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

OWNER’S MANUAL

USB 3-4

USB 1-2

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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.

2

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

3

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:

4

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

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TO PHONES/

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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

5

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

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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.

6

ProFXv3 Professional Effects Mixer with USB

Typical Recording System

ProFXv3 Rear Panel Features

POWER

≥2.0 A

ON

ProFX6v3 • ProFX10v3

ProFX12v3

1 2 3

12 VDC IN

12 3

POWER

ON

USB

MAIN OUTS

POWER USB

ON

4

BAL/

UNBAL

R

1 2 3

ProFX16v3 • ProFX22v3 • ProFX30v3

Owner’s Manual

L

. 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

7

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

1

ProFXv3 Professional Effects Mixer with USB

3

COLD

2

HOT

1

3

2

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.

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ProFXv3 Professional Effects Mixer with USB

ProFXv3 Front Panel Features

2

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.

6

11

12

13

14

15 16 17 19

LINE IN

BAL/

UNBAL

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LINE IN

BAL/

UNBAL

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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

1

3

COLD

1

3

2

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

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MUTE MUTE MUTE MUTE MUTE

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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.

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.

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?

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MIC

ONYX MIC PRE

LINE IN

BAL/

UNBAL

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MIC

ONYX MIC PRE

LINE IN

BAL/

UNBAL

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MIC

ONYX MIC PRE

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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.

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.

U +60

GAIN

USB 3-4

N

LEVEL

SET

10

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

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

U +60

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

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SLOPE 6:1

+0

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!

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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

10

+5

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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.

10

+5

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–5

10

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Owner’s Manual

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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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20. Aux Mon Knobs

These knobs tap a portion of each channel's signal to set up a nice monitor mix feeding stage monitors, independent of the main mix. Adjust these controls on each channel until the band is happy with the stage monitor mix.

The controls are o when fully turned down, deliver unity gain at the center detent, and can provide up to 0 dB of gain turned fully up.

The pan, mute and channel fader do not aect the monitor output, but the other channel controls will. The aux mon is pre-fader.

The overall output level may be adjusted with the aux master mon controls. Internal FX may also be added to the monitor mix with the GigFX master mon knobs.

2. Pre-Fader Switches

Aux sends -2 are always pre-fader, designed for stage monitor applications. Aux send 3 may be set to pre- or post-fader, so they may be used for monitors or eects.

ProFXv3 Professional Effects Mixer with USB

Pre-fader: with the pre switch engaged (pressed in, not commited to marriage), aux 3 delivers signals post-insert, post-low cut, post EQ, post-mute and pre-fader. Any changes made to the channel controls, except the fader, will aect the aux send signal.

Post-fader: with the pre switch disengaged (up), aux 3 delivers signals post-insert, post-low cut, post-mute, post-EQ and post-fader. Any changes made to the channel controls will aect the aux send signal.

20

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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 output level may be adjusted with the aux master FX knob. FX are then added to the main mix and subs -4 by raising the level of the FX fader.

FX Switches (Chs. –2) [ProFX6v3]

With this switch out, no FX are added to the mix. With this switch in, the channel is assigned to the FX send post-channel level knob.

ProFX6v3

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

With this switch out, each mono channel feeds both the lef and right sides of the main mix equally. For example:

• Playing a mono source: If you talk into a microphone connected to input , your sweet tones will be heard in both the lef and right loudspeakers.

21

• Overdubbing a mono source: if you are monitoring directly through the headphones, you can hear the overdub signal in both ears while you are playing.

With this switch pressed in, channel  will play only in the lef side of the main mix, and channel 2 will play in the right side. For example:

• Recording a stereo source: If you have a stereo microphone connected to the mic inputs, or if you are playing a stereo source into the line inputs, each side of the source can be recorded discretely onto a recorder connected to the main outputs.

14

22. Aux FX Knobs

These knobs tap a portion of each channel’s signal to set up a nice FX mix feeding the internal FX processor, and to feed external processors via the FX send.

The controls are o when fully turned down, deliver unity gain at the center detent, and can provide up to 0 dB of gain turned fully up.

The mute, channel fader and other channel controls aect the FX output, but pan does not. The aux FX is post-fader.

ProFXv3 Professional Effects Mixer with USB

The pan switch does not aect the other channels.

23. Pan Knobs

This control allows you to adjust how much of the channel signal is sent to the lef versus the right outputs.

The pan control employs a design called “Constant Loudness.” If you have a channel panned hard lef (or right) and then pan to the center, the signal is attenuated about 3 dB to maintain the same apparent loudness. Otherwise, it would make the sound appear much louder when panned center.

24. Mute Switches

Mute switches do just what they sound like they do. They turn o the signal by “routing” it into oblivion. Engaging a channel’s mute switch (almost) provides the same results as turning the fader all the way down (a pre-aux send is not aected by the channel fader, but it is by the mute switch).

Any channel assignments to the main mix, subgroup -2 or subgroup 3-4 will be interrupted and all of the aux sends will be silenced (both pre- and post-fader).

The channel insert will continue to provide a signal when a channel is muted. The mute button will illuminate when a channel's mute switch is engaged.

Mute switches are available on all ProFXv3 mixers except the ProFX6v3.

25. Assign Switches [ProFX2v3, ProFX6v3, ProFX22v3, ProFX30v3]

Alongside each channel fader are buttons referred to as channel assignment switches. Used in conjunction with the channel’s pan knob, they are used to determine the destination of the channel’s signal.

With the pan knob at the center detent, the lef and right sides receive equal signal levels (main mix L/R, sub -2 and sub 3-4). To feed only one side or the other, turn the pan knob accordingly.

If you are doing a mixdown to a 2-track, for example, simply engage the main mix switch on each channel that you want to hear, and they will be sent to the main mix bus. If you want to create a group of certain channels, engage either the -2 or 3-4 switches instead of the main mix, and they will be sent to the appropriate subgroup faders. From there, the groups may be sent back to the main mix (using the group assign switches above the group faders), allowing you to use the group faders as a master control for those channels.

If you are creating new tracks or bouncing existing ones, you will also use the -2 and 3-4 switches, but not the main mix switch. Here you do not want the groups sent back into the main mix bus, but sent out, via the sub out jacks, to your multitrack inputs.

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MUTE

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26. PFL Solo Switches [ProFX2v3, ProFX6v3, ProFX22v3, ProFX30v3]

When a channel’s solo switch is engaged, any existing selection is replaced by the solo signal, appearing at the control room outputs, phones and at the lef meter. The audible solo levels are then controlled by the CR and phones knobs. The solo levels appearing on the meters are not controlled by the CR and phones knob – you would not want that, anyway. What you do want to see is the actual channel level on the meters regardless of how loud the control room and phones output levels might be.

PFL means Pre-Fader Listen (post-EQ). With the PFL Solo switch engaged, solo will not be aected by a channel's mute switch position.

Remember, PFL taps the channel signal before the fader. If you have a channel’s fader set

way below “U” (unity gain), solo will not know that and will send a unity gain signal to the CR outs, phones output and meter display, which may raise some eyebrows.

27. Channel Faders

This is the last control in a channel’s signal path, and it adjusts the level of each channel onto the main mix. The “U” mark indicates unity gain, meaning no increase or decrease of signal level. All the way up provides an additional 0 dB, should you need to boost a section of a song. If you ﬁnd that the overall level is too quiet or too loud with the level near unity, check that the gain control is set correctly.

The “Channel Faders” on the ProFX6v3 and ProFX10v3 are actually "Channel Knobs". But they behave similarly.

28. USB Switch

When engaged, this switch overrides the /8" input and allows the USB return – stereo playback of iTunes® or a DAW via the USB connection, for example – to ﬂow through the signal path instead. Like any other input, this signal may also be EQ’d, sent to an aux bus, or mixed in with the other signals and assigned to subgroups or main outs.

USB 3-4

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Additional Inputs and Outputs

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31

30. FX Send [ProFX0v3, ProFX2v3, ProFX6v3, ProFX22v3, ProFX30v3]

This /4" TRS line-level output may be used to feed an external eects processor (FX), such as a nice sound eect or delay unit. The output from this jack is an exact copy of what goes into the internal FX processor, being the careful mix of all channels whose aux FX control is turned to more than minimum.

30

32

33

PENCIL SHARPENER

29. Aux Out / Mon Send [ProFX2v3, ProFX6v3,

ProFXv3 Professional Effects Mixer with USB

ProFX22v3, ProFX30v3]

Stage monitors allow the talented musicians in the band to hear themselves clearly on stage. This can be a good thing! The monitor mix may be carefully adjusted in level using the aux mon controls. These tap a portion of each channel's signal to provide a /4" TRS output here to feed external stage monitors. These could either be passive stage monitors powered by an external ampliﬁer, or powered stage monitors with their own built-in ampliﬁer.

The monitor signal is the sum (mix) of all the channels whose aux mon control is set to more than minimum. If they want “more me and less Brian,” you may turn up their channel's aux mon control, and turn down Brian’s.

34

35

(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 may be adjusted with the aux master FX knob. (This knob also aects the level going into the internal FX.)

The output is “post-fader,” so any changes to the channel faders will also aect the level going to the external processor.

The processed output from the eects processor is usually returned to a spare channel, and you may carefully mix the original unprocessed channel (dry) and the processed channel (wet). Altering the original channel fader increases both the wet and dry signals and keeps them at the same delicate ratio. For example, the reverb remains at the same level relative to the original.

3. FX Footswitch [ProFX0v3, ProFX2v3, ProFX6v3, ProFX22v3, ProFX30v3]

This /4" TRS connector is where to connect your favorite footswitch. This allows you to easily mute or un-mute the internal eects at will. Any one-button on/o footswitch will work.

If the internal FX have already been muted with the internal FX mute switch, then the footswitch has no eect.

16

The overall output level may be adjusted with the aux master mon knob. Additionally, you could add an external graphic EQ between this output and your powered monitors. This will allow you to adjust the EQ, and minimize the chance of feedback from nearby microphones.

The monitor output is not aected by the main mix fader or the channel faders. This allows you to set up the monitor mix and level just right, and not have it change when a channel fader or the main mix fader is adjusted. This is known as “pre-fader.”

There is one mon send jack on the ProFX2v3 and three aux out jacks on the ProFX6v3, ProFX22v3 and ProFX30v3.

ProFXv3 Professional Effects Mixer with USB

Main Outputs

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. Please check out page 8 for more information about the main outputs.

32. Sub Out Jacks [ProFX2v3, ProFX6v3, ProFX22v3, ProFX30v3]

These /4" jacks are usually patched to the inputs of a multitrack deck or to secondary ampliﬁers in a complex installation.

There are two sub out jacks on the ProFX2v3 and four sub out jacks on the ProFX6v3, ProFX22v3 and ProFX30v3.

33. Control Room Out Jacks [ProFX0v3, ProFX2v3, ProFX6v3, ProFX22v3, ProFX30v3]

These /4" jacks are usually patched to the inputs of a control room ampliﬁer or a headphone distribution ampliﬁer.

The control room outputs may also be used for other applications. The sound quality is just as impeccable as the main outputs. It may be used as an additional main mix output and this one will have its own level control. However, be aware that if a solo switch is engaged, the mix will be interrupted:

When a channel’s solo switch is engaged, any existing selection is replaced by the solo signal, appearing at the control room outputs,

phones and at the lef meter. The audible solo levels are then controlled by the control room knob. The solo levels appearing on the meters are not controlled by the control room knob – you would not want that, anyway. What you do want to see is the actual channel level on the meters regardless of how loud the control room output level might be.

Owner’s Manual

34. Phones Jack

This /4" TRS connector supplies the output to stereo

headphones.

The phones volume is controlled with the phones knob located above the main mix fader (except for the ProFX6v3, in which case it’s directly to the lef of the main mix knob).

Whenever a solo switch is engaged, you will only hear the soloed channel(s) in the headphones. This gives you the opportunity to audition the channels before they are added to the main mix. (Solo signals reaching the headphones are not aected by the channel level or main level, therefore turn down the phones level ﬁrst, as soloed channels may be loud.)

The phones output follows standard conventions:

Tip = Lef channel Ring = Right channel Sleeve = Common ground

WARNING: The headphone amp is loud and can cause permanent hearing damage.

Even intermediate levels may be painfully loud with some headphones. BE CAREFUL! Always turn the phones level control all the way down before connecting headphones or pressing a solo switch, or doing anything new that may aect the headphone volume. Then turn it up slowly as you listen carefully.

The signal leaving the phones jack may

also accept a post-blend mix of the inputs

and USB return if the “To Phones / Control Room” switch is engaged. More information about this switch (and the “Blend” knob) may be found on page 20.

The signal leaving the CR outs may also accept a post-blend mix of the inputs

and USB return if the “To Phones / Control Room” switch is engaged. More information about this switch (and the “Blend” knob) may be found on page 20. Because there are no control room outputs on the ProFX6v3, there is a “To Phones” only switch.

35. Pencil Sharpener

Need to take notes during a recording or live performance, but the pencil needs to be sharpened? This works like any ’ol electric pencil sharpener. Place your pencil in here to sharpen it and start writing notes!

Owner’s Manual

17

48V Phantom Power, Power LED, Main Meters and Rude Solo!

36. 48V Phantom Power Switch

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.

Press this switch in if your microphone requires phantom power. (Always check the position of this switch before connecting microphones.) The accompanying LED will illuminate red to indicate that phantom power is active. This is a global switch that aects all mic channels’ XLR jacks at once.

Never plug single-ended (unbalanced) micro phones, or ribbon mics into the mic input jacks if phantom power

is on. Do not plug instrument outputs into the mic XLR input jacks with phantom power on unless you know for certain it is safe to do so. Be sure the main mix fader is turned down when connecting microphones to the mic inputs when

ProFXv3 Professional Effects Mixer with USB

phantom power is turned on to prevent pops from getting through to the speakers.

37

36

37. Power LED

This LED will illuminate green when the mixer is turned on, as a reminder of how on it really is. If it is not on, then it is o, and the mixer becomes a rather nice weight for keeping your morning newspaper from blowing away in the wind.

If it does not turn on, make sure the power cord is correctly inserted at both ends, the local AC mains supply is active, and the power switch is on.

38. Main Meters

These peak meters are made up of two columns of twelve LEDs, with three colors to indicate dierent ranges of signal level, trac light style. They range from –30 at the bottom, to 0 in the middle, to OL at the top.

When a channel is soloed [ProFX2v3, ProFX6v3, ProFX22v3, ProFX30v3], the right meter shows no reading, and the lef meter shows the level of that channel’s signal level, pre-fader.

You can get a good mix with peaks ﬂashing anywhere between –20 and +0 dB on the meters. Most ampliﬁers clip at about +0 dBu, and some recorders aren’t so forgiving either. For best real-world results, try to keep your peaks between “0” and “+6.” Remember, audio meters are just tools to help assure you that your levels are “in the ballpark.” You don’t have to stare at them (unless you want to).

38

39

The meters on the ProFX6v3 are slightly dierent. It has only eight LEDs and they range from –24 to OL. Here you can get a good mix with peaks ﬂashing anywhere

between –2 and +8 dB on the meters.

39. Rude Solo LED [ProFX2v3, ProFX6v3,

ProFX22v3, ProFX30v3]

This large LED ﬂashes red when one or more solo switches are engaged. This acts as a reminder that what you hear in the control room and headphones is the soloed channel(s). If you forget that you are in solo mode, you can easily be tricked into thinking that something is wrong with your mixer. Hence, the rude solo light. Please forgive its rudeness, it is only trying to help, and wants to be your friend.

Because there are no solo switches on the ProFX6v3 and ProFX0v3, there are no Rude Solo LEDs, either.

18

ProFXv3 Professional Effects Mixer with USB

Aux Masters and Internal FX

41 42

40

43

44

Owner’s Manual

42. Preset Selector

Rotate this endless control to select one of the 24 preset eects. When the rotation stops, that preset number will ﬂash for 0 seconds. Push the control in prior to that in order to select the preset or let it revert back to the previously selected preset. The current preset number is shown in the display. The dierent presets are shown in the table below and on the mixer’s silkscreen near the main meters. Further details of each preset are explained in Appendix C on page 40. Only one preset may be selected at a time.

50

THEREMIN

100

FREQUENCY AMPLITUDE

45

0HIGHLOW

40. Aux Master Knobs [ProFX2v3, ProFX6v3,

ProFX22v3, ProFX30v3]

These provide overall control over the aux mon and aux FX levels just before they are delivered to the aux mon and aux FX outputs, as well as internal FX in the case of the FX master.

Auxiliary is usually the control you turn up when the lead singer glares at you, points at his stage monitor, and sticks his thumb up in the air. (It would follow that if the singer stuck his thumb down, you’d turn the knob down, but that never happens.)

The ProFX2v3 has a single aux master and no aux FX master.

 Bright Room 3 Doubler

2 Warm Lounge 4 Echo

3 Small Stage 5 Delay  (Fast)

4 Warm Theater 6 Delay 2 (Medium)

5 Warm Hall 7 Delay 3 (Slow)

6 Concert Hall 8 Ping-Pong Delay

7 Cathedral 9 Overdrive / Distortion

8 Small Plate 20 Spring Reverb

9 Large Plate 2 Early Reﬂections

0 Chorus  22 Auto-Wah

 Chorus 2 23 Flange

2 Delay + Reverb 24 Slapback Reverb

43. Preset Display

This display shows the number of the currently selected eects preset, as shown in the list of presets above. Rotate the preset selector knob right or lef to change a preset. When the mixer is turned on, the FX section will load up the last-used preset.

4. FX to Mon Knobs [ProFX2v3, ProFX6v3,

ProFX22v3, ProFX30v3]

These knobs route the eects output to the monitors. Use the mon controls to provide eects to monitors. Slowly add eects to the monitors by turning the mon knobs clockwise. Use the aux master knobs (described above) to monitor the amount sent.

The ProFX2v3 has a single FX to mon knob.

44. FX Mute Switch and LED

When engaged, the internal eects processor is muted, and its output will not appear on the main mix or monitor mix. The adjacent mute LED will illuminate as a reminder that the eects are muted. When power is ﬁrst applied to the mixer, this LED will illuminate and the FX will be muted for about 5 seconds while the little FX gerbils inside settle down.

If this switch is not engaged, then the internal eects are set free and may be added as required to the main mix and/or monitor mix.

If this switch is not engaged, then the internal eects may be muted or un-muted with a footswitch [all ProFXv3 mixers except the ProFX6v3].

Owner’s Manual

19

45. Theremin

A theremin is more of an instrument than an eect. That said, it ﬁts really well here in the FX section. Additionally, theremins can be expensive, take up a bit of space and can be unwieldy. But not here... just a simple two knob “theremin” built right into the mixer!

47. To Phones / Control Room Switch

By default, the control room and phones jacks output the 2-track LR mix (or soloed channels, if any are engaged). Push this switch in if you want to interrupt this signal and hear the blended signals instead.

The two knobs are frequency and amplitude. Frequency is another word for “pitch”. The frequency is at its lowest when the knob is fully counter-clockwise and at its highest when fully clockwise. Amplitude is another word for “volume”. The amplitude is at its lowest when the knob is fully counter-clockwise and at its highest when fully clockwise.

Don’t fret if your mixer doesn’t come with built-in Theremin knobs. They do not exist... yet. No doubt that would be a cool feature, but perhaps on our next mixer series...

Blend, Control Room and Phones

ProFXv3 Professional Effects Mixer with USB

46. Blend Knob

the /8" input) and USB -2 Return to be delivered to the main outputs (and phones and control room if the adjacent switch is engaged, see below). As an added bonus, this is all at zero-latency!

a pre-recorded track, for example.

46 48 49

USB 1-2

BLEND

TO PHONES/

CONTROL ROOM

The blend knob adjusts the level of all inputs (except

Use this knob while recording overdubs alongside

Knob position (L, C, R):

Because there are no control room outputs on the ProFX6v3, there is a “To Phones” only switch.

48. Control Room Knob

This knob is used to adjust the volume at the control room outputs, from (o) to maximum gain (max). Make sure that this knob is fully o [counter-clockwise] before selecting or adding a new source.

Because there are no control room outputs on the ProFX6v3, there is no control room knob, either.

49. Phones Knob

This knob is used to adjust the volume at the phones output from (o) to maximum gain (max). Make sure that this knob is fully o [counter-clockwise] before selecting or adding a new source.

WARNING: The headphone amp is loud,

5047

loud with some headphones. BE CAREFUL! Always turn this control all the way down before connecting headphones, or pressing a solo switch, or doing anything new that may aect the headphone volume. Then turn it up slowly as you listen carefully.

and can cause permanent hearing damage. Even intermediate levels may be painfully

50. Break Switch and LED

This important “take-a-break” switch quickly mutes all the microphones and line-level inputs to the main outs, cr outs and phones when the band is between sets. This will prevent protestors or rogue karaoke singers from storming the stage at the interval.

20

• Full Lef – Inputs = Full Volume

USB Return = No Volume

• Center – Inputs and USB Return = Equal Volume

• Full Right – Inputs = No Volume

USB Return = Full Volume

ProFXv3 Professional Effects Mixer with USB

The monitor send and FX send are not aected. If there is no sound coming out of the system, be sure to check this switch ﬁrst.

It is possible to play audio coming in from the computer via the USB inputs. For example, a soothing CD may be played while the band is o stage.

The adjacent break LED will illuminate as a reminder that the channels are muted.

FX, Sub and Main Faders and Switches!

Owner’s Manual

5. FX Knob / Fader

Stereo signals come through this FX fader – FX knob on the ProFX6v3 and ProFX0v3 – and continue on to the main mix fader. They contain the eects’ “wet” signals and are mixed together with the channels’ “dry” original signals. Turned fully up, it provides 0 dB of additional gain, the “U” mark is unity gain, and fully down is o.

52. FX to Subs Switches [ProFX2v3, ProFX6v3,

ProFX22v3, ProFX30v3]

Fancy yourself adding FX to the sub groups in addition to the main mix? Simply engage the switch to route FX to subs -2 and/or subs 3-4.

Because the ProFX2v3 has a single sub group (-2), it also has a single FX-to-sub (-2) assign switch.

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54

54. Subs Assign Switches [ProFX2v3, ProFX6v3,

ProFX22v3, ProFX30v3]

One popular use of the subs is to use them as master faders for a group of channels on their way to the main mix fader. Let us say you have a drum kit hogging up seven channels and you are going to want to control their group volume more conveniently. You do not want to try that with seven hands or seven ﬁngers, so just unassign these channels from the main mix and reassign them to sub -2 and engage the main mix L-R switch located above the fader. Now you may ride the entire drum mix with a single fader – sub -2.

Because the ProFX2v3 has a single sub -2 fader, it also has a single sub-to-L-R assign switch.

55. Main Mix Fader

This stereo fader allows you to adjust the levels of the main mix signals sent to the XLR and /4" main line-level outputs.

51

53

55

53. Sub -4 Faders [ProFX2v3, ProFX6v3,

ProFX22v3, ProFX30v3]

As you might expect, these faders control the levels of the signals sent to the sub out jacks. All channels that are assigned to subs, not muted, and not turned fully down will appear at the sub outs.

The sub signal is o when its fader is fully down, the “U” marking is unity gain, and fully up provides 0 dB additional gain. Each sub fader works as a stereo pair; sub  and 2 on a single fader, for example, to easily maintain the lef/right balance.

This gives you the ultimate feeling of power and control over the sound levels sent to your audience. Adjust this control carefully, with your good eye on the meters to check against overloading, and your good ear to the levels to make sure your audience (if any) is happy.

The main mix signals are o with the fader fully down, the “U” marking is unity gain, and fully up provides 0 dB of additional gain. This additional gain will typically never be needed, but once again, it’s nice to know that it’s there. The fader is stereo, as it aects both the lef and right of the main mix equally. This is the ideal control to slowly bring down at the end of a song (or quickly in the middle of a song if the need ever arises).

This control does not aect the aux / mon send or FX send outputs.

The “Main Mix Fader” on the ProFX6v3 and ProFX0v3 is actually a “Main Mix Knob”. But they behave similarly.

The ProFX2v3 has a single sub -2 fader, no sub 3-4 fader.

Owner’s Manual

21

Appendix A: Service Information

Bad Channel

If you think your mixer has a problem, please check out the following troubleshooting tips and do your best to conﬁrm the problem. Visit the Support section of our website (www.mackie.com) where you will ﬁnd lots of useful information such as FAQs, documentation and any updated PC drivers etc. You may ﬁnd the answer to the problem without having to send your mixer away.

Troubleshooting

No Power

• Our favorite question: Is it plugged in? Make sure the AC outlet is live [check with a tester or lamp].

• Our next favorite question: Is the power switch on? If not, try turning it on.

• Make sure the line cord is securely seated in the line cord socket and plugged all the way into the AC outlet.

ProFXv3 Professional Effects Mixer with USB

• Is the power LED on the top panel illuminated? If not, make sure the AC outlet is live. If so, refer to “No sound” below.

• The internal AC line fuse may be blown. This is not a user serviceable part. If you suspect the AC line fuse is blown, please see the “Repair” section next.

• Try the same source signal in another channel, set up exactly like the suspect channel.

• Is phantom power required for your microphone?

No sound

• Is the level knob for the input source turned all the way down? Verify that all the volume controls in the system are properly adjusted. Look at the level set LEDs and meters to ensure that the mixer is receiving a signal.

• Is the signal source working? Make sure the connecting cables are in good repair and securely connected at both ends. Make sure the master volume level is turned up suciently to drive the inputs of the speaker.

• Make sure the input source is not muted or has a processor loop engaged. If you ﬁnd something like this, make sure the level is turned down before disengaging the oending switch.

• Is the main level turned up?

• Are the EQs set to reasonable levels?

• Are any aux returns maxed out?

Hum

• Try disconnecting the cable connected to the input jack. If the noise disappears, it could be a “ground loop,” rather than a problem with the mixer.

Try some of the following troubleshooting ideas:

• Use balanced connections throughout your system for the best noise rejection.

• Whenever possible, plug all the audio equipment’s line cords into outlets which share a common ground. The distance between the outlets and the common ground should be as short as possible.

• Unplug anything from the other line-level outputs, such as monitor out, just in case one of the external pieces has a problem.

• Make sure that you are not overdriving the ampliﬁers. Check the loudspeaker average load impedance is not less than the minimum the ampliﬁer can handle. Check the speaker wiring.

Noise

• Turn the channel gains down, one by one. If the sound disappears, it’s either that channel or whatever is plugged into it, so unplug whatever that is. If the noise disappears, it’s from your whatever.

• Make sure none of the signal cables are routed near AC cables, power transformers, or other EMI-inducing devices.

• Is there a light dimmer or other SCR-based device on the same AC circuit as the mixer? Use an AC line ﬁlter or plug it into a dierent AC circuit.

22

ProFXv3 Professional Effects Mixer with USB

ASIO Blues?

Owner’s Manual

Microphone Stand

• There is a lot of great information here, including ASIO driver downloads, FAQs, troubleshooting, a forum and more! Please review before calling Technical Support:

o http://www.asio4all.org/

Other Issues

• Please email or call Technical Support if you are having any other issue not listed here:

o mackie.com/support-contact

o -800-898-32

Repair

The bottom panels of the ProFX6v3 and ProFX0v3 have three non-threaded holes that allow it to be ﬁtted with an optional microphone stand adapter. This lets you support the mixer on a standard mic stand, and adjust its height and level to whatever suits your strangely-complex set of preferences.

For warranty service, refer to the warranty

information on page 4.

Non-warranty service is available at a factoryauthorized service center. To locate the nearest service center, visit www.mackie.com/support/service-locator. Service for ProFXv3 Series mixers living outside the United States can be obtained through local dealers or distributors.

If you do not have access to our website, you can call our Tech Support department at -800-898-32, Monday-Friday during normal business hours, Paciﬁc Time, to explain the problem. Tech Support will tell you where the nearest factory-authorized service center is located in your area.

. Order the Atlas AD-B mic stand adapter available from many a ﬁne music store. (It is made and distributed by Atlas Sound.)

2. Use three Trilobular thread rolling screws 6-32 x /4" long to secure the adapter to the bottom of the mixer [see below].

Do not use screws longer than /4" as these could damage the circuit boards. Do not use screws shorter than /4" or the adapter will not be securely ﬁxed to the mixer.

Owner’s Manual

23

Appendix B: Technical Information

ProFXv3 Speciﬁcations

Noise Characteristics

Equivalent Input Noise (EIN) (50 Ω Source Impedance, 20 Hz to 20 kHz)

Mic in to Insert Send out, max gain –26 dBu

Residual Output Noise All outputs, master levels o, all channel levels o –95 dBu All outputs, master levels unity, one channel level unity

–85 dBu

Frequency Response

Mic input to any output (gain at unity, +0 dB / – dB )

20 Hz to 30 kHz

Distortion (THD+N)

(22 Hz to 80 kHz bandwidth) Mic in to Main Out (+4 dBu output) <0.03%

ProFXv3 Professional Effects Mixer with USB

Attenuation and Crosstalk

Adjacent Inputs @ kHz –90 dB Inputs to Outputs @ kHz –80 dB Fader O @ kHz –75 dB Mute Switch / Break Switch Mute @ 1 kHz –90 dB

Common Mode Rejection Ratio (CMRR)

Mic in to Main out, max gain,  kHz 70 dB

Maximum Levels

All inputs +22 dBu Main Mix XLR +28 dBu All other outputs +22 dBu

Impedances

Mic in 3.3 kΩ Channel Insert Return 0 kΩ All other inputs ≥20 kΩ Phones out 25 Ω All other outputs 20 Ω Unbalanced,

240 Ω Balanced

1

ProFX6v3, ProFX0v3, ProFX2v3

2

ProFX6v3, ProFX22v3, ProFX30v3

–28 dBu

–80 dBu

<0.0%2

–00 dB2

Equalization

ProFX6v3 Low ±5 dB @ 80 Hz



High ±5 dB @ 2 kHz

2

Low Cut Filter 8 dB/octave @ 00 Hz

ProFX0v3 • ProFX2v3 Low ±5 dB @ 80 Hz Mid ±15 dB @ 2.5 kHz



High ±5 dB @ 2 kHz

2

Low Cut Filter 8 dB/octave @ 00 Hz

ProFX6v3 • ProFX22v3 • ProFX30v3 All Channels (except /8" stereo channel) Low ±5 dB @ 80 Hz Mid ±5 dB 00 Hz – 8 kHz High ±5 dB @ 2 kHz Low Cut Filter 8 dB/octave @ 00 Hz

/8" Stereo Channel Low ±5 dB @ 80 Hz



Mid ±5 dB @ 2.5 kHz High ±5 dB @ 2 kHz

Maximum Voltage Gain (EQ Flat)

Mic Input Channel to Insert Output 60 dB /4" Main Output 80 dB XLR Main Output 86 dB /4" Sub Output 80 dB Aux Output (Pre-Fader) 80 dB



Aux Output (Post-Fader) 90 dB FX Send 90 dB FX Send [ProFX0v3] 80 dB USB Output 70 dB

Mono Line Input Channel to Insert Output 40 dB /4" Main Output 60 dB XLR Main Output 66 dB /4" Sub Output 60 dB Aux Output (Pre-Fader) 60 dB Aux Output (Post-Fader) 70 dB FX Send 70 dB FX Send [ProFX0v3] 60 dB USB Output 50 dB

Stereo Line Input Channel to /4" Main Output 20 dB XLR Main Output 26 dB /4" Sub Output 20 dB Aux Output (Pre-Fader) 20 dB Aux Output (Post-Fader) 30 dB FX Send 30 dB FX Send [ProFX0v3] 20 dB USB Output 0 dB

/8" Input to /4" Main Output 40 dB XLR Main Output 46 dB /4" Sub Output 40 dB Aux Output (Pre-Fader) 40 dB Aux Output (Post-Fader) 50 dB FX Send 50 dB FX Send [ProFX0v3] 40 dB USB Output 30 dB

USB Input to XLR Main Output 46 dB

24

ProFXv3 Professional Effects Mixer with USB

ProFXv3 Speciﬁcations continued...

Owner’s Manual

Digital Eects

Number of Presets 24 Favorite Preset 25 [drats!]

Meters

Main L/R Mix ProFX6v3 – Two columns of 8 segments each:

OL, +4, +8, +4, 0 (0 dBu), –4, –2, –24 All other ProFXv3 mixers – Two columns of 2 segments each:

OL, +5, +0, +6, +3, 0 (0 dBu), –2, –4, –7, –0, –20, –30

USB

Format USB 2.0 I/O  Stereo Input,

2 Stereo Outputs

A/D/A 24 bit, 44. kHz, 48 kHz,

96 kHz, 92 kHz

Phantom Power

48 VDC to all Mic channels simultaneously

ProFX6v3 Height 4.3 in / 09 mm Width 7.7 in / 450 mm Depth 7. in / 434 mm Weight 5.2 lb / 6.9 kg

ProFX22v3 Height 4.3 in / 09 mm Width 24. in / 62 mm Depth 7. in / 434 mm Weight 9.8 lb / 9.0 kg

ProFX30v3 Height 4.3 in / 09 mm Width 32.3 in / 820 mm Depth 7. in / 434 mm Weight 26.5 lb / 2.0 kg

Options

ProFX6v3 Carry Bag P/N 20579

ProFX0v3 Carry Bag P/N 205720 Dust Cover P/N 205726

AC Power Requirements

Power Consumption 30 watts (ProFX2v3) 40 watts (ProFX6v3) 45 watts (ProFX22v3) 50 watts (ProFX30v3)

Universal AC Power Supply 00 – 240 VAC, 50 – 60 Hz Power Connector ProFX6v3, ProFX0v3 2VDC @ 2A Class I Hard-Wired

Wall Mount Adapter

ProFX2v3, ProFX6v3, ProFX22v3, ProFX30v3 3 Pin IEC Line Cord

Physical Dimensions and Weight

ProFX6v3 Height 2.8 in / 7 mm Width 7.5 in / 9 mm Depth 8.4 in / 23 mm Weight 2.6 lb / .2 kg

ProFX0v3 Height 3.2 in / 8 mm Width 0.7 in / 272 mm Depth .9 in / 302 mm Weight 4.9 lb / 2.2 kg

ProFX2v3 Carry Bag P/N 20572 Dust Cover P/N 205727 Rack Ear Kit P/N 205623

ProFX6v3 Carry Bag P/N 205722 Dust Cover P/N 205728 Rack Ear Kit P/N 205634

ProFX22v3 Carry Bag P/N 205723 Dust Cover P/N 205729

ProFX30v3 Dust Cover P/N 205730

LOUD Audio, LLC is always striving to improve our products by incorporating new and improved materials, components, and manufacturing methods. Therefore, we reserve the right to change these speciﬁcations at any time without notice.

The “Running Man” is a registered trademark of LOUD Audio, LLC. All other brand names mentioned are trademarks or registered trademarks of their respective holders, and are hereby acknowledged.

ProFX2v3 Height 3.9 in / 99 mm Width 3.0 in / 330 mm Depth 4.8 in / 376 mm Weight 7.9 lb / 3.6 kg

Please check our website for any updates to this manual: www.mackie.com.

Owner’s Manual

25

ProFX6v3 Dimensions

WEIGHT

2.6 lb

1.2 kg

2.9 in

74 mm

8.4 in

213 mm

7.5 in / 191 mm

ProFXv3 Professional Effects Mixer with USB

ProFX10v3 Dimensions

WEIGHT

4.9 lb

2.2 kg

302 mm

11.9 in

MIC/LINE

ONYX MIC PRE

OFF

ON

HI-Z

INSERT

OFF

ON

LOW CUT

100Hz

U

G

A

C

I

N

M

LEVEL

U +60

+40-20

GAIN

OFF MAX

COMP

HI

12kHz

-15U+15

U

MID

2.5kHz

+15

-15

U

LOW

80Hz

+15

-15

U

FX FX FX FX FX FX FX

+10

L R L R L R L R L R L R L R

1

U

+10

∞

LEVEL

MIC

ONYX MIC PRE ONYX MIC PRE ONYX MIC PRE

OFF

ON

HI-Z

LINE IN 3

INSERT

OFF

ON

LOW CUT

100Hz

U

G

A

C

I

N

M

LEVEL

SET

U +60

+40-20

GAIN

OFF MAX

COMP

HI

12kHz

-15U+15

U

MID

2.5kHz

+15

-15

U

LOW

80Hz

+15

-15

U

+10

2

3

U

+10

∞

LEVEL

UNBAL

OFF

ON

N

+40-20

HI

12kHz

MID

2.5kHz

LOW

80Hz

+10

LINE

MIC

(MONO)

L

LINE IN 9/10

OFF

BAL/

LINE IN 5

UNBAL

ON

USB 3-4

R

BAL/

LINE IN 4

LINE IN 6

UNBAL

INSERT

OFF

1

BRIGHT ROOM

LINE

2

WARM LOUNGE

3

SMALL STAGE

(MONO)

ON

4

LOW CUT

100Hz

U

G

A

C

I

N

M

LEVEL SET

U +60

+40-20

GAIN

-15U+15

U

+15

-15

U

+10

4

U

+10

∞

LEVEL

WARM THEATER

5

WARM HALL

6

CONCERT HALL

L

7

CATHEDRAL

8

SMALL PLATE

9

LARGE PLATE

LEVEL

BAL/

10

CHORUS 1

SET

UNBAL

LINE IN 7

11

CHORUS 2

12

DELAY + REVERB

13

DOUBLER

14

ECHO

15

DELAY 1

R

16

DELAY 2

17

DELAY 3

18

PING-PONG DELAY OVERDRIVE/DISTORTION

19

LINE IN 8

SPRING REVERB

20

EARLY REFLECTIONS

21

AUTO-WAH

22

FLANGE

23

SLAPBACK REVERB

24

HI

12kHz

MID

2.5kHz

LOW

80Hz

HI

12kHz

-15U+15

U

MID

2.5kHz

+15

-15

U

LOW

80Hz

+15

-15

U

+10

5/6

7/8

U

+10

∞

LEVEL

-15U+15

-15

FOOT

SWITCH

FX MUTE

9/10

∞

LEVEL

U

HI

12kHz

MID

2.5kHz

+15

LOW

80Hz

+15

+10

U

+10

BAL/

UNBAL

L

L R

BAL/

UNBAL

CONTROL ROOM

FX SEND PHONES

MAIN

METERS

0dB=0dBu

48V

1-8 USB 1-2

BLEND

L R

TO PHONES/CR

MUTES ALL CHANNELS

MAX MAX

PHONESCONTROL

ROOM

FX MAIN

U

+10

∞

LEVEL

3.3 in

84 mm

R

OL 15 10 6 3 0 2 4 7 10 20 30

BREAK

U

+10

26

10.7 in / 272 mm

ProFXv3 Professional Effects Mixer with USB

ProFX12v3 Dimensions

Owner’s Manual

4.0 in

102 mm

WEIGHT

7.9 lb

3.6 kg

14.8 in

376 mm

MIC/LINE

ONYX MIC PRE

OFF

ON

HI-Z

INSERT

OFF

ON

LOW CUT

100Hz

U

G

A

C

I

N

M

LEVEL

SET

U +60

+40-20

GAIN

OFF MAX

COMP

HI

12kHz

-15U+15

U

MID

2.5kHz

-15

+15

U

LOW

80Hz

-15

+15

U

MON

+10

U

FX FX FX FX FX FX FX

+10

L R

1

2

1-2

L-R

PFL

SOLO

MIC

ONYX MIC PRE

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

BAL/

UNBAL

LINE IN 5LINE IN 4LINE IN 3

LINE IN 6

INSERT

OFF

ON

LOW CUT

100Hz

U

G

A

I

C

I

M

I

N

M

LEVEL

SET

U +60

+40-20

GAIN

OFF MAX

COMP

HI

12kHz

-15U+15

U

MID

2.5kHz

-15

+15

U

LOW

80Hz

-15

+15

U

MON

+10

U

+10

L R

3

4

5/6

1-2

L-R

PFL

SOLO

MIC MIC MIC

(MONO)

L

BAL/

UNBAL

R

OFF

ON

C

G

A

I

N

LEVEL

SET

HI

12kHz

MID

2.5kHz

+15

LOW

80Hz

+15

MON

+10

1-2

L-R

PFL

SOLO

13.0 in / 330 mm

(MONO)

L

BAL/

LINE IN 7

UNBAL

R

LINE IN 8 LINE IN 10

OFF

ON

LOW CUT

100Hz

C

G

I

M

A

I

N

LEVEL

SET

U +60

GAIN

HI

12kHz

-15U+15

U

MID

2.5kHz

-15

+15

U

LOW

80Hz

-15

+15

U

MON

+10

U

+10

L R

7/8

1-2

L-R

PFL

SOLO

BAL/

UNBAL

MON SEND

(MONO)

L

BAL/

LINE IN 9

UNBAL

LINE IN 11/12

R

OFF

ON

USB 3-4

LOW CUT

100Hz

U

C

G

I

M

A

I

N

LEVEL SET

U +60

-20 +20

GAIN

U

HI

12kHz

-15U+15

+15

-15

U

MID

2.5kHz

-15

+15

U

LOW

80Hz

-15

+15

U

MON

+10

U

FX

+10

L R

9/10

11/12

1-2

L-R

PFL

SOLO

BAL/

L R

UNBAL

FX SEND

L R

BAL/ UNBAL

FOOT SWITCH

CONTROL ROOM

2

1

BAL/ UNBAL

PHONES

SUB OUT

48V POWER

MAIN

METERS

0dB=0dBu

BRIGHT ROOM

1

WARM LOUNGE

2 3 4 5 6

7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

AUX MASTER

FX TO MON

1-2

L-R

SMALL STAGE WARM THEATER WARM HALL CONCERT HALL CATHEDRAL SMALL PLATE LARGE PLATE CHORUS 1 CHORUS 2 DELAY + REVERB DOUBLER ECHO DELAY 1 DELAY 2 DELAY 3 PING-PONG DELAY OVERDRIVE/DISTORTION SPRING REVERB EARLY REFLECTIONS AUTO-WAH FLANGE SLAPBACK REVERB

U

+10

U

+10

FX

OL 15 10 6

PRESETS

3 0 2 4 7

FX MUTE

10 20 30

L R

RUDE SOLO

MAX

1-10 USB 1-2

PHONES

BLEND

MAX

TO PHONES/

CONTROL

CONTROL RM

ROOM

BREAK

SUB

MUTES ALL CHANNELS

1-2

MAIN

L-RPFL

1-2

ProFX16v3 Dimensions

MIC/LINE

ONYX MIC PRE

OFF

ON

HI-Z

INSERT

OFF

ON

LOW CUT

100Hz

U

G

A

C

I

N

M

LEVEL

SET

U +60

+40-20

GAIN

OFF MAX

COMP

HI

12kHz

-15U+15

U

MID

-15

WEIGHT

15.2 lb

6.9 kg

17. 1 in

434 mm

+15

600

FREQ

100Hz 8kHz

U

LOW

80Hz

-15

+15

U

MON 1

+10

U

MON 2

+10

U

MON 3

+10

POST

PRE

U

FX FX FX FX FX FX FX FX FX FX FX FX

+10

1

1-2

3-4

L-R

PFL

SOLO

MIC/LINE

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 ONYX MIC PRE ONYX MIC PRE

OFF

BAL/

UNBAL

ON

HI-Z

INSERT

OFF

ON

LOW CUT

100Hz

U

G

A

C

I

N

M

LEVEL

SET

U +60

+40-20

GAIN

OFF MAX

COMP

HI

12kHz

-15U+15

U

MID

-15

+15

600

FREQ

100Hz 8kHz

U

LOW

80Hz

-15

+15

U

MON 1

+10

U

MON 2

+10

U

MON 3

+10

POST

PRE

U

+10

2

1-2

3-4

L-R

PFL

SOLO

UNBAL

INSERT

OFF

ON

LOW CUT

100Hz

U

G

A

C

I

N

M

LEVEL

SET

U +60

+40-20

GAIN

OFF MAX

COMP

HI

12kHz

-15U+15

U

MID

-15

+15

600

FREQ

100Hz 8kHz

U

LOW

80Hz

+15

U

MON 1

+10

U

MON 2

+10

U

MON 3

+10

U

+10

3

SOLO

100Hz 8kHz

U

LOW

80Hz

-15

+15

U

MON 1

+10

U

MON 2

+10

U

MON 3

+10

POST

PRE

U

+10

4

5

1-2

3-4

L-R

PFL

SOLO

MIC

BAL/

UNBAL

INSERT

OFF

ON

LOW CUT

100Hz

U

G

A

C

I

N

M

LEVEL SET

U +60

+40-20

GAIN

OFF MAX

COMP

HI

12kHz

-15U+15

U

MID

-15

+15

600

FREQ

100Hz 8kHz

U

LOW

80Hz

-15

+15

U

MON 1

+10

U

MON 2

+10

U

MON 3

+10

POST

PRE

U

+10

6

1-2

3-4

L-R

PFL

SOLO

(MONO) (MONO) (MONO)

BAL/

L

UNBAL

BAL/

LINE IN 13

LINE IN 11

LINE IN 9LINE IN 8LINE IN 7LINE IN 6LINE IN 5LINE IN 4LINE IN 3

UNBAL

R

LINE IN 14

LINE IN 12

LINE IN 10

INSERT

OFF

ON

LOW CUT

100Hz

U

G

A

C

I

N

M

LEVEL

SET

U +60

+40-20

GAIN

OFF MAX

COMP

HI

12kHz

-15U+15

U

MID

-15

+15

600

FREQ

100Hz 8kHz

U

LOW

80Hz

-15

+15

U

MON 1

+10

U

MON 2

+10

U

MON 3

+10

POST

PRE

U

+10

7

1-2

3-4

L-R

PFL SOLO

OFF

ON

LOW CUT

100Hz

U

G

C

I

G

A

M

A

I

N

I

N

LEVEL

SET

U +60

+40-20

GAIN

U

HI

12kHz

-15U+15

+15

-15

U

MID

-15

+15

600

FREQ

100Hz 8kHz

U

LOW

80Hz

+15

U

MON 1

+10

U

MON 2

+10

U

MON 3

+10

U

+10

8

PFL

SOLO

100Hz 8kHz

U

LOW

80Hz

-15

+15

U

MON 1

+10

U

MON 2

+10

U

MON 3

+10

POST

PRE

U

+10

9/10

11/12

1-2

3-4

L-R

PFL

SOLO

17.7 in / 450 mm

4.4 in

112 mm

MICMICMIC

BAL/

1 3

UNBAL

L

BAL/

FOOT SWITCH

2 4

UNBAL

OFF

ON

HI

12kHz

MID

2.5kHz

LOW

80Hz

MON 1

MON 2

MON 3

INPUTS USB 1-2

CONTROL ROOM

1-2

3-4

L-R

PFL

SOLO

AUX OUT

BAL/

1

UNBAL

BAL/

2 4

UNBAL

SUB OUT

BAL/

L

UNBAL

CONTROL ROOM

BRIGHT ROOM

1

WARM LOUNGE

2

SMALL STAGE

3

WARM THEATER

4

WARM HALL

5

CONCERT HALL

6

CATHEDRAL

7

SMALL PLATE

8

LARGE PLATE

9

CHORUS 1

10

CHORUS 2

11

DELAY + REVERB

12

DOUBLER

13

ECHO

14

DELAY 1

15

DELAY 2

16

DELAY 3

17

PING-PONG DELAY

18

OVERDRIVE/DISTORTION

19

SPRING REVERB

20

EARLY REFLECTIONS

21 22

AUTO-WAH

23

FLANGE

24

SLAPBACK REVERB

AUX

MASTER

U

MON 1

+10

U

MON 2

+10

U

MON 3

+10

U

FX

+10

BLEND PHONESCONTROL

1-2

3-4 L-R L-R

SUB1-2FX

FX

3

R

U

+10

U

+10

U

+10

MAX MAX

ROOM

SUB3-4

PHONES

POWER

48V

MAIN

METERS

0dB=0dBu

OL 15 10 6 3 0 2 4 7 10 20 30

L R

RUDE SOLO

MON 1

MON 2

PRESETS

MON 3

FX MUTE

MAX

BREAKTO PHONES/

MUTES ALL CHANNELS

MAIN

BAL/ UNBAL

LINE IN 15/16

R

OFF

ON

LOW CUT

USB 3-4

100Hz

U

C

I

G

M

A

I

N

LEVEL SET

U +60

-20 +20

GAIN

HI

12kHz

-15U+15

U

MID

-15

+15

600

-15U+15

FREQ

U

LOW

80Hz

-15

+15

U

MON 1

+10

U

MON 2

+10

U

MON 3

+10

POST

PRE

U

+10

L RL RL RL RL RL RL RL RL RL RL RL R

13/14

15/16

1-2

3-4

L-R

PFL

SOLO

Owner’s Manual

27

ProFX22v3 Dimensions

WEIGHT

19.8 lb

9.0 kg

MIC/LINE

ONYX MIC PRE

ONYX MIC PRE ONYX MIC PRE

OFF

ON

HI-Z

INSERT

OFF

ON

LOW CUT

100Hz

U

G

LEVEL

A

C

I

N

SET

M

U +60

+40-20

GAIN

COMP

HI

12kHz

-15U+15

U

MID

-15

+15

600

FREQ

100Hz 8kHz

U

LOW

80Hz

17.1 in

434 mm

ProFXv3 Professional Effects Mixer with USB

80Hz

-15

+15

U

MON 1

+10

U

MON 2

+10

U

MON 3

+10

POST

PRE

U

FX FX FX FX FX FX FX FX FX FX FX FX FX FX FX FX FX FX

+10

1

2

1-2

3-4

L-R

PFL

SOLO

4.4 in

112 mm

MIC

ONYX MIC PRE

BAL/

UNBAL

LINE IN 4

LINE IN 3

INSERT

OFF

ON

LOW CUT

100Hz

U

G

LEVEL

A

C

I

N

SET

M

U +60

+40-20

GAIN

COMP

HI

12kHz

-15U+15

U

MID

-15

+15

600

FREQ

100Hz 8kHz

U

LOW

80Hz

-15

+15

U

MON 1

+10

U

MON 2

+10

U

MON 3

+10

POST

PRE

U

+10

3

4

1-2

3-4

L-R

PFL

SOLO

UNBAL

LINE IN 7

LINE IN 6

LINE IN 5

INSERT

OFF

ON

LOW CUT

100Hz

U

G

LEVEL

A

C

I

N

SET

M

U +60

+40-20

GAIN

COMP

HI

12kHz

-15U+15

U

MID

-15

+15

600

FREQ

100Hz 8kHz

U

LOW

80Hz

-15

+15

U

MON 1

+10

U

MON 2

+10

U

MON 3

+10

POST

PRE

U

+10

5

6

7

1-2

3-4

L-R

PFL

SOLO

UNBAL

LINE IN 10

LINE IN 9

LINE IN 8

INSERT

OFF

ON

LOW CUT

100Hz

U

G

LEVEL

A

C

I

N

SET

M

U +60

+40-20

GAIN

COMP

HI

12kHz

-15U+15

U

MID

-15

+15

600

FREQ

100Hz 8kHz

U

LOW

80Hz

-15

+15

U

MON 1

+10

U

MON 2

+10

U

MON 3

+10

POST

PRE

U

+10

L R

8

9

10

1-2

3-4

L-R

PFL

SOLO

UNBAL

LINE IN 13

LINE IN 12

LINE IN 11

INSERT

OFF

ON

LOW CUT

100Hz

U

G

LEVEL

A

C

I

N

SET

M

U +60

+40-20

GAIN

COMP

HI

12kHz

-15U+15

U

MID

-15

+15

600

FREQ

100Hz 8kHz

U

LOW

80Hz

-15

+15

U

MON 1

+10

U

MON 2

+10

U

MON 3

+10

POST

PRE

U

+10

L R

11

1-2

3-4

L-R

PFL

SOLO

OFF

ON

LOW CUT

100Hz

U

G

LEVEL

A

C

I

N

SET

M

U +60

+40-20

GAIN

OFF MAX

OFF MAXOFF MAXOFF MAXOFF MAXOFF MAXOFF MAXOFF MAXOFF MAXOFF MAXOFF MAXOFF MAXOFF MAX

COMP

HI

12kHz

-15U+15

U

MID

-15

+15

600

FREQ

100Hz 8kHz

U

LOW

80Hz

-15

+15

U

MON 1

+10

U

MON 2

+10

U

MON 3

+10

POST

PRE

U

+10

L R

12

13

14

1-2

3-4

L-R

PFL

SOLO

ONYX MIC PRE

LINE IN 15LINE IN 14

LINE IN 16

LOW CUT

100Hz

G

C

I

A

M

I

SET

U +60

GAIN

-15U+15

U

-15

+15

600

100Hz 8kHz

U

-15

+15

U

+10

U

+10

U

+10

POST

PRE

U

+10

15/16

1-2

ONYX MIC PRE

(MONO) (MONO) (MONO)

L

BAL/

LINE IN 17

UNBAL

R

LINE IN 18

OFF

ON

LOW CUT

100Hz

G

LEVEL

C

I

A

M

I

N

SET

U +60

GAIN

U

HI

12kHz

+15

-15

U

MID

-15

+15

600

FREQ

100Hz 8kHz

U

LOW

80Hz

-15

+15

U

MON 1

+10

U

MON 2

+10

U

MON 3

+10

POST

PRE

U

+10

17/18

1-2

3-4

L-R

PFL

SOLO

MIC

ONYX MIC PRE

LINE IN 19

LINE IN 20

LOW CUT

100Hz

M

U +60

GAIN

-15U+15

-15

100Hz 8kHz

-15

POST

PRE

19/20

BAL/

1 3

UNBAL

L

BAL/

FOOT SWITCH

2 4

UNBAL

USB 3-4

U

GAIN

U

+15

U

+10

U

+10

U

+10

U

+10

L RL RL RL RL RL RL RL RL RL RL RL R

21/22

1

OFF

2 4

ON

L R

HI

12kHz

MID

2.5kHz

LOW

80Hz

MON 1

MON 2

MON 3

INPUTS USB 1-2

TO PHONES/

CONTROL ROOM

1-2

3-4

L-R

PFL

SOLO

AUX OUT

BAL/ UNBAL

SUB OUT

BAL/ UNBAL

CONTROL ROOM

BRIGHT ROOM

1

WARM LOUNGE

2

SMALL STAGE

3

WARM THEATER

4

WARM HALL

5

CONCERT HALL

6

CATHEDRAL

7

SMALL PLATE

8

LARGE PLATE

9

CHORUS 1

10

CHORUS 2

11

DELAY + REVERB

12

DOUBLER

13

ECHO

14

DELAY 1

15

DELAY 2

16

DELAY 3

17

PING-PONG DELAY

18

OVERDRIVE/DISTORTION

19

SPRING REVERB

20

EARLY REFLECTIONS

21

AUTO-WAH

22

FLANGE

23

SLAPBACK REVERB

24

AUX

MASTER

U

MON 1

+10

U

MON 2

+10

U

MON 3

+10

U

FX

+10

BLEND

3-4 L-R L-R

SUB1-2FX

CONTROL

ROOM

FX

3

U

MON 1

+10

U

MON 2

+10

U

MON 3

+10

MAX MAX

SUB3-4

48V

METERS

L R

RUDE SOLO

MUTES ALL CHANNELS

PHONES

POWER

MAIN

0dB=0dBu

OL 15 10

6 3 0 2 4

7 10 20 30

PRESETS

FX MUTE

PHONES

BREAK

MAIN

BAL/ UNBAL

LINE IN 21/22

R

OFF

ON

G

LEVEL

C

I

A

I

N

SET

-20 +20

HI

12kHz

-15U+15

U

MID

+15

600

-15U+15

FREQ

U

LOW

80Hz

-15

+15

U

MON 1

+10

U

MON 2

+10

U

MON 3

+10

POST

PRE

U

+10

1-2

3-4

L-R

PFL

SOLO

24.1 in

612 mm

28

ProFXv3 Professional Effects Mixer with USB

ProFX30v3 Dimensions

MIC/LINE

MIC

ONYX MIC PRE

BAL/

UNBAL

LINE IN 8

LINE IN 9

LINE IN 10

INSERT

OFF

ON

LOW CUT

100Hz

U

G

LEVEL

A

C

I

N

SET

M

U +60

+40-20

GAIN

OFF MAX

COMP

HI

12kHz

-15U+15

U

MID

+15

-15

600

FREQ

100Hz 8kHz

U

LOW

80Hz

+15

-15

U

MON 1

+10

U

MON 2

+10

U

MON 3

+10

POST

PRE

U

+10

L R

8

9

10

1-2

3-4

L-R

PFL

SOLO

17.1 in

434 mm

ONYX MIC PRE

ONYX MIC PRE ONYX MIC PRE

ONYX MIC PRE

OFF

BAL/

UNBAL

ON

HI-Z

LINE IN 3

INSERT

OFF

ON

LOW CUT

100Hz

U

G

LEVEL

A

C

I

N

SET

M

U +60

+40-20

GAIN

OFF MAX

COMP

HI

12kHz

-15U+15

U

MID

+15

-15

600

FREQ

100Hz 8kHz

U

LOW

80Hz

+15

-15

U

MON 1

+10

U

MON 2

+10

U

MON 3

+10

POST

PRE

U

FX FX FX FX FX FX FX FX FX FX FX FX FX FX FX FX FX FX FX FX FX FX FX FX FX FX

+10

1

2

3

1-2

3-4

L-R

PFL

SOLO

BAL/

UNBAL

LINE IN 4

LINE IN 5

LINE IN 6

INSERT

LOW CUT

100Hz

U

G

A

C

I

M

U +60

GAIN

OFF MAX

COMP

-15U+15

U

+15

-15 600

100Hz 8kHz

U

+15

-15

U

+10

U

+10

U

+10

POST

PRE

U

+10

4

LINE IN 7

INSERT

OFF

ON

LEVEL

I

N

SET

+40-20

HI

12kHz

MID

FREQ

LOW

80Hz

MON 1

MON 2

MON 3

1-2

3-4

L-R

PFL

SOLO

OFF

ON

LOW CUT

100Hz

U

G

LEVEL

A

C

I

N

SET

M

U +60

+40-20

GAIN

OFF MAX

COMP

HI

12kHz

-15U+15

U

MID

+15

-15

600

FREQ

100Hz 8kHz

U

LOW

80Hz

+15

-15

U

MON 1

+10

U

MON 2

+10

U

MON 3

+10

POST

PRE

U

+10

5

6

7

1-2

3-4

L-R

PFL

SOLO

Owner’s Manual

WEIGHT

26.5 lb

12.0 kg

4.4 in

112 mm

MIC

ONYX MIC PRE

BAL/

UNBAL

LINE IN 11

LINE IN 12

LINE IN 13

LINE IN 14

INSERT

OFF

ON

LOW CUT

100Hz

U

G

LEVEL

A

C

I

N

SET

M

U +60

+40-20

GAIN

OFF MAX

COMP

HI

12kHz

-15U+15

U

MID

+15

-15

600

FREQ

100Hz 8kHz

U

LOW

80Hz

+15

-15

U

MON 1

+10

U

MON 2

+10

U

MON 3

+10

POST

PRE

U

+10

L R

11

1-2

3-4

L-R

PFL

SOLO

LINE IN 15

INSERT

OFF

ON

LEVEL

A

I

N

SET

+40-20

HI

12kHz

MID

+15

FREQ

LOW

80Hz

+15

MON 1

+10

MON 2

+10

MON 3

+10

12

1-2

3-4

L-R

PFL SOLO

OFF

ON

LOW CUT

100Hz

U

G

LEVEL

A

C

I

N

SET

M

U +60

+40-20

GAIN

OFF MAX

COMP

HI

12kHz

-15U+15

U

MID

+15

-15

600

FREQ

100Hz 8kHz

U

LOW

80Hz

+15

-15

U

MON 1

+10

U

MON 2

+10

U

MON 3

+10

POST

PRE

U

+10

L R

13

14

15

1-2

3-4

L-R

PFL

SOLO

UNBAL

LINE IN 16

LINE IN 17

LINE IN 18

INSERT

OFF

ON

LOW CUT

100Hz

100Hz 100Hz

U

G

LEVEL

A

C

I

N

SET

M

U +60

+40-20

GAIN

OFF MAX

COMP

HI

12kHz

-15U+15

U

MID

+15

-15

600

FREQ

100Hz 8kHz

U

LOW

80Hz

+15

-15

U

MON 1

+10

U

MON 2

+10

U

MON 3

+10

POST

PRE

U

+10

L R

16

17

18

1-2

3-4

L-R

PFL

SOLO

BAL/

UNBAL

LINE IN 19

INSERT

OFF

ON

LOW CUT

U

G

LEVEL

A

C

I

N

SET

M

U +60

+40-20

GAIN

HI

12kHz

-15U+15

U

MID

+15

-15 600

FREQ

100Hz 8kHz

U

LOW

80Hz

+15

-15

U

MON 1

+10

U

MON 2

+10

U

MON 3

+10

POST

PRE

U

+10

L R

19

1-2

3-4

L-R

PFL

SOLO

UNBAL

LINE IN 20

LINE IN 21

LINE IN 22

INSERT

OFF

ON

LOW CUT

100Hz

U

G

LEVEL

A

C

I

N

SET

M

U +60

+40-20

GAIN

HI

12kHz

-15U+15

U

MID

+15

-15

600

FREQ

100Hz 8kHz

U

LOW

80Hz

+15

-15

U

MON 1

+10

U

MON 2

+10

U

MON 3

+10

POST

PRE

U

+10

L R

20

21

22

1-2

3-4

L-R

PFL

SOLO

ONYX MIC PRE

BAL/

LINE IN 23

LINE IN 24

LOW CUT

100Hz

G

LEVEL

C

I

A

M

SET

U +60

GAIN

-15U+15

U

+15

-15 600

100Hz 8kHz

U

+15

-15

U

+10

U

+10

U

+10

POST

PRE

U

+10

23/24

1-2

3-4

L-R

PFL

ONYX MIC PRE

(MONO) (MONO) (MONO)

L

BAL/

LINE IN 25

UNBAL

R

LINE IN 26

OFF

ON

LOW CUT

100Hz

G

LEVEL

C

I

A

M

I

N

SET

U +60

GAIN

U

HI

12kHz

+15

-15

U

MID

+15

-15 600

FREQ

100Hz 8kHz

U

LOW

80Hz

+15

-15

U

MON 1

+10

U

MON 2

+10

U

MON 3

+10

POST

PRE

U

+10

25/26

1-2

3-4

L-R

PFL

SOLO

MIC

ONYX MIC PRE

LINE IN 27

LINE IN 28

LOW CUT

100Hz

M

U +60

GAIN

-15U+15

-15 600

100Hz 8kHz

-15

POST

PRE

27/28

BAL/

1 3

UNBAL

L

BAL/

FOOT SWITCH

2 4

UNBAL

U

GAIN

U

OFF

ON

HI

12kHz

MID

2.5kHz

LOW

80Hz

+15

MON 1

+10

MON 2

+10

MON 3

+10

SOLO

1

2 4

L R

INPUTS USB 1-2

BLEND

TO PHONES/

CONTROL ROOM

1-2

3-4

L-R

PFL

AUX OUT

BAL/ UNBAL

SUB OUT

BAL/ UNBAL

CONTROL ROOM

BRIGHT ROOM

1

WARM LOUNGE

2

SMALL STAGE

3

WARM THEATER

4

WARM HALL

5

CONCERT HALL

6

CATHEDRAL

7

SMALL PLATE

8

LARGE PLATE

9

CHORUS 1

10

CHORUS 2

11

DELAY + REVERB

12

DOUBLER

13

ECHO

14

DELAY 1

15

DELAY 2

16

DELAY 3

17

PING-PONG DELAY

18

OVERDRIVE/DISTORTION

19

SPRING REVERB

20

EARLY REFLECTIONS

21

AUTO-WAH

22

FLANGE

23

SLAPBACK REVERB

24

AUX

MASTER

U

MON 1

+10

U

MON 2

+10

U

MON 3

+10

U

FX

+10

3-4 L-R L-R

SUB1-2FX

U

+10

U

+10

U

+10

MAX MAX

ROOM

SUB3-4

FX

3

PHONES

POWER

48V

MAIN

METERS

0dB=0dBu

OL 15 10

6 3 0 2 4

7 10 20 30

L R

RUDE SOLO

MON 1

MON 2

PRESETS

MON 3

FX MUTE

PHONESCONTROL

BREAK

MUTES ALL CHANNELS

MAIN

BAL/ UNBAL

LINE IN 29/30

R

OFF

ON

USB 3-4

G

LEVEL

C

I

A

I

N

SET

-20 +20

HI

12kHz

-15U+15

U

MID

+15

-15U+15

FREQ

U

LOW

80Hz

+15

-15

U

MON 1

+10

U

MON 2

+10

U

MON 3

+10

POST

PRE

U

+10

L RL RL RL RL RL RL RL RL RL RL RL R

29/30

1-2

3-4

L-R

PFL

SOLO

32.3 in

820 mm

Owner’s Manual

29

ProFX6v3 Block Diagram

Main Output

Left

Right

PHONES

43152

Main LEVEL

USB_IN_R

USB_IN_L

BREAK

Mutcs all channcls

DIRECT MON

FX

Main R

Main L

ProFXv3 Professional Effects Mixer with USB

43152

Preset Select

FX

Preset Selecter

PHONES LEVEL

Main Meters

OFF

ON

OFF

ON

VCC

PAN

OFF

ON

STEREO

FX

OFF

ON

DIRECT MON

TO PHONES /CR

DIRECT MON BLEND

USB1

OFF

ON

USB2

CH1-4

FX

In

FX LEVEL

Display

FX module

Out L

Out R

FX ByPass

OFF

ON

Logic

FX MUTE

VCC

USB AUDIO

up to 192k/24bit

Out

In

USB1

USB IN R

USB IN L

FX

Main R

Main L

Power Led

Note:Switch are shown in the default (out) position

USB2

USB3

USB4

DIRECT MON

GND

VCC

CH LEVEL

2-Band EQ

Lo Hi

80 12k

OFF

ON

Level set

(To All Mics)

Phantom Power

OFF

ON

Switch/LED

Global 48v

48V

low cut in

100Hz

low cut

Mic: 0 to +60dB

Line: -20 to +40dB

Gain

Line

Hi-Z

Phantom Power

Line

Mic

Combo

Mono Channel

1CH

CH LEVEL

2-Band EQ

Lo HI

80 12k

OFF

ON

Level set

Phantom Power

Mic/Line/Line-Hi-Z

low cut in

100Hz

low cut

Mic: 0 to +60dB

Line: -20 to +40dB

Gain

Line

Hi-Z

Line

Mic

Combo

CH LEVEL

"4/1 SRTlecnahC oeretS

Mic/Line/Line-Hi-Z

Mono Channel

2CH

LINE IN 3

CH LEVEL

L (MONO)

LINE IN 4

CH LEVEL

Select

43152

5/6

R

LINE IN

USB3

USB4

Stereo Chancel TRS 1/8"

-15V

+15V

POWER SWITCH

POWER JACK

+48V

DC TO DC POWER BOARD

123

POWER Adapter

AC 100-240V

+5V

GND

30

ProFXv3 Professional Effects Mixer with USB

Owner’s Manual

4

ProFX10v3 Block Diagram

Control Room

Out

Left

43152

4

FX Send

315

2

Main Meters

Main Output

Left

2

315

43152

Right

315

4

2

CR LEVEL

43152

Phones

Preset Select

In

Out L

PHONES LEVEL

Display

FX

Preset Select

FX module

Out R

Footswitch

4

3

152

OFF

ON

Logic

FX Bypass

FX MUTE

Main LEVEL

DIRECT MON TO PHONES/CR

USB in R

USB in L

Break switch

DIRECT MON

FX

Main R

Main L

PAN

CH LEVEL

INSERT

Mid

2.5k

43152

Level set

Phantom Power

OFF

ON

Global 48v

Switch/LED

(To All Mics)

Lo Hi

80 12k

COMP

low cut in

100Hz

low cut

Gain

CH FX

Mute Switch/LED

3-Band EQ

Level set

Line: -20 to +40dB

Mic: 0 to +60dB

Hi-Z

Line

DIRECT MON BLEND

USB2

USB1

CH 1-8

PAN

CH LEVEL

Mid

2.5k

Lo Hi

INSERT

2

4

315

80 12k

low cut in

100Hz

low cut

Gain

CH FX

PAN

CH LEVEL

Mute Switch/LED

3-Band EQ

Mid

2.5k

Lo Hi

80 12k

Line: -20 to +40dB

Mic: 0 to +60dB

FX LEVEL

CH FX

3-Band EQ

PAN

CH LEVEL

Mute Switch/LED

Mid

2.5k

Lo Hi

80 12k

select

USB AUDIO

up to 192k/24bit

In

Out

USB3

USB4

USB_in_L

USB2

USB_in_R

USB1

CH FX

Power Led

+15V

Mute Switch/LED

3-Band EQ

Note: Switch are shown in the default (out) position.

DIRECT MON

FX

Main R

Main L

-15V

+48V

+5V

GND

DC TO DC POWER BOARD

POWER SWITCH

123

POWER JACK

Phantom Power

Line

Mic

Combo

1-2CH

Mono Channel

Mic/Line/Line-Hi-Z

Phantom Power

Line

Mic

XLR

Mono Channel

3-4CH

Mic /Line

TRS

2

43152

4

315

5-8CH

Stereo Channel

L

TRS 1/4"

R

43152

USB3

Stereo Channel

9-10CH

USB4

TRS 1/8"

Owner’s Manual

POWER ADAPTER

AC 100-240V

31

ProFX12v3 Block Diagram

D

Left

Right

Main Output

SUB2

SUB1-2 OUT

SUB1

Control Room

Out

Left

MON SEND

Right

Out

Phones

FX SEND

3

152

4

ProFXv3 Professional Effects Mixer with USB

SOLO

DIRECT_MON MON1

FX

2

SUB

1

R

Main

L

SOLO

1

43152

FADER

USB_in_L

Main

USB_in_R

Break switch

L/R

SUB1_2

CH FX

PAN

5

4

3

2

4

FADER

SUB1-2

VCC

MON1

SOLO

4

3

43152

315

2

SUB1/2 TO L/R

L/R

PAN

152

DIRECT MON

TO PHONES/CR

AUX MASTER

LEVEL

DIRECT MON

BLEND

USB1

SUB1_2

CH FX

MON1

43152

CR LEVEL

RUDE SOLO LED

PFL_L

USB2

CH 1-10

SOLO

2

4

Main Meters

PFL SOLO Logic

PFL_R

SUB1_2

L/R

PAN

43152

315

PHONES LEVEL

CH FX

MON1

Preset Select

FX

Preset Select

In

Out L

Out R

FX module

FX FADER

FX TO SUB1_2

L/R

SUB1_2

SOLO

PAN

Footswitch

4

3

152

Display

FX MUTE

OFF

ON

VCC

Logic

FX Bypass

USB AUDIO

up to 192k/24bit

In

Out

FX TO MON1

CH FX

USB_in_R

USB3

USB4

USB1

USB2

USB_in_L

Note: Switch are shown in the default (out) position.

SOLO

IRECT_MON

MON1

FX

2

SUB

1

R

Main

L

MON1

Power Led

VCC

CH FADER

VCC

INSERT

Mid

2

4

315

Level set

(To All Mics)

Phantom Power

OFF

ON

Switch/LED

Global 48v

2.5k

Lo Hi

80 12k

COMP

low cut In

OFF

ON

100Hz

low cut

Gain

Phantom Power

Mute Switch/LED

INSERT

3-Band EQ

Mic:0t o +60dB

Line: -20 to +40dB

4

2

315

Level set

Line

Hi-Z

Phantom Power

Line

Mono Channel

Mic

Combo

1-2CH

Mic/Line/Line-Hi-Z

CH FADER

VCC

Mute Switch/LED

Mid

2.5k

Lo Hi

low cut

Gain

3-Band EQ

80 12k

COMP

low cut In

OFF

ON

100Hz

Mic:0 to +60dB

Level set

low cut

GAIN

Line

Mono Channel

3-4CH

Mic

XLR

Mic/Line

TRS

CH FADER

Mute Switch/LED

VCC

Mid

2.5k

Lo Hi

80 12k

OFF

ON

low cut In

100Hz

Mic:0t o +60dB

5-10CH

Stereo Channel

2.5k

3-Band EQ

Lo Hi

80 12k

4

3

15243

152

L

TRS 1/4"

R

CH FADER

-15V

+48V

+5V

GND

+15V

Mute Switch/LED

VCC

Mid

2.5k

Lo Hi

80 12k

Gain

select

4

11-12CH

Stereo Channel

2.5k

3-Band EQ

Lo Hi

80 12k

Line: -20 to +20dB

OFF

ON

2

315

USB3

USB4

TRS 1/8"

POWER BOARD

POWER SWITCH

G

AC MALE

AC IN

AC 100-240V

32

ProFXv3 Professional Effects Mixer with USB

ProFX16v3 • ProFX22v3 • ProFX30v3 Block Diagram

Break switch

VCC

DIRECT MON

USB in L

USB in R

Note: Switch are shown in the default (out) position.

USB2

USB1

SUB1/2 FADER

SUB3-4 FADER

MON3 LEVEL

MON2 LEVEL

MON1 LEVEL

FX TO SUB1/2

FX TO SUB3/4

FX TO MON1

FX TO MON2

FX TO MON3

BLEND

Main FADER

INPUTS

Owner’s Manual

Mono Channel

PROFX16v3 3-8CH Mic/Line

PROFX22v3 3-14CH Mic/Line

PROFX30v3 3-22CH Mic/Line

Stereo Channel

PROFX16v3 9-14CH Mic/Line

PROFX22v3 15-20CH Mic/Line

PROFX30v3 23-28CH Mic/Line

Stereo Channel

PROFX16v3 15-16CH Line

PROFX22v3 21-22CH Line

PROFX30v3 29-30CH Line

AC IN

AC 100-240V

Combo

Mic

Line

Mono Channel 1-2CH

Mic/Line/Line-Hi-Z

XLR

Mic

Line

TRS

Mic:0 to +60dB

4 5 2

L

3 1

Mono

4 5 2

R

3 1

TRS 1/4"

4 5 2 3 1

TRS 1/8"

USB3

USB4

AC MALE

Phantom Power

G

GAIN

Global 48v Switch/LED

OFF ON

low cut

100Hz

select

Phantom Power

Gain

Line Hi-Z

Gain

low cut In

OFF ON

(To All Mics)

Mic: 0 to +60dB

Line: -20 to +40dB

Mic: 0 to +60dB

Line: -20 to +40dB

OFF ON

-20 to +20dB

Level set

low cut

100Hz

OFF ON

low cut in

Level set

low cut

100Hz

OFF ON

low cut In

PROFX22v3 only CH3-12 include COMP

PROFX30v3 only CH3-16 include COMP

Gain

POWER SWITCH

Lo Hi

80 12k

Lo Hi

80 12k

COMP

Level set

Lo Hi

80 12k

Lo Hi

80 12k

Mid

2.5k

Mid

2.5k

3-Band EQ

POWER BOARD

4 5 2 3 1

Lo Hi

80 12k

4 5 2 3 1

Lo Hi

80 12k

Mid

100Hz~8K

Mid

100Hz~8K

3-Band EQ

Mid

100Hz~8K

3-Band EQ

Mid

100Hz~8K

3-Band EQ

VCC

INSERT

VCC

Mute Switch/LED

INSERT

VCC

Mute Switch/LED

+15V

-15V +48V +5V GND

CH FADER

VCC

POST PRE

PAN

POST PRE

PAN

POST PRE

Power Led

SOLO

CH FX

MON3

MON1

MON2

CH FX

MON3

MON1

MON2

SOLO

L/R

SUB1/2

SUB3/4

SOLO

L/R

SUB1/2

SUB3/4

L/R

SUB1/2

SUB3/4

L/R

SUB1/2

SUB3/4

MON3

CH FX

MON3

MON1

MON2

CH FX

MON1

MON2

Main

L

R

L

R

Main

SUB

1

2

34FX123DIRECT MON

1

234

SUB

FX

MON

1

2

MON

3

SOLO

DIRECT_MON

Owner’s Manual

33

ProFX16v3 • ProFX22v3 • ProFX30v3 Block Diagram

L

Main

L

R

Main

4 5

SUB

1

2

34FX123DIRECT MON

1

234

SUB

MON

SOLO

USB in L

USB in R

Break switch

Main

FADER

VCC

SUB1/2

FADER

SUB1/2 TO L/R

SUB3-4

FADER

SUB3/4 TO L/R

MON1 LEVEL

MON2 LEVEL

MON3 LEVEL

DIRECT MON

FX LEVEL

USB in L

USB in R

USB1

USB2

USB3

USB4

TO PHONES/CR

PFL_L

PFL_R

In

USB AUDIO

up to 192k/24bit

Out

RUDE SOLO LED

PFL SOLO Logic

FX FADER

Main Meters

CR LEVEL

PHONES LEVEL

FX Bypass

Logic

VCC

Out L

FX module

Out R

OFF ON

FX MUTE

In

DIRECT MON

USB1

USB2

INPUTS

1

3

2

FX

SOLO

MON

DIRECT_MON

BLEND

FX TO SUB1/2

FX TO SUB3/4

FX TO MON1

FX TO MON2

FX TO MON3

Note: Switch are shown in the default (out) position.

R

ProFXv3 Professional Effects Mixer with USB

2 3 1

4 5 2 3 1

Preset Select

FX

Preset Select

Display

4 5 2 3 1

Footswitch

Left

Main Output

Right

SUB1

SUB1/2 OUT

SUB2

SUB3

SUB3/4 OUT

SUB4

AUX1 OUT

AUX2 OUT

AUX3 OUT

Left

Control Room Out

Right

Phones Out

AUX4/FX OUT

34

ProFXv3 Professional Effects Mixer with USB

ProFX6v3 Track Sheet

Owner’s Manual

USB 3-4

USB 1-2

Owner’s Manual

35

ProFX10v3 Track Sheet

USB 3-4

ProFXv3 Professional Effects Mixer with USB

MUTE

MUTEMUTE MUTE

USB 1-2

MUTE MUTE MUTE

36

ProFXv3 Professional Effects Mixer with USB

ProFX12v3 Track Sheet

LINE IN 4LINE IN 3

G

C

I

M

U +60

GAIN

Owner’s Manual

USB 3-4

G

LEVEL

SET

C

I

M

U +60

GAIN

A

I

N

A

I

N

LEVEL

G

A

C

I

N

M

U +60

GAIN

LEVEL

SET

MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE

USB 1-2

BLEND

TO PHONES/

CONTROL RM

Owner’s Manual

37

ProFX16v3 • ProFX22v3 • ProFX30v3 Track Sheet

ONYX MIC PRE

MIC

ONYX MIC PRE

MIC

ONYX MIC PRE

LINE IN 16

BAL/

UNBAL

LINE IN 17

BAL/

UNBAL

LINE IN 18

MUTE MUTE

MUTE MUTE MUTE MUTE MUTE MUTE MUTEMUTE MUTE

ProFXv3 Professional Effects Mixer with USB

MIC

ONYX MIC PRE

LINE IN 3

UNBAL

BAL/

MIC

ONYX MIC PRE

LINE IN 4

UNBAL

BAL/

MIC

ONYX MIC PRE

LINE IN 5

UNBAL

BAL/

MIC

ONYX MIC PRE

LINE IN 6

UNBAL

BAL/

MIC

ONYX MIC PRE

LINE IN 7

UNBAL

BAL/

MIC

ONYX MIC PRE

LINE IN 8

UNBAL

BAL/

MIC

ONYX MIC PRE

LINE IN 9

UNBAL

BAL/

MIC

ONYX MIC PRE

LINE IN 10

UNBAL

BAL/

MIC

ONYX MIC PRE

LINE IN 11

UNBAL

BAL/

MIC

ONYX MIC PRE

LINE IN 12

UNBAL

BAL/

MIC

ONYX MIC PRE

LINE IN 13

UNBAL

BAL/

MIC

ONYX MIC PRE

LINE IN 14

MIC

ONYX MIC PRE

BAL/

UNBAL

LINE IN 15

BAL/

UNBAL

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

MUTE

38

ProFXv3 Professional Effects Mixer with USB

ProFX16v3 • ProFX22v3 • ProFX30v3 Track Sheet

Owner’s Manual

MIC

ONYX MIC PRE

LINE IN 16

UNBAL

BAL/

MIC

ONYX MIC PRE

LINE IN 17

UNBAL

BAL/

MIC

ONYX MIC PRE

LINE IN 18

UNBAL

BAL/

MIC

ONYX MIC PRE

LINE IN 19

UNBAL

BAL/

MIC

ONYX MIC PRE

LINE IN 20

UNBAL

BAL/

MIC

ONYX MIC PRE

LINE IN 21

UNBAL

BAL/

MIC

ONYX MIC PRE

LINE IN 22

UNBAL

BAL/

MIC

ONYX MIC PRE

G

A

C

I

N

M

U +60

GAIN

LEVEL

SET

MIC

ONYX MIC PRE

G

A

C

I

N

M

U +60

GAIN

LEVEL

SET

MIC

ONYX MIC PRE

G

A

C

I

N

M

U +60

GAIN

LEVEL

USB 3-4

SET

MUTE MUTE MUTE MUTE MUTE MUTE MUTEMUTE MUTE

MUTE MUTE

USB 1-2

BLEND

TO PHONES/

CONTROL ROOM

Owner’s Manual

39

Appendix C: Table of Eects Presets

No. Title

0 Bright Room

02 Warm Lounge

03 Small Stage

04 Warm Theater

05 Warm Hall

06 Concert Hall

07 Cathedral

0809Small Plate

Large Plate

0Chorus 

Chorus 2

ProFXv3 Professional Effects Mixer with USB

2 Delay + Reverb

3 Doubler

4 Echo

5

DLY  (Fast)

6

DLY 2 (Med)

7

DLY 3 (Slow)

8 Ping-Pong Delay

9 Overdrive / Distortion

20 Spring Reverb

2 Early Reﬂections

22 Auto-Wah

23 Flange

24 Slapback Reverb

Description Example of its use

This room has a bright tone with lots of scattered reﬂections to simulate harder, more reﬂective surfaces.

This preset features a medium sized room sound, with just enough enhancement of the lower mids to produce a warm tone.

This preset simulates the sound of a small concert stage, with a medium reverb time and reverberant space.

This reverb has a warm bodied tone and medium long reverb time to simulate the live acoustics of a theater space.

This reverb simulates the sound of a spacious, yet cozy, heavily draped and carpeted concert hall with an especially warm tone.

This hall reverb is characterized by its large, spacious sound, long pre-delay, and vibrant tone.

This reverb emulates the extremely long tails, dense diusion and long pre-delays and reﬂections that would be found in a very large, stone walled house of worship.

These presets emulate vintage mechanical reverberation that was generated with a metal plate. Its sound is characterized by lots of early reﬂections and no pre-delay.

These presets provide a sof, ethereal sweeping eect that is useful for thickening and for making a particular sound pop out of the mix.

Don’t choose delay, don’t choose reverb! Get the best of both worlds with eects preset #2!

This eect simulates the sound of a vocal or instrument being recorded twice (double-tracked) on a multi-track recorder.

A single-repeat echo, not as fast as the Doubler. This eect provides a single, relatively rapid delay of the original signal, with the added warmth that vintage tape-based echo units provided.

These three presets provide delay with delay times of fast, medium and slow.

The ping-pong delay works by producing a bouncing sound as the delayed signal bounces from lef to right, with the feedback routed to the opposite channels.

This eect increases the gain, resulting in a “fuzzy” – overdriven / distorted – tone.

A spring reverb uses a transducer at one end of a spring and a pickup at the other end to create and capture vibrations in a metal spring. The longer the spring, the longer the decay time of the reverberation.

Early reﬂection is the sound that appears afer one or two reﬂections from the venue's walls, ceilings and ﬂoor.

This eect adjusts a peaking ﬁlter that ampliﬁes a speciﬁc frequency, thereby cutting o all other frequencies. Like a guitar player's wah pedal... but automatic!

The ﬂange eect is a modulated delay with feedback (and shorter delay times than a chorus), which creates the characteristic “whooshing” sound ofen used to describe the ﬂange sound.

This eect provides a single, relatively rapid delay of the original signal with no feedback.

Useful on vocals that require a brighter reverb to cut through the mix, or for giving acoustic instruments a livelier vibe.

Useful for vocals on songs that require a larger, more “wet” sound, or for giving dimension to bright horns without adding harshness.

Useful for vocals or guitars in fast paced, high-energy songs that call for a “live” sounding reverberation.

Perfect for vocals, drums, acoustic and electric guitars, keyboards and more.

Perfect for adding natural concert hall ambience to close-mic’ed orchestral instruments.

Adds life to acoustic instruments and vocals from solos to full-on symphonies and choirs.

Gives amazing depth to choirs, wind instruments, organs and sof acoustic guitars.

Perfect for thickening percussive instruments, such as a snare drum, or tight vocal arrangements.

Perfect for enhancement of electric and acoustic guitar and bass, or to add a dramatic eect to vocals, particularly group harmonies and choirs.

Useful for bands that employ the alternative rock, shoegaze and/or experimental rock sound.

Provides a vibe that is similar to chorus without the subtle swirl.

Also known as Slap Back Echo, use it to make a vocal or guitar stand out in the mix without extra volume.

These work best with full, up-beat music like rock where the delay needs to cut through the mix.

A guitarist may choose the ping-pong delay to create an interesting – and steady – delay.

Useful in many situations, but typically used with guitar, bass, piano / keyboard.

Spring reverbs are typically used on guitar ampliﬁers or organs in a rock band format.

Because of its "quickness", the early reﬂections FX is a great way to create a stereo sound from a mono source.

Mostly used on guitars, bass and piano... but feel free to experiment!

Check out Heart’s “Barracuda”!

Slapback reverb is generally used to mimic vocals – and sometimes drums – on ’50s-era rock ’n roll.

40

ProFXv3 Professional Effects Mixer with USB

Limited Warranty

Please keep your sales receipt in a safe place.

This Limited Product Warranty (“Product Warranty”) is provided by LOUD Audio, LLC (“LOUD”) and is applicable to products purchased in the United States or Canada through a LOUD-authorized reseller or dealer. The Product Warranty will not extend to anyone other than the original purchaser of the product (hereinafer, “Customer,” “you” or “your”).

For products purchased outside the U.S. or Canada, please visit www.mackie.com to ﬁnd contact information for your local distributor, and information on any warranty coverage provided by the distributor in your local market.

LOUD warrants to Customer that the product will be free from defects in materials and workmanship under normal use during the Warranty Period. If the product fails to conform to the warranty then LOUD or its authorized service representative will at its option, either repair or replace any such nonconforming product, provided that Customer gives notice of the noncompliance within the Warranty Period to the Company at: www.mackie.com or by calling LOUD technical support at .800.898.32 (toll-free in the U.S. and Canada) during normal business hours Paciﬁc Time, excluding weekends or LOUD holidays. Please retain the original dated sales receipt as evidence of the date of purchase. You will need it to obtain any warranty service.

For full terms and conditions, as well as the speciﬁc duration of the Warranty for this product, please visit www.mackie.com.

Owner’s Manual

The Product Warranty, together with your invoice or receipt, and the terms and conditions located at www.mackie.com constitutes the entire agreement, and supersedes any and all prior agreements between LOUD and Customer related to the subject matter hereof. No amendment, modiﬁcation or waiver of any of the provisions of this Product Warranty will be valid unless set forth in a written instrument signed by the party to be bound thereby.

Need help with the mixer?

• Visit www.mackie.com/support to ﬁnd: FAQs, manuals, addendums, and other documents.

• Email us at: www.mackie.com/support-contact

• Telephone 1-800-898-3211 to speak with one of our splendid technical support chaps (Monday through Friday, normal business hours, Paciﬁc Time).

Owner’s Manual

41

9820 North Creek Parkway #20 Bothell, WA 980 • USA Phone: 425.487.4333 Toll-free: 800.898.32 Fax: 425.487.4337 www.mackie.com

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

Specifications and Main Features

Frequently Asked Questions

User Manual