERT These unbalanced 1 4 jacks are for connecting serial effects processors such as compressors equalizers de essers or filters We ve included inserts for just the mono channels If you want to use this kind of processing on other chan nels simply patch through the processor before you plug into the ProF X mixer ProFX8 and ProFX12 The ins
30. Y IMPORTANT The analog audio from the mixer is converted to digi tal signals by the USB interface s A D converters The following table shows the outputs to your com puter from the mixer s USB interface Computer input 1 Left mix of channels inducing any audio from computer thru switch in or Left mix of channels without audio from computer thru switch out Right mix of channels inducing any audio from computer thru switch in or Right mix of channels without audio from computer thru switch out Computer input 2 Here two examples of using the USB thru switch Studio Overdub Tracktion playback is coming into the mixer on USB inputs and routing through the mains phones for you to hear A guitar plugged into channel 115 being recorded via the USB output while you listen and play along to the Tracktion playback The USB thru switch is out so the output to be recorded on the com puter contains all playing channels except the playback from the computer Live Performance Computer playback software like Ableton Live is being mixed to the mains with other stereo sources such as synths sam plers turntables and CD DJ players The USB thru switch is engaged so everything will be fed to the computer for recording the entire set with Ableton Live Recording with USB The mixer s built in USB connection allows overdub style recording to a Mac or PC digital audio workstation DAW through the US
31. al special or consequential damages or a limitation on how long warranties last so some of the above limitations and exclusions may not apply to you This warranty provides specific legal rights and you may have other rights which vary from state to state Jenuey Owner s Manual 3 16220 Wood Red Road NE Woodinville WA 98072 USA United States and Canada 800 898 3211 Europe Asia Central and South America 425 487 4333 Middle East and Africa 31 20 654 4000 Fax 425 487 4337 www mackie com E mail sales mackie com
32. al Compressor i i SWABO1 BN Powered Subwoofer ___ This diagram shows microphones attached to channels 1 to 4 and CD G player connected to the line level inputs of channel 7 8 An effects processor receives a mono input from the FX send and its stereo outputs connect to the stereo return inputs A dual compressor is connected to the insert of channel 1 and 2 allowing vocal compression Mackie SRM 450v2 powered speakers and SWA1501 powered subwoofers are connected to the left and right main output Two SRM 450v2 powered speakers are set up as stage monitors and connect to the mixer s monitor output The aux mon controls of each channel allow you to create a stage monitor mix that is independent of the main mix Headphones are used for monitoring A laptop running Karaoke software connects to the USB port and allows a 2 channel output to play in the main mix The CD G player allows karaoke text and graphics to be displayed on your TV monitor Karaoke System ProFX8 Owner s Manual 5 Acoustic G pid with mm Condenser microphone for vocals Headphones Q 7 AQ Amplifier Modeler e je ele ele ojo o E Headphone Amp ProFX8 and ProFX12 T Keyboard Electronic Drum Kit Desktop Powered Referer Monitors Mac or PC using Tracktion This diagram shows an acoustic guitar connected directly to channel 1 with hi z switch pressed in a condenser micropho
33. aux mon control is set to more than minimum The overall output level can be adjusted with the monitor fader 47 and its EQ tweaked with the graphic EQ 37 if the main mix mon switch 38 is pressed in Internal FX can also be added to the monitor mix with the FX to mon knob 54 Owner s Manual ProFX8 and ProFX12 e ES3 e 2 5 6 7 8 9 10 11 12 dB di 27 AUX FX 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 output 14 The aux FX feed from hybrid and stereo channels is a mono sum of the left and right sides of these channels The controls are off when turned fully down deliver unity gain at the center detent and can provide up to 15 dB of gain turned fully up The channel fader 31 mute 30 and other channel controls affect the FX output but pan 28 does not The aux FX is 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 The overall FX send level can be adjusted with the FX master knob 52 The FX signal from the internal FX processor is added to the main mix using the FX return fade
34. be set around unity gain STEREO GRAPHIC EQ 3 15 32 10 10 5 5 POWER 0 5 s ee POWER 10 10 15 15 MAIN METERS 125 250 500 1K 2K 4K 8K OdB 0dBu OL 38 MIX EQ INS 39 15 BYPASS 10 6 ARMENA 32 BIT FX s FX PRESETS E 2 01 BRIGHT ROOM 4 02 WARM LOUNGE 03 SMALLSTAGE 7 04 WARM THEATER 10 05 WARM HALL 06 CONCERT HALL 20 07 PLATE REVERB 30 08 CATHEDRAL 09 CHORUS L R 10 CHORUS REV 11 DOUBLER 12 TAPE SLAP 13 DELAY 1 300ms 14 DELAY 2 380ms 15 DELAY 3 480ms 16 REVERB DLY N I A w INPUT LEVEL Master Controls 32 PHANTOM POWER SWITCH If your microphones need phantom power press in this switch to add phantom power to all the XLR mi crophone inputs of the mixer This lets the mixer send low current DC voltage to the mic s electronics through the same wires that carry audio The LED will turn on as a reminder that phantom power is engaged Most modern professional condenser mics require phantom power Semi pro condenser mics often have batteries to accomplish the same thing Phantom owes its name to an abilityto be unseen by dynamic mics Shure SM57 SM58 for instance which don t need external
35. capable of producing high sound pres sure levels use hearing protectors while the equipment is in operation Ear plugs or protectors in the ear canals or over the ears must be wom when operating the equipment in order to prevent permanent hearing loss if exposure is in excess of the limits set forth here Duration Sound Level in dBA Slow hours Response Typical Example 90 Duin small dub 102 O Subway Train Dave screaming at Steve about ines e 0 25 orless Loudest parts at a rock concert WARNING To reduce the risk of fire or electric shock do not expose this apparatus to rain or moisture Read This Page You probably want to try out your new mixer right away Before you do please read the safety instructions on page 2 then read this page and the rest later Zero the Mixer 1 Turn down all knobs except the channel EQ and pan knobs and set all the faders fully down 2 Setall channel EQ knobs pan knobs and the graphic EQ sliders at their center detent 3 Setall buttons to the out position 4 Whistle a popular show tune Connections f you already know how you want to connect the mixer go ahead and connect the inputs and outputs the way you want them If you just want to get sound through the mixer follow these steps 1 Plug signal sources into the mixer such as e Microphones plugged into the mic inputs Engage phantom power if your mics need it Check the m
36. cording for posterity archive legal purposes whenever the band gets back together again The tape output is the stereo main mix not affected by the main fader 48 or the graphic EQ 37 ProFX8 and ProFX12 0 Channel Controls e e C e E CJ mee eG wee The vertical channel strips look very similar with only 5 9 E 5 c z a few differences between them Each channel works 2 142 independently and just controls the signals plugged into 2 je the inputs directly above it There are three different an ie le flavors of channel strip Mono Hybrid and Stereo A zs g Mono Channels 1 4 on ProFX12 CU oy 1 2 on ProFX8 5 Ta semp mono channel controls affect both the C O G O O O O mono mic input and the mono line level input v Oa O OAO PO Qs Qs The gain knob adjusts both mic and line inputs e Each mono channel has insert jack and low 7 7 t switch O O cu toc AUX O O us AUX u AUX 4 Se e Channel 1 has hi z switch so you can connect a guitar directly The 3 band EQ has shelving high shelving low and peaking mid EQ Hyb
37. cuit thereby allowing the channel signal to continue on its merry way through the mixer This allows you to tap out the channel or bus signal without interrupting normal operation If you push the 14 TS plugin to the second click you Will open the jack switch and create a direct out which does interrupt the signal in that channel See Figure F NOTE Do not overload or short circuit the signal you are tapping from the mixer That will affect the internal signal 67 Channel Insert jack Direct out with no signal interruption to master Insert only to first click 4 Channel Insert jack Direct out with signal interruption to master Insert all the way in to the second click For useas an effects loop TIP SEND to effect RING RETURN from effect Yy FigureF ProFX8 and ProFX12 Mackie Stereo Inputs and Returns Mono Stereo Whatever Stereo line inputs and stereo returns are a fine example of the Mackie philosophy which we just made up of Maximum Flexibility with Minimum Headache The inputs and returns will automatically be mono or stereo depending upon how you use the jacks Here s how it works A mono signal should be patched into the input or re turn jack labeled left mono The signal will be routed to both the left and right sides of the return circuit and will show up in the center of the stereo pair of buses it s assigned to or it can be panned with the pan control A stereo s
38. e ad justed the input signal with the gain control you can set every control at U and your signals will travel through the mixer at optimal levels What s more all the labels on our level 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 OI SE Owner s Manual 17 Sway STEREO wner s 17 ProFX8 and ProFX12 e ES3 e 2 5 6 7 8 9 10 11 12 dB di 5 5 20 GAIN If you haven t already please read the gain setting procedure on page 3 The gain adjustment allows all your various source signals from the outside world to be adjusted to the same optimal internal operating levels Setting the gain correctly will ensure that the pre amplifier s gain is not too high where distortion could occur and not too low where your quieter exquisitely delicate passages might be lost in background noise For mono channels mic input with a mono line input the gain knob adjusts the input sensitivity of the mic and line inputs Adjust the gain control so the level set LEDs 21 come on occasionally during the louder moments of your playing or singing and go off when you stop
39. e direct hardware monitoring e Listen to the track you are recording directly off of your mixer while also listening to previously recorded tracks on your DAW software as they are fed back into the mixer The procedure is as follows e Arm the track you wish to record onto on your DAW software such as Tracktion e On the track you have just armed disable input monitoring see top of next so that while recording you do not hear the return of that track coming from the computer This will ensure you do not mix the direct track you are monitoring with the duplicate of the track on the DAW as it is being recorded You do not want to hear the direct and DAW track of the same source simultaneously as the DAW ver sion might be slightly delayed and the combi nation of the two will produce a filtered sound e Make sure that the DAW s input meters show a healthy level and if it needs to be increased or decreased adjust the signal s channel fader 31 not the gain knob 20 Press record on the DAW and record the track Overdubbing To overdub additional tracks while listening to previ ously recorded ones follow these steps e Press Play The previously recorded track will now play out of the DAW s main L R mix into the USB input of the mixer Set the level of the USB input level knob 40 to a level where you can hear the previously recorded track comfortably e Arm anew track in the DAW softwa
40. een defaced or removed H LOUD Technologies assumes no responsibility for the timeliness of repairs performed by an authorized service center I This warranty is extended to the original purchaser This warranty may be transferred to anyone who may subsequently purchase this product within the applicable warranty period for a nominal fee extended warranties are not transferable A copy of the original sales receipt is required to obtain warranty repairs or replacement J This is your sole warranty LOUD Technologies does not authorize any third party including any dealer or sales representative to assume any liability on behalf of LOUD Technologies or to make any warranty for LOUD Technologies Inc K THE WARRANTY GIVEN ON THIS PAGE IS THE SOLE WARRANTY GIVEN BY LOUD TECHNOLOGIES INC AND ISIN LIEU OF ALL OTHER WARRANTIES EXPRESS AND IMPLIED INCLUDING THE WARRANTIES OF M ERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE THE WARRANTY GIVEN ON THIS PAGE SHALL BE STRICTLY LIMITED IN DURATION TO ONE YEAR FROM THE DATE OF ORIGINAL PURCHASE FROM AN AUTHORIZED MACKIE DEALER UPON EXPIRATION OF THE APPLICABLE WARRANTY PERIOD LOUD TECHNOLOGIES INC SHALL HAVE NO FURTHER WARRANTY OBLIGATION OF ANY KIND LOUD TECHNOLOGIES INC SHALL NOT BE LIABLE FOR ANY INCIDENTAL SPECIAL OR CONSEQUENTIAL DAMAGES THAT M AY RESULT FROM ANY DEFECT IN THE MACKIE PRODUCT OR ANY WARRANTY CLAIM Some states do not allow exclusion or limitation of incident
41. ert point is after the gain control 20 level set LED 21 and low cut switch 22 but before the channel EQ 23 25 and fader 31 The channel signal can go out of the insert jack to an external device be processed or whatever and come back in on the same insert jack To do this requires a special insert cable that must be wired thusly Tip send output to effects device Ring return input from effects device Sleeve common ground SEND to processor o ring ti sleeve TRS plug 1 gt This plug connects to one of the lt ing mixer s Channel Insert jacks RETURN from processor Insert jacks can be used as channel direct outputs post gain and pre EQ See the connector section on page 28 figure F showing three ways to use insert con nections 12 STEREO RETURN This is where you connect the outputs of your parallel effects devices or extra audio sources The circuits will handle stereo or mono balanced or unbalanced sig nals They can be used with just about any pro or semi pro effects device or line level source on the market The signals coming into these inputs can be adjusted using the stereo return 45 fader before passing onto the main mix bus see page 23 Signals coming in here can also be quickly muted with the mute switch 44 and the OL LED 43 will show you if your incoming signal is too high Stereo Device If you have a stereo parallel effects device
42. ic s user manual to be sure Line level sources such as keyboards drum machines or CD players plugged into the line level inputs e A guitar plugged into channel 1 with the line hi z switch pressed in 2 Connect cords from the main outs to your pow ered speakers or amplifier 3 Plugin the mixer s power cord to a live AC outlet and turn on the mixer 4 f 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 recom mends This is usually all the way up Set the Gain 1 Play 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 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 care fully turn up the channel fader and headphones level a little Part No SW0713 Rev 2008 LOUD Technologies Inc All Rights Reserved No electrons were harmed during the production of this PDF 2 For channels adjust the gain control so the level set LED just comes on occasionally during the loudest parts of your performance The mono channel gain affects the mic and the line inputs The hybrid channel gain affects the mic input only not the stereo line
43. ickly mute all channels and then bring up your background music when the band is taking a break 37 STEREO GRAPHIC EQ This 7 band graphic equalizer adjusts the main mix output It affects the line level outputs 4 15 but not the tape outputs 19 headphones 17 or the USB output 5 This EQ can be used for the monitor mix in stead of the main mix if the main mix mon switch 38 is engaged It can also be quickly bypassed using the EQ in bypass switch 39 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 125 250 500 1k 2k 4k and 8kHz The EQ section comes before the main fader 48 and meters 34 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 your best option Turn down the offending frequency range rather than boost the wanted range You can use it to reduce the level of some frequency bands where feedback occurs 38 MAIN MIX MON This switch allows you to choose if the stereo graphic EQ 37 is used for the stereo left and right main mix or if itis used for the monitors For example there maybe times when the graphic EQ can be used wisely in the monitor mix to reduce feedback in the monito
44. ignal having two plugs should be patched into the left mono and the right input or return jacks A jack switch in the right jack will disable the mono function and the signals will show up in stereo A mono signal connected to the right jack will show up in the right bus only You probably will only want to use this sophisticated effect for special occasions Appendix C Technical Information Specifications Noise 20 Hz 20 kHz 150 Ohm Source Impedance Equivalent Input Noise Mic in to Insert Send out max gain 127 dBu Residual Output Noise All outputs master levels off all channel levels off 95 dBu All outputs master levels unity all channel levels off 90 dBu All outputs master levels unity one channel level unity 85 dBu Distortion 20 Hz 20 kHz THD N SMPTE IMD Mic input to Main output lt 0 05 4 dBu output Common Mode Rejection Ratio 1 kHz Mic input to Insert Send output 60 dB gain at unity Frequency Response 20 Hz 30 kHz Mic input to any output gain at unity 0 dB 1 dB Crosstalk 20Hz 20 kHz Adjacent Inputs 90 dB 1 kHz Inputs to Outputs 90 dB 1 kHz Fader Off 90 dB 1 kHz Mute Switch Break Switch Mute 90 dB 1 kHz Maximum Levels All Inputs 22 dBu Main Mix XLR 28 dBu All other outputs 22 dBu Impedances Micin 3 kilohms Channel Insert return 10 kilohms Ch 1 Instrument Input 1 Megaohm All other inputs 20 kilohms Tape out 1 1 kilohm
45. ill repair or replace the product This warranty applies only to equipment sold and delivered within the U S and Canada by LOUD Technologies Inc or its authorized dealers B For faster processing register online at www mackie com or you may mail in the product registration card included with this manual C Unauthorized service repairs or modification of M ackie products will void this warranty To obtain repairs or replacement under warranty you must have a copy of your sales receipt from the authorized M ackie dealer where you purchased the product It is necessary to establish purchase date and determine whether your Mackie product is within the warranty period D To obtain warranty repair or replacement 1 Call M ackie Technical Support at 800 898 3211 7 AM to 5 PM Monday through Friday Pacific Time to get authorization for repair or replacement Alternately go to the Mackie website click Support www mackie com support and follow the instructions for reporting a warranty issue and submitting a request for an advance replacement 2 Advance Replacement M ackie will ship a replacement unit to you along with an invoice for the suggested retail price of the replacement unit You must return the defective unit immediately to cancel the invoice If you do not return the defective unit within 30 days you must pay the full amount stated in the invoice to satisfy your debt 3 Repair When you call Mackie Technical Support
46. inputs The stereo channel gain adjusts the stereo line inputs Adjust as desired and check the OL LED does not come on during the loudest pas Sages 3 Repeat steps 1 to 2 for your other channels O S JOUAA Jenueyw Instant Mixing 1 To get sound out of the speakers and into a waiting world turn up the channel s fader to the U unity gain position and slowly bring up the main fader to a comfortable listening level 2 Sing and play You re a star Bring in the other channels and adjust their faders to make a nice mix and generally have fun USB The USB connection allows you to play 2 channels of audio from your computer and to record the main mix to your computer See Appendix D on page 32 for details of getting started with the USB Notes For optimum sonic performance the channel faders and main fader should be set near the U unity gain markings Turn down all faders before making connections to and from your ProF X mixer When you shut down your system turn off your ampli fiers or powered speakers first When powering up turn them on last This will prevent the possibility of turn on and turn off thumps heard in your speakers Save the shipping box You may need it someday Please write your serial number here for future reference i e insurance claims tech support return authorization make dad proud etc Po Purchased at Po Date of purchase Owner s Manual 3 P
47. ion cords as this can result in a risk of fire or electric shock 11 Protect the power cord from being walked on or pinched particularly at plugs convenience receptacles and the point where they exit from the apparatus 12 Only use attachments accessories specified by the manufacturer 13 Use only with a cart stand tripod bracket or table specified by the manufac turer or sold with the apparatus When cart Is used use caution when moving the cart apparatus combination to avoid injury from tip over 14 Unplug this apparatus during lightning storms or when unused for long periods of time 15 Refer all servicing to qualified service personnel Servicing is required when the apparatus has been damaged in any way such as power Supply cord or plug is damaged liquid has been spilled or objects have fallen into the apparatus the apparatus has been exposed to rain or moisture does not operate normally or has been dropped 16 This AR shall not be exposed to dripping or splashing and no object filled with liquids such as vases or beer glasses shall be placed on the apparatus 17 This apparatus has been designed with Class4 construction and must be connected to a mains socket outlet with a protective earthing con ains power switch This switch is located on the rear panel and RISK OF ELECTRIC SHOCK DO NOT OPEN ection the third grounding prong 18 This apparatus has been equipped with an all pole E AC
48. itar directly to the mixer without us ing a DI Box press this switch in first then connect the output from your guitar to channel 1 s 1 4 TRS input 8 The input impedance is then optimized for direct connection and high frequency fidelity is assured In the out position channel 1 s 4 TRS input be comes a line input just like the other mono line inputs 9 To use guitars or other instruments on other chan nels 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 8 LINE HI Z INPUT Channel 1 only This 1 4 jack shares circuitry but not phantom power with the mic preamp and can be driven by bal anced or unbalanced sources To connect a balanced line to this input use a 1 4 Tip Ring Sleeve TRS plug To connect an unbalanced line to this input use a 1 4 mono TS phone plug or instrument cable This line level input can also accept instrument level signals if the hi z switch 7 is pressed in This allows you to connect guitars directly into channel 1 without the need for a DI box Owner s Manual ProFX8 and ProFX12 PROFESSIONAL MIC LINE MIXER WITH FX 9 MONO LINE INPUTS These 1 4 jacks share circuitry but not phantom power with the mic preamps and can be driven by bal anced or unbalanced sources To connect balanced lines to these inputs use a 1 4 Tip Ring
49. l entering the FX processor and the OL LED 53 shows if the level 15 too high The output from the processor can be added to the main mix by adjusting the FX return fader 46 Its output can also be added to the monitor mix by adjust ing the FX to mon 54 knob 49 PRESET DISPLAY This display shows the number of the currently selected effects preset as shown in the list of presets silkscreened to the left of the display ProFX8 and ProFX12 50 PRESET SELECTOR Rotate this knob to increase or decrease the number of the preset It will flash in the display 49 until you press this selector inwards to select the preset Scrolling back to the current preset or selecting a new one will stop the flashing The available presets are shown in the table on the next page and are marked on the panel silkscreen Only one preset can be selected at a time 51 INTERNAL FX MUTE and LED When engaged the internal effects processor is muted Its output will not appear in the main mix or monitors and the adjacent LED will come on The footswitch connection 16 becomes disabled and you will not be able to use the footswitch to mute or unmute the effects If this switch is not engaged then the internal effects can be muted or unmuted with your footswitch 52 FX MASTER Use this knob to control the level of the signals going into the internal effects processor Adjust it carefully with your inner magical eye on the adjacen
50. n assistive listening system is connected to the line level main output Dual compressors are con nected to the inserts of channels 1 to 4 allowing vocal compression Mackie SR1521z powered speakers are connected to the left and right main output via a compressor limiter Two SRM 450v2 powered speakers are set up as stage monitors and connect to the mixer s moni tor output via a graphic EQ The aux mon controls of each channel allow you to create a stage monitor mix that is independent of the main mix Use the external graphic EQ to adjustthe stage monitor EQ as desired Headphones are used for monitoring A laptop connects to the USB port and allows the 2 channel main mix of the service to be recorded us ing Tracktion software Two channels of audio can also play from your computer to the main mix House of Worship System ProFX12 SISUMO Owner s Manual N Microphones x yog iPod _ CD Player Docking Station U b Headphones AX MM LL 846 BneEXS en crm i 12 906 gt ud ui zii ts l 2 pests IQI L lt Laptop running Tracktion and DJ software CD Turntable Effects Processor Sy Compressor SRM450 2 Powered Monitors 525302 Powered Speakers This diagram shows two microphones attached to channels 1
51. nct zones e Rear Panel The AC input power switch XLR line level outputs and USB 1 0 e Connection Section The upper section where you connect microphones and guitars etc e Channel Controls The channel strips where you adjust and control each channel e Master Controls The section on the right with graphic EQ and main level controls Stereo Effect Processor Throughout these sections you ll find illustrations with each feature numbered and described in the nearby paragraphs LU 7 Appendix A Service information Appendix B Connectors Appendix C Technical information Appendix D USB information This icon marks information that is critically important or unique to the mixer For your own good read them and remember them VERY IMPORTANT This icon will lead you to some explanations of features and practical tips Go ahead and skip these if you really need to go A CLOSER 100 Contents IMPORTANT SAFETY INSTRUCTIONS ssssssssssssssssssssen 2 28 PAN 20 5 READ THIS PAGE 3 29 OL LED seen 20 M INTRODUCTION 4 30 MUTE 20 T CONTENTS 5 31 CHANNEL FADER 20 M HOOKUP DIAGRAMS 6 MASTER CONTROLS 21 lt REAR PANEL FEATURES 12 32 PHANTOM POWER SWITCH 21 1 POWER CONNECTION 12 33 POWER LED 21 J EET FUSE 12 34 METERS innn 21 m 3 POWER SWITCH 12 35 BREAK SWIT
52. nd outputs e 1 4 TRS insert jacks on mono channels Channel 1 hi z switch allows direct connection of a guitar or bass without a DI box e Low cut switch on mono and hybrid channels 3 band EQ on each channel Aux monitor control on each channel Aux FX control on each channel e Each channel has a pan control mute switch overload OL LED and fader Stereo return has mute OL LED and fader e XLR and 1 4 TRS main stereo line outputs 1 4 TRS stereo return e 1 4 TRS FX send and monitor send e 1 4 TRS stereo headphones output 4 ProFX8 and ProFX12 e Headphones level control input level control e 16 built in Running Man effects with input level OL LED preset display FX to monitor level and footswitchable mute unmute T band graphic EQ can be used for main mix or monitor mix or bypassed e l2 segment stereo output meters on main mix Break switch mutes all channels except tape input and USB input Faders for stereo return FX return monitor and main e USB connection allows 2 channel computer recording and 2 channel computer playback e USB thru switch and input level How To Use This Manual The first pages after the table of contents are the hookup diagrams These show typical setups for fun times with your ProFX8 or ProFX12 mixer Next is a detailed tour of the entire mixer The de scriptions are divided into sections just as your mixer is organized into disti
53. ndix D USB interface System Requirements These are the minimum requirements for your com puter system to use the mixer s USB interface For the PC e Windows XP service pack 2 e Pentium 4 or Athlon XP processor e 256 MB RAM For the Mac e OS X 10 4 11 or higher G4 processor e 256 MB RAM The internal USB interface will allow the left and right main mix to be recorded on a Mac or PC computer It also allows two channels of audio from the computer to be added to the main mix Plug and Play No drivers or software installation is required The ProFX mixer s USB interface connects directly to the USB port of your computer USB stream from computer The following table shows the outputs from your com puter to the mixer s USB interface Computer output 1 Computer output 2 The 2 channel digital stream from the computer enters the mixer through the USB connector and is converted to analog audio The audio level can be adjusted using the USB input control 40 Beware of a possible feedback loop if you feeding the main mix back into the mixer 2 ProFX8 and ProFX12 USB stream to computer In addition to a mix of channels the USB output to your computer can contain audio from your computer if the USB thru switch 41 is engaged The mains and headphone outputs are not af fected by the switch and always provide a full mix of channels and any 2 channel audio from your computer VER
54. ne attached to channel 2 mic input a guitar amplifier modeler connected to the line level inputs of channel 3 4 an electronic drum kit connected to channel 5 6 and a keyboard attached to channel 7 8 Mackie M R8 powered reference monitors are connected to the left and right main output for careful and accurate monitoring of your performances A desktop computer connects to the USB port and allows the 2 channel main mix to be recorded and 2 channels to be played back using Tracktion software Home Studio System ProFX8 ProFX8 and ProFX12 e S 5 Headphones 57 MACKIE 1 Holy MON SEND a IR lt 3 SS jenuewW SISUMO Luc TU aa Keyboard workstation This diagram shows microphones attached to channel 1 and 2 mic inputs a keyboard workstation attached to channel 3 4 s line level inputs and a CD turntable connected to channel 5 6 s line level inputs An effects sampler receives a mono input from the FX send and its stereo outputs connect to the stereo return inputs Mackie MR5 powered reference monitors are connected to the left and right main output for careful and accurate monitoring of your work A desktop computer connects to the USB port and allows the 2 channel main mix to be recorded and 2 channels played back using Tracktion software Podcast System ProFX8 Owner s Manual m ProFX8 and Pro
55. o o x Li 1 Li E 6 in 370 mm LOUD Technologies Inc is always striving to improve our prod ucts by incorporating new and improved materials components and manufacturing methods Therefore we reserve the right to change these specifications at any time without notice Mackie and the Running Man are registered trademarks of LOUD Technologies Inc All other brand names mentioned are trademarks or registered trademarks of their respective hold ers and are hereby acknowledged 2008 LOUD Technologies Inc All Rights Reserved Correct disposal of this product This symbol indicates that this product should not be disposed of with your household waste according to the WEEE Directive 2002 96 EC and your national law This product should be handed over to an authorized collection site for recycling waste electrical and electronic equipment EEE Improper handling of this type of waste could have a possible negative impact on the environment and human health due to potentially hazardous substances that are generally associated with EEE At the same time your cooperation in the correct disposal of this product will contribute to the effective usage of natural resources For more information about where you can drop off your waste equipment for recycling please contact your local city office was
56. ophone inputs with pin 1 wired to the grounded nected tip to signal high hot ring to signal A earthed shield pin 2 wired to the high hot or low cold and sleeve to ground earth lt positive polarity side of the audio signal and pin 3 e Unbalanced Send Return circuits When wired J m Use a male XLR type connector usually found on the nether end of what is called a mic cable toconnectto 1 4 TS Phone Plugs and Jacks a female XLR jack TS stands for Tip Sleeve the two connections avail able on a mono 1 4 phone jack or plug See Figure C SLEEVE SLEEVE L9 TIP FigureC TS Plug TS jacks and plugs are used in many different applications always unbalanced The tip is connected to the audio signal and the sleeve to ground earth Some examples 1 4 TRS Phone Plugs and Jacks microphones TRS stands for Tip Ring Sleeve the three e Electric guitars and electronic instruments connections available on a stereo or balanced e Unbalanced line level connections phone jack or plug See Figure B we sue sue o RCA Plugs and Jacks RCA type plugs also known as phono plugs and iid jacks are often used in home stereo and video equip p ment and in many other applications Figure D They are unbalanced and electrically identical to a 14 TS phone plug or jack see Figure C Connect the signal to the center post and
57. out of the mix matic effect to vocals particularly group harmonies and choirs CHORUS REV This preset perfectly combines the chorus effect This lets you both thicken your sound above with a large roomy reverb with the chorus effect while adding warmth and spaciousness thanks to the smooth reverb DOUBLER This effect simulates the sound of a vocal or Provides a vibe that is similar to chorus instrument being recorded twice double tracked without the subtle swirl on a multi track recorder 50M S TAPE SLAP This effect provides a single relatively rapid delay Often used on vocals for a 1950 s era feel of the original signal with the added warmth that or on guitars for a surf type tone Often vintage tape based echo units provided 180 MS used by people whose favorite number is 12 DELAY 1 300MS These delay presets provide around three repeats These work best with full up beat music DELAY 2 380MS of the original signal The default delay time for like rock where the delay needs to cut DELAY 3 480 MS each preset is shown in ms the smaller the time through the mix the faster the delay m c I N 13 14 15 A a REVERB DLY This effect combines the warm theater reverb ef Perfect for thickening vocals while adding 250MS fect with the echoes of the 3 repeat delay effect dimension it can also be used as a spacey effect on electric guitars Owner s Manual 5 If you think your ProF X
58. output 19 headphones 17 or USB output 5 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 it s there The level control is stereo as it affects both the left and right of the main mix equally This is the control to turn down at the end of the song when you want The Great Fade Out Owner s Manual 2 ProFX8 and ProFX12 STEREO GRAPHIC EQ 15 15 10 10 5 5 0 0 5 5 10 10 15 15 125 250 500 1K 2K 4K 8K MAIN MIX POWER MAIN METERS OdB 0dBu EQINS BYPASS ee HRM 32 BIT FX FX PRESETS 01 BRIGHT ROOM 02 WARM LOUNGE 03 SMALL STAGE 04 WARM THEATER 05 WARM HALL 06 CONCERT HALL 07 PLATE REVERB 08 CATHEDRAL 09 CHORUS 10 CHORUS REV 11 DOUBLER 12 TAPE SLAP 13 DELAY 1 300ms 14 DELAY 2 380ms 15 DELAY 3 481 16 REVERB FX MASTER FX TO MON Stereo Effects Processor The Mackie Running Man 32 bit internal effects pro cessor is a mono in stereo out effects processor with 16 presets It is fed by adjusting the aux FX control 27 on each channel The FX master knob 52 adjusts the overall leve
59. r 46 and can be added to the monitors with the FX to mon knob 54 28 PAN These knobs adjust the amount of channel signal sent to the left versus the right outputs On mono channels these controls act as pan pots On hybrid and stereo channels they work like the balance control on a home stereo They do not affect the aux mon or FX mixes ProFX8 and ProFX12 29 OL LED This LED will light if the channel signal is too high and this may cause distortion due to overloading The OL LED comes before the channel fader 31 in the signal path so the fader has no effect in your efforts to turn off the OL LED Overloading may occur if the gain 20 is set too high so check that the level set LED 21 is not turning on frequently Turn down the gain if it is Overloading can also occur if the channel EQ 23 25 is set too high Check that the EQ settings are moderate Use the low cut switches 22 if the overloading is due to lower unwanted bass thumps and bangs 30 MUTE Press this switch in to mute the channel in the main mix The aux mon output of the channel is not muted but the FX output to the internal FX processor and FX send jack 14 is 31 CHANNEL FADER These faders control the channel s level from off to unity gain on up to 10 dB of additional gain The mono channels have mono faders and the hybrid and stereo channels use stereo faders With the gain control 20 set correctly the faders should
60. re be sure it has input monitoring disabled see top of next and record the new track on your DAW e While recording the new track you will hear the previously recorded tracks coming into the mixer s USB input while you simultane ously hear the current track you are recording directly through the mixer hardware e Repeat these steps until you have built up all the tracks of your recording Owner s Manual 3 O S JOUAA Jenueyw input 1 81 track 8 oa input 2 amp Lido See ___4 save dipboard import _ timecode dicktrack P snapping tracks RS ee EES options J automation gt ee movies a input 2 Wave Audio Inpet Tie 0 0 dB E INF dB 0 00 ms about 4 help gt Tracktion Screen In Tracktion to disable input monitoring for the track you are recording onto select the input to the track it will be highlighted in red and disable the end to end function ProFX8 and ProFX12 You ll hear existing tracks playing back via the USB in and you ll be monitoring the track you are recording through the mixer s headphones or main out When you play back the recording you ll hear the track you ve just overdubbed without unmuting anything Other DAWs may show this as a speaker next to the track record arm button Other tips e frecording with a microphone turn down the main fader 48
61. rid Channels 5 6 7 8 on ProFX12 3 4 5 6 on ProFX8 e Except for gain and low cut these controls affect the mono mic input and the stereo line level input Lap Long e The gain knob adjusts the mic input only The stereo line inputs are fixed at unity gain ProFX8 The low cut switch only affects the mic input amp MIC amp MIC amp MIC amp e mic input is split equally to the left d and right 6 e saj we 75 e hybrid channel EQ is a 3 band design just e e like the mono channel EQ e Stereo Channels 9 10 11 12 on ProFX12 7 8 on ProFX8 Er e mi oo affect the stereo line level 9 e Soon eel ES e The gain knob adjusts the left and right line O O i inputs equally There is no level set LED or low 0 0 0 0 0 on hannel EQ is a 3 band d US s Se GOD e GODS s e e stereo channel EQ is a 3 band design just a a like the mono channel EQ Q J 9 9 Q U LIKE UNITY GAIN O ae Mackie mixers have a U symbol on almost every level control This U stands for unity gain meaning no change in signal level 0 dB gain Once you hav
62. roFX8 ProFX12 Introduction Thank you for choosing a Mackie professional ProF X mixer It is equipped with our rather lovely microphone preamps an internal FX processor and a USB port for playing and recording 2 channels of audio using a com puter The ProFX8 has 8 channels and the ProF X12 has 12 channels Apart from this difference the mixers are identical and this manual covers both models At Mackie we know what it takes to be roadworthy After all our mixers have traveled all over the world often under the worst of conditions and we ve applied what we ve learned to the mechanical design of our ProFX mixers Reliability is paramount to sound reinforcement That s why our engineers have subjected our mixers to the most rigorous and fiendish tests imaginable to fine tune the design and extend its limits beyond those of ordinary mixers Features TheProFX8 mixer has 8 channels 2 mono 2 hybrid 1 stereo e TheProFX12 mixer has 12 channels 4 mono 2 hybrid 2 stereo e Mono channels have a mic input and a mono line level input with a gain control and level set LED for adjustment of mic and line gain e Hybrid channels have a mic input and stereo line level inputs with a gain control and level set LED for adjustment of mic gain e Stereo channels have stereo line level inputs with a gain control to adjust the line gain 448V phantom power can be applied to all mics e Tape CD stereo RCA inputs a
63. rs from nearby microphones 39 EQ IN BYPASS This switch allows you to quickly engage or disen gage the stereo graphic EQ This can be used for quick checks of your EQ settings or to shorten the signal path if you do not need to usethe EQ 40 USB INPUT LEVEL This control lets you adjust the signal level of the two channels coming in from your 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 The USB input from your audio software such as Tracktion could be individual instrument tracks a mix of tracks or processed tracks 41 USB THRU In addition to a mix of the other channels the USB output to your computer can contain any input from your computer if this switch is down This switch only affects the output to your computer not the headphones or main mix e f disengaged out the USB output to your computer will just be the main mix This is a good position for overdubbing as any playback from your computer can be played in your main speakers and headphones while you play along with a guitar and record only the guitar via USB This is also good for live recording as a safeguard against feedback Here the USB level knob should also be down e f pressed in the USB output to your computer will be the main mix including any audio coming in from your computer This is a good position to record live performances where
64. rvicing instructions in the literature accompanying the appliance Le point d exclamation l int rieur d un triangle quilat ral est employ pour alerter les utilisateurs de la pr sence d instructions importantes pour le fonctionnement et l entretien service dans le livret d instruction accompagnant l appareil a ProFX8 and ProFX12 19 The MAINS plug or an appliance coupler is used as the disconnect device so the disconnect device shall remain readily operable 20 NOTE This equipment has been tested and found to comply with the limits for a Class B digital device pursuant to part 15 of the FCC Rules These limits are designed to provide reasonable protection against harmful interference in a residential installation This equip ment generates uses and can radiate radio frequency energy and if not installed and used in accordance with the instructions may cause harmful interference to radio communications However there is no guarantee that interference will not occur in a particular installation If this equipment does cause harmful interference to radio or television reception which can be determined by turning the equipment off and on the user is encouraged to try to correct the interference by one or more of the following measures Reorient or relocate the receiving antenna Increase the separation between the equipment and the receiver Connect the equipment into an outlet on a circuit different from that to
65. s Phones out 25 ohms All other outputs 120 ohms Maximum Voltage Gain EQ Flat Mic Input Channel to Insert Output 50 dB Tape Output 60 dB USB Output 60 dB YA Inch Main Output 70 dB XLR Main Output 76 dB Monitor Send 75 dB FX Send 90 dB Mono Line Input Channel to Insert Output 30 dB Tape Output 40 dB USB Output 40 dB XLR Main Output 56 dB Monitor Send 55 dB FX Send 70 dB Stereo Line Input Channel to Tape Output 30 dB USB Output 30 dB XLR Main Output 46 dB Monitor Send 45 dB FX Send 60 dB Tape Input to Tape Output 20 dB USB Output 20 dB XLR Main Output 36 dB USB Input to Tape Output 20 dB USB Output 20 dB XLR Main Output 36 dB Stereo Return to Tape Output 10 dB USB Output 10 dB XLR Main Output 26 dB Effects Return to Tape Output 10 dB USB Output 10 dB XLR Main Output 26 dB Monitor Send 25 dB Channel EQ Low Cut 100 Hz 18 dB Octave High Shelving 15 dB 12 kHz Mid Peaking 15 dB 2 5 kHz Low Shelving 15 dB 80 Hz Digital Effects 1 0 Mono Input Stereo Output Number of Presets 16 Mackie designed presets Channel Level Set LED 0 dBu normal operating level Channel OL LED 1 dB before channel clipping Measured post EQ pre fader O S JOUAA Jenueyw Owner s Manual
66. s plainly written on the shipping carton No receipt no warranty service E LOUD Technologies reserves the right to inspect any products that may be the subject of any warranty claims before repair or replacement is carried out LOUD Technologies may at our option require proof of the original date of purchase in the form of a dated copy of the original dealer s invoice or sales receipt Final determination of warranty coverage lies solely with LOUD Technologies F Any products returned to one of the LOUD Technologies factory authorized service centers and deemed eligible for repair or replacement under the terms of this warranty will be repaired or replaced LOUD Technologies and its authorized service centers may use refurbished parts for repair or replacement of any product Products returned to LOUD Technologies that do not meet the terms of this Warranty will not be repaired unless payment is received for labor materials return freight and insurance Products repaired under warranty will be returned freight prepaid by LOUD Technologies to any location within the boundaries of the USA or Canada G LOUD Technologies warrants all repairs performed for 90 days or for the remainder of the warranty period This warranty does not extend to damage resulting from improper installation misuse neglect or abuse or to exterior appearance This warranty is recognized only if the inspection seals and serial number on the unit have not b
67. t OL LED 53 to prevent overloading the effects processor Fully down is off 12 o clock is unity gain and fully up is 15 dB of gain It also affects the level going out of the FX send out put 14 53 OL LED This LED illuminates when the effects processor is being overloaded with too strong a signal OL Turn down the FX master 52 if it is The signals going into the processor are affected by the channel aux FX controls 27 and the channel fad ers 31 Check the LED if you alter these controls 54 FX TO MON This knob allows you to add the output of the internal FX processor to the stage monitor mix Fully down is off 12 o clock is unity gain and fully up is 15 dB of gain TABLE OF INTERNAL EFFECTS 1 BRIGHT ROOM This room has a bright tone with lots of scattered Useful on vocals that require a brighter re reflections to simulate harder more reflective verb to cut through the mix or for giving surfaces acoustic instruments a livelier vibe WARM LOUNGE This preset features a medium sized room lounge Useful for vocals on songs that require sound with just enough enhancement of the lower larger more wet sound or for giving d mids to produce a warm tone dimension to bright horns without adding harshness SMALL STAGE This preset simulates the sound of a small concert Useful for vocals or guitars in fast paced stage with a medium reverb time and reverberant high energy songs
68. te authority or your household waste disposal service ProFX8 and ProFX12 Owner s Manual X4 21607 ssedg x4 01 X4 5 Sed Xd ain x3 69 enpe 1 i IIO F 3 d gt 1 r3 O g 4 gt paassa _ ______ x4 uos 1 D lt pueg 2 pues 1 10 a s lt ql Jape uopeunsep oj Juas s 0 peubisse jou UYM RUS ssed ubisse ssed g 039 0A uoa suen 09J9 S pUeq uonisod 1no eui 3 LON Owner s Manual x 5 aid e amp uow mil H DI asn i VT f 1
69. the ground earth or shield to the TRS jacks and plugs are used in several different ap surrounding basket plications FigureB TRS Plugs SLEEVE TIP SLEEVE TIP Stereo Headphones and rarely stereo micro cmm phones and stereo line connections When wired for stereo a 1 4 TRS jack or plug is connected tip to left ringto right and sleeve to ground earth Mackie mixers do not directly accept 1 plug type stereo microphones They must be separated into a left cord and a right cord which are plugged into the two mic preamps FigureD RCAPlug Owner s Manual TRS Send Receive Insert J acks Mackie s single jack inserts are the three conductor TRS type 1 4 phone They are unbalanced but have both the mixer output send and the mixer input return signals in one connector See Figure E The sleeve is the common ground earth for both signals The send from the mixer to the external unit is carried on the tip and the return from the unit to the mixer is on the ring SENDto processor zm rin tp see _ TRS plug ProFX8 and ProFX12 This plug connects to one of the miver s Channel Insert jacks iy RETURN from processor FigureE Using the Send only on an Insert Jack If you insert a TS mono 1 4 plug only partially to the first click into a Mackie insert jack the plug will not activate the jack switch and will not open the insert loop in the cir
70. the power cord and check the fuse located in a fuse tray just below the AC power connector ProFX8 and ProFX12 Appendix A Service Information Repair For warranty repair or replacement refer to the war ranty information on page 35 Non warranty repair for Mackie products is available at a factory authorized service center To locate your nearest service center visit www mackie com click Support and select Locate a Service Center Service for Mackie products 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 Mon day Friday 7 am to 5 pm Pacific Time to explain the problem Tech Support will tell you where the nearest factory authorized service center is located in your area wired to the low cold or negative polarity side of the signal See Figure A This is all totally aboveboard and in full accord with the hallowed standards dictated by the AES Audio Engineering Society as send return Y connector a 1 4 TRS jack or plug is connected tip to signal send output from mixer ring to signal return input back into mixer and sleeve to ground earth a C Appendix B Connections E XLR Connectors J Balanced mono circuits When wired as a bal b Mackie mixers use 3 pin female XLR connectors on anced connector 4 TRS jackorplugiscon all micr
71. which the receiver is connected the dealer experienced radio TV technician for elp CAUTION Changes or modifications to this device not expressly approved by LOUD Technologies Inc could void the user s authority to operate the equipment under FCC rules 21 This apparatus does not exceed the Class A Class B whichever is applicable limits for radio noise emissions from digital apparatus as set out in the radio interference regulations of the Canadian Department of Communications ATTENTION Le pr sent num rique pas de bruits radio lectriques d passant las limites applicables aux appareils num riques de dass A de class B selon le cas prescrites dans le r glement sur le brouillage radio lectrique dict par les ministere des communications du Canada 22 Exposure to extremely high noise levels may cause permanent hearing loss Individuals vary considerably in susceptibility to noise induced hearing loss but nearly everyone will lose some hearing if exposed to sufficiently intense noise for a period of time The U S Government s Occupational Safety and Health Administration OSHA has specified the permissible noise level exposures shown in the following chart According to OSHA any exposure in excess of these permissible limits could result in some hearing loss To ensure against potentially danger ous exposure to high sound pressure levels it is recommended that all persons exposed to equipment
72. while recording and listen through the headphones instead e If recording direct sources such as an electric guitar you can listen with speakers as there is no microphone present to worry about the speaker s sound leaking in A word about latency Latency describes the amount of time it takes the input signal to pass through the system and reach the output When recording a guitar and monitoring through software it is the amount of time it takes from the moment you strike your guitar string to the mo ment you hear it in your headphones You are used to this latency being very close to zero when you play your guitar through a guitar amp you hear the signal imme diately So when you are recording and monitoring via software you want this latency delay time to be as low as possible We would like to set the latency as low as possible but the smaller it is the harder the computer will have to work If the latency is very small the computer needs to work very hard to quickly transfer the audio in and out It may not even be able to keep up especially if there are lots of tracks lots of automation and or lots of plug ProFX8 and ProFX12 end to end disabled ins in your work If this happens your audio may stop or drop out Drop outs may also occur if you have a slower computer or not enough memory When recording using the overdub method it is important to set the mixer s latency to it s lowest oper
73. y to your laptop The USB thru switch 41 allows you to also include the output from your computer in your recording See page 23 for more details of this switch The USB interface also lets you use your computer to playback two channels into the mixer Leftand right signals from your computer added to the main mix The USB input level control 40 allows you to adjust the level of the incoming audio from your computer being added to the main mix See Appendix D on page 32 for more USB details and also check out the block diagram on page 31 Front Panel Features amp MIC amp MIC amp MIC amp emm amp MIC UNBALANCED IN OUT 9 9 PROFESSIONAL MIC LINE MIXER WITH FX 5 69 B 2 3 4 5 6 7 9 10 11 2 L BAL UN FOOTSWITCH R MONO MONO a BAL BAL BAL UNBAL SEND d x FXSEND LINE IN 8 LINE IN 10 LINE IN 12 ST RETURN MAIN OUT PHONES Jenuey Connection Section This is where you plug things in microphones line level instruments and effects headphones and the ultimate destination for your sound PA system stage monitors effects processors CD player recorder etc See Appendix B for further details and drawings of the connectors you can use with the ProF X mixer 6 MIC INPUTS
74. 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 14 FX SEND This 1 4 TRS line level output can be used to feed an external effects processor FX such as anice sound ef fect 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 14 is turned more than minimum 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 The overall output level can be adjusted with the FX master knob 52 This knob also effects the level go inginto the internal FX The output is post fader so any changes to the chan nel faders 31 will also affect the level going to the external processor The processed output from the effects processor is usually returned to the stereo returns 12 or a spare channel and you can carefully mix the original unpro cessed channel dry and the processed channel wet Alteringthe 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 Sleeve Ground To use these outputs to drive unbalanced inputs con nect 1 4 TS Tip Sleeve phone plugs like this Tip hot Sleeve Ground

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