Mackie ProFX8, ProFX12 User Manual

ProFX8 and ProFX12

Professional Mic/Line Mixers with FX and USB I/O

OWNER’S MANUAL

POWER

ON

MAIN RIGHT

(BALANCED)

~100-240V 50/60 Hz 25W

FUSE: T1.6AL AC250V

LINE HI-Z

1 5/6 7/8 9/10 11/12

BAL/

UNBAL

LINE/HI-Z IN 1

-20dB

dB 10

5

U

5

10

20

30

40 50 60

LINE IN 2

INSERT

U

G

A

C

I

M

U

GAIN

LOW CUT

100 Hz

U

OO

U

OO

OL OL OL OL OL OL OL OL OL

OO

I

N

I

M

LEVEL

SET

U

+50

+15-15

+15

RL

+30dB

-20dB

GAIN

LOW CUT

100 Hz

U

HI

12kHz

+15-15

U

MID

2.5kHz

2.5kHz +15-15

U

LOW 80Hz

+15-15

U

AUX

MON

+15

OO

U

FX

+15

OO

PAN

RL

MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE

1

dB 10

5

U

5

10

20

30

40 50 60

OO

3

2

BAL/

UNBAL

LINE IN 4

LINE IN 3

INSERT

U

G

A

C

I

N

I

M

LEVEL

SET

-20dB

HI

MID

LOW 80Hz

FX

2

dB 10

5

U

5

10

20

30

40 50 60

U

+50

+30dB

-20dB

GAIN

LOW CUT

100 Hz

U

HI

12kHz

+15-15

U

MID

2.5kHz

+15-15

U

LOW 80Hz

+15-15

U

AUX

MON

+15

OO

U

FX

+15

OO

PAN

RL

3

dB 10

5

U

5

10

20

30

40 50 60

OO

MAIN LEFT

(BALANCED)

4

BAL/

UNBAL

LINE IN 5

LINE IN 6

U

C

I

G

A

C

I

N

I

M

LEVEL

SET

+50

U +50

+30dB

GAIN

LOW CUT

100 Hz

U

EQEQEQEQ EQ EQ EQ EQ

HI

12kHz

+15-15

U

MID

2.5kHz

+15-15

U

LOW 80Hz

+15-15

U

AUX

MON

+15

OO

U

FX

+15

OO

PAN

RL

4

dB 10

5

U

5

10

20

30

40 50 60

OO

(MONO)

BAL/

UNBAL

G

A

I

N

LEVEL

100 Hz

U

12kHz

+15-15

U

MID

2.5kHz

+15-15

U

LOW 80Hz

+15-15

U

AUX

MON

+15

U

FX

+15

PAN

RL

PROFESSIONAL MIC/LINE MIXER WITH FX

USB

MIC MIC MIC MIC MIC MIC

L

LINE IN 7

R

LINE IN 8

G

A

C

I

N

I

M

SET

U +50

GAIN

LOW CUT

100 Hz

U

HI

+15-15

U

+15-15

U

+15-15

U

+15

OO

U

+15

OO

RL

dB 10

5

U

5

10

20

30

40 50 60

OO

(UNBALANCED)

L

TAPE

IN

R

(MONO) (MONO) (MONO) (MONO)

UNBAL

12kHz

2.5kHz

AUX

MON

PAN

7/85/6

L

BAL/

LINE IN 9

UNBAL

R

LINE IN 10

U

LEVEL

SET

+20-20

GAIN

U

HI

12kHz

+15-15

U

MID

2.5kHz

+15-15

U

LOW

80Hz

+15-15

U

AUX

MON

+15

OO

U

FX

+15

OO

PAN

RL

9/10

dB 10

5

U

5

10

20

30

40 50 60

OO

L

TAPE OUT

R

LINE IN 11

UNBAL

LINE IN 12

U

+20-20

GAIN

U

12kHz

+15-15

U

2.5kHz

+15-15

U

+15-15

U

AUX

MON

+15

OO

U

+15

OO

PAN

RL

11/12 ST RTN FX RTN

dB 10

5

U

5

10

20

30

40 50 60

OO

WARNING:

SHOCK, DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.

AVIS:

RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR

SERIAL NUMBER

THIS DEVICE COMPLIES WITH PART 15 OF THE FCC RULES AND THE ICES-003 FOR CANADA. OPERATION IS SUBJECT TO THE FOLLOWING TWO CONDITIONS: (1) THIS DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE, AND (2) THIS DEVICE MUST ACCEPT ANY INTERFERENCE RECEIVED, INCLUDING INTERFERENCE THAT MAY CAUSE UNDESIRED OPERATION.

DESIGNED BY MACKOIDS IN WOODINVILLE, WA, USA • MANUFACTURED IN CHINA

ARE TRADEMARKS OF LOUD TECHNOLOGIES, INC. • PATENT PENDING.

PROFESSIONAL MIC/LINE MIXER WITH FX

L

BAL/

BAL/ UNBAL

MON SEND

R

ST RETURN MAIN OUT PHONES

FX SEND

MANUFACTURING DATE

BAL/

UNBAL

BAL/

UNBAL

STEREO GRAPHIC EQ

15

10

5

0

5

10

15

HI

MID

LOW 80Hz

FX

FX PRESETS

01 BRIGHT ROOM 02 WARM LOUNGE 03 SMALL STAGE 04 WARM THEATER 05 WARM HALL 06 CONCERT HALL 07 PLATE REVERB 08 CATHEDRAL 09 CHORUS 10 CHORUS + REV 11 DOUBLER 12 TAPE SLAP 13 DELAY 1 (300ms) 14 DELAY 2 (380ms) 15 DELAY 3 (480ms) 16 REVERB + DLY (250ms)

U

+15

OO

FX MASTER

MUTE

dB 10

5

U

5

10

20

30

40 50 60

OO

MAIN MIX MON

OL

PRESETS

MUTE

U

OO

+15

FX TO MON

dB 10

5

U

5

10

20

30

40 50 60

OO

BYPASS

EQ IN

USB

U

OO

+20

INPUT LEVEL

USB THRU

OO

MAX

PHONES

MON

dB 10

5

U

5

10

20

30

40 50 60

OO

TO REDUCE THE RISK OF FIRE OR ELECTRIC

L

BAL/

UNBAL

FOOTSWITCH

R

15

10

5

0

5

10

15

8K4K2K1K500250125

(MUTES ALL CHANNELS)

48V

PHANTOM

POWER

MAIN

METERS

0dB=0dBu

OL 15 10

10 20 30

BREAK

OO

TAPE LEVEL

MAIN

dB 10

5

U

5

10

20

30

40 50 60

OO

6 3 0 2 4 7

RL

U

+20

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 ampliﬁ ers) that produce heat.

9. 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.

ProFX8 and ProFX12

The wide blade or the third prong are provided for your safety. If the provided plug does not ﬁ t into your outlet, consult an electrician for replacement of the obsolete outlet.

10.

Do not overload wall outlets and extension cords as this can result in a

risk of ﬁ re or electric shock.

11.

Protect the power cord from being walked on or pinched particularly at

plugs, convenience receptacles, and the point where they exit from the apparatus.

12.

Only use attachments/accessories speciﬁ ed by the manufacturer.

13.

Use only with a cart,

stand, tripod, bracket, or table speciﬁ ed by the manufacturer, or sold with the apparatus. When a cart is used, use caution when moving the cart/apparatus

PORTABLE CART WARNING

Carts and stands - The Component should be used only with a cart or stand that is recommended by the manufacturer. A Component and cart combination should be moved with care. Quick stops, excessive force, and uneven surfaces may cause the Component and cart combination to overturn.

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 qualiﬁ ed service personnel. Servicing is required

when the apparatus has been damaged in any way, such as powersupply 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 ﬁ lled with liquids, such as vases or beer glasses, shall be placed on the apparatus.

17.

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).

18.

This apparatus has been equipped with an all-pole, rocker-style AC

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

CAUTION AVIS

RISK OF ELECTRIC SHOCK. DO NOT OPEN

RISQUE DE CHOC ELECTRIQUE. NE PAS OUVRIR

CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK DO NOT REMOVE COVER (OR BACK)

NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL

ATTENTION: POUR EVITER LES RISQUES DE CHOC ELECTRIQUE, NE PAS ENLEVER LE COUVERCLE.

AVIS: POUR EVITER LES RISQUES D'INCENDIE OU D'ELECTROCUTION, N'EXPOSEZ PAS CET ARTICLE

2

ProFX8 and ProFX12

AUCUN ENTRETIEN DE PIECES INTERIEURES PAR L'USAGER.

CONFIER L'ENTRETIEN AU PERSONNEL QUALIFIE.

A LA PLUIE OU A L'HUMIDITE

The lightning flash with arrowhead symbol within an equilateral triangle is intended to alert the user to the presence of uninsulated "dangerous voltage" within the product's enclosure, that may be of sufficient magnitude to constitute a risk of electric shock to persons.

Le symbole éclair avec point de flèche à l'intérieur d'un triangle équilatéral est utilisé pour alerter l'utilisateur de la présence à l'intérieur du coffret de "voltage dangereux" non isolé d'ampleur suffisante pour constituer un risque d'éléctrocution.

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

Le point d'exclamation à l'intérieur d'un triangle équilatéral est employé pour alerter les utilisateurs de la présence d'instructions importantes pour le fonctionnement et l'entretien (service) dans le livret d'instruction accompagnant l'appareil.

19.

The MAINS plug or an appliance coupler is used as the disconnect device, so the disconnect device shall remain readily operable.

20. NOTE: This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This 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 off and on, the user is encouraged to try to correct the interference by one or more of the following measures:

• Reorient or relocate the receiving antenna.

• Increase the separation between the equipment and the receiver.

• Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.

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

CAUTION: Changes or modiﬁ cations to this device not expressly

approved by LOUD Technologies Inc. could void the user's authority to operate the equipment under FCC rules.

21. This apparatus does not exceed the Class A/Class B (whichever is

applicable)

limits for radio noise emissions from digital apparatus as set out in the radio interference regulations of the Canadian Department of Com mu ni ca tions.

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 com mu ni ca tions du Canada.

22.

Exposure to extremely high noise levels may cause permanent hearing

loss. Individuals vary considerably in susceptibility to noise-induced hearing loss, but nearly everyone will lose some hearing if exposed to sufﬁ ciently intense noise for a period of time. The U.S. Government’s Occupational Safety and Health Administration (OSHA) has speciﬁ ed 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 692 4 95 Subway Train 397 2 100 Very loud classical music

1.5 102 1 105 Dave screaming at Steve about

0.5 110

0.25 or less 115 Loudest parts at a rock concert

Sound Level dBA, Slow Response

Typical Example

deadlines

WARNING — To reduce the risk of ﬁ re or electric shock, do not

expose this apparatus to rain or moisture.

Read This Page!

You probably want to try out your new mixer right away. Before you do, please read the safety instructions on page 2, then read this page, and the rest later.

Zero the Mixer

1. Turn down all knobs except the channel EQ and pan knobs, and set all the faders fully down.

2. Set all channel EQ knobs, pan knobs, and the graphic EQ sliders at their center detent.

3. Set all buttons to the "out" position.

4. Whistle a popular show tune.

Connections

If you already know how you want to connect the mixer, go ahead and connect the inputs and outputs the way you want them. If you just want to get sound through the mixer, follow these steps:

Plug signal sources into the mixer, such as:

1.

• Microphones plugged into the mic inputs. Engage phantom power if your mics need it. Check the mic's user manual to be sure.

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

• A guitar plugged into channel 1, with the line/hi-z switch pressed in.

2

. Connect cords from the main outs to your pow-

ered speakers or ampliﬁ er.

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

4. 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 ampliﬁ er level controls to however the mends. (This is usually all the way up.)

Set the Gain

manufacturer recom-

2. For mono channels, adjust the gain control so the level set LED just comes on occasionally during the loudest parts of your performance. The mono channel gain affects the mic and the line inputs. The hybrid channel gain affects the mic input only, not the stereo line inputs.

The stereo channel gain adjusts the stereo line

inputs. Adjust as desired, and check the OL LED does not come on during the loudest passages.

3. Repeat steps 1 to 2 for your other channels.

Instant Mixing

1.

To get sound out of the speakers and into a waiting world, turn up the channel’s fader to the U (unity gain) position, main fader

2. Sing and play. You’re a star! Bring in the other channels, and adjust their faders to make a nice mix and generally have fun.

to a comfortable listening level.

and slowly bring up the

USB

The USB connection allows you to play 2 channels of audio from your computer, and to record the main mix to your computer. See Appendix D on page 32 for details of getting started with the USB.

Notes

For optimum sonic performance, the channel faders and main fader should be set near the “U” (unity gain) markings.

Turn down all faders before making connections to and from your ProFX mixer.

When you shut down your system, turn off your ampliﬁ ers or powered speakers ﬁ rst. When powering up, turn them on last. This will prevent the possibility of turn-on and turn-off thumps heard in your speakers.

Save the shipping box! You may need it someday.

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

Owner’s Manual

1. Play something into an input. This could be an instrument, you singing or speaking, or a line level source such as a keyboard or CD player. Be sure that the volume of the input is the same as it would be during normal use, or you may have to readjust the gain in the middle of a set. You can listen with headphones if you carefully turn up the channel fader and headphones level a little.

Purchased at:

Date of purchase:

Owner’s Manual

3

Introduction

Thank you for choosing a Mackie professional ProFX mixer. It is equipped with our rather lovely microphone preamps, an internal FX processor, and a USB port for playing and recording 2 channels of audio using a computer. The ProFX8 has 8 channels and the ProFX12 has 12 channels. Apart from this difference, the mixers are identical and this manual covers both models.

At Mackie, we know what it takes to be roadworthy. After all, our mixers have traveled all over the world, often under the worst of conditions, and we’ve applied what we’ve learned to the mechanical design of our ProFX mixers.

ProFX8 and ProFX12

Reliability is paramount to sound reinforcement. That’s why our engineers have subjected our mixers to the most rigorous and ﬁ endish tests imaginable to ﬁ netune the design, and extend its limits beyond those of ordinary mixers.

Features

• The ProFX8 mixer has 8 channels (2 mono, 2 hybrid, 1 stereo)

• The ProFX12 mixer has 12 channels (4 mono, 2 hybrid, 2 stereo)

• Mono channels have a mic input and a mono line-level input, with a gain control and level set LED for adjustment of mic and line gain

• Hybrid channels have a mic input and stereo line-level inputs, with a gain control and level set LED for adjustment of mic gain

• Stereo channels have stereo line-level inputs, with a gain control to adjust the line gain

• +48V phantom power can be applied to all mics

• Tape/CD stereo RCA inputs and outputs

• 1/4" TRS insert jacks on mono channels

• Channel 1 hi-z switch allows direct connection of a guitar or bass without a DI box

• Low cut switch on mono and hybrid channels

• 3-band EQ on each channel

• Aux monitor control on each channel

• Aux FX control on each channel

• Each channel has a pan control, mute switch, overload (OL) LED, and fader

• Stereo return has mute, OL LED and fader

• XLR and 1/4" TRS main stereo line outputs

• 1/4" TRS stereo return

• 1/4" TRS FX send and monitor send

• 1/4" TRS stereo headphones output

• Headphones level control

• Tape input level control

• 16 built-in Running Man effects with input level, OL LED, preset display, FX to monitor level, and footswitchable mute/unmute

• 7-band graphic EQ can be used for main mix, or monitor mix, or bypassed

• 12-segment stereo output meters on main mix

• Break switch mutes all channels except tape input and USB input

• Faders for stereo return, FX return, monitor and main

• USB connection allows 2-channel computer recording and 2-channel computer playback

• USB thru switch and input level

How To Use This Manual

The ﬁ rst pages after the table of contents are the hookup diagrams. These show typical setups for fun times with your ProFX8 or ProFX12 mixer.

Next is a detailed tour of the entire mixer. The descriptions are divided into sections, just as your mixer is organized into distinct zones:

• Rear Panel: The AC input, power switch, XLR line-level outputs and USB I/O

• Connection Section: The upper section, where you connect microphones and guitars etc.

• Channel Controls: The channel strips where you adjust and control each channel

• Master Controls: The section on the right, with graphic EQ and main level controls

• Stereo Effect Processor

Throughout these sections you’ll ﬁ nd illustrations with each feature numbered and described in the nearby paragraphs.

This icon marks infor mation that is critically important or unique to the mixer. For your own good, read them and remember them.

This icon will lead you to some explanations of features and practical tips. Go ahead and skip these if you really need to go.

Appendix A: Service information.

Appendix B: Connectors.

Appendix C: Technical information.

Appendix D: USB information.

4

ProFX8 and ProFX12

HOOKUP DIAGRAMS

Acoustic

Guitar with

pickup

ProFX8 and ProFX12

Microphones

Mono Effects

press HI-Z

button

MIC MIC MIC MIC MIC MIC

TAPE

IN

LINE HI-Z

2

1 5/6 7/8 9/10 11/12

BAL/

UNBAL

LINE IN 3

LINE IN 2

LINE/HI-Z IN 1

INSERT

U

G

A

C

I

N

I

M

LEVEL

SET

U

+50

+30dB

-20dB

GAIN

LOW CUT

100 Hz

U

HI

12kHz

+15-15

U

MID

2.5kHz

2.5kHz +15-15

+15-15

U

LOW

80Hz

+15-15

U

AUX

MON

+15

OO

U

FX

+15

OO

+15

OO

PAN

RL

Keyboard

MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE

OL OL OL OL OL OL OL OL OL

dB 10

5

U

5

10

20

30

40 50 60

OO

2

1

dB

10

5

U

5

10

20

30

40

50

60

OO

4

3

BAL/

UNBAL

LINE IN 4

LINE IN 5

INSERT

LINE IN 6

U

G

A

C

I

N

I

M

LEVEL

U

+50

+30dB

GAIN

LOW CUT

100 Hz

U

12kHz

+15-15

U

MID

2.5kHz

+15-15

U

LOW 80Hz

+15-15

U

AUX

MON

+15

OO

U

FX

+15

OO

PAN

RL

G

A

C

I

N

G

A

C

I

N

M

LEVEL

SET

U

+50

U+50

+30dB

-20dB

GAIN

LOW CUT

100 Hz

U

EQEQEQEQ EQ EQ EQ EQ

HI

12kHz

+15-15

U

MID

2.5kHz

+15-15

U

LOW 80Hz

+15-15

U

AUX

MON

+15

OO

U

FX

+15

OO

+15

OO

PAN

RL

4

3

dB

10

5

U

5

10

20

30

40

50

60

OO

(MONO) (MONO) (MONO) (MONO)

(MONO)

L

BAL/

LINE IN 7

LINE IN 9

UNBAL

R

LINE IN 10

LINE IN 8

G

A

U

C

I

N

M

LEVEL

SET

U+50

GAIN

LOW CUT

100 Hz

U

HI

12kHz

+15-15

U

MID

2.5kHz

+15-15

U

LOW

80Hz

+15-15

U

+15

OO

U

FX

+15

OO

RL

dB 10

5

U

5

10

Drum

20

30

Machine

40 50 60

OO

U

AUX

MON

OO

U

FX

OO

PAN

7/85/6

dB 10

5

U

5

10

20

30

40 50 60

OO

AUX

MON

PAN

Electric

Guitar

(UNBALANCED)

L

TAPE OUT

R

+20-20

+15-15

+15

RL

PROFESSIONAL MIC/LINE MIXER WITH FX

L

BAL/

LINE IN 11

UNBAL

R

LINE IN 12

HI

12kHz

MID

2.5kHz

LOW 80Hz

AUX

MON

FX

PAN

9/10

dB 10

5

U

5

10

20

30

40 50 60

OO

L

BAL/

UNBAL

R

ST RETURN MAIN OUT PHONES

STEREO GRAPHIC EQ

U

15

10

+20-20

5

GAIN

0

5

U

10

15

HI

12kHz

+15-15 U

MAIN MIX MON

MID

2.5kHz +15-15 U

LOW

FX PRESETS

80Hz

01 BRIGHT ROOM 02 WARM LOUNGE

+15-15

03 SMALL STAGE 04 WARM THEATER

U

AUX

05 WARM HALL 06 CONCERT HALL 07 PLATE REVERB

MON

08 CATHEDRAL 09 CHORUS

+15

OO

10 CHORUS + REV

U

11 DOUBLER 12 TAPE SLAP

Effects P rocessor

13 DELAY 1 (300ms)

FX

14 DELAY 2 (380ms) 15 DELAY 3 (480ms) 16 REVERB + DLY (250ms)

+15

OO

Mono in, Stereo out

U

PAN

OL

+15

OO

RL

FX MASTER

MUTE

11/12 ST RTN FX RTN

dB 10

5

U

5

10

20

30

40 50 60

OO

BAL/ UNBAL

MON SEND

BAL/ UNBAL

FX SEND

EQ IN

BYPASS

USB

OO

INPUT LEVEL

PRESETS

MUTE

USB THRU

U

OO

+15

OO

PHONES

FX TO MON

MON

dB

10

5

U

Monitor EQ

5

10

20

30

40

50

60

OO

8K4K2K1K500250125

U

+20

MAX

~100-240V 50/60 Hz 25W

L

FUSE: T1.6AL AC250V

BAL/ UNBAL

FOOTSWITCH

R

15

10

5

0

5

10

15

METERS

(MUTES ALL CHANNELS)

TAPE LEVEL

MAIN

dB

10

5

U

5

10

20

30

40 50 60

OO

Bass

Guitar

iPod Docking Station

F ootswitch

POWER

ON

MAIN

RIGHT

(BALANCED)

48V

PHANTOM

POWER

MAIN

0dB=0dBu

OL 15 10

6 3 0 2 4

7 10 20 30

RL

BREAK

U

OO

+20

MAIN

(BALANCED)

LEFT

PROFESSIONAL MIC/LINE MIXER WITH FX

USB

Laptop Computer

with Tr acktion

for recor ding

Headphones

WARNING:

TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.

AVIS:

RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR

MANUFACTURING DATE

SERIAL NUMBER

THIS DEVICE COMPLIES WITH PART 15 OF THE FCC RULES AND THE ICES-003 FOR CANADA. OPERATION IS SUBJECT TO THE FOLLOWING TWO CONDITIONS: (1) THIS DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE, AND (2) THIS DEVICE MUST ACCEPT ANY INTERFERENCE RECEIVED, INCLUDING INTERFERENCE THAT MAY CAUSE UNDESIRED OPERATION.

DESIGNED BY MACKOIDS IN WOODINVILLE, WA, USA • MANUFACTURED IN CHINA

ARE TRADEMARKS OF LOUD TECHNOLOGIES, INC. • PATENT PENDING.

SRM450v2 Powered Monitors

SRM450v2 Powered Speakers

This diagram shows a guitar connected directly to channel 1 (with the hi-z switch pressed in), microphones attached to channels 2, 3, and 4, guitar effects processors connected to the left line-level input of channel 5/6, and 7/8, a keyboard attached to channel 9/10's line-level inputs, and a drum machine connected to channel 11/12. An iPod docking station is attached to the stereo tape inputs. An effects processor receives a mono input from the FX send, and its stereo outputs connect to the stereo return inputs.

Mackie SRM450v2 powered speakers are connected to the left and right main output. Two of these speakers are also set up as stage monitors, and connect to the mixer's monitor output via a graphic EQ. The aux mon controls of each channel allow you to create a stage monitor mix that is independent of the main mix. Use the external graphic EQ to adjust the stage monitor EQ as desired. Headphones are used for monitoring, and a footswitch allows you to mute/unmute the internal effects as desired.

A laptop connects to the USB port, and allows the 2-channel main mix of the performance to be recorded using Tracktion software. Two channels of audio can also play from your computer to the main mix.

Band System ProFX12

6

ProFX8 and ProFX12

Lavalier

p

Clip-on Mic

LINE HI-Z

BAL/

UNBAL

LINE/HI-Z IN 1

INSERT

U

G

A

C

I

N

I

M

LEVEL

U

+50

+30dB

-20dB

GAIN

LOW CUT

100 Hz

U

12kHz

+15-15 U

2.5kHz +15-15 U

LOW 80Hz

+15-15

U

AUX

MON

+15

OO

U

+15

OO

PAN

Dual Compressors

RL

MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE

OL OL OL OL OL OL OL OL OL

dB 10

5

U

5

10

20

30

40 50 60

OO

Acoustic Guitar

and Mic

Microphones

(UNBALANCED)

MIC MIC MIC MIC MIC MIC

L

TAPE

IN

1 5/6 7/8 9/10 11/12

BAL/

UNBAL

LINE IN 3

LINE IN 2

INSERT

U

G

A

C

I

N

I

M

LEVEL

SET

U

+50

+30dB

-20dB

GAIN

LOW CUT

100 Hz

U

HI

MID

FX

1

12kHz

+15-15

U

MID

2.5kHz

+15-15

U

LOW

80Hz

+15-15

U

AUX

MON

+15

OO

U

FX

+15

OO

+15

OO

PAN

RL

3

2

dB

10

5

U

5

10

20

30

40

50

60

OO

(MONO)

BAL/

UNBAL

BAL/

LINE IN 4

LINE IN 5

UNBAL

INSERT

LINE IN 6

U

G

A

C

I

N

G

A

C

I

N

M

LEVEL

SET

U

+50

U+50

+30dB

-20dB

GAIN

LOW CUT

100 Hz

U

EQEQEQEQ EQ EQ EQ EQ

HI

12kHz

+15-15

U

MID

2.5kHz

+15-15

U

LOW

80Hz

+15-15

U

AUX

MON

+15

OO

U

FX

+15

OO

+15

OO

PAN

RL

4

dB

10

5

U

5

10

20

30

Keyboard

40

50

60

OO

4

3

2

R

(MONO) (MONO) (MONO) (MONO)

L

BAL/

LINE IN 7

LINE IN 9

UNBAL

R

LINE IN 10

LINE IN 8

G

A

U

C

I

N

M

LEVEL

SET

U+50

+20-20

GAIN

LOW CUT

100 Hz

U

HI

12kHz

+15-15

U

MID

2.5kHz

+15-15

U

LOW

80Hz

+15-15

U

AUX

MON

+15

OO

U

FX

+15

OO

+15

OO

PAN

RL

7/85/6

9/10

dB

10

5

U

5

10

20

30

40

50

60

OO

L

BAL/

LINE IN 11

R

LINE IN 12

U

+20-20

GAIN

U

HI

+15-15 U

MID

+15-15 U

+15-15

U

+15

OO

U

Effects P rocessor

FX

+15

OO

Mono in, Stereo out

RL

11/12 ST RTN FX RTN

dB 10

5

U

5

10

20

30

40 50 60

OO

Mono Effects

L

TAPE OUT

R

PROFESSIONAL MIC/LINE MIXER WITH FX

L

BAL/

UNBAL

R

15

10

5

0

5

10

15

HI

12kHz

MID

2.5kHz

LOW 80Hz

01 BRIGHT ROOM 02 WARM LOUNGE 03 SMALL STAGE 04 WARM THEATER

AUX

05 WARM HALL 06 CONCERT HALL 07 PLATE REVERB

MON

08 CATHEDRAL 09 CHORUS 10 CHORUS + REV 11 DOUBLER 12 TAPE SLAP 13 DELAY 1 (300ms)

FX

14 DELAY 2 (380ms) 15 DELAY 3 (480ms) 16 REVERB + DLY (250ms)

PAN

BAL/

L

UNBAL

BAL/ UNBAL

MON SEND

BAL/

UNBAL

R

ST RETURN MAIN OUT PHONES

FX SEND

STEREO GRAPHIC EQ

MAIN MIX

EQ IN

MON

BYPASS

FX PRESETS

PRESETS

MUTE

U

OL

OO

+15

OO

FX MASTER

FX TO MON

MUTE

dB

dB 10

5

U

5

10

20

30

40 50 60

OO

10

5

U

5

10

20

30

40 50 60

OO

Monitor EQ

USB

OO

INPUT LEVEL

USB THRU

OO

PHONES

MON

dB 10

5

U

5

10

20

30

40 50 60

OO

8K4K2K1K500250125

U

+20

MAX

~100-240V 50/60 Hz 25W

L

FUSE: T1.6AL AC250V

BAL/ UNBAL

FOOTSWITCH

R

15

10

PHANTOM

5

0

5

10

15

MAIN

METERS

0dB=0dBu

(MUTES ALL CHANNELS)

TAPE LEVEL

MAIN

dB 10

5

U

5

10

20

30

40 50 60

OO

Electric

Guitar

iPod Docking Station

POWER

48V

POWER

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

RL

BREAK

U

OO

+20

Owner’s Manual

Assistive Listening System

Headphones

WARNING:

TO REDUCE THE RISK OF FIRE OR ELECTRIC

SHOCK, DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR

ON

MAIN RIGHT

(BALANCED)

MAIN LEFT

PROFESSIONAL MIC/LINE MIXER WITH FX

USB

Compressor/Limiter

MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.

AVIS:

RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR

MANUFACTURING DATE

SERIAL NUMBER

THIS DEVICE COMPLIES WITH PART 15 OF THE FCC RULES AND THE ICES-003 FOR CANADA. OPERATION IS SUBJECT TO THE FOLLOWING TWO CONDITIONS: (1) THIS DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE, AND (2) THIS DEVICE MUST ACCEPT ANY INTERFERENCE RECEIVED, INCLUDING INTERFERENCE THAT MAY CAUSE UNDESIRED OPERATION.

DESIGNED BY MACKOIDS IN WOODINVILLE, WA, USA • MANUFACTURED IN CHINA

ARE TRADEMARKS OF LOUD TECHNOLOGIES, INC. • PATENT PENDING.

Laptop with Tr acktion recor ding the service

SRM450v2 Powered Monitors

SR1521z Powered S

eakers

This diagram shows various microphones attached to channels 1 to 4, a guitar mic on channel 5/6, a guitar effects processor connected to the left line-level input of channel 7/8, and a keyboard attached to channel 9/10's line-level inputs. An iPod docking station is attached to the stereo tape inputs. An effects processor receives a mono input from the FX send, and its stereo outputs connect to the stereo return inputs. An assistive listening system is connected to the line-level main output. Dual compressors are connected to the inserts of channels 1 to 4, allowing vocal compression.

Mackie SR1521z powered speakers are connected to the left and right main output, via a compressor/ limiter. Two SRM450v2 powered speakers are set up as stage monitors, and connect to the mixer's monitor output via a graphic EQ. The aux mon controls of each channel allow you to create a stage monitor mix that is independent of the main mix. Use the external graphic EQ to adjust the stage monitor EQ as desired. Headphones are used for monitoring.

A laptop connects to the USB port, and allows the 2-channel main mix of the service to be recorded using Tracktion software. Two channels of audio can also play from your computer to the main mix.

House of Worship System ProFX12

Owner’s Manual

7

Microphones

ProFX8 and ProFX12

CD Player

MIC MIC MIC MIC

L

TAPE

IN

LINE

LINE HI-Z

HI-Z

1 2 3/4 5/6 7/8

LINE IN 2 LINE/HI-Z IN 1

INSERT

U

G

A

C

I

N

I

M

LEVEL

SET

U

+50

+30dB

-20dB

GAIN

LOW CUT

100 Hz

EQ

U

HI

12kHz

+15-15

U

MID

2.5kHz

+15-15

U

LOW 80Hz

+15-15

U

AUX

MON

+15

OO

U

FX

+15

OO

PAN

RL

MUTE MUTE MUTE MUTE MUTE MUTE

OL

OL OL OL OL OL

1

dB

10

5

U

5

CD Turntable

10

20

30

40

50

60

OO

BAL/

UNBAL

LINE IN 3

INSERT

LINE IN 4

U

G

A

C

I

N

I

G

A

C

I

N

I

M

LEVEL SET

+50

U

+30dB

GAIN

LOW CUT

100 Hz

EQ

U

HI

12kHz

+15-15

U

MID

2.5kHz

+15-15

U

LOW 80Hz

+15-15

U

AUX

MON

+15

OO

U

FX

+15

OO

PAN

RL

2

5

U

5

10

20

30

40 50 60

OO

(MONO) (MONO) (MONO) (MONO)

L

BAL/

UNBAL

R

LEVEL

SET

EQ

HI

12kHz

MID

2.5kHz

LOW 80Hz

MON

FX

3/4

R

L

BAL/

LINE IN 5

LINE IN 7

UNBAL

R

LINE IN 6

LINE IN 8

G

A

U

C

I

N

I

M

LEVEL

SET

+50

U

+20-20

GAIN

LOW CUT

100Hz

EQ

U

HI

12kHz

+15-15

U

MID

2.5kHz

+15-15

U

LOW 80Hz

+15-15

U

AUX

MON

+15

OO

U

FX

+15

OO

PAN

RL

5/6

dB

10

5

U

5

10

20

30

40

50

60

OO

Effects P rocessor

(UNBALANCED)

L

TAPE OUT

R

PROFESSIONAL MIC/LINE MIXER WITH FX

L

BAL/ UNBAL

R

STEREO GRAPHIC EQ

MAIN MIX MON

U

OL

+15

OO

500250125

dB 10

MON SEND

FX SEND

PRESETS

MUTE

OO

FX TO MON

5

U

5

10

20

30

40 50 60

OO

BAL/

UNBAL

BAL/

UNBAL

EQ IN

BYPASS

U

+15

L

BAL/

UNBAL

R

ST RETURN MAIN OUT PHONES

15

10

5

0

5

EQ

10

15

HI

12kHz

MID

2.5kHz

LOW

FX PRESETS

80Hz

01 BRIGHT ROOM 02 WARM LOUNGE 03 SMALL STAGE 04 WARM THEATER

AUX

05 WARM HALL 06 CONCERT HALL 07 PLATE REVERB

MON

08 CATHEDRAL 09 CHORUS 10 CHORUS + REV 11 DOUBLER 12 TAPE SLAP 13 DELAY 1 (300ms)

FX

14 DELAY 2 (380ms) 15 DELAY 3 (480ms) 16 REVERB + DLY (250ms)

PAN

FX MASTER

7/8 ST RTN FX RTN

dB 10

5

U

5

10

20

30

40 50 60

USB

OO

INPUT LEVEL

USB THRU

OO

PHONES

MON

dB 10

5

U

5

10

20

30

40 50 60

OO

iPod Docking Station

Headphones

POWER

ON

MAIN RIGHT

(BALANCED)

L

BAL/

UNBAL

FOOTSWITCH

R

15

48V

10

PHANTOM

5

POWER

0

5

POWER

10

15

MAIN

METERS

8K4K2K1K

0dB=0dBu

OL 15 10 6 3 0 2 4

U

7 10 20 30

+20

RL

BREAK

(MUTES ALL CHANNELS)

U

OO

+20

MAX

TAPE LEVEL

MAIN

dB 10

5

U

5

10

20

30

40 50 60

OO

~100-240V 50/60 Hz 20W

FUSE: T1.6AL AC250V

DESIGNED BY MACKOIDS IN WOODINVILLE, WA, USA • MANUFACTURED IN CHINA

ARE TRADEMARKS OF LOUD TECHNOLOGIES, INC. • PATENT PENDING.

(BALANCED)

MAIN LEFT

PROFESSIONAL MIC/LINE MIXER WITH FX

USB

THIS DEVICE COMPLIES WITH PART 15 OF THE FCC RULES AND THE ICES-003 FOR CANADA. OPERATION IS SUBJECT TO THE FOLLOWING TWO CONDITIONS: (1) THIS DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE, AND (2) THIS DEVICE MUST ACCEPT ANY INTERFERENCE RECEIVED, INCLUDING INTERFERENCE THAT MAY CAUSE UNDESIRED OPERATION.

WARNING:

TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.

AVIS:

RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR

MANUFACTURING DATE

SERIAL NUMBER

Laptop running Tr acktion

and DJ software

Reverb

Compressor

SRM450v2 Powered Monitors

SR1530z Powered Speakers

This diagram shows two microphones attached to channels 1 and 2, a CD player connected to the linelevel inputs of channel 3/4, a CD turntable connected to the line-level inputs of channel 7/8. An iPod docking station is attached to the stereo tape inputs. An effects processor receives a mono input from the FX send, and its stereo outputs connect to the stereo return inputs. A reverb and compressor are connected to the insert of channel 1 allowing vocal compression and a touch of reverb.

Mackie SR1530z powered speakers are connected to the left and right main output. Two SRM450v2 powered speakers are set up as stage monitors, and connect to the mixer's monitor output. The aux mon controls of each channel allow you to create a stage monitor mix that is independent of the main mix. Switch the internal graphic EQ to adjust the stage monitor EQ if desired. Headphones are used for monitoring.

A laptop connects to the USB port, and allows 2-channel output of DJ software to play in your main mix. It also can be used to record your set on the computer for posterity.

DJ System ProFX8

8

ProFX8 and ProFX12

Microphones

e

Owner’s Manual

TV monitor

MIC MIC MIC MIC

LINE

LINE HI-Z

HI-Z

1 2 3/4 5/6 7/8

LINE IN 2 LINE/HI-Z IN 1

INSERT

U

G

A

C

I

N

I

M

LEVEL

SET

U

+50

+30dB

-20dB

GAIN

LOW CUT

100 Hz

EQ

U

HI

12kHz

+15-15

U

MID

2.5kHz

+15-15

U

LOW 80Hz

+15-15

U

AUX

MON

+15

OO

U

FX

OO

+15

PAN

RL

MUTE MUTE MUTE MUTE MUTE MUTE

OL

OL OL OL OL OL

1

dB

10

5

U

Dual Compressor

U

5

10

20

30

40

50

60

OO

(MONO) (MONO) (MONO) (MONO)

BAL/

L

UNBAL

BAL/

LINE IN 5

LINE IN 3

UNBAL

INSERT

M

GAIN

OO

R

LINE IN 4

U

G

A

C

I

N

I

+50

+30dB

LOW CUT

100 Hz

U

+15-15

U

+15-15

U

+15-15

U

AUX

+15

U

+15

PAN

RL

LINE IN 6

G

A

C

I

N

I

M

LEVEL

SET

+50

U

GAIN

LOW CUT

100 Hz

EQ

HI

12kHz

MID

2.5kHz

LOW 80Hz

MON

FX

Effects P rocessor

2

100Hz

EQ

U

HI

12kHz

+15-15

U

MID

2.5kHz

+15-15

U

LOW 80Hz

+15-15

U

AUX

MON

+15

OO

U

FX

OO

+15

PAN

RL

3/4

dB

10

5

U

5

10

20

30

40

50

60

OO

TAPE

IN

L

BAL/ UNBAL

R

I

N

LEVEL

SET

+50

EQ

HI

12kHz

MID

2.5kHz

LOW 80Hz

AUX

MON

FX

PAN

RL

5/6

dB 10

5

U

5

10

20

30

40 50 60

OO

CD+G Player

(UNBALANCED)

L

TAPE

OUT

R

BAL/

LINE IN 7

UNBAL

LINE IN 8

U

+20-20

GAIN

EQ

U

12kHz

+15-15

U

2.5kHz

+15-15

U

LOW 80Hz

+15-15

U

AUX

MON

+15

OO

U

OO

+15

PAN

RL

7/8 ST RTN FX RTN

PROFESSIONAL MIC/LINE MIXER WITH FX

L

BAL/

UNBAL

MON SEND

R

FX SEND

ST RETURN MAIN OUT PHONES

STEREO GRAPHIC EQ

15

10

5

0

5

10

15

HI

500250125

MAIN MIX MON

MID

FX PRESETS

01 BRIGHT ROOM 02 WARM LOUNGE 03 SMALL STAGE 04 WARM THEATER 05 WARM HALL 06 CONCERT HALL 07 PLATE REVERB 08 CATHEDRAL 09 CHORUS 10 CHORUS + REV 11 DOUBLER 12 TAPE SLAP

MUTE

13 DELAY 1 (300ms)

FX

14 DELAY 2 (380ms) 15 DELAY 3 (480ms) 16 REVERB + DLY (250ms)

U

OL

+15

OO

FX MASTER

FX TO MON

dB

10

5

U

5

10

20

30

40

50

60

OO

Video

Headphones

POWER

ON

MAIN

RIGHT

BAL/

L

UNBAL

BAL/ UNBAL

FOOTSWITCH

BAL/

UNBAL

R

15

48V

10

PHANTOM

5

POWER

0

5

POWER

10

15

MAIN

METERS

8K4K2K1K

0dB=0dBu

OL

EQ IN

BYPASS

PRESETS

U

OO

+15

USB

OO

INPUT LEVEL

USB THRU

OO

PHONES

MON

dB 10

5

U

5

10

20

30

40 50 60

OO

15 10 6 3 0 2 4

U

7 10 20 30

+20

RL

BREAK

(MUTES ALL CHANNELS)

U

OO

+20

MAX

TAPE LEVEL

MAIN

dB 10

5

U

5

10

20

30

40 50 60

OO

~100-240V 50/60 Hz 20W

FUSE: T1.6AL AC250V

(BALANCED)

DESIGNED BY MACKOIDS IN WOODINVILLE, WA, USA • MANUFACTURED IN CHINA

ARE TRADEMARKS OF LOUD TECHNOLOGIES, INC. • PATENT PENDING.

MAIN

(BALANCED)

LEFT

PROFESSIONAL MIC/LINE MIXER WITH FX

THIS DEVICE COMPLIES WITH PART 15 OF THE FCC RULES AND THE ICES-003 FOR

USB

CANADA. OPERATION IS SUBJECT TO THE FOLLOWING TWO CONDITIONS: (1) THIS DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE, AND (2) THIS DEVICE MUST ACCEPT ANY INTERFERENCE RECEIVED, INCLUDING INTERFERENCE THAT MAY CAUSE UNDESIRED OPERATION.

with Karaoke Softwar

WARNING:

TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.

AVIS:

RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR

MANUFACTURING DATE

SERIAL NUMBER

Laptop Computer

SRM450v2 Powere d Speaker

SWA1501 Powere d Subwoofer

SRM350v2 Powered Monitors

This diagram shows microphones attached to channels 1 to 4, and a CD+G player connected to the line-level inputs of channel 7/8. An effects processor receives a mono input from the FX send, and its stereo outputs connect to the stereo return inputs. A dual compressor is connected to the insert of channel 1, and 2, allowing vocal compression.

Mackie SRM450v2 powered speakers and SWA1501 powered subwoofers are connected to the left and right main output. Two SRM450v2 powered speakers are set up as stage monitors, and connect to the mixer's monitor output. The aux mon controls of each channel allow you to create a stage monitor mix that is independent of the main mix. Headphones are used for monitoring.

A laptop running Karaoke software connects to the USB port, and allows a 2-channel output to play in the main mix.

The CD+G player allows karaoke text and graphics to be displayed on your TV monitor.

Karaoke System ProFX8

Owner’s Manual

9

Acoustic

Guitar with

pickup

Condenser

microphone

for vocals

Electric

Guitar

Headphones

Amplifier

Modeler

ProFX8 and ProFX12

press HI-Z

button

LINE

LINE HI-Z

HI-Z

1 2 3/4 5/6 7/8

LINE IN 2 LINE/HI-Z IN 1

INSERT

U

G

A

C

I

N

I

M

LEVEL

SET

U

+50

+30dB

-20dB

GAIN

LOW CUT

100 Hz

EQ

U

HI

12kHz

+15-15

U

MID

2.5kHz

+15-15

U

LOW 80Hz

+15-15

U

AUX

MON

+15

OO

U

FX

OO

+15

PAN

RL

MUTE MUTE MUTE MUTE MUTE MUTE

OL

OL OL OL OL OL

1

dB

10

5

U

5

10

20

30

40

Electronic Drum Kit

50

60

OO

BAL/ UNBAL

LINE IN 3

INSERT

LINE IN 4

U

G

A

C

I

N

I

G

A

C

I

N

I

M

LEVEL

SET

U

+50

U

+30dB

GAIN

LOW CUT

100 Hz

EQ

U

HI

12kHz

+15-15

U

MID

2.5kHz

+15-15

U

LOW 80Hz

+15-15

U

AUX

MON

+15

OO

U

FX

OO

+15

PAN

RL

2

dB 10

5

U

5

10

20

30

40 50 60

OO

(MONO) (MONO) (MONO) (MONO)

L

BAL/

LINE IN 5

UNBAL

R

LINE IN 6

M

LEVEL

SET

U

GAIN

EQ

HI

12kHz

MID

2.5kHz

LOW 80Hz

MON

OO

FX

OO

Keyboard

3/4

dB 10

5

U

5

10

20

30

40 50 60

OO

MIC MIC MIC MIC

BAL/

UNBAL

G

A

C

I

N

I

LEVEL

+50

LOW CUT

100Hz

EQ

U

12kHz

+15-15

U

MID

2.5kHz

+15-15

U

LOW 80Hz

+15-15

U

AUX

MON

+15

U

FX

+15

PAN

RL

5/6

(UNBALANCED)

L

TAPE

IN

R

L

BAL/

LINE IN 7

UNBAL

R

LINE IN 8

ST RETURN MAIN OUT PHONES

U

SET

15

10

+20-20

5

GAIN

0

5

EQ

U

10

15

HI

12kHz

+15-15

U

MID

2.5kHz

+15-15

U

LOW

FX PRESETS

80Hz

01 BRIGHT ROOM 02 WARM LOUNGE

+15-15

03 SMALL STAGE 04 WARM THEATER

U

AUX

05 WARM HALL 06 CONCERT HALL 07 PLATE REVERB

MON

08 CATHEDRAL 09 CHORUS

+15

OO

10 CHORUS + REV

U

11 DOUBLER 12 TAPE SLAP 13 DELAY 1 (300ms)

FX

14 DELAY 2 (380ms) 15 DELAY 3 (480ms) 16 REVERB + DLY (250ms)

OO

+15

U

PAN

OO

RL

FX MASTER

7/8 ST RTN FX RTN

dB

10

5

U

5

10

20

30

40

50

60

OO

L

TAPE

OUT

R

PROFESSIONAL MIC/LINE MIXER WITH FX

L

BAL/ UNBAL

MON SEND

R

FX SEND

STEREO GRAPHIC EQ

500250125

MAIN MIX MON

PRESETS

MUTE

U

OL

OO

+15

FX TO MON

dB 10

5

U

5

10

20

30

40 50 60

OO

Headphone Amp

POWER

ON

MAIN RIGHT

BAL/

L

UNBAL

BAL/ UNBAL

FOOTSWITCH

BAL/ UNBAL

R

15

48V

10

PHANTOM

5

POWER

0

5

POWER

10

15

MAIN

METERS

8K4K2K1K

0dB=0dBu

OL

EQ IN

USB

OO

INPUT LEVEL

USB THRU

OO

PHONES

MON

dB 10

5

U

5

10

20

30

40 50 60

OO

15 10 6 3 0 2 4

U

7 10 20 30

+20

RL

BREAK

(MUTES ALL CHANNELS)

U

OO

+20

MAX

TAPE LEVEL

MAIN

dB 10

5

U

5

10

20

30

40 50 60

OO

BYPASS

~100-240V 50/60 Hz 20W

FUSE: T1.6AL AC250V

Desktop

(BALANCED)

DESIGNED BY MACKOIDS IN WOODINVILLE, WA, USA • MANUFACTURED IN CHINA

ARE TRADEMARKS OF LOUD TECHNOLOGIES, INC. • PATENT PENDING.

PROFESSIONAL MIC/LINE MIXER WITH FX

MAIN LEFT

(BALANCED)

THIS DEVICE COMPLIES WITH PART 15 OF THE FCC RULES AND THE ICES-003 FOR

USB

CANADA. OPERATION IS SUBJECT TO THE FOLLOWING TWO CONDITIONS: (1) THIS DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE, AND (2) THIS DEVICE MUST ACCEPT ANY INTERFERENCE RECEIVED, INCLUDING INTERFERENCE THAT MAY CAUSE UNDESIRED OPERATION.

MR8 Powered Reference Monitors

SERIAL NUMBER

WARNING:

TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.

AVIS:

RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR

MANUFACTURING DATE

Mac or PC using Tr acktion

This diagram shows an acoustic guitar connected directly to channel 1 (with hi-z switch pressed in), a condenser microphone attached to channel 2 mic input, a guitar ampliﬁ er modeler connected to the linelevel inputs of channel 3/4, an electronic drum kit connected to channel 5/6, and a keyboard attached to channel 7/8.

Mackie MR8 powered reference monitors are connected to the left and right main output, for careful and accurate monitoring of your performances.

A desktop computer connects to the USB port, and allows the 2-channel main mix to be recorded and 2 channels to be played back using Tracktion software.

Home Studio System ProFX8

10

ProFX8 and ProFX12

Microphones

MIC MIC MIC MIC

TAPE

IN

LINE

LINE HI-Z

HI-Z

1 2 3/4 5/6 7/8

LINE IN 2 LINE/HI-Z IN 1

INSERT

U

G

A

C

I

N

I

M

LEVEL

SET

U

+50

+30dB

-20dB

GAIN

LOW CUT

100 Hz

EQ

U

HI

12kHz

+15-15

U

MID

2.5kHz

+15-15

U

LOW 80Hz

+15-15

U

AUX

MON

+15

OO

U

FX

OO

+15

PAN

RL

MUTE MUTE MUTE MUTE MUTE MUTE

OL

1

dB

10

5

U

5

10

20

30

40

50

60

OO

(MONO) (MONO) (MONO) (MONO)

BAL/

L

UNBAL

LINE IN 3

INSERT

LINE IN 4

U

C

I

G

A

C

I

N

I

M

LEVEL

SET

U

+50

U

+30dB

GAIN

LOW CUT

100 Hz

EQ

U

HI

12kHz

+15-15 U

MID

2.5kHz +15-15 U

LOW 80Hz

+15-15

U

AUX

MON

+15

OO

U

FX

OO

+15

PAN

RL

OL OL OL OL OL

2

dB 10

5

CD Turntable

U

5

10

20

30

40 50 60

OO

L

BAL/

LINE IN 5

LINE IN 7

UNBAL

R

LINE IN 8

LINE IN 6

G

A

C

I

N

I

M

LEVEL

SET

+50

U

GAIN

LOW CUT

100 Hz

100Hz

EQ

U

HI

12kHz

+15-15

U

MID

2.5kHz

+15-15

U

LOW

80Hz

+15-15

U

AUX

MON

+15

OO

U

FX

OO

+15

PAN

RL

3/4

5/6

dB

10

5

U

5

10

20

30

40

50

60

OO

(UNBALANCED)

L

TAPE OUT

R

U

+20-20

GAIN

U

+15-15

U

+15-15

U

+15-15

U

AUX

MON

+15

OO

U

OO

+15

PAN

RL

7/8 ST RTN FX RTN

PROFESSIONAL MIC/LINE MIXER WITH FX

L

BAL/

UNBAL

MON SEND

R

FX SEND

ST RETURN MAIN OUT PHONES

STEREO GRAPHIC EQ

15

10

5

0

5

EQ

10

15

HI

12kHz

500250125

MAIN MIX MON

MID

2.5kHz

LOW

FX PRESETS

80Hz

01 BRIGHT ROOM 02 WARM LOUNGE 03 SMALL STAGE 04 WARM THEATER 05 WARM HALL 06 CONCERT HALL 07 PLATE REVERB 08 CATHEDRAL 09 CHORUS 10 CHORUS + REV

PRESETS

11 DOUBLER 12 TAPE SLAP

MUTE

13 DELAY 1 (300ms)

FX

14 DELAY 2 (380ms) 15 DELAY 3 (480ms) 16 REVERB + DLY (250ms)

U

OL

OO

+15

OO

FX MASTER

FX TO MON

dB

10

5

U

Effects/ Sampler

5

10

20

30

40

50

60

OO

Owner’s Manual

Headphones

POWER

ON

MAIN RIGHT

BAL/

L

UNBAL

BAL/

UNBAL

FOOTSWITCH

BAL/

UNBAL

R

15

48V

10

PHANTOM

5

POWER

0

5

POWER

10

15

MAIN

METERS

8K4K2K1K

0dB=0dBu

OL

EQ IN

USB

OO

INPUT LEVEL

USB THRU

OO

PHONES

MON

dB 10

5

U

5

10

20

30

40 50 60

OO

15 10

6 3 0 2 4

U

7 10 20 30

+20

RL

BREAK

(MUTES ALL CHANNELS)

U

OO

+20

MAX

TAPE LEVEL

MAIN

dB 10

5

U

5

10

20

30

40 50 60

OO

BYPASS

U

+15

~100-240V 50/60 Hz 20W

FUSE: T1.6AL AC250V

(BALANCED)

DESIGNED BY MACKOIDS IN WOODINVILLE, WA, USA • MANUFACTURED IN CHINA

ARE TRADEMARKS OF LOUD TECHNOLOGIES, INC. • PATENT PENDING.

(BALANCED)

MAIN LEFT

PROFESSIONAL MIC/LINE MIXER WITH FX

USB

THIS DEVICE COMPLIES WITH PART 15 OF THE FCC RULES AND THE ICES-003 FOR CANADA. OPERATION IS SUBJECT TO THE FOLLOWING TWO CONDITIONS: (1) THIS DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE, AND (2) THIS DEVICE MUST ACCEPT ANY INTERFERENCE RECEIVED, INCLUDING INTERFERENCE THAT MAY CAUSE UNDESIRED OPERATION.

WARNING:

TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.

AVIS:

RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR

MANUFACTURING DATE

SERIAL NUMBER

Laptop Computer

with Tr acktion

MR5 Powered Reference Monitors

Keyboard workstation

This diagram shows microphones attached to channel 1 and 2 mic inputs, a keyboard workstation attached to channel 3/4's line-level inputs, and a CD turntable connected to channel 5/6's line-level inputs. An effects/sampler receives a mono input from the FX send, and its stereo outputs connect to the stereo return inputs.

Mackie MR5 powered reference monitors are connected to the left and right main output, for careful and accurate monitoring of your work.

A desktop computer connects to the USB port, and allows the 2-channel main mix to be recorded and 2 channels played back using Tracktion software.

Podcast System ProFX8

Owner’s Manual

11

Rear Panel Features

POWER

1 2

~100-240V 50/60 Hz 25W

FUSE: T1.6AL AC250V

ON

3

MAIN

RIGHT

(BALANCED)

MAIN

LEFT

(BALANCED)

4 5

1. POWER CONNECTION

ProFX8 and ProFX12

This is a standard 3-prong IEC AC power connector. Securely connect the supplied detachable linecord in here, and plug the other end into an AC outlet. The mixer has a universal power supply that can accept any AC voltage ranging from 100 VAC to 240 VAC. No need for voltage select switches or step-up or step-down transformers, it will work virtually anywhere in the world. It is less susceptible to voltage sags or spikes than conventional power supplies, and provides greater electromagnetic isolation and better protection against AC line noise.

2. FUSE

The ProFX mixer is fused for your (and its own) protection. If you suspect a blown fuse, disconnect the power cord, pull this fuse drawer out and replace the fuse with exactly the same type and rating.

WARNING:

TO REDUCE THE RISK OF FIRE OR ELECTRIC

SHOCK, DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR

PROFESSIONAL MIC/LINE MIXER WITH FX

USB

SERIAL NUMBER

THIS DEVICE COMPLIES WITH PART 15 OF THE FCC RULES AND THE ICES-003 FOR CANADA. OPERATION IS SUBJECT TO THE FOLLOWING TWO CONDITIONS: (1) THIS DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE, AND (2) THIS DEVICE MUST ACCEPT ANY INTERFERENCE RECEIVED, INCLUDING INTERFERENCE THAT MAY CAUSE UNDESIRED OPERATION.

DESIGNED BY MACKOIDS IN WOODINVILLE, WA, USA • MANUFACTURED IN CHINA

ARE TRADEMARKS OF LOUD TECHNOLOGIES, INC. • PATENT PENDING.

MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.

AVIS:

RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR

MANUFACTURING DATE

4. XLR MAIN OUTS

These XLR connectors provide stereo line-level signals from the main mix. Connect these to the balanced inputs of the powered speakers, or the power ampliﬁ er powering your main speakers.

The main mix is the sum of all active channels currently playing, including any 2-channel USB input from your computer. How much of a channel that is heard in the main mix, is determined by that channel’s fader [31].

The XLR outputs are 6 dB higher output than the 1/4" TRS main outputs [15]. Balanced

connections offer better immunity to external noise (speciﬁ cally, hum and buzz) than unbalanced connections. Because of this, it is the preferred interconnect method, especially where very long lengths of cable are being used.

If two fuses blow in a row, something is very wrong, and you must stop using the mixer.

Please call our toll-free number 1-800-8983211 from within the U.S. (or call the distributor in your country) and ﬁ nd out what to do.

3. POWER SWITCH

Press the top of this rocker switch to turn on the mixer. The front panel power LED [33] will glow with happiness, or at least it will if you have the mixer plugged into a suitable live AC mains supply.

Press the bottom of this switch to turn off the mixer, whenever you feel that this would be a safe thing to do.

As a general guide, you should turn on your mixer ﬁ rst, before any external power ampliﬁ ers or powered speakers, and turn it off last.

This will reduce the possibility of any turn-on or turn-

off thumps in your speakers.

12

ProFX8 and ProFX12

5. USB PORT

The USB serial I/O interface allows you to transfer

digital audio to and from your computer.

The interface provides two audio outputs to your

computer:

• Main mix output, left and right. These output signals are independent of any adjustments made to the main fader [48] and graphic EQ [37]. This allows you to easily record your live performance directly to your laptop.

• The USB thru switch [41] allows you to also include the output from your computer in your recording. See page 23 for more details of this switch.

The USB interface also lets you use your computer to

playback two channels into the mixer:

• Left and right signals from your computer are added to the main mix. The USB input level control [40] allows you to adjust the level of the incoming audio from your computer being added to the main mix.

See Appendix D on page 32 for more USB details, and

also check out the block diagram on page 31.

Front Panel Features

Owner’s Manual

MIC MIC MIC MIC MIC MIC

6

LINE

7

11

8

LINE/HI-Z IN 1

HI-Z

1 5/6 7/8 9/10 11/12

BAL/

UNBAL

9 9 9

11 11 11

INSERT

LINE IN 2

INSERT

BAL/

UNBAL

2

LINE IN 3

INSERT

BAL/

UNBAL

3

LINE IN 4

INSERT

BAL/ UNBAL

4

10

LINE IN 5

LINE IN 6

(MONO)

L

BAL/

LINE IN 7

UNBAL

10 10 10

R

LINE IN 8

Connection Section

This is where you plug things in: microphones, linelevel instruments and effects, headphones, and the ultimate destination for your sound: PA system, stage monitors, effects processors, CD player/recorder, etc.

See Appendix B for further details and drawings of the connectors you can use with the ProFX mixer.

6. MIC INPUTS

We use phantom-powered, balanced microphone inputs just like the big studio mega-consoles, for exactly the same reason: This kind of circuit is excellent at rejecting hum and noise. You can plug in almost any kind of mic that has a standard XLR male mic connector.

Professional ribbon, dynamic, and condenser mics will all sound excellent through these inputs. The ProFX mixer’s mic inputs will handle any kind of mic level you can toss at them, without overloading. Be sure to perform the gain-setting procedure on page 3.

(UNBALANCED)

L

TAPE

IN

R

(MONO) (MONO) (MONO) (MONO)

L

BAL/

UNBAL

R

LINE IN 9

LINE IN 10

BAL/

UNBAL

L

TAP E OUT

R

PROFESSIONAL MIC/LINE MIXER WITH FX

MON SEND

FX SEND

BAL/

UNBAL

BAL/

UNBAL

BAL/

UNBAL

L

R

L

R

LINE IN 11

LINE IN 12

BAL/

UNBAL

L

R

L

BAL/

UNBAL

R

ST RETURN MAIN OUT PHONES

7. LINE/HI-Z SWITCH

To connect a guitar directly to the mixer without using a DI Box, press this switch in ﬁ rst, then connect the output from your guitar to channel 1's 1⁄4" TRS input [8]. The input impedance is then optimized for direct connection, and high-frequency ﬁ delity is assured.

In the out position, channel 1's 1⁄4" TRS input becomes a line input just like the other mono line inputs [9].

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

8. LINE/HI-Z INPUT (Channel 1 only)

This 1/4" jack shares circuitry (but not phantom power) with the mic preamp, and can be driven by balanced or unbalanced sources.

FOOTSWITCH

PHANTOM POWER

Most modern professional condenser mics require phantom power, which lets the mixer send low-current DC voltage to the mic’s electronics through the same wires that carry audio. (Semi-pro condenser mics often have batteries to accomplish the same thing.) “Phantom” owes its name to an ability to be “unseen” by dynamic mics (Shure SM57/SM58, for instance), which don’t need external power and aren’t affected by it anyway.

The ProFX mixer’s phantom power is globally controlled by the phantom power switch [32]. (This means that phantom power for all the mic inputs is turned on and off together.)

Never plug single-ended (unbalanced) microphones, or ribbon microphones into the mic

input jacks if phantom power is on. Do not plug instrument outputs into the mic input jacks with phantom power on unless you know for certain it is safe to do so.

To connect a balanced line to this input, use a 1⁄4"

Tip-Ring-Sleeve (TRS) plug.

To connect an unbalanced line to this input, use a 1⁄4"

mono (TS) phone plug or instrument cable.

This line-level input can also accept instrument-level signals if the hi-z switch [7] is pressed in. This allows you to connect guitars directly into channel 1 without the need for a DI box.

Owner’s Manual

13

6

7

11

8

LINE/HI-Z IN 1

MIC MIC MIC MIC MIC MIC

6 6 6 6 6

LINE HI-Z

1 5/6 7/8 9/10 11/12

BAL/

UNBAL

9 9 9

11 11 11

INSERT

LINE IN 2

INSERT

BAL/

UNBAL

2

LINE IN 3

INSERT

BAL/

UNBAL

3

4

BAL/ UNBAL

LINE IN 4

10 12

INSERT

LINE IN 5

LINE IN 6

(MONO)

BAL/

UNBAL

L

R

(MONO) (MONO) (MONO) (MONO)

L

BAL/

LINE IN 7

UNBAL

10 10 10

R

LINE IN 8

(UNBALANCED)

18 19

L

TAPE

IN

R

LINE IN 9

LINE IN 10

BAL/

UNBAL

L

TAP E OUT

R

PROFESSIONAL MIC/LINE MIXER WITH FX

MON SEND

FX SEND

BAL/

UNBAL

BAL/

UNBAL

15

BAL/

UNBAL

L

R

16

FOOTSWITCH

17

L

R

LINE IN 11

LINE IN 12

BAL/

UNBAL

L

R

L

13

BAL/

UNBAL

R

14

ST RETURN MAIN OUT PHONES

9. MONO LINE INPUTS

These 1/4" jacks share circuitry (but not phantom

ProFX8 and ProFX12

power) with the mic preamps, and can be driven by balanced or unbalanced sources.

To connect balanced lines to these inputs, use a 1⁄4"

Tip-Ring-Sleeve (TRS) plug.

To connect unbalanced lines to these inputs, use a

1⁄4" mono (TS) phone plug or instrument cable.

If you have a stereo source, and the stereo and hybrid channels are in use, you can use two mono channels. Traditionally, an odd-

numbered channel receives the left signal. For example, you could feed the ProFX mixer a stereo signal by inserting the device’s left output plug into the channel 1 jack (pan fully left), and its right output plug into the channel 2 jack (pan fully right).

10. STEREO LINE INPUTS

These 1/4" jacks can be driven by stereo or mono, balanced or unbalanced sources. They can be used with just about any professional or semi-pro instrument, effect or tape player.

To connect balanced lines to these inputs, use a 1⁄4" Tip-Ring-Sleeve (TRS) plug.

To connect unbalanced lines to these inputs, use a 1⁄4" mono (TS) phone plug or instrument cable.

If you just have a mono source, plug it into the left input (labeled mono), and the signal will appear (as if by magic) equally on the left and right of the main mix.

11. CHANNEL INSERT

These unbalanced 1/4" jacks are for connecting serial effects processors such as compressors, equalizers, deessers, or ﬁ lters.

We’ve included inserts for just the mono channels. If you want to use this kind of processing on other channels, simply patch through the processor before you plug into the ProFX mixer.

The insert point is after the gain control [20], level set LED [21], and low cut switch [22], but before the channel EQ [23-25] and fader [31]. The channel signal can go out of the insert jack to an external device, be processed (or whatever) and come back in on the same insert jack. To do this requires a special insert cable that must be wired thusly:

Tip = send (output to effects device) Ring = return (input from effects device) Sleeve = common ground

ring

tip

This plug connects to one of the mixer’s Channel Insert jacks.

sleeve

(TRS plug)

SEND to processor

RETURN from processor

“tip”

“ring”

Insert jacks can be used as channel direct outputs; post-gain, and pre-EQ. See the connector section on page 28 (ﬁ gure F) showing three ways to use insert connections.

12. STEREO RETURN

This is where you connect the outputs of your parallel effects devices (or extra audio sources). The circuits will handle stereo or mono, balanced or unbalanced signals. They can be used with just about any pro or semipro effects device or line-level source on the market. The signals coming into these inputs can be adjusted using the stereo return [45] fader before passing onto the main mix bus (see page 23). Signals coming in here can also be quickly muted with the mute switch [44], and the OL LED [43] will show you if your incoming signal is too high.

Stereo Device: If you have a stereo parallel effects device (two cords), use stereo return left and right.

Mono Device: If you have an effects device with a mono output (one cord), plug that into the stereo return left/mono, and leave the right unplugged. The signal will be sent to both sides, magically appearing in the center as a mono signal.

14

ProFX8 and ProFX12

13. MON SEND

15. 1⁄4" MAIN OUTS

Owner’s Manual

Stage monitors allow the talented musicians in your band to hear themselves clearly on stage, and this can often be a good thing. The monitor mix can be carefully adjusted in level using the aux mon controls [26]. These tap a portion of each channel's signal to provide a 1/4" TRS output here to feed external stage monitors. These could either be passive stage monitors powered by an external ampliﬁ er, or powered stage monitors with their own ampliﬁ er built in.

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 Keith," you can turn up their channel's aux mon control, and turn down Keith's.

The overall output level can be adjusted with the monitor fader [47] and its EQ tweaked with the graphic EQ [37] if the main mix/mon switch [38] is pressed in. Alternatively, you could add an external graphic EQ between this output and your powered monitors. This will allow you to adjust the EQ, and minimize the chance of feedback from nearby microphones.

These outputs feed the main mix out into the waiting world. You can feed your ampliﬁ ers this way, or through the XLR main outputs [4].

To use these outputs to drive balanced inputs, connect 1⁄4" TRS (Tip–Ring–Sleeve) phone plugs like this:

Tip = + (hot) Ring = –(cold) Sleeve = Ground

To use these outputs to drive unbalanced inputs, connect 1⁄4" TS (Tip-Sleeve) phone plugs like this:

Tip = + (hot) Sleeve = Ground

16. FX FOOTSWITCH

This 1/4" TRS connector is where you can connect your favorite footswitch. This will allow you to easily mute or un-mute the internal effects, while stamping your foot and looking like you were mad about something. Any one-button on/off footswitch will work.

The monitor output is not affected by the main fader [48], or the channel faders [31]. 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."

14. FX SEND

This 1/4" TRS line-level output can be used to feed an external effects processor (FX), such as a nice sound effect, or delay unit. The output from this jack is an exact copy of what goes into the internal FX processor, being the careful mix of all channels whose aux FX control [14] is turned more than minimum.

(The processed output of the internal FX does not come out of this output, but is added internally to the main mix or monitor mix.)

The overall output level can be adjusted with the FX master knob [52]. (This knob also effects the level going into the internal FX.)

The output is "post-fader," so any changes to the channel faders [31] will also affect the level going to the external processor.

If the internal effects have already been muted with the internal FX mute switch [51] then the footswitch has no effect, but you can still stamp your foot and pout if that helps any. Cultivate that bad-boy image.

17. PHONES

This 1/4" TRS stereo jack will drive any standard headphone to very loud levels. The wiring follows standard conventions:

Tip = Left channel Ring = Right channel Sleeve = Common ground

The headphones output is the stereo main mix, not affected by the main fader [48], or the graphic EQ [37].

Warning: when we say the headphone output is loud, we’re not kidding. It can cause

permanent ear damage. Even intermediate levels may be painfully loud with some earphones. Be careful! Always turn the phones level control [42] all the way down before connecting headphones, adding new sources, or making any other changes. Keep it down until you’ve put the phones on. Then turn it up slowly.

The processed output from the effects processor is usually returned to the stereo returns [12] or a spare channel, and you can carefully mix the original 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.)

Owner’s Manual

15

LINE HI-Z

1 5/6 7/8 9/10 11/12

BAL/

UNBAL

LINE/HI-Z IN 1

INSERT

LINE IN 2

INSERT

BAL/

UNBAL

2

LINE IN 3

INSERT

BAL/

UNBAL

3

LINE IN 4

INSERT

BAL/ UNBAL

4

LINE IN 5

LINE IN 6

(MONO)

BAL/

UNBAL

L

R

18. TAPE INPUT

These stereo unbalanced RCA inputs are designed to work with semipro as well as pro player/recorders. You

ProFX8 and ProFX12

can also connect any standard source with an unbalanced line-level output, such as a CD or DVD player, iPod dock, and so on.

Connect your source’s line-level outputs here, using good quality hi-ﬁ (RCA) cables.

You can use these with a tape or CD player to feed music to a PA system between sets, when the break switch [35] is engaged. The level coming into the mixer can be adjusted with the tape level knob [36]. For example, you could press the break switch to mute all the other channels at once, then play your tape or CD player and bring up its level slowly.

MIC MIC MIC MIC MIC MIC

(MONO) (MONO) (MONO) (MONO)

L

BAL/

LINE IN 7

UNBAL

R

LINE IN 8

(UNBALANCED)

18 19

L

TAPE

IN

R

L

BAL/

LINE IN 9

LINE IN 10

UNBAL

LINE IN 11

R

LINE IN 12

L

R

TAP E OUT

BAL/

UNBAL

L

R

PROFESSIONAL MIC/LINE MIXER WITH FX

MON SEND

FX SEND

BAL/

UNBAL

BAL/

UNBAL

L

BAL/

UNBAL

R

ST RETURN MAIN OUT PHONES

BAL/

UNBAL

L

R

FOOTSWITCH

19. TAPE OUTPUTS

These stereo unbalanced RCA outputs allow you to record the main stereo mix onto a tape deck, hard disk recorder, automatic CD burner, or a computer, etc. This allows you to make a recording for posterity/archive/ legal purposes whenever the band gets back together again.

The tape output is the stereo main mix, not affected by the main fader [48], or the graphic EQ [37].

16

ProFX8 and ProFX12

A

ProFX12

MIC MIC MIC MIC MIC MIC

TAPE

IN

LINE HI-Z

BAL/

UNBAL

LINE/HI-Z IN 1

INSERT

U

G

A

C

I

N

I

M

U

+50

+30dB

-20dB

GAIN

LOW CUT

100 Hz

U

12kHz

+15-15

U

2.5kHz

+15-15

U

+15-15

U

AUX

MON

+15

OO

U

+15

OO

PAN

RL

MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE

OL OL OL OL OL OL OL OL

dB 10

5

U

5

10

20

30

40 50 60

OO

2

1 5/6 7/8 9/10 11/12

BAL/

UNBAL

LINE IN 2

INSERT

U

G

A

C

I

N

I

M

LEVEL

SET

U

+50

+30dB

-20dB

GAIN

LOW CUT

100 Hz

U

HI

+15-15

U

MID

2.5kHz

+15-15

U

LOW 80Hz

+15-15

U

AUX

MON

+15

OO

U

FX

+15

OO

PAN

RL

1

dB 10

5

U

5

10

20

30

40 50 60

OO

BAL/

UNBAL

LINE IN 3

INSERT

U

G

A

C

I

N

I

M

LEVEL

SET

U

+50

+30dB

-20dB

GAIN

LOW CUT

100 Hz

U

HI

12kHz

+15-15

U

MID

2.5kHz

+15-15

U

LOW

80Hz

+15-15

U

AUX

MON

+15

OO

U

FX

+15

OO

PAN

RL

2

dB 10

5

U

5

10

20

30

40 50 60

OO

MONO

4

3

LINE IN 4

(MONO)

BAL/

UNBAL

LINE IN 5

(MONO) (MONO) (MONO)

L

BAL/

LINE IN 7

UNBAL

R

INSERT

U

G

A

C

I

N

I

M

LEVEL

SET

U

+50

+30dB

-20dB

GAIN

LOW CUT

100 Hz

U

EQEQEQEQ EQ EQ EQ EQ

HI

12kHz

+15-15

U

MID

2.5kHz

+15-15

U

LOW 80Hz

+15-15

U

AUX

MON

+15

OO

U

FX

+15

OO

PAN

RL

4

3

dB

10

5

U

5

10

20

30

40

50

60

OO

LINE IN 6

I

M

U +50

GAIN

LOW CUT

OO

LINE IN 8

G

C

100 Hz

U

G

A

C

I

N

I

M

LEVEL

SET

U +50

GAIN

LOW CUT

100 Hz

U

HI

12kHz

AUX

12kHz

+15-15

U

MID

2.5kHz

LOW 80Hz

MON

MID

2.5kHz

+15-15

U

LOW 80Hz

+15-15

U

AUX

MON

+15

OO

U

FX

+15

OO

PAN

RL

7/85/6

dB 10

5

U

5

10

20

30

40 50 60

OO

+15-15

+15

PAN

RL

HYBRID STEREO

L

LINE IN 9

R

LINE IN 10

SET

GAIN

HI

OO

dB 10

5

U

5

10

20

30

40 50 60

OO

ProFX8

AUX

PAN

L

BAL/

UNBAL

R

LEVEL

SET

EQ

HI

12kHz

MID

2.5kHz

LOW 80Hz

MON

FX

5/6

(UNBAL

L

TAPE

IN

R

LINE IN 7

LINE IN 8

U

+20-20

GAIN

U

+15-15

U

+15-15

U

+15-15

U

OO

+15

U

+15

OO

RL

dB 10

5

U

5

10

20

30

40 50 60

OO

STEREO

AUX

PAN

L

BAL/ UNBAL

R

EQ

HI

12kHz

MID

2.5kHz

LOW 80Hz

MON

FX

7/8

MIC MIC MIC MIC

LINE

LINE HI-Z

HI-Z

1 2 3/4 5/6 7/8

LINE IN 2 LINE/HI-Z IN 1

INSERT

U

C

I

M

U

-20dB

GAIN

LOW CUT

100 Hz

U

OO

U

OO

OL

dB 10

5

U

5

10

20

30

40 50 60

OO

U

G

A

C

I

+50

+15-15

+15

RL

I

N

I

M

LEVEL

SET

U

+50

+30dB

MUTE MUTE MUTE MUTE MUTE

+30dB

-20dB

GAIN

LOW CUT

100 Hz

EQ

U

HI

12kHz

+15-15

U

MID

2.5kHz

+15-15

U

LOW 80Hz

+15-15

U

AUX

PAN

AUX

MON

OO

+15

U

FX

+15

OO

PAN

RL

OL OL OL OL

1

dB 10

5

U

5

10

20

30

40 50 60

OO

MONO

(MONO) (MONO) (MONO)

BAL/

UNBAL

LINE IN 3

L

BAL/

UNBAL

R

LINE IN 4

G

A

C

I

N

I

M

LEVEL

EQ

12kHz

MID

LOW 80Hz

FX

LEVEL

SET

U +50

GAIN

LOW CUT

100 Hz

EQ

U

HI

12kHz

+15-15

U

MID

2.5kHz

+15-15

U

LOW 80Hz

+15-15

U

AUX

MON

OO

+15

U

FX

+15

OO

PAN

RL

2

3/4

dB 10

5

U

5

10

20

30

40 50 60

OO

HYBRID

dB 10

5

U

5

10

20

30

40 50 60

LINE IN 5

LINE IN 6

OO

C

I

M

U +50

GAIN

LOW CUT

OO

G

A

I

N

100Hz

U

+15-15

U

+15-15

U

+15-15

U

+15

U

+15

RL

(UNBALANCED)

L

R

UNBAL

U

+20-20

U

12kHz

+15-15

U

2.5kHz

+15-15

U

+15-15

U

AUX

MON

+15

U

+15

PAN

RL

9/10

Owner’s Manual

Channel Controls

L

TAPE

OUT

R

L

BAL/

LINE IN 11

UNBAL

R

LINE IN 12

U

+20-20

GAIN

U

HI

12kHz

+15-15

U

MID

2.5kHz

+15-15

U

LOW

80Hz

+15-15

U

AUX

MON

+15

OO

U

FX

+15

OO

PAN

RL

11/12

dB 10

5

U

5

10

20

30

40 50 60

OO

The vertical channel strips look very similar, with only a few differences between them. Each channel works independently, and just controls the signals plugged into

L

the inputs directly above it. There are three different ﬂ avors of channel strip: Mono, Hybrid, and Stereo.

R

Mono Channels (1–4 on ProFX12) (1, 2 on ProFX8)

HI

FX

• The mono channel controls affect both the mono mic input and the mono line-level input.

• The gain knob adjusts both mic and line inputs.

• Each mono channel has an insert jack and low cut switch.

• Channel 1 has a hi-z switch so you can connect a guitar directly.

• The 3-band EQ has shelving high, shelving low, and peaking mid EQ.

Hybrid Channels (5/6, 7/8 on ProFX12) (3/4, 5/6 on ProFX8)

• Except for gain and low cut, these controls affect the mono mic input and the stereo linelevel input.

• The gain knob adjusts the mic input only. (The stereo line inputs are ﬁ xed at unity gain.)

• The low cut switch only affects the mic input.

• The mono mic input is split equally to the left and right.

• The hybrid channel EQ is a 3-band design just like the mono channel EQ.

Stereo Channels (9/10, 11/12 on ProFX12) (7/8 on ProFX8)

• These controls affect the stereo line-level inputs.

• The gain knob adjusts the left and right line inputs equally. There is no level set LED or low cut switch.

• The stereo channel EQ is a 3-band design just like the mono channel EQ.

“U” LIKE UNITY GAIN

Mackie mixers have a “U” symbol on almost every level control. This “U” stands for “unity gain,” meaning no change in signal level (0 dB gain). Once you have adjusted the input signal with the gain control, you can set every control at “U” and your signals will travel through the mixer at optimal levels. What’s more, all the labels on our level controls are measured in decibels (dB), so you’ll know what you’re doing level-wise if you choose to change a control’s settings.

Owner’s Manual

17

ProFX8 and ProFX12

21

LEVEL

SET

HI

12kHz

MID

2.5kHz

LOW 80Hz

AUX

MON

FX

PAN

30

U

G

A

C

I

N

I

M

U

+50

+30dB

-20dB

GAIN

LOW CUT

100 Hz

U

+15-15

U

+15-15

U

+15-15

U

+15

OO

U

+15

OO

RL

dB 10

5

U

5

10

20

30

40 50 60

OO

U

G

A

C

I

N

I

M

20

U

+50

+30dB

-20dB

GAIN

LOW CUT

100 Hz

22

U

23

+15-15

U

24

+15-15

U

25

+15-15

U

26

+15

OO

U

27

+15

OO

28

RL

MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE

OL OL OL OL OL OL OL OL

29

dB 10

5

U

5

10

31

20

30

40 50 60

OO

12kHz

2.5kHz

AUX

MON

PAN

LEVEL

MID

LOW 80Hz

FX

U

G

A

C

I

N

I

M

SET

U

+50

+30dB

-20dB

GAIN

LOW CUT

100 Hz

U

HI

+15-15

U

+15-15

U

+15-15

U

+15

OO

U

+15

OO

RL

dB 10

5

U

5

10

20

30

40 50 60

OO

12kHz

2.5kHz

LOW 80Hz

AUX

MON

PAN

LEVEL

MID

FX

U

G

A

C

I

N

I

M

SET

U

+50

+30dB

-20dB

GAIN

LOW CUT

100 Hz

U

HI

+15-15

U

+15-15

U

+15-15

U

+15

OO

U

+15

OO

RL

321

dB 10

5

U

5

10

20

30

40 50 60

OO

G

A

C

I

N

I

M

LEVEL

SET

U +50

GAIN

LOW CUT

100 Hz

U

EQEQEQEQ EQ EQ EQ EQ

HI

12kHz

+15-15

U

MID

2.5kHz +15-15

U

LOW 80Hz

+15-15

U

AUX

MON

+15

OO

U

FX

+15

OO

PAN

RL

4

dB 10

5

U

5

10

20

30

40 50 60

OO

12kHz

2.5kHz

AUX

MON

PAN

LEVEL

MID

LOW 80Hz

G

A

C

I

N

I

M

LEVEL

SET

HI

FX

SET

U +50

GAIN

LOW CUT

100 Hz

U

HI

12kHz

+15-15

U

MID

2.5kHz

+15-15

U

LOW 80Hz

+15-15

U

AUX

MON

+15

OO

U

FX

+15

OO

PAN

RL

7/85/6

dB 10

5

U

5

10

20

30

40 50 60

OO

12kHz

2.5kHz

LOW 80Hz

AUX

MON

PAN

9/10

U

+20-20

GAIN

U

HI

MID

FX

HI

12kHz

+15-15

U

MID

2.5kHz

+15-15

U

LOW 80Hz

+15-15

U

AUX

MON

+15

OO

U

FX

+15

OO

PAN

RL

11/12

dB 10

5

U

5

10

20

30

40 50 60

OO

U

+20-20

GAIN

U

+15-15

U

+15-15

U

+15-15

U

+15

OO

U

+15

OO

RL

dB 10

5

U

5

10

20

30

40 50 60

OO

20. GAIN

If you haven’t already, please read the gain-setting procedure on page 3. The gain adjustment allows all your various source signals from the outside world to be adjusted to the same optimal internal operating levels.

Setting the gain correctly will ensure that the preampliﬁ er’s gain is not too high, where distortion could occur, and not too low, where your quieter, exquisitelydelicate passages might be lost in background noise.

U

G

A

C

I

N

I

M

U

+50

+30dB

-20dB

GAIN

Adjust the gain control so the level set LEDs [21] come on occasionally during the louder moments of your playing or singing, and go off when you stop.

If the signal comes through the mic XLR jack, there will be 0 dB of gain (U for unity) with the knob fully down, ramping to 50 dB of gain fully up.

Through the 1⁄4" mono input, there is 20 dB of attenuation fully down and 30 dB of gain fully up, with a “U” (unity gain) mark at 12:00. This 20 dB of attenuation can be very handy when you are inserting a very hot signal, need to add a lot of EQ boost, or both. Without this “virtual pad,” this scenario might lead to channel clipping.

18

ProFX8 and ProFX12

For mono channels (mic input with a

LEVEL

SET

mono line input), the gain knob adjusts the input sensitivity of the mic and line inputs.

G

A

C

I

N

I

M

LEVEL

For hybrid channels (mic input and

SET

stereo line input), the gain control just

U +50

GAIN

U

affects the microphone input. For stereo channels (no mic input) the

gain control just affects the line-level

+20-20

GAIN

inputs, with 20 dB of gain, and 20 dB of attenuation. There is no level set LED.

21. LEVEL SET LED

These LEDs are used with the gain control [20] to set

the channel preampliﬁ er gain just right for each source.

If you hear distortion on one or more of your channels, check the level set LEDs are not on continuously, and turn down the gain if they are.

22. LOW CUT

Each channel with a mic input has a low cut switch that cuts the bass frequencies below 100 Hz, at a rate of 18 dB per octave. All mic inputs are affected, and the line inputs of the mono channels.

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

Another way to consider low cut’s function is that it actually adds ﬂ exibility during live performances. With the addition of low cut, you can safely use low EQ on vocals. Many times, bass shelving EQ can really beneﬁ t voices. Trouble is, adding low EQ also boosts stage rumble, mic handling clunks and breath pops. Low cut removes all these problems so you can add low EQ without losing a woofer out the window.

3-BAND EQ

The ProFX mixer has 3-band equalization at carefully selected points — low shelving at 80 Hz, mid peaking at

2.5 kHz, and high shelving at 12 kHz. “Shelving” means that the circuitry boosts or cuts all frequencies past the speciﬁ ed frequency. For example, rotating the low EQ knob 15 dB to the right boosts bass starting at 80 Hz and continuing down to the lowest note you never heard. “Peaking” means that certain frequencies form a “hill” around the center frequency — 2.5 kHz in the case of the mid EQ.

The following graphs of frequency vs. signal level show the approximate overall effect of EQ adjustment on the frequency range.

23. HI EQ

This control gives you up to 15 dB boost or cut above 12 kHz, and it is ﬂ at (no boost or cut) at the detent. Use it to add sizzle to cymbals, and an overall sense of transparency, or edge to keyboards, vocals, guitar and bacon frying. Turn it down a little to reduce sibilance, or to hide tape hiss.

+15

+10

+5

0

–5

–10 –15

20Hz100

High EQ

Hz

1k

Hz

10kHz20k

25. LOW EQ

This control gives you up to 15 dB boost or cut below 80 Hz. The circuit is ﬂ at at the center detent position. This frequency represents the punch in bass drums, bass guitar, fat synth patches, and some really serious male singers.

Used in conjunction with the low cut [22] switch, you can boost the low EQ without injecting a ton of subsonic debris into the mix.

+15

+10

+5

0

–5

–10

–15

20Hz100

Hz

1k

Low EQ

+15

+10

+5

0

–5

–10 –15

20Hz100

Hz

1k

Low EQ with Low Cut

Hz

MODERATION DURING EQ

With EQ, you can also upset things royally. We’ve designed a lot of boost and cut into each equalizer circuit, because we know everyone will occasionally need that. But if you max the EQs on every channel, you’ll get mix mush. Equalize subtly and use the left sides of the knobs (cut), as well as the right (boost). Very few gold-recordalbum engineers ever use more than about 3 dB of EQ. If you need more than that, there’s usually a better way to get it, such as placing a mic differently (or using a different kind of mic entirely).

26. AUX MON

These knobs tap a portion of each channel's signal

Hz

to set up a nice monitor mix feeding stage monitors, independent of the main mix. Adjust these controls on each channel until your band is happy with the stage monitor mix.

10kHz20k

Owner’s Manual

Hz

24. MID EQ

Short for “midrange,” this knob provides 15 dB of boost or cut, centered at

2.5 kHz, also ﬂ at at the center detent. Midrange EQ is often thought of as the most dynamic, because the frequencies that deﬁ ne 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.

+15

+10

+5

0

–5

–10 –15

20Hz100

Mid EQ

Hz

1k

Hz

10kHz20k

The aux mon feed from hybrid and stereo channels is

a mono sum of the left and right sides of these channels.

The controls are off when turned fully down, deliver unity gain at the center detent, and can provide up to 15 dB of gain turned fully up.

The channel fader [31], pan [28], or mute [30] do not affect the monitor output, but the other channel

Hz

controls will. (The aux mon is pre-fader.)

The monitor signal from the monitor output jack [13] is the sum (mix) of all the channels whose aux mon control is set to more than minimum. The overall output level can be adjusted with the monitor fader [47] and its EQ tweaked with the graphic EQ [37] if the main mix/mon switch [38] is pressed in. Internal FX can also be added to the monitor mix with the FX to mon knob [54].

Owner’s Manual

19

ProFX8 and ProFX12

21

LEVEL

SET

HI

12kHz

MID

2.5kHz

LOW 80Hz

AUX

MON

FX

PAN

30

U

G

A

C

I

N

I

M

U

+50

+30dB

-20dB

GAIN

LOW CUT

100 Hz

U

+15-15

U

+15-15

U

+15-15

U

+15

OO

U

+15

OO

RL

dB 10

5

U

5

10

20

30

40 50 60

OO

U

G

A

C

I

N

I

M

20

U

+50

+30dB

-20dB

GAIN

LOW CUT

100 Hz

22

U

23

+15-15

U

24

+15-15

U

25

+15-15

U

26

+15

OO

U

27

+15

OO

28

RL

MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE

OL OL OL OL OL OL OL OL

29

dB 10

5

U

5

10

31

20

30

40 50 60

OO

12kHz

2.5kHz

AUX

MON

PAN

LEVEL

MID

LOW 80Hz

FX

U

G

A

C

I

N

I

M

SET

U

+50

+30dB

-20dB

GAIN

LOW CUT

100 Hz

U

HI

+15-15

U

+15-15

U

+15-15

U

+15

OO

U

+15

OO

RL

dB 10

5

U

5

10

20

30

40 50 60

OO

12kHz

2.5kHz

LOW 80Hz

AUX

MON

PAN

LEVEL

MID

FX

U

G

A

C

I

N

I

M

SET

U

+50

+30dB

-20dB

GAIN

LOW CUT

100 Hz

U

HI

+15-15

U

+15-15

U

+15-15

U

+15

OO

U

+15

OO

RL

321

dB 10

5

U

5

10

20

30

40 50 60

OO

G

A

C

I

N

I

M

LEVEL

SET

U +50

GAIN

LOW CUT

100 Hz

U

EQEQEQEQ EQ EQ EQ EQ

HI

12kHz

+15-15

U

MID

2.5kHz +15-15

U

LOW 80Hz

+15-15

U

AUX

MON

+15

OO

U

FX

+15

OO

PAN

RL

4

dB 10

5

U

5

10

20

30

40 50 60

OO

12kHz

2.5kHz

AUX

MON

PAN

LEVEL

MID

LOW 80Hz

G

A

C

I

N

I

M

LEVEL

SET

HI

FX

SET

U +50

GAIN

LOW CUT

100 Hz

U

HI

12kHz

+15-15

U

MID

2.5kHz

+15-15

U

LOW 80Hz

+15-15

U

AUX

MON

+15

OO

U

FX

+15

OO

PAN

RL

7/85/6

dB 10

5

U

5

10

20

30

40 50 60

OO

12kHz

2.5kHz

LOW 80Hz

AUX

MON

PAN

9/10

U

+20-20

GAIN

U

HI

MID

FX

HI

12kHz

+15-15

U

MID

2.5kHz

+15-15

U

LOW 80Hz

+15-15

U

AUX

MON

+15

OO

U

FX

+15

OO

PAN

RL

11/12

dB 10

5

U

5

10

20

30

40 50 60

OO

U

+20-20

GAIN

U

+15-15

U

+15-15

U

+15-15

U

+15

OO

U

+15

OO

RL

dB 10

5

U

5

10

20

30

40 50 60

OO

27. AUX FX

These knobs tap a portion of each channel's signal to set up a nice FX mix feeding the internal FX processor, and to feed external processors via the FX output [14].

The aux FX feed from hybrid and stereo channels is a mono sum of the left and right sides of these channels.

The controls are off when turned fully down, deliver unity gain at the center detent, and can provide up to 15 dB of gain turned fully up.

The channel fader [31], mute [30] and other channel controls affect the FX output, but pan [28] does not. The aux FX is post-fader.

The FX signal reaching the internal FX processor and the FX send output jack, is the sum (mix) of all the channels whose aux FX control is set to more than minimum. The overall FX send level can be adjusted with the FX master knob [52].

The FX signal from the internal FX processor is added to the main mix using the FX return fader [46], and can be added to the monitors with the FX to mon knob [54].

28. PAN

These knobs adjust the amount of channel signal sent to the left versus the right outputs. On mono channels these controls act as pan pots. On hybrid and stereo channels, they work like the balance control on a home stereo. They do not affect the aux mon or FX mixes.

29. OL LED

This LED will light if the channel signal is too high,

and this may cause distortion due to overloading.

The OL LED comes before the channel fader [31] in the signal path, so the fader has no effect in your efforts to turn off the OL LED.

Overloading may occur if the gain [20] is set too high, so check that the level set LED [21] is not turning on frequently. Turn down the gain if it is.

Overloading can also occur if the channel EQ [23-25] is set too high. Check that the EQ settings are moderate. Use the low cut switches [22] if the overloading is due to lower unwanted bass thumps and bangs.

30. MUTE

Press this switch in to mute the channel in the main mix. The aux mon output of the channel is not muted, but the FX output to the internal FX processor and FX send jack [14] is.

31. CHANNEL FADER

These faders control the channel’s level, from off, to unity gain, on up to 10 dB of additional gain. The mono channels have mono faders, and the hybrid and stereo channels use stereo faders.

With the gain control [20] set correctly, the faders should be set around unity gain (U).

20

ProFX8 and ProFX12

STEREO GRAPHIC EQ

USB

OO

U

8K4K2K1K500250125

+20

MAX

15

32

10

5

0

5

33

10

15

METERS

34

35

(MUTES ALL CHANNELS)

36425452

TAPE LEVEL

dB 10

5

U

5

10

20

30

40 50 60

OO

15

37

10

5

0

5

10

15

MAIN MIX

38 39

01 BRIGHT ROOM 02 WARM LOUNGE 03 SMALL STAGE 04 WARM THEATER 05 WARM HALL 06 CONCERT HALL 07 PLATE REVERB 08 CATHEDRAL 09 CHORUS 10 CHORUS + REV 11 DOUBLER 12 TAPE SLAP 13 DELAY 1 (300ms) 14 DELAY 2 (380ms) 15 DELAY 3 (480ms) 16 REVERB + DLY (250ms)

43 44

45 46 47 48

MON

FX PRESETS

49 50

PRESETS

MUTE

53

U

OL

+15

OO

FX MASTER

MUTE

OL

ST RTN FX RTN

dB 10

5

U

5

10

20

30

40 50 60

OO

FX TO MON

dB 10

5

U

5

10

20

30

40 50 60

OO

EQ IN

BYPASS

40

INPUT LEVEL

41

51

U

+15

USB THRU

PHONES

MON

dB 10

5

U

5

10

20

30

40 50 60

OO

48V

PHANTOM

POWER

MAIN

0dB=0dBu

OL

15 10

6 3 0 2 4

7 10 20 30

BREAK

U

OO

+20

MAIN

Owner’s Manual

Master Controls

32. PHANTOM POWER SWITCH

If your microphones need phantom power, press in this switch to add phantom power to all the XLR microphone inputs of the mixer. This lets the mixer send low-current DC voltage to the mic’s electronics through the same wires that carry audio. The LED will turn on as a reminder that phantom power is engaged.

Most modern professional condenser mics require phantom power. Semi-pro condenser mics often have batteries to accomplish the same thing. “Phantom” owes its name to an ability to be “unseen” by dynamic mics (Shure SM57/SM58, for instance), which don’t need external power and aren’t affected by it anyway.

RL

Never plug single-ended (unbalanced) microphones, or ribbon microphones into the mic

input jacks if phantom power is on. Do not plug instrument outputs into the mic input jacks with phantom power on, unless you know for certain it is safe to do so.

33. POWER LED

This LED comes on when the mixer is plugged into the AC mains supply, and the rear panel power switch [3] is on.

If the LED does not turn on, make sure the AC power is live, both ends of the power cord are correctly inserted, your electricity bill has been paid, and the lights in town are on.

If you suspect the fuse is blown, disconnect the power cord before removing and inspecting the fuse located below the AC input.

34. METERS

These meters have 2 columns of 12 LEDs each, with dB markings from –30 to +15, and OL (overload at +20 dBu). They indicate the stereo signal strength of the main mix after the main fader [48].

Typically, you want to see these meters bouncing between the “0” and the “+3” LEDs. It is okay if the OL LEDs light occasionally, but if they light frequently or continuously, turn down the main fader until they blink occasionally or not at all.

Remember, audio meters are just tools to help assure you that your levels are “in the ballpark.” You don’t have to stare at them (unless you want to).

Owner’s Manual

21

STEREO GRAPHIC EQ

USB

OO

15

10

5

0

5

10

15

8K4K2K1K500250125

U

+20

MAX

15

37

10

5

0

5

10

15

MAIN MIX

38 39

01 BRIGHT ROOM 02 WARM LOUNGE 03 SMALL STAGE 04 WARM THEATER

ProFX8 and ProFX12

05 WARM HALL 06 CONCERT HALL 07 PLATE REVERB 08 CATHEDRAL 09 CHORUS 10 CHORUS + REV 11 DOUBLER 12 TAPE SLAP 13 DELAY 1 (300ms) 14 DELAY 2 (380ms) 15 DELAY 3 (480ms) 16 REVERB + DLY (250ms)

43 44

45 46 47 48

MON

FX PRESETS

49 50

PRESETS

MUTE

53

U

OL

+15

OO

FX MASTER

MUTE

OL

ST RTN FX RTN

dB 10

5

U

5

10

20

30

40 50 60

OO

FX TO MON

dB 10

5

U

5

10

20

30

40 50 60

OO

EQ IN

BYPASS

40

INPUT LEVEL

41

51

U

+15

USB THRU

PHONES

MON

dB 10

5

U

5

10

20

30

40 50 60

OO

48V

32

PHANTOM

POWER

33

POWER

MAIN

METERS

0dB=0dBu

OL

15 10

6 3 0 2

34

4

7 10 20 30

RL

35

BREAK

(MUTES ALL CHANNELS)

U

36425452

OO

+20

TAPE LEVEL

MAIN

dB 10

5

U

5

10

20

30

40 50 60

OO

36. TAPE LEVEL

This allows you to control the input level of signals entering the tape inputs. It is conveniently close to the break switch [35] so you can quickly mute all channels and then bring up your background music when the band is taking a break.

37. STEREO GRAPHIC EQ

This 7-band graphic equalizer adjusts the main mix output. It affects the line-level outputs [4, 15], but not the tape outputs [19], headphones [17], or the USB output [5]. This EQ can be used for the monitor mix instead of the main mix, if the main mix/mon switch [38] is engaged. It can also be quickly bypassed using the EQ in/bypass switch [39].

Each slider allows you to adjust the level of its frequency band, with up to 15 dB of boost or cut, and no change in level at the center (0 dB) position. The frequency bands are: 125, 250, 500, 1k, 2k, 4k, and 8kHz.

The EQ section comes before the main fader [48], and meters [34]. As with the channel EQ, just take it easy. There is a large amount of adjustment, and if you are not careful, you can upset the delicate balance of nature. Although it may not seem cool to actually turn down controls, with EQ it is often your best option. Turn down the offending frequency range, rather than boost the wanted range. You can use it to reduce the level of some frequency bands where feedback occurs.

38. MAIN MIX/MON

This switch allows you to choose if the stereo graphic EQ [37] is used for the stereo left and right main mix, or if it is used for the monitors. For example, there maybe times when the graphic EQ can be used wisely in the monitor mix to reduce feedback in the monitors from nearby microphones.

35. BREAK SWITCH

This important "take-a-break" switch quickly mutes all the microphones and line-level inputs when the band is between sets. This will prevent protestors or rogue karaoke singers from storming the stage at the interval. The monitor send [13] and FX send [14] are not affected. Check this switch ﬁ rst, if you are having trouble with no sound in your system.

You can still play the stereo RCA tape inputs [18] in the main stereo mix, and play audio coming in from your computer via the USB inputs. For example, you could play a soothing CD while the band is off stage.

22

ProFX8 and ProFX12

39. EQ IN/BYPASS

This switch allows you to quickly engage or disengage the stereo graphic EQ. This can be used for quick checks of your EQ settings, or to shorten the signal path if you do not need to use the EQ.

40. USB INPUT LEVEL

This control lets you adjust the signal level of the two channels coming in from your computer, via the USB port, relative to the mix of the other channels. Adjust it carefully to achieve the desired mix with the other channels.

The USB input from your audio software such as Tracktion, could be individual instrument tracks, a mix of tracks, or processed tracks.

41. USB THRU

45. STEREO RETURN FADER

Owner’s Manual

In addition to a mix of the other channels, the USB output to your computer can contain any input from your computer, if this switch is down. (This switch only affects the output to your computer, not the headphones or main mix.)

• If disengaged (out), the USB output to your computer will just be the main mix. This is a good position for overdubbing, as any playback from your computer can be played in your main speakers and headphones, while you play along with a guitar and record only the guitar via USB. This is also good for live recording, as a safeguard against feedback. Here, the USB level knob should also be down.

• If pressed in, the USB output to your computer will be the main mix, including any audio coming in from your computer. This is a good position to record live performances where playback of audio from the computer is also part of the performance.

42. PHONES LEVEL

This controls the volume of the headphones output

from off to maximum gain.

Warning: The headphone ampliﬁ er is designed to drive any standard headphones to a

very loud level. It can cause permanent hearing damage. Even intermediate levels may be painfully loud with some headphones. Be careful! Always start with the phones level control turned all the way down before connecting headphones or making any connections. Keep it down until you’ve put on the headphones, and turn it down ﬁ rst whenever you play a new source or instrument.

43. OL LED (for stereo return)

This LED will light if the signal coming into the stereo return inputs [12] is too high, and this may cause distortion due to overloading.

The OL LED comes before the stereo return fader [45], so the fader has no effect in your efforts to turn off the OL LED.

Check your external processor or other device, and turn down its level until the OL LED does not come on.

44. MUTE (for stereo returns)

Press this switch in to mute the signals coming into the stereo return inputs [12].

Use this fader to lovingly adjust the level of any audio coming into the stereo return inputs [12] from your external processors or other equipment. The audio is added to the main mix, and it can also be muted with the stereo return mute switch [44].

Typically, this fader can just live at the unity U mark, and the external device’s output control set at whatever they call unity gain (check the manual of the effects unit, CD player, drum machine, or whatever). If that turns out to be too loud or too quiet, adjust the external device’s outputs, not the mixer. That way, the mixer’s faders are easy to relocate at the unity U mark. The range is off to +10 dB.

46. FX RETURN FADER

Use this fader to gently adjust the level of the stereo output from the internal FX processor being added to the main mix. The range is off to +10 dB with unity at U.

47. MONITOR FADER

This fader controls the overall level of the monitor send signal sent out to your stage monitors.

Adjust it carefully, and check that your band are happy with the levels. The fader does not affect the main mix level.

The monitor send signals are off with the fader fully down, the “U” marking is unity gain, and fully up provides 10 dB of additional gain.

48. MAIN FADER

This fader controls the level of the main mix, and affects the meters [34], and main line-level outputs [4, 15]. The level adjustment occurs after the stereo graphic EQ [37] in the signal path.

This gives you ultimate control over your audience. Adjust it carefully, with your good eye on the meters to check against overloading, and your good ear on the levels to make sure your audience is happy.

The control does not affect the monitor send [13], tape output [19], headphones [17], or USB output [5].

The main mix signals are off with the fader fully down, the “U” marking is unity gain, and fully up provides 10 dB of additional gain. This additional gain will typically never be needed, but once again, it’s nice to know it’s there. The level control is stereo, as it affects both the left and right of the main mix equally. This is the control to turn down at the end of the song when you want “The Great Fade-Out.”

Owner’s Manual

23

STEREO GRAPHIC EQ

USB

OO

U

8K4K2K1K500250125

+20

MAX

15

10

PHANTOM

5

0

5

10

15

MAIN

METERS

0dB=0dBu

BREAK

(MUTES ALL CHANNELS)

TAPE LEVEL

POWER

OO

15

10

5

0

5

10

15

FX PRESETS

01 BRIGHT ROOM 02 WARM LOUNGE 03 SMALL STAGE 04 WARM THEATER

ProFX8 and ProFX12

05 WARM HALL 06 CONCERT HALL 07 PLATE REVERB 08 CATHEDRAL 09 CHORUS 10 CHORUS + REV 11 DOUBLER 12 TAPE SLAP 13 DELAY 1 (300ms) 14 DELAY 2 (380ms) 15 DELAY 3 (480ms) 16 REVERB + DLY (250ms)

OO

FX MASTER

U

+15

MAIN MIX MON

53

49 50

OL

PRESETS

MUTE

U

5452

OO

+15

FX TO MON

51

EQ IN

BYPASS

INPUT LEVEL

USB THRU

PHONES

Stereo Effects Processor

The Mackie Running-Man 32-bit internal effects processor is a mono-in, stereo-out effects processor, with 16 presets. It is fed by adjusting the aux FX control [27] on each channel. The FX master knob [52] adjusts the overall level entering the FX processor, and the OL LED [53] shows if the level is too high.

The output from the processor can be added to the main mix by adjusting the FX return fader [46]. Its output can also be added to the monitor mix by adjusting the FX to mon [54] knob.

48V

OL

15 10

10 20 30

50. PRESET SELECTOR

Rotate this knob to increase or decrease the number of the preset. It will ﬂ ash in the display [49] until you press this selector inwards to select the preset.

Scrolling back to the current preset or selecting a new one will stop the ﬂ ashing.

The available presets are shown in the table on the next page, and are marked on the panel silkscreen. (Only one preset can be selected at a time.)

6 3 0 2 4 7

51. INTERNAL FX MUTE and LED

When engaged, the internal effects processor is muted. Its output will not appear in the main mix or monitors, and the adjacent LED will come on. The

RL

footswitch connection [16] becomes disabled, and you will not be able to use the footswitch to mute or unmute the effects.

If this switch is not engaged, then the internal effects

U

+20

can be muted or unmuted with your footswitch.

52. FX MASTER

Use this knob to control the level of the signals going into the internal effects processor. Adjust it carefully, with your inner magical eye on the adjacent OL LED [53] to prevent overloading the effects processor.

Fully down is off, 12 o'clock is unity gain, and fully up is 15 dB of gain.

It also affects the level going out of the FX send output [14].

53. OL LED

This LED illuminates when the effects processor is being overloaded with too strong a signal (OL). Turn down the FX master [52] if it is.

49. PRESET DISPLAY

This display shows the number of the currently selected effects preset, as shown in the list of presets silkscreened to the left of the display.

24

ProFX8 and ProFX12

The signals going into the processor are affected by the channel aux FX controls [27], and the channel faders [31]. Check the LED if you alter these controls.

54. FX TO MON

This knob allows you to add the output of the internal FX processor to the stage monitor mix. Fully down is off, 12 o'clock is unity gain, and fully up is 15 dB of gain.

TABLE OF INTERNAL EFFECTS

Owner’s Manual

No. Title 1 BRIGHT ROOM

2 WARM LOUNGE

3 SMALL STAGE

4 WARM THEATER

5 WARM HALL

6 CONCERT HALL

7 PLATE REVERB

8 CATHEDRAL

9 CHORUS

10 CHORUS + REV

11 DOUBLER

12 TAPE SLAP

13

DELAY 1 (300MS)

14

DELAY 2 (380MS)

15

DELAY 3 (480 MS)

16 REVERB + DLY

(250MS)

Description Example of its use This room has a bright tone with lots of scattered

reﬂ ections to simulate harder, more reﬂ ective surfaces.

This preset features a medium sized room/lounge 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 preset emulates vintage mechanical reverberation that was generated with a metal plate. Its sound is characterized by lots of early reﬂ ections and no pre-delay.

This reverb emulates the extremely long tails, dense diffusion and long pre-delays and reﬂ ections that would be found in a very large, stone walled house of worship.

This preset provides a soft, ethereal sweeping effect that is useful for thickening and for making a particular sound pop out of the mix.

This preset perfectly combines the chorus effect above with a large, roomy reverb.

This effect simulates the sound of a vocal or instrument being recorded twice (double tracked) on a multi-track recorder. (50MS)

This effect provides a single, relatively rapid delay of the original signal, with the added warmth that vintage tape-based echo units provided. (180 MS)

These delay presets provide around three repeats of the original signal. The default delay time for each preset is shown in ms - the smaller the time, the faster the delay.

This effect combines the warm theater reverb effect with the echoes of the 3-repeat delay effect.

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.

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

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

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

This lets you both thicken your sound with the chorus effect while adding warmth and spaciousness thanks to the smooth reverb.

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

Often used on vocals for a 1950’s era feel, or on guitars for a surf-type tone. Often used by people whose favorite number is

12. These work best with full, up-beat music

like rock where the delay needs to cut through the mix.

Perfect for thickening vocals while adding dimension, it can also be used as a spacey effect on electric guitars.

Owner’s Manual

25

Appendix A: Service Information

If you think your ProFX mixer has a problem, please check out the following troubleshooting tips and do your best to conﬁ rm the problem. Visit the support section of our website (www.mackie.com) where you will ﬁ nd lots of useful information such as FAQs, documentation and user forums. You may ﬁ nd the answer to the problem without having to send your mixer away.

Troubleshooting

Bad Channel

ProFX8 and ProFX12

• Has the gain been set correctly?

• Is the mute switch on?

• Is the fader turned up?

• Is the channel OL LED on?

• Is the channel EQ set moderately?

• Try unplugging any insert devices.

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

Repair

For warranty repair or replacement, refer to the war-

ranty information on page 35.

Non-warranty repair for Mackie products is available at a factory-authorized service center. To locate your nearest service center, visit www.mackie.com, click “Support” and select “Locate a Service Center.” Service for Mackie products living outside the United States can be obtained through local dealers or distributors.

If you do not have access to our website, you can call our Tech Support department at 1-800-898-3211, Monday-Friday, 7 am to 5 pm Paciﬁ c Time, to explain the problem. Tech Support will tell you where the nearest factory-authorized service center is located in your area.

Bad Output

• Is the associated level fader (if any) turned up?

• Are any OL LEDS on in the channels, main meters or internal FX?

• If it’s one of the main outs, try unplugging all the others. For example, if it’s the 1⁄4" left main out, unplug the RCA and XLR left outputs. If the problem goes away, its not the mixer.

• If it’s a stereo pair, try switching them around. For example, if a left output is presumed dead, switch the left and right cords, at the mixer end. If the problem switches sides, it’s not the mixer.

Noise

• Turn the channel gain and faders 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.

26

Power

• Unplug the power cord and check the fuse located in a fuse tray just below the AC power connector.

ProFX8 and ProFX12

Appendix B: Connections

P

Owner’s Manual

“XLR” Connectors

Mackie mixers use 3-pin female “XLR” connectors on all microphone inputs, with pin 1 wired to the grounded (earthed) shield, pin 2 wired to the “high” (”hot” or positive polarity) side of the audio signal and pin 3 wired to the “low” (“cold” or negative polarity) side of the signal. See Figure A. This is all totally aboveboard and in full accord with the hallowed standards dictated by the AES (Audio Engineering Society).

Use a male “XLR”-type connector, usually found on the nether end of what is called a “mic cable,” to connect to a female XLR jack.

SHIELD

COLD

SHIELD

COLD

3

Figure A: XLR Connectors

1

⁄4" TRS Phone Plugs and Jacks

“TRS” stands for Tip-Ring-Sleeve, the three connections available on a “stereo” phone jack or plug. See Figure B.

2

HOT

1

3

1

3

2

HOT

1

2

1

⁄4" or “balanced”

SHIELD COLD HOT

• Balanced mono circuits. When wired as a balanced connector, a 1⁄4" TRS jack or plug is connected tip to signal high (hot), ring to signal low (cold), and sleeve to ground (earth).

• Unbalanced Send/Return circuits. When wired as send/return “Y” connector, a 1⁄4" TRS jack or plug is connected tip to signal send (output from mixer), ring to signal return (input back into mixer), and sleeve to ground (earth).

1

⁄4" TS Phone Plugs and Jacks

“TS” stands for Tip-Sleeve, the two connections avail-

able on a “mono” 1⁄4" phone jack or plug. See Figure C.

SLEEVE

TIP

Figure C: TS Plug

TIPSLEEVE

TIP

SLEEVE

TS jacks and plugs are used in many different applications, always unbalanced. The tip is connected to the audio signal and the sleeve to ground (earth). Some examples:

• Unbalanced microphones

• Electric guitars and electronic instruments

• Unbalanced line-level connections

TIPSLEEVE

SLEEVERING

TIP

Figure B: 1⁄4" TRS Plugs

RING

RING TIP

SLEEVE

TRS jacks and plugs are used in several different ap-

plications:

• Stereo Headphones, and rarely, stereo microphones and stereo line connections. When wired for stereo, a 1⁄4" TRS jack or plug is connected tip to left, ring to right and sleeve to ground (earth). Mackie mixers do not directly accept 1-plug-type stereo micro phones. They must be separated into a left cord and a right cord, which are plugged into the two mic preamps.

RCA Plugs and Jacks

RCA-type plugs (also known as phono plugs) and jacks are often used in home stereo and video equipment and in many other applications (Figure D). They are unbalanced and electrically identical to a 1⁄4" TS phone plug or jack (see Figure C). Connect the signal to the center post and the ground (earth) or shield to the surrounding “basket.”

TI

SLEEVETIPSLEEVE

Figure D: RCA Plug

Owner’s Manual

27

TRS Send/Receive Insert Jacks

Mackie’s single-jack inserts are the three- conductor, TRS-type 1⁄4" phone. They are unbalanced, but have both the mixer output (send) and the mixer input (return) signals in one connector. See Figure E.

The sleeve is the common ground (earth) for both signals. The send from the mixer to the external unit is carried on the tip, and the return from the unit to the mixer is on the ring.

SEND to processor

RETURN from processor

ProFX8 and ProFX12

Figure E

ring

tip

This plug connects to one of the mixer’s Channel Insert jacks.

sleeve

(TRS plug)

Using the Send only on an Insert Jack

“tip”

“ring”

Mackie Stereo Inputs and Returns: Mono, Stereo, Whatever

Stereo line inputs and stereo returns are a ﬁ ne example of the Mackie philosophy (which we just made up) of Maximum Flexibility with Minimum Headache. The inputs and returns will automatically be mono or stereo, depending upon how you use the jacks. Here’s how it works:

A mono signal should be patched into the input or return jack labeled left (mono). The signal will be routed to both the left and right sides of the return circuit, and will show up in the center of the stereo pair of buses it’s assigned to, or it can be “panned” with the pan control.

A stereo signal, having two plugs, should be patched into the left (mono) and the right input or return jacks. A jack switch in the right jack will disable the mono function, and the signals will show up in stereo.

If you insert a TS (mono) 1⁄4" plug only partially (to the ﬁ rst click) into a Mackie 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 or bus signal without interrupting normal operation.

If you push the 1⁄4" TS plug in to the second click, you will open the jack switch and create a direct out, which does interrupt the signal in that channel. See Figure F.

NOTE: Do not overload or short-circuit the signal you are tapping from the mixer. That will affect the internal signal.

MONO PLUG

Channel Insert jack

Direct out with no signal interruption to master.

Insert only to first “click.”

A mono signal connected to the right jack will show up in the right bus only. You probably will only want to use this sophisticated effect for special occasions.

28

MONO PLUG

Channel Insert jack

Direct out with signal interruption to master.

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

STEREO

PLUG

Channel Insert jack

For use as an effects loop.

(TIP = SEND to effect, RING = RETURN from effect.)

Figure F

ProFX8 and ProFX12

Appendix C: Technical Information

Speciﬁ cations

Owner’s Manual

Noise

20 Hz – 20 kHz, 150 Ohm Source Impedance Equivalent Input Noise (Mic in to Insert Send out, max gain) -127 dBu Residual Output Noise

(All outputs, master levels off, all channel levels off)

-95 dBu (All outputs, master levels unity, all channel levels off)

-90 dBu (All outputs, master levels unity, one channel level unity)

-85 dBu

Distortion

20 Hz – 20 kHz THD+N, SMPTE IMD (Mic input to Main output) <0.05% @ +4 dBu output

Common Mode Rejection Ratio

1 kHz (Mic input to Insert Send output) 60 dB gain at unity

Frequency Response

20 Hz – 30 kHz (Mic input to any output, gain at unity) +0 dB/-1 dB

Crosstalk

20 Hz – 20 kHz Adjacent Inputs -90 dB @ 1 kHz Inputs to Outputs -90 dB @ 1 kHz Fader Off -90 dB @ 1 kHz Mute Switch/Break Switch Mute -90 dB @ 1 kHz

Maximum Levels

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

Impedances

Mic in 3 kilohms Channel Insert return 10 kilohms Ch 1 Instrument Input 1 Megaohm All other inputs 20 kilohms Tape out 1.1 kilohms Phones out 25 ohms All other outputs 120 ohms

Maximum Voltage Gain (EQ Flat)

Mic Input Channel to

Insert Output 50 dB Tape Output 60 dB USB Output 60 dB ¼ Inch Main Output 70 dB XLR Main Output 76 dB Monitor Send 75 dB FX Send 90 dB

Mono Line Input Channel to

Insert Output 30 dB Tape Output 40 dB USB Output 40 dB XLR Main Output 56 dB Monitor Send 55 dB FX Send 70 dB

Stereo Line Input Channel to

Tape Output 30 dB USB Output 30 dB XLR Main Output 46 dB Monitor Send 45 dB FX Send 60 dB

Tape Input to

Tape Output 20 dB USB Output 20 dB XLR Main Output 36 dB

USB Input to

Tape Output 20 dB USB Output 20 dB XLR Main Output 36 dB

Stereo Return to

Tape Output 10 dB USB Output 10 dB XLR Main Output 26 dB

Effects Return to

Tape Output 10 dB USB Output 10 dB XLR Main Output 26 dB Monitor Send 25 dB

Channel EQ

Low Cut 100 Hz, -18 dB/Octave High Shelving ±15 dB @ 12 kHz Mid Peaking ±15 dB @ 2.5 kHz Low Shelving ±15 dB @ 80 Hz

Digital Effects

I/O Mono Input/Stereo Output Number of Presets 16 Mackie-designed presets

Channel Level Set LED

0 dBu (normal operating level)

Channel OL LED

-1 dB before channel clipping Measured post EQ, pre fader

Owner’s Manual

29

Meters

Main L/R Mix Two columns of 12 segments each: OL (+20 dBu), +15, +10, +6, +3, 0 (0 dBu), -2, -4, -7, -10, -20, and -30

7 Band Graphic EQ

Frequency Centers 125, 250, 500, 1k, 2k, 4k, 8k Gain ±15 dB Assignable to Main or Monitor Bypassable

USB

Format USB 1.1 I/O Stereo Input/Stereo Output A/D/A 16 Bit, 44.1 kHz/48 kHz

Phantom Power

ProFX8 and ProFX12

48 VDC to all Mic channels at once

AC Power Requirements

Voltage Range 100-240 VAC, 50-60 Hz Power Consumption: 20 Watts (ProFX8) 25 Watts (ProFX12) Power Connector 3 Pin IEC

Dimensions (H x W x D)

ProFX8 14.05" x 11.41" x 3.58" (357 mm x 290 mm x 91 mm) ProFX12 14.05" x 14.6" x 3.58" (357 mm x 370 mm x 91 mm)

Weight

ProFX8 7.1 lb (3.2 kg) ProFX12 9.0 lb (4.1 kg)

Dimensions

14.05 in/ 357mm

WEIGHT

7.1 lb

3.2 kg

11.41 in/ 290 mm

WEIGHT

9.0 lb

4.1 kg

3.58 in/ 91 mm

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

“Mackie,” and the “Running Man” are registered trademarks of LOUD Technologies Inc. All other brand names mentioned are trademarks or registered trademarks of their respective holders, and are hereby acknowledged. ©2008 LOUD Technologies Inc. All Rights Reserved.

Correct disposal of this product. This symbol indicates that this product should not be disposed of with your household waste, according to the WEEE Directive (2002/96/EC) and your national law. This product should be handed over to an authorized collection site for recycling waste electrical and electronic equipment (EEE). Improper handling of this type of waste could have a possible negative impact on the environment and human health due to potentially hazardous substances that are generally associated with EEE. At the same time, your cooperation in the correct disposal of this product will contribute to the effective usage of natural resources. For more information about where you can drop off your waste equipment for recycling, please contact your local city ofﬁ ce, waste authority, or your household waste disposal service.

14.05 in/ 357mm

14.6 in/ 370 mm

30

ProFX8 and ProFX12

Block Diagram

Owner’s Manual

Break

Left

Main Fader

switch

Right

Main out

GEQ

to/from

7-Band

Left

Right

Tape Out

Main

Meters

Phones

USB

Out

Monitor send

FX send

FX

Preset

Preset select

Main R

Main L

Level

Phones

Mon

Bypass

EQ In

switch

Bypass

In

FX

Out L

GEQ

Display

Out R

footswitch

Internal FX

Logic

FX Bypass

active

FX Mute

7-band Stereo

OL

Mon

Level

Mains

switch

Mon Fader

EQ assign

USB Thru

L

Level

R

Main R

Main L

Mon

Note: When not assigned to EQ, signal is sent to stra ight through to destination.

FX level

FX to Main L/R Fader

to/from

7-Band EQ

FX to Mon

L sum

R sum

Tape Input

L

R

USB Input

FX (post)FX (post)

Mon (pre)Mon (pre)

R

Main

L

FX

Mon

Pan

Mute

Fader

OL (Flicker)

HIMID

3-Band EQ

80 2.5K 12K

LO

Insert

HPF

100 Hz

Low Cut In

Level Set

-

+

Gain

Mic: 0 ~ +50dB

Line: -20 ~ +30dB

Phantom Power

(To All Mics)

Global 48v

Switch/LED

Phantom Power

48V

Line

Mic

Mic: 0 ~ +50dB

Line: -20 ~ +30dB

Gain

-

+

Hi-Z

Line /

Phantom

Power

Hi-Z

Mic

Line /

Pan

Mute

Fader

OL (Flicker)

HIMID

3-Band EQ

80 2.5K 12K

LO

L

Mon

Mute

Fader

80 2.5K 12K

Low Cut In

HPF

100 Hz

Level Set

-

+

Mic Gain:

0 ~ +50dB

R

Phantom

Power

Mic

Line Gain:

-20 ~ +20 dB

Gain

L

OL (Flicker)

L

R

Main

L

NOTE: Switches are shown in the default (out) position.

Mono

Channels

2-2 ProFX8

2-4 ProFX12

Stereo Return

Stereo

Channels

7-8 ProFX8

Hybrid

Channels

3-6 ProFX8

Mono

Channel

1 ProFX8

1 ProFX12

5-8 ProFX12

9-12 ProFX12

Owner’s Manual

31

Appendix D: USB interface

System Requirements

These are the minimum requirements for your com-

puter system to use the mixer's USB interface.

For the PC:

• Windows XP (service pack 2)

• Pentium 4 or Athlon XP processor

• 256 MB RAM

For the Mac:

ProFX8 and ProFX12

• OS X (10.4.11 or higher)

• G4 processor

• 256 MB RAM

The internal USB interface will allow the left and right main mix to be recorded on a Mac or PC computer. It also allows two channels of audio from the computer to be added to the main mix.

Plug and Play

No drivers or software installation is required. The ProFX mixer's USB interface connects directly to the USB port of your computer.

USB stream from computer

The following table shows the outputs from your computer to the mixer’s USB interface:

USB stream to computer

In addition to a mix of channels, the USB output to your computer can contain audio from your computer, if the USB thru switch [41] is engaged.

The mains and headphone outputs are not affected by the switch, and always provide a full mix of channels and any 2-channel audio from

your computer.

The analog audio from the mixer is converted to digital signals by the USB interface’s A/D converters.

The following table shows the outputs to your computer from the mixer’s USB interface:

To From Computer input 1 Left mix of channels including

any audio from computer (thru switch in) or Left mix of channels without audio from computer (thru switch out)

Computer input 2 Right mix of channels including

any audio from computer (thru switch in) or Right mix of channels without audio from computer (thru switch out)

From To Computer output 1 Main mix L Computer output 2 Main mix R

The 2-channel digital stream from the computer enters the mixer through the USB connector and is converted to analog audio.

The audio level can be adjusted using the USB input control [40].

Beware of a possible feedback loop, if you are feeding the main mix back into the mixer.

Here are two examples of using the USB thru switch:

Studio Overdub – Tracktion playback is coming into

the mixer on USB inputs, and routing through the mains/phones for you to hear. A guitar plugged into channel 1 is being recorded via the USB output, while you listen and play along to the Tracktion playback. The USB thru switch is out, so the output to be recorded on the computer contains all playing channels except the playback from the computer.

Live Performance – Computer playback software

like Ableton Live is being mixed to the mains with other stereo sources such as synths, samplers, turntables, and CD-DJ players. The USB thru switch is engaged, so everything will be fed to the computer for recording the entire set with Ableton Live.

32

ProFX8 and ProFX12

Recording with USB

Owner’s Manual

Monitoring

The mixer's built-in USB connection allows overdub style recording to a Mac or PC digital audio workstation (DAW) through the USB cable.

Here are some steps showing how to record a ﬁ rst track, and then record additional tracks while monitoring ones that have already been recorded.

1. Connect to the mixer, the sound source you wish to record to your audio software, for example:

• A microphone for a voice or instrument.

• A line-level source such as an electronic

keyboard.

• An instrument connected directly to the

instrument input 1 (with the hi-z switch [7] pressed in).

2. Make sure the USB thru switch [41] is not pressed in. This will ensure that during each recording pass, the audio software only receives the track-in-progress as an audio signal, and not the pre-existing mix from the computer as well.

3. Set the gain knob [20] at the top of the channel you are using, to an appropriate level for the source being recorded, using the level set LED [21] as a guide. Once the gain has been set, set the channel fader [31] to unity (U).

The signals going out to your computer are not

affected by the main fader [48] or the headphones knob [42].

4. If you are recording an acoustic source through a microphone, monitor it through headphones, not through speakers. This will prevent sound from the speakers from leaking into the microphone. If working in this fashion, turn down the main fader, and instead turn up the phones knob for safe listening levels in the headphones.

When recording to computer software with a ProFX

mixer, use direct hardware monitoring:

• Listen to the track you are recording directly off of your mixer, while also listening to previouslyrecorded tracks on your DAW software, as they are fed back into the mixer.

The procedure is as follows:

• Arm the track you wish to record onto, on your DAW software, such as Tracktion.

• On the track you have just armed, disable input monitoring (see top of next page), so that while recording, you do not hear the return of that track coming from the computer. This will ensure you do not mix the direct track you are monitoring, with the duplicate of the track on the DAW as it is being recorded. You do not want to hear the direct and DAW track of the same source simultaneously, as the DAW version might be slightly delayed, and the combination of the two will produce a ﬁ ltered sound.

• Make sure that the DAW’s input meters show a healthy level, and if it needs to be increased or decreased, adjust the signal’s channel fader [31], not the gain knob [20].

• Press record on the DAW and record the track.

Overdubbing

To overdub additional tracks while listening to previ-

ously recorded ones, follow these steps:

• Press Play. The previously recorded track will now play out of the DAW’s main L-R mix into the USB input of the mixer.

• Set the level of the USB input level knob [40] to a level where you can hear the previously recorded track comfortably.

• Arm a new track in the DAW software, be sure it has input monitoring disabled (see top of next page), and record the new track on your DAW.

• While recording the new track, you will hear the previously recorded tracks coming into the mixer’s USB input, while you simultaneously hear the current track you are recording directly through the mixer hardware.

• Repeat these steps until you have built up all the tracks of your recording.

Owner’s Manual

33

Tracktion Screen

end-to-end disabled

In Tracktion, to disable input monitoring for the track you are recording onto, select the input to the track (it will be highlighted in red) and disable the end-to-end

ProFX8 and ProFX12

function.

You’ll hear existing tracks playing back via the USB in, and you’ll be monitoring the track you are recording through the mixer’s headphones or main out. When you play back the recording, you’ll hear the track you’ve just overdubbed without unmuting anything.

Other DAWs may show this as a speaker next to the track record arm button.

Other tips

• If recording with a microphone, turn down the main fader [48] while recording, and listen through the headphones instead.

• If recording “direct” sources such as an electric guitar, you can listen with speakers, as there is no microphone present to worry about the speaker’s sound leaking in.

ins in your work. If this happens, your audio may stop or “drop out.” Drop outs may also occur if you have a slower computer or not enough memory.

When recording using the overdub method, it is important to set the mixer’s latency to it’s lowest operable setting. This means going into the audio interface property page of your recording program and setting the latency property to the lowest setting the device and your system will accept without any drop-outs, distortion or CPU overburdening.

The buffer is an area of computer memory that your DAW uses to hold audio as it works. The smaller the buffer, the faster audio gets in and out of your computer, and the lower the latency. The size of the buffer is measured in samples. The more samples, the higher the latency time value. This time value varies by sample rate.

Higher latency settings are ﬁ ne and even necessary when in live record mode. The same is true for mixdown mode, especially when you start adding lots of plug-ins.

A word about latency

Latency describes the amount of time it takes the input signal to pass through the system, and reach the output. When recording a guitar and monitoring through software, it is the amount of time it takes from the moment you strike your guitar string, to the moment you hear it in your headphones. You are used to this latency being very close to zero; when you play your guitar through a guitar amp, you hear the signal immediately. So when you are recording and monitoring via software, you want this latency (delay time) to be as low as possible.

We would like to set the latency as low as possible, but the smaller it is, the harder the computer will have to work. If the latency is very small, the computer needs to work very hard to quickly transfer the audio in and out. It may not even be able to keep up, especially if there are lots of tracks, lots of automation and/or lots of plug-

The latency will never be zero, but generally we can

lower it enough so its effect cannot be heard.

34

ProFX8 and ProFX12

ProFX8 and ProFX12 Limited Warranty

Please keep your sales receipt in a safe place.

Owner’s Manual

A. LOUD Technologies Inc. warrants all materials, workmanship and proper operation of this product for a period of one year from the original date of purchase. You may purchase an additional 24-month Extended Warranty (for a total of 36 months of coverage). Visit our website and follow the “Product Registration” links for details (www.mackie.com). If any defects are found in the materials or workmanship or if the product fails to function properly during the applicable warranty period, LOUD Technologies, at its option, will repair or replace the product. This warranty applies only to

equipment sold and delivered within the U.S. and Canada by LOUD Technologies Inc. or its authorized dealers.

B. For faster processing, register online at www.mackie.com,

or you may mail in the product registration card included with this manual.

C. Unauthorized service, repairs, or modiﬁ cation of Mackie products will void this warranty. To obtain repairs or replacement under warranty, you must have a copy of your sales receipt from the authorized Mackie dealer where you purchased the product. It is necessary to establish purchase date and determine whether your Mackie product is within the warranty period.

D. To obtain warranty repair or replacement:

1. Call Mackie Technical Support at 800/898-3211, 7

AM to 5 PM Monday through Friday (Paciﬁ c Time) to get authorization for repair or replacement. Alternately, go to the Mackie website, click “Support” (www.mackie. com/support), and follow the instructions for reporting a warranty issue and submitting a request for an advance replacement.

2. Advance Replacement: Mackie will ship a replacement unit to you along with an invoice for the suggested retail price of the replacement unit. You must return the defective unit immediately to cancel the invoice. If you do not return the defective unit within 30 days, you must pay the full amount stated in the invoice to satisfy your debt.

3. Repair: When you call Mackie Technical Support, explain the problem and obtain a Service Request Number. Have your Mackie product’s serial number ready. You must have a Service Request Number before you can obtain factory-authorized service.

• Pack the product in its original shipping carton. Also include a note explaining exactly how to duplicate the problem, a copy of the sales receipt with price and date showing, your daytime phone number and return street address (no P.O. boxes or route numbers, please!), and the Service Request Number. If we cannot duplicate the problem or establish the starting date of your Limited Warranty, we may, at our option, charge for service time and parts.

• Ship the product in its original shipping carton, freight prepaid to the authorized service center. Write the Service Request Number in BIG PRINT on top of the box. The address of your closest authorized service center will be given to you by Technical Support, or it may be obtained from our website. Once it’s repaired, the authorized service center will ship it back by ground shipping, pre-paid (if it qualiﬁ ed as a warranty repair).

Note: Under the terms of the warranty, you must ship or dropoff the unit to an authorized service center. The return ground shipment is covered for those units deemed by us to be under warranty.

Note: You must have a sales receipt from an authorized Mackie dealer for your unit to be considered for warranty repair.

IMPORTANT: Make sure that the Service Request Number is plainly written on the shipping carton. No receipt, no warranty service.

E. LOUD Technologies reserves the right to inspect

any products that may be the subject of any warranty claims before repair or replacement is carried out. LOUD Technologies may, at our option, require proof of the original date of purchase in the form of a dated copy of the original dealer’s invoice or sales receipt. Final determination of warranty coverage lies solely with LOUD Technologies.

F. Any products returned to one of the LOUD Technologies factory-authorized service centers, and deemed eligible for repair or replacement under the terms of this warranty will be repaired or replaced. LOUD Technologies and its authorized service centers may use refurbished parts for repair or replacement of any product. Products returned to LOUD Technologies that do not meet the terms of this Warranty will not be repaired unless payment is received for labor, materials, return freight, and insurance. Products repaired under warranty will be returned freight prepaid by LOUD Technologies to any location within the boundaries of the USA or Canada.

G. LOUD Technologies warrants all repairs performed for 90 days or for the remainder of the warranty period. This warranty does not extend to damage resulting from improper installation, misuse, neglect or abuse, or to exterior appearance. This warranty is recognized only if the inspection seals and serial number on the unit have not been defaced or removed.

H. LOUD Technologies assumes no responsibility for the timeliness of repairs performed by an authorized service center. I. This warranty is extended to the original purchaser. This warranty may be transferred to anyone who may subsequently purchase this product within the applicable warranty period for a nominal fee (extended warranties are not transferable). A copy of the original sales receipt is required to obtain warranty repairs or replacement. J. This is your sole warranty. LOUD Technologies does not authorize any third party, including any dealer or sales representative, to assume any liability on behalf of LOUD Technologies or to make any warranty for LOUD Technologies Inc.

K. THE WARRANTY GIVEN ON THIS PAGE IS THE SOLE WARRANTY GIVEN BY LOUD TECHNOLOGIES INC. AND IS IN LIEU OF ALL OTHER WARRANTIES, EXPRESS AND IMPLIED, INCLUDING THE WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE. THE WARRANTY GIVEN ON THIS PAGE SHALL BE STRICTLY LIMITED IN DURATION TO ONE YEAR FROM THE DATE OF ORIGINAL PURCHASE FROM AN AUTHORIZED MACKIE DEALER. UPON EXPIRATION OF THE APPLICABLE WARRANTY PERIOD, LOUD TECHNOLOGIES INC. SHALL HAVE NO FURTHER WARRANTY OBLIGATION OF ANY KIND. LOUD TECHNOLOGIES INC. SHALL NOT BE LIABLE FOR ANY INCIDENTAL, SPECIAL, OR CONSEQUENTIAL DAMAGES THAT MAY RESULT FROM ANY DEFECT IN THE MACKIE PRODUCT OR ANY WARRANTY CLAIM. Some states do not allow exclusion or limitation of incidental, special, or consequential damages or a limitation on how long warranties last, so some of the above limitations and exclusions may not apply to you. This warranty provides speciﬁ c legal rights and you may have other rights which vary from state to state.

Owner’s Manual

35

16220 Wood-Red Road NE • Woodinville, WA 98072 • USA United States and Canada: 800.898.3211 Europe, Asia, Central and South America: 425.487.4333 Middle East and Africa: 31.20.654.4000 Fax: 425.487.4337 • www.mackie.com E-mail: sales@mackie.com

Mackie ProFX8, ProFX12 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

Important Safety Instructions

Read This Page!

Introduction

Contents

HOOKUP DIAGRAMS

Rear Panel Features

1. POWER CONNECTION

2. FUSE

4. XLR MAIN OUTS

3. POWER SWITCH

5. USB PORT

Front Panel Features

Connection Section

6. MIC INPUTS

7. LINE/HI-Z SWITCH

8. LINE/HI-Z INPUT (Channel 1 only)

9. MONO LINE INPUTS

10. STEREO LINE INPUTS

11. CHANNEL INSERT

12. STEREO RETURN

13. MON SEND

15. 1⁄4" MAIN OUTS

16. FX FOOTSWITCH

14. FX SEND

17. PHONES

18. TAPE INPUT

19. TAPE OUTPUTS

Channel Controls

20. GAIN

21. LEVEL SET LED

22. LOW CUT

23. HI EQ

25. LOW EQ

26. AUX MON

24. MID EQ

27. AUX FX

28. PAN

29. OL LED

30. MUTE

31. CHANNEL FADER

Master Controls

32. PHANTOM POWER SWITCH

33. POWER LED

34. METERS

36. TAPE LEVEL

37. STEREO GRAPHIC EQ

38. MAIN MIX/MON

35. BREAK SWITCH

39. EQ IN/BYPASS

40. USB INPUT LEVEL

41. USB THRU

45. STEREO RETURN FADER

42. PHONES LEVEL

44. MUTE (for stereo returns)

46. FX RETURN FADER

47. MONITOR FADER

48. MAIN FADER

Stereo Effects Processor

50. PRESET SELECTOR

52. FX MASTER

53. OL LED

49. PRESET DISPLAY

54. FX TO MON

Appendix A: Service Information

Appendix B: Connections

Appendix C: Technical Information

Appendix D: USB interface

ProFX8 and ProFX12 Limited Warranty