Mackie PROFX10V3, PROFX22V3, PROFX30V3, PROFX6V3, PROFX16V3 User Manual

...

OWNER’S MANUAL

USB 3-4

USB 1-2

MIC MIC MIC MIC MIC MIC

ONYX MIC PRE ONYX MIC PRE ONYX MIC PRE ONYX MIC PRE ONYX MIC PRE ONYX MIC PRE ONYX MIC PRE ONYX MIC PRE

BAL/

UNBAL

BAL/

UNBAL

LINE IN 8LINE IN 7LINE IN 6LINE IN 5LINE IN 4LINE IN 3

LEVEL SET

U +60

GAIN

USB 3-4

U +60

GAIN

USB 1-2

MUTE

MUTEMUTE MUTE

MUTE MUTE MUTE

MIC

MICMICMIC

ONYX MIC PRE

USB 3-4

LEVEL

SET

U +60

GAIN

ONYX MIC PRE

LINE IN 3

ONYX MIC PRE

BAL/

UNBAL

LINE IN 5

LINE IN 4

ONYX MIC PRE

LINE IN 6

MIC

ONYX MIC PRE

BAL/

UNBAL

LINE IN 8

LINE IN 7

MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE

MIC

ONYX MIC PRE

LINE IN 11

MIC

ONYX MIC PRE

BAL/

UNBAL

LINE IN 12

LINE IN 13

ONYX MIC PRE

LINE IN 9

ONYX MIC PRE

BAL/

UNBAL

LINE IN 10

MIC

ONYX MIC PRE

BAL/

UNBAL

LINE IN 14

U +60

GAIN

USB 3-4

LEVEL

SET

U +60

GAIN

USB 1-2

BLEND

TO PHONES/ CONTROL RM

MIC

ONYX MIC PRE

USB 3-4

LEVEL

SET

U +60

-20 +20

GAIN

LINE IN 4LINE IN 3

MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE

MIC

ONYX MIC PRE

BAL/

UNBAL

LINE IN 3

UNBAL

LINE IN 4

LINE IN 5

MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTEMUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTEMUTE MUTE

ONYX MIC PRE

LINE IN 6

USB 1-2

BLEND

TO PHONES/

CONTROL ROOM

MIC

ONYX MIC PRE

BAL/

UNBAL

LINE IN 7

BAL/

UNBAL

LINE IN 8

LINE IN 9

ONYX MIC PRE

LINE IN 10

MIC

ONYX MIC PRE

BAL/

UNBAL

LINE IN 11

LINE IN 12

MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTEMUTE MUTE

MIC

ONYX MIC PRE

LINE IN 13

ONYX MIC PRE

BAL/

UNBAL

LINE IN 14

LINE IN 15

LINE IN 16

LINE IN 17

UNBAL

LINE IN 18

LINE IN 19

LINE IN 20

BAL/

UNBAL

LINE IN 21

LINE IN 22

ONYX MIC PRE

MIC

ONYX MIC PRE

LEVEL

SET

U +60

GAIN

USB 3-4

LEVEL SET

USB 1-2

BLEND

TO PHONES/

CONTROL ROOM

TO PHONES/

CONTROL ROOM

USB 1-2

BLEND

Important Safety Instructions

1. Read these instructions.

2. Keep these instructions.

3. Heed all warnings.

4. Follow all instructions.

5. Do not use this apparatus near water.

6. Clean only with a dry cloth.

7. Do not block any ventilation openings. Install in 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. No naked ﬂame sources, such as lighted candles, should be placed on the apparatus.

10. Do not defeat the safety purpose of the polarized or grounding-type 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.

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 manufacturer, or sold with the apparatus. When a 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 apparatus 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. Do not overload wall outlets and extension cords as this can result in a risk of ﬁre

ProFXv3 Professional Effects Mixer with USB

or electric shock.

CAUTION

RISK OF ELECTRIC SHOCK! DO NOT OPEN!

CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK DO NOT

REMOVE COVER (OR BACK). NO USER-SERVICEABLE PARTS INSIDE.

REFER SERVICING TO QUALIFIED PERSONNEL.

The lightning ﬂash with arrowhead symbol within an equilateral triangle is intended to alert the user to the prescence of uninsulated “dangerous voltage” within the product’s enclosure, that may be of signiﬁcant magnitude to constitute a risk of electric shock to persons.

The exclamation point within an equilateral triangle is intended to alert the user of the prescence of important operating and maintaining (servicing) instructions in the literature accompanying the appliance.

18. This apparatus has been designed with Class-I construction and must be connected

to a mains socket outlet with a protective earthing connection (the third grounding prong).

19. This apparatus has been equipped with a rocker-style AC mains power switch. This

switch is located on the rear panel and should remain readily accessible to the user.

20. The MAINS plug or an appliance coupler is used as the disconnect device,

so the disconnect device shall remain readily operable.

21. The use of apparatus is in tropical and/or moderate climates.

WARNING — To reduce the risk of ﬁre or electric shock, do not expose this apparatus to rain or moisture.

Laite on liitettävä suojakoskettimilla varustettuun pistorasiaan. Apparatet må tilkoples jordet stikkontakt. Apparaten skall anslutas till jordat uttag.

PORTABLE CART

WARNING

22. NOTE: This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to part 5 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment 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 o 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 dierent from

that to which the receiver is connected.

• Consult the dealer or an experienced radio/TV technician for help.

CAUTION: Changes or modiﬁcations to this device not expressly approved by LOUD

Audio, LLC could void the user’s authority to operate the equipment under FCC rules.

23. This device complies with FCC radiation exposure limits set forth for an uncontrolled environment. This device should be installed and operated with minimum distance 20cm between the radiator & your body.

24. 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 présent appareil numérique n’émet pas de bruits radioélectriques dépassant las limites applicables aux appareils numériques de class A/de class B (selon le cas) prescrites dans le réglement sur le brouillage radioélectrique édicté par les ministere des communications du Canada.

25. This device complies with Industry Canada’s licence-exempt RSSs. Operation is subject to the following two conditions:

() this device may not cause interference, and (2) this device must accept any interference, including interference that may cause

undesired operation of the device.

Le présent appareil est conforme aux CNR d’Industrie Canada applicables aux

appareils radio exempts de licence. L’exploitation est autorisée aux deux conditions

suivantes: () l’appareil ne doit pas produire de brouillage, et (2) l’utilisateur de l’appareil doit accepter tout brouillage radioélectrique subi,

même si le brouillage est susceptible d’en compromettre le fonctionnement.

26. 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 suciently 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 dangerous exposure to high sound pressure levels, it is recommended that all persons exposed to equipment capable of producing high sound pressure levels use hearing protectors while the equipment is in operation. Ear plugs or protectors in the ear canals or over the ears must be worn when operating the equipment in order to prevent permanent hearing loss if exposure is in excess of the limits set forth here:

Duration, per day in hours

8 90 Duo in small club 6 92

4 95 Subway Train 3 97

2 00 Very loud classical music .5 02

 05 Chaz screaming at Troy about deadlines

0.5 0

0.25 or less 5 Loudest parts at a rock concert

Sound Level dBA, Slow Response

Typical Example

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 (202/9/EU) 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 eective usage of natural resources. For more information about where you can drop o your waste equipment for recycling, please contact your local city oce, waste authority, or your household waste disposal service.

ProFXv3 Professional Effects Mixer with USB

Contents Features

Owner’s Manual

Important Safety Instructions ...................................................... 2

Contents / Features ....................................................................... 3

Introduction / Getting Started ...................................................... 4

Hookup Diagrams .......................................................................... 5

ProFXv3 Rear Panel Features ....................................................... 7

. Power Connection .............................................................. 7

2. Power Switch ..................................................................... 7

3. USB Input / Output ............................................................ 7

4. Main Outputs ..................................................................... 8

ProFXv3 Front Panel Features ......................................................9

5. XLR and /4" Combo Inputs [Chs.  and 2] ...................... 9

6. Line / Hi-Z Switches [Chs.  and 2] ..................................9

7. Mic Ins .............................................................................. 0

8. Line Ins ............................................................................. 0

9. Stereo Line Inputs ........................................................... 0

0. /8" Stereo Input ............................................................ 0

. Insert Jacks ..................................................................... 

2. Low Cut Switches ........................................................... 

3. Gain Knobs and Level Set LEDs ..................................... 

4. Compressor Knobs .........................................................2

5. Hi EQ Knobs .....................................................................3

6. Mid EQ Knobs ..................................................................3

7. Mid Freq Knobs ................................................................3

8. Mid EQ Knobs ..................................................................3

9. Low EQ Knobs .................................................................3

20. Aux Mon Knobs ..............................................................4

2. Pre-Fader Switches ........................................................4

22. Aux FX Knobs ..................................................................4

FX Switches (Chs. -2) [ProFX6v3] ...................................4

Stereo Pan Switch (Chs. -2) [ProFX6v3] .........................4

23. Pan Knobs .......................................................................4

24. Mute Switches ................................................................5

25. Assign Switches .............................................................5

26. PFL Solo Switches ..........................................................5

27. Channel Faders ...............................................................5

28. USB Switch .....................................................................5

29. Aux Out / Mon Send ...................................................... 6

30. FX Send .......................................................................... 6

3. FX Footswitch ................................................................. 6

32. Sub Out Jacks ................................................................7

33. Control Room Out Jacks ................................................7

34. Phones Out Jack ............................................................7

35. Pencil Sharpener ............................................................7

36. 48V Phantom Power Switch ......................................... 8

37. Power LED ...................................................................... 8

38. Main Meters .................................................................. 8

39. Rude Solo LED ............................................................... 8

40. Aux Master Knobs ......................................................... 9

4. FX to Mon Knobs ............................................................ 9

42. Preset Selector .............................................................. 9

43. Preset Display ............................................................... 9

44. FX Mute Switch and LED .............................................. 9

45. Theremin ........................................................................20

46. Blend Knob.....................................................................20

47. To Phones / Control Room Switch ................................20

48. Control Room Knob .......................................................20

49. Phones Knob ..................................................................20

50. Break Switch and LED ..................................................20

5. Break Switch and LED ....................................................2

52. FX to Sub Switches ........................................................2

53. Sub -4 Faders ................................................................2

54. Sub Assign Switches ......................................................2

55. Main Mix Fader ...............................................................2

Appendix A: Service Information ................................................ 22

Appendix B: Technical Information ............................................24

ProFXv3 Dimensions ...........................................................26

ProFXv3 Block Diagrams ....................................................30

ProFXv3 Track Sheets .........................................................35

Appendix C: Table of Eects Presets .........................................40

Mix / Record / Create

• We’ve taken our most popular mixer series and given it major upgrades that will take your sound quality to the next level

• Perfect for live sound, home recording, content creation, and live streaming

• With models available in 6, 0, 2, 6, 22, and 30 channels, you can get the perfect mixer for your application or go big and be ready when the need comes

Renowned Onyx Mic Preamps

• With up to 60 dB of gain and ultra-low noise, ProFXv3 mixers allow you to sound better than ever

• Perfect for microphones popular with content creators that require high-gain preamps

High-Resolution GigFX™ Eects Engine

• With 24 dierent FX options, from reverbs to delays, adding some drama to your sound is easy easy… easy….. easy…….. easy (Delay, get it?)

24-Bit / 92kHz 2x4 USB Recording Interface

• Lay down your tracks in incredible 24-Bit / 92kHz quality for the cleanest recordings possible

• 2x4 USB I/O allows you to create two custom mixes on your computer to send back into your ProFXv3 mixer, great for situations when you need to monitor speciﬁc tracks during playback in addition to the full mix

Eortless Latency-Free Monitoring

• With a single knob, you can blend between monitoring your computer’s output and a direct feed from the mixer

• Great for recording overdubs alongside a pre-recorded track

Single-Knob Compression *

• Keep your input levels in check and get maximum channel headroom with the quick turn of a knob

• Great for giving vocals the ﬁnishing touch in live, recording, and even streaming applications

Record and Produce Like a Pro

• ProTools® | First and Waveform™ OEM professional sofware and plugin packages included

• The Musician Collection for ProTools | First includes 23 plugins like BBD Delay, Eleven Lite, 304 EQ, and 304C Compressor

• The DAW Essentials™ Bundle for Waveform™ OEM includes 6 powerful plugins like Equaliser, Compressor, Reverber8, and Limiter

Signature Rugged Design

• Legendary Built-Like-A-Tank™ design

• Solid steel chassis protects your investment

• Tough ABS side protection

Accessories

• Protective dust cover (sold separately) *

• Protective bag (sold separately) **

Limited Warranty ..........................................................................4

Like us

Part No. SW278 Rev. A 09/9

* Not available for ProFX6v3 ** Not available for ProFX30v3

Watch our dang videos

Owner’s Manual

Getting StartedIntroduction

Mackie ProFXv3 Series Eects Mixers with USB

are the ultimate aordable solution for live sound, home recording, and content creators available in 6, 0, 2, 6, 22, and 30 channels.

Now with our renowned Onyx™ mic preamps that oer 60 dB

of headroom, everything from gain hungry mics to guitars will sound better than ever. And you can keep it all in check with easy single-knob compression.

The new GigFX™ eects engine oers 24 built-in FX

for even more options for adding the ﬁnishing touch.

Record your tracks in 24-Bit/92kHz quality with 2x4 USB

I/O with zero-latency hardware monitoring for easy overdubs. Both ProTools® | First and Waveform™ OEM recording sofware/plugin packages are included.

How to Use This Manual:

Afer this introduction, a getting started guide will help

ProFXv3 Professional Effects Mixer with USB

you get things set up fast. The hookup diagrams show some typical setups, while the remaining sections provide details of the ProFXv3 Series mixers.

The following steps will help you set up the ProFXv3 mixer

quickly.

. Turn down all knobs except the channel EQ and pan knobs,

and set all the faders fully down.

2. Set all channel EQ knobs and pan knobs at their center detent.

3. Set all buttons to the “out” position.

4. Connect cords from the main outs to powered speakers (or to an ampliﬁer connected to passive speakers).

5. Plug in the mixer’s power cord to a live AC outlet and turn on the mixer.

6. If you have powered speakers, turn them on. Otherwise, hook up your passive speakers to your amp with speaker cables, and turn it on. Adjust your powered speaker or ampliﬁer level controls to however the manufacturer recommends.

7. Plug signal sources into the mixer, such as:

• Microphones plugged into the mic inputs. Engage phantom power if your mics need it.

• Line-level sources such as keyboards, drum machines, or CD players plugged into the line-level inputs.

This icon marks information that is critically important or unique to ProFXv3. For your own good, read and remember them.

This icon leads you to in-depth explanations of features and practical tips. They usually have some valuable nuggets of information.

This icon draws attention to certain features and functions relating to the usage of ProFXv3.

Things to Remember:

• Never listen to loud music for prolonged periods. Please see the Safety Instructions on page 2 for information on hearing protection.

• Save the shipping box and packing materials! You may need them someday. Besides, the cats will love playing in them and jumping out at you unexpectedly. Remember to pretend like you are surprised!

• Save your sales receipt in a safe place.

8. Be sure that the volume of the input is the same as it would be during normal use.

9. Turn the channel's gain knob clockwise until the level set LED begins to illuminate.

0. Engage the channel’s L-R assign switch (ProFX2v3 /

ProFX6v3 / ProFX22v3 / ProFX30v3) and turn up that channel’s fader to the “U” (unity gain) position.

. Slowly bring up the main fader to a comfortable listening

level.

2. Repeat steps 7 to 0 for the other channels.

Please write the serial numbers here for future reference (i.e., insurance claims, tech support, return authorization, make dad proud, etc.)

Purchased at:

Date of purchase:

ProFXv3 Professional Effects Mixer with USB

Hookup Diagrams

USB 3-4

ONYX MIC PRE ONYX MIC PRE ONYX MIC PRE ONYX MIC PRE ONYX MIC PRE ONYX MIC PRE ONYX MIC PRE ONYX MIC PRE

MIC MIC MIC MIC MIC MIC

ONYX MIC PRE

MICMICMIC

LINE IN 8LINE IN 7LINE IN 6LINE IN 5LINE IN 4LINE IN 3

BAL/ UNBAL

BAL/

UNBAL

BAL/

UNBAL

BAL/

UNBAL

LEVEL SET

GAIN

LEVEL SET

GAIN

LEVEL SET

GAIN

U +60

USB 1-2

TO PHONES/

CONTROL ROOM

BLEND

MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE

Owner’s Manual

This diagram shows a bass and guitar attached to the channel  and 2 line-level inputs, each

via a mono eects processor. The Hi-Z switch is engaged on both channels. A mic'd up drum kit utilizes the next four channels of the mixer. Microphones are connected to the following ﬁve channels and will handle lead and background vocal duties. A phone is connected to the last channel on the board, the /8" stereo input.

DRM8S powered subwoofers are connected to the lef and right main outputs. Those are then

connected to a pair of DRM25 loudspeakers to complete the PA. Two DRM22 loudspeakers are also set up as stage monitors and connect to the mixer's aux (monitor) output via a graphic EQ. The aux mon controls of each channel allow you to create a stage monitor mix as desired. Headphones are used for monitoring and a footswitch allows you to mute/unmute the internal eects as desired.

It's not shown, but a laptop may connect to the USB port on the rear panel of the mixer.

It allows the main mix of the performance to be recorded to a DAW, as well as playback from the computer to the main mix.

Typical Live Sound System

Owner’s Manual

Hookup Diagrams Continued...

USB 3-4

ONYX MIC PRE ONYX MIC PRE ONYX MIC PRE ONYX MIC PRE ONYX MIC PRE ONYX MIC PRE ONYX MIC PRE ONYX MIC PRE

MIC MIC MIC MIC MIC MIC

ONYX MIC PRE

MICMICMIC

LINE IN 8LINE IN 7LINE IN 6LINE IN 5LINE IN 4LINE IN 3

BAL/

UNBAL

BAL/ UNBAL

BAL/

UNBAL

BAL/ UNBAL

BAL/

UNBAL

LEVEL

SET

GAIN

LEVEL SET

GAIN

LEVEL SET

GAIN

U +60

USB 1-2

TO PHONES/

CONTROL ROOM

BLEND

MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE

ProFXv3 Professional Effects Mixer with USB

Like the previous hookup diagram, this one also starts with a bass and guitar attached

to the channel  and 2 line-level inputs, each via a mono eects processor. The Hi-Z switch is engaged on both channels. Microphones are attached to channels 3, 4 and 5, a keyboard to stereo channels /2 and an electronic drum kit to stereo channels 3/4.

MR Series powered reference subwoofers and monitors are connected to the lef and right

control room outputs for careful and accurate monitoring of the performance. Headphones connected to aux out  via a headphone amp are available for the talent to utilize when tracking.

A desktop computer connects to the USB port to record the main mix to the DAW, as well

as play back from the DAW.

ProFXv3 Professional Effects Mixer with USB

Typical Recording System

ProFXv3 Rear Panel Features

POWER

≥2.0 A

ProFX6v3 • ProFX10v3

ProFX12v3

1 2 3

12 VDC IN

12 3

POWER

USB

MAIN OUTS

POWER USB

BAL/

UNBAL

1 2 3

ProFX16v3 • ProFX22v3 • ProFX30v3

Owner’s Manual

. Power Connection

ProFX6v3, ProFX0v3:

A locking barrel connector resides at one end of the line cord. Attach it to the power connector on the mixer and rotate the ring clockwise to lock. Do not over-tighten! Screw until there is resistance, then stop. Connect the other end into a live grounded AC outlet.

ProFX2v3, ProFX6v3, ProFX22v3, ProFX30v3:

This is a standard 3-prong IEC power connector. Connect the detachable line cord (included in the box with your mixer) to the power receptacle, and plug the other end of the line cord into an AC outlet.

ProFXv3 Series mixers have a universal power supply that accepts any AC voltage ranging from 00 VAC to 240 VAC. No need for voltage select switches. It will work virtually anywhere in the world. That’s why we call it a “Planet-Earth” power supply! It is less susceptible to voltage sags or spikes, compared to conventional power supplies, and provides greater electromagnetic isolation and better protection against AC line noise.

3. USB Input / Output

The built-in USB interface allows for some powerful and ﬂexible routing. It is a 2x4, 24-bit / 192 kHz high-resolution interface allowing you to record a stereo signal to the computer via USB, and/or return two independent audio streams of stereo playback from a computer.

The USB routing capabilities are as follows:

USB input TO the mixer – playback:

() A USB 3-4 switch is located on the last stereo channel – the one with the /8" input – of each mixer, so one may route computer output (such as Spotify®, Apple Music®, Pandora®, YouTube®, etc.) down the last stereo channel of the board. This stereo signal may then be EQ’d, sent to auxiliaries (i.e. to feed monitors, headphones or eects) and is routable to mains and/or subgroups via the fader routing features that are available on all other channels. In short, this signal may be sent to nearly any desired output or pair of outputs. Additionally, the associated gain knob adjusts the USB input level to the mixer to achieve an optimal signal level.

Disconnecting the plug’s ground pin is dangerous. Don’t do it.

2. Power Switch

Press the top of this rocker switch inwards to turn on the mixer. The front panel power LED will glow with happiness...or at least it will if you have the mixer plugged into a suitable live AC mains supply.

Press the bottom of this switch to turn the mixer o. It will not work at this point, but makes a handy paperweight.

As a general guide, you should turn on the mixer ﬁrst, before any external

power ampliﬁers or powered speakers, and turn it o last. This will reduce the possibility of any turn-on, or turn-o thumps in your speakers.

(2) A USB -2 blend knob and To Phones / Control Room switch is located near the lower-right side of each mixer so one may route the computer’s DAW output (such as Pro Tools®, Tracktion®, Cubase®, Reaper®, etc.) to the mixer and blend that signal with the live inputs of the mixer in the headphones for latency-free monitoring.

USB output FROM the mixer – recording, etc:

It is possible to record the main mix to take home a copy of the live show. These levels are pre-main fader. Therefore, levels may be mixed up or down in the DAW later depending on the needs of the recording versus the live show. The end result is that fade-ins and/or fade-outs made during the show do not aect recorded levels.

Owner’s Manual

4. Main Outputs

The main outputs provide a line-level signal that represents the end of the mixer chain, where the fully mixed stereo signal enters the real world. Connect these to the lef and right inputs of your main power ampliﬁers, powered speakers, or serial eects processor (like a graphic equalizer or compressor/limiter).

The male XLR connectors provide a balanced line-level signal and is wired as follows, according to standards speciﬁed by the AES (Audio Engineering Society):

XLR Balanced Wiring:

Pin  = Shield (ground) Pin 2 = Positive (+ or hot) Pin 3 = Negative (– or cold)

SHIELD

ProFXv3 Professional Effects Mixer with USB

COLD

HOT

SHIELD

COLD

HOT

/4" TRS Balanced Mono Wiring:

Sleeve = Shield Tip = Hot (+) Ring = Cold (–)

TIPSLEEVE

SLEEVERING

TIP

RING

TIP

SLEEVE

To connect unbalanced lines to these outputs,

use a /4" mono (TS) phone plug, wired as follows:

/4" TS Unbalanced Mono Wiring:

Sleeve = Shield Tip = Hot (+)

SLEEVE

TIP

TIPSLEEVE

TIP

SLEEVE

The main outputs are located on the front panel of the ProFX6v3, ProFX0v3 and ProFX2v3 and on the rear panel of the ProFX6v3, ProFX22v3 and ProFX30v3.

In addition to accepting balanced XLR connectors, the main outputs may also accept /4" connectors driven by balanced or unbalanced sources.

To connect balanced lines to these outputs, use a /4" Tip-Ring-Sleeve (TRS) plug. “TRS” stands for Tip-Ring-Sleeve, the three connection points available on a stereo /4" or balanced phone jack or plug. TRS jacks and plugs are used for balanced signals and are wired as follows:

The XLR outputs are 6 dB hotter than the TRS outputs. When the meters read “0”, the TRS outputs are at 0 dBu.

ProFXv3 Professional Effects Mixer with USB

ProFXv3 Front Panel Features

Connections and Channel Strip

MIC

ONYX MIC PRE

5 7

MIC

ONYX MIC PRE

MIC

ONYX MIC PRE

Owner’s Manual

Phantom Power

Most modern professional condenser mics require 48V phantom power, which lets the mixer send low-current DC voltage to the mic’s electronics through the same wires that carry audio. (Semi-pro condenser mics ofen 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 aected by it anyway.

The ProFXv3 mixer’s phantom power is globally controlled by the phantom power switch (meaning that phantom power for all mic inputs is turned on and o together.)

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.

The vertical channel strips look very similar between each model and have only a few dierences between them. Each channel works independently, and just controls the signals plugged into the inputs directly above them.

15 16 17 19

LINE IN

BAL/

UNBAL

LINE IN

BAL/

UNBAL

9 10

USB 3-4

LEVEL

SET

U +60

GAIN

5. XLR and /4" Combo Inputs [Chs.  and 2]

Input channels  and 2 on all ProFXv3 models may accept a balanced mic or line-level signal using an XLR connector. They are wired as follows, according to standards speciﬁed by the AES (Audio Engineering Society).

XLR Balanced Wiring:

Pin  = Shield (ground) Pin 2 = Positive (+ or hot) Pin 3 = Negative (– or cold)

SHIELD

HOT

COLD

Both channels may also accept /4" line-level signals driven by balanced or unbalanced sources. Additionally, both channels may accept Hi-Z sources (such as guitars) via the /4" input without the need for a separate DI box. Don't forget to engage the Hi-Z switch, though!

SHIELD

COLD

HOT

MUTE MUTE MUTE MUTE MUTE

Owner’s Manual

To connect balanced lines to these inputs, use a /4" Tip-Ring-Sleeve (TRS) plug. To connect unbalanced lines to these inputs, use a /4" mono (TS) phone plug. Wiring diagrams for both connectors are presented on page 8.

NEVER connect the output of an ampliﬁer directly to a ProFXv3’s input jack. This could damage the input circuitry and we wouldn’t want that now, would we?

8. Line Ins

These /4" jacks share circuitry (but not phantom power) with the mic preamps, and can be driven by balanced or unbalanced sources at almost any level. You can use these inputs for virtually any signal you’ll come across.

6. Line / Hi-Z Switch [Chs.  and 2]

To connect a guitar directly to the mixer without using a DI Box, press this switch in ﬁrst; then connect the output from the guitar to the channel’s /4" TRS input. The input impedance is optimized for direct connection and high-frequency ﬁdelity is assured.

In the out position, the channel’s /4" TRS input becomes a line input just like the other mono line inputs.

To use guitars or other instruments on other channels, you will need to use an external DI box ﬁrst. Without the DI box – or if this switch is not pressed in – guitars may sound dull and muddy.

ProFXv3 Professional Effects Mixer with USB

7. Mic Ins

This is a female XLR connector that accepts a balanced mic or line level input from almost any type of source. These Onyx mic preamps feature higher ﬁdelity and headroom rivaling any standalone mic preamp on the market today. These circuits are excellent at rejecting hum and noise.

Professional ribbon, dynamic, and condenser mics all sound excellent through these inputs. The mic / line inputs will handle any kind of level you can toss at them, without overloading.

Wiring diagrams for these XLR connectors are presented on the previous page.

NEVER connect the output of an ampliﬁer directly to a ProFXv3’s input jack. This could damage the input circuitry and we wouldn’t want that now, would we?

MIC

ONYX MIC PRE

LINE IN

BAL/

UNBAL

MIC

ONYX MIC PRE

LINE IN

BAL/

UNBAL

MIC

ONYX MIC PRE

11 12

9. Stereo Line Inputs

The stereo line inputs are designed for /4" TRS balanced or /4" TS unbalanced signals. They may accept any line-level instrument, eects device, CD player, etc.

If you are connecting a mono source, use the lef (mono) input, and the mono signals will appear on both sides of the main mix.

U +60

GAIN

USB 3-4

LEVEL

SET

NEVER connect the output of an ampliﬁer directly to a ProFXv3’s input jack. This could damage the input circuitry and we wouldn’t want that now, would we?

0. /8" Stereo Input

This stereo input may accept an /8" line-level signal from a phone, MP3 player, or other signal source.

Last one! NEVER connect the output of an ampliﬁer directly to a ProFXv3’s input jack. This could damage the input circuitry and we wouldn’t want that now, would we?

ProFXv3 Professional Effects Mixer with USB

. Insert Jacks

tip

This plug connects to one of the mixer’s channel insert jacks.

ring

tip

ring

sleeve

SEND to processor

RETURN from processor

(TRS plug)

Direct out with no signal interruption to master.

Insert only to ﬁrst “click.”

Channel Insert jack

Direct out with signal interruption to master.

Insert all the way in to the second “click.”

For use as an eects loop.

(TIP = SEND to eect, RING = RETURN from eect.)

MONO PLUG

STEREO

PLUG

These unbalanced /4" jacks are for connecting serial eects processors such as compressors, equalizers, de-essers, or ﬁlters.

Owner’s Manual

2. Low Cut Switches

All channels with a mic input have a low-cut switch (ofen referred to as a high-pass ﬁlter) that cuts bass frequencies below 00 Hz at a rate of 8 dB per octave.

The insert point is afer the gain control and low cut ﬁlter, but before the channel’s EQ and level. The channel signal can go out of the insert jack to an external device, be processed and come back in on the same insert jack.

To do this requires a standard insert cable that must be wired thusly:

Tip = send (output to eects device) Ring = return (input from eects device) Sleeve = common ground

Insert jacks may be used as channel direct outputs; post-gain, and pre-EQ. If you insert a TS (mono) /4" plug only partially (to the ﬁrst click) into an insert jack, the plug will not activate the jack switch and will not open the insert loop in the circuit (thereby allowing the channel signal to continue on its merry way through the mixer).

This allows you to tap out the channel signal without interrupting normal operation.

If you push the /4" TS plug in to the second click, you will open the jack switch and create a direct out, which does interrupt the signal in that channel. See illustration below.

Do not overload or short-circuit the signal you are tapping from the mixer. That will aect the internal signal.

We recommend that you use low-cut on every microphone application except kick drum, bass guitar, or bassy synth patches. These aside, there isn’t much down there that you want to hear, and ﬁltering it out makes the low stu you do want much more crisp and tasty. Not only that, but low-cut can help reduce the possibility of feedback in live situations, and it helps to conserve ampliﬁer power.

Another way to consider low-cut’s function is that it actually adds ﬂexibility during live performances. With the addition of low-cut,

you can safely use low equalization on vocals. Many times, bass shelving EQ can really beneﬁt voices. Trouble is, adding low EQ also boosts stage rumble, mic handling clunks and breath pops from way-down low. Applying low-cut removes all those problems, so you can add low EQ without blowing the woofers.

“U” like Unity gain

ProFXv3 Series mixers have a “U” symbol on almost every level control. It stands for “unity gain,” meaning no change in signal level. The labels on the controls are measured in decibels (dB), so you’ll know what you’re doing level-wise if you choose to change a control’s settings.

3. Gain Knobs and Level Set LEDs

If you haven’t already, please read the "Getting Started" section on page 4. Setting the gain correctly will ensure that the preampliﬁer’s gain is not too high, where distortion could occur, and not too low, where the quieter, exquisitely-delicate passages might be lost in background noise.

The gain knobs – in conjunction with the level set LEDs – adjust the input sensitivity of the mic and line inputs. This allows signals from the outside world to be adjusted to run through each channel at optimal internal operating levels.

For mono channels (mic input with a mono line input), the gain knob adjusts the input sensitivity of the mic and line inputs.

If the signal originates through the mic XLR jack, there will be 0 dB of gain with the knob fully down, ramping to 60 dB of gain fully up.

Through the /4" mono line inputs, there is –20 dB of attenuation fully down and 40 dB of gain fully up, with unity gain “U” at 2:00.

This 20 dB of attenuation can be very handy when you are inserting a hot signal, or when you want to add EQ gain, or both. Without this “virtual pad,” there is more chance of channel clipping.

Owner’s Manual

GAIN

For hybrid channels (mic input and stereo line input), the gain control just aects

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the microphone input.

Hybrid Channels:

• ProFX6v3 – Channels 3/4 (no gain knob)

• ProFX0v3 – Channels 5/6 – 7/8 (no gain knobs)

• ProFX2v3 – Channels 5/6 – 9/0

• ProFX6v3 – Channels 9/0 – 3/4

• ProFX22v3 – Channels 5/6 – 9/20

• ProFX30v3 – Channels 23/24 – 27/28

The gain control on the /8" stereo input channel has 20 dB of gain and 20 dB of attenuation.

The compression ratio is ﬁxed at around 6:, with a sof knee response. The threshold can be adjusted clockwise from o (no compression) to 0 dBu (max).

+20

+15

+10

SLOPE 6:1

OUTPUT SIGNAL STRENGTH dBu

-5

SLOPE 1:1

SOFT KNEE

1/8" Stereo Channels:

• ProFX6v3 – Channels 5/6 (no gain knob)

• ProFX0v3 – Channels 9/0 (no gain knobs)

• ProFX2v3 – Channels /2

• ProFX6v3 – Channels 5/6

• ProFX22v3 – Channels 2/22

• ProFX30v3 – Channels 29/30

ProFXv3 Professional Effects Mixer with USB

Next to every gain knob – except the /8" stereo input gain knob – lies a level set LED. These LEDs are used with the gain control to set the channel preampliﬁer gain just right for each source. If one or more channels are distorting, check the level set LEDs. If they are on continuously, turn down the gain.

4. Compressor Knobs

The following channels of each ProFXv3 mixer has an in-line compressor circuit with a variable threshold.

• ProFX6v3 – No compressor knobs

• ProFX0v3 – Channels  – 2

• ProFX2v3 – Channels  – 4

• ProFX6v3 – Channels  – 8

• ProFX22v3 – Channels  – 2

• ProFX30v3 – Channels  – 6

This is very useful for compression of vocals, and snare drums, for example, so you might consider connecting your vocal and drum mics to these channels, rather than one of the other channels.

When the incoming signal exceeds the threshold level set by this knob, the signal level is automatically compressed. This reduces the dynamic range and reduces the chance of distortion due to overloading the input signals.

constant volume level for the signal. It helps sources, such as vocals, “sit” properly in the mix; it is very useful for live sound.

Dynamic range is the dierence in level between the quietest and loudest parts of a song. A compressor “squeezes” the dynamic range, resulting in an overall steadier, more

-10 +5 +10 +15

INPUT SIGNAL STRENGTH dBu

+20-10 -5 +0

As an example, suppose the threshold is set to maximum. An incoming signal reaches the threshold of 0 dBu. As it increases beyond the threshold, it becomes compressed at a ratio of 6:. This means that even if the input further increases by 6 dB, the actual output only increases by  dB. This compresses the output signal, so there is more protection to your system from distortion and overload due to poor microphone technique (say it ain't so) and general pops, bangs and heavy metal screaming. The sof knee means that the compression slowly ramps up to 6: from the threshold. It does not jump abruptly to 6:, as this would be hard knee compression, and harder on the ears too.

The graph above shows the input signal level going into the compressor, versus the output level coming out of it. It is the typical graph to view when compressors are discussed, and is just the kind of thing our engineers like to discuss during the company Christmas party.

If the compressor is o, then the input = output. For example, an input signal level of +5 dBu results in an output level of +5 dBu. The diagonal line from lower lef to upper right represents x = y, that is, input = output.

At the maximum compression, the threshold is set at 0 dBu, and the input to output relationship is represented by the lower curve. If the input is –5 dBu (that is, below the threshold), the output is –5 dBu. As the input reaches 0 dBu, the output is a bit less than 0 dBu. If the input is +5 dBu, the output is about +2 dBu. If the input reaches +0 dBu, then the output is +3 dBu. Notice the shapely curve of the sof knee between the diagonal slope of x = y and the compressor slope of 6: (the compression ratio).



My High School math teacher, Mr. Marvin, thought that graphs might come

in handy for me one day. Finally!

ProFXv3 Professional Effects Mixer with USB

The other green curves represent in-between

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–

+15

–

20 Hz 100 Hz 1 kHz 10 k 20 k

–

+15

–

20 Hz 100 Hz 1 kHz 10 k 20 k

–

positions of the compressor knob, with higher thresholds before compression begins.

Outboard compressors ofen have controls such as compression ratio, threshold, sof knee/hard knee, attack time, and release time. These last two aect how quickly the compressor kicks in when the input exceeds the threshold, and how quickly it is released afer it drops below the threshold. In this compressor, these parameters are specially chosen to give you the best overall performance.

Adjust the threshold carefully, so your dynamic range is still lovely, without distortion or overload during the performance. Run through a few practice screams and high-notes, and adjust the compression as required.

Channel Equalization (EQ)

All ProFXv3 mixers – except for the ProFX6v3 – have 3-band EQ with shelving hi, peaking mid with adjustable mid frequency [ProFX6v3, ProFX22v3, ProFX30v3] and shelving low.

The ProFX6v3 has 2-band EQ: shelving hi and shelving low.

Shelving means that the circuitry boosts or cuts all frequencies past the speciﬁed frequency. For example, the low EQ boosts bass frequencies below 80 Hz and continuing down to the lowest note you never heard. Peaking means that certain frequencies form a “hill” around the center frequency.

With too much EQ, you can really upset things. We’ve designed a lot of boost and cut into each equalizer circuit because

we know that everyone will occasionally need that. But if you max the EQ on every channel, you’ll get mix mush. Equalize subtly and use the lef sides of the knobs (cut), as well as the right (boost). If you ﬁnd yourself repeatedly using a lot of boost or cut, consider altering the sound source, such as placing a mic dierently, trying a dierent kind of mic, a dierent vocalist, changing the strings, or gargling.

5. Hi EQ Knobs

The hi EQ provides up to 5 dB of boost or cut above 2 kHz, and it is also ﬂat (no boost or cut) at the detent. Use it to add sizzle to cymbals, an overall sense of transparency, or an edge

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to keyboards, vocals, guitar and bacon frying. Turn it down a little to reduce sibilance or to mask tape hiss.

6. Mid EQ Knobs 7. Freq Knobs

[ProFX6v3, ProFX22v3, ProFX30v3]

The ProFX6v3, ProFX22v3 and ProFX30v3 mixers employ a semi-parametric mid-sweep EQ. The gain (up to 5 dB of boost or cut) is set via the mid EQ, and then “aimed” at a speciﬁc frequency, from

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00 Hz to 8 kHz, via the freq control.

8. Mid EQ Knobs

Short for “midrange,” this knob provides up to 5 dB of boost or cut, centered at 2.5 kHz, also ﬂat at the center detent. Midrange EQ is ofen thought of as the most dynamic, because the frequencies that deﬁne any 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.

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Owner’s Manual

9. Low EQ Knobs

The low EQ provides up to 5 dB of boost or cut below 80 Hz. The circuit is ﬂat at the center detent position. This frequency represents the punch in bass drums, bass guitar, fat synth patches, and some really serious male singers who eat raw beef for breakfast.

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Owner’s Manual

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