ProFX16 and ProFX22 - Marblehead Little Theatre

Transcription

L
FREQ
40
50
60
30
20
10
5
PFL
SOLO
L-R
3-4
40
50
60
30
20
10
5
U
5
1-2
PFL
SOLO
L-R
3-4
1-2
2
PAN
FX
2
MON
1
MON
AUX
1
R
FREQ
LOW
80Hz
1.5k
MID
HI
12kHz
EQ
MUTE
5
U
L
OL
+15
+15
U
+15
U
U
-15 +15
U
8k
-15 +15
600
100
150
-15 +15
U
U
LOW CUT
100Hz
+50
+30dB
GAIN
U
2
MUTE
PAN
FX
2
MON
1
MON
AUX
LOW
80Hz
1.5k
MID
dB
10
R
EQ
U
-20dB
dB
10
OL
+15
+15
U
+15
U
U
-15 +15
U
8k
-15 +15
600
100
150
-15 +15
U
U
LOW CUT
100Hz
HI
12kHz
+50
+30dB
GAIN
U
-20dB
IC GAIN
M
IC GAIN
M
INSERT
INSERT
U
LINE IN
LINE IN
MIC
BAL /UNBAL
1
BAL /UNBAL
MIC
40
50
60
30
20
10
5
U
5
dB
10
L
OL
R
+15
+15
U
+15
U
U
-15 +15
U
8k
-15 +15
600
100
150
-15 +15
U
U
PFL
SOLO
L-R
3-4
1-2
3
MUTE
PAN
FX
2
MON
1
MON
AUX
LOW
80Hz
FREQ
MID
HI
12kHz
1.5k
LOW CUT
100Hz
+50
+30dB
GAIN
U
-20dB
40
50
60
30
20
10
5
U
5
dB
10
L
OL
R
+15
+15
U
+15
U
U
-15 +15
U
8k
-15 +15
600
100
150
-15 +15
U
U
4
PFL
SOLO
L-R
3-4
1-2
4
MUTE
PAN
FX
2
MON
1
MON
AUX
LOW
80Hz
FREQ
MID
HI
12kHz
EQ
1.5k
LOW CUT
100Hz
+50
+30dB
GAIN
U
-20dB
IC GAIN
M
U
IC GAIN
M
U
LINE IN
BAL /UNBAL
MIC
INSERT
EQ
3
INSERT
LINE IN
BAL /UNBAL
MIC
40
50
60
30
20
10
5
U
5
dB
10
L
OL
R
+15
+15
U
+15
U
U
-15 +15
U
8k
-15 +15
600
100
150
-15 +15
U
U
5
PFL
SOLO
L-R
3-4
1-2
5
MUTE
PAN
FX
2
MON
1
MON
AUX
LOW
80Hz
FREQ
MID
HI
12kHz
EQ
1.5k
LOW CUT
100Hz
+50
+30dB
GAIN
U
-20dB
U
IC GAIN
M
INSERT
LINE IN
BAL /UNBAL
MIC
40
50
60
30
20
10
5
U
5
dB
10
L
OL
R
+15
+15
U
+15
U
U
-15 +15
U
8k
-15 +15
600
100
150
-15 +15
U
U
6
PFL
SOLO
L-R
3-4
1-2
6
MUTE
PAN
FX
2
MON
1
MON
AUX
LOW
80Hz
FREQ
MID
HI
12kHz
EQ
1.5k
LOW CUT
100Hz
+50
+30dB
GAIN
U
-20dB
U
IC GAIN
M
INSERT
LINE IN
BAL /UNBAL
MIC
40
50
60
30
20
10
5
U
5
dB
10
L
OL
R
+15
+15
U
+15
U
U
-15 +15
U
8k
-15 +15
600
100
150
-15 +15
U
U
7
PFL
SOLO
L-R
3-4
1-2
7
MUTE
PAN
FX
2
MON
1
MON
AUX
LOW
80Hz
FREQ
MID
HI
12kHz
EQ
1.5k
LOW CUT
100Hz
+50
+30dB
GAIN
U
-20dB
U
IC GAIN
M
INSERT
LINE IN
BAL /UNBAL
MIC
40
50
60
30
20
10
5
U
5
dB
10
L
OL
R
+15
+15
U
+15
U
U
-15 +15
U
8k
-15 +15
600
100
150
-15 +15
U
U
8
PFL
SOLO
L-R
3-4
1-2
8
MUTE
PAN
FX
2
MON
1
MON
AUX
LOW
80Hz
FREQ
MID
HI
12kHz
EQ
1.5k
LOW CUT
100Hz
+50
+30dB
GAIN
U
-20dB
U
IC GAIN
M
INSERT
LINE IN
BAL /UNBAL
MIC
40
50
60
30
20
10
5
U
5
dB
10
L
OL
R
+15
+15
U
+15
U
U
-15 +15
U
8k
-15 +15
600
100
150
-15 +15
U
U
9
PFL
SOLO
L-R
3-4
1-2
9
MUTE
PAN
FX
2
MON
1
MON
AUX
LOW
80Hz
FREQ
MID
HI
12kHz
EQ
1.5k
LOW CUT
100Hz
+50
+30dB
GAIN
U
-20dB
U
IC GAIN
M
INSERT
LINE IN
BAL /UNBAL
MIC
40
50
60
30
20
10
5
U
5
dB
10
L
OL
R
+15
+15
U
+15
U
U
-15 +15
U
8k
-15 +15
600
-15 +15
U
100
150
PFL
SOLO
L-R
3-4
1-2
10
MUTE
PAN
FX
2
MON
1
MON
AUX
LOW
80Hz
FREQ
MID
HI
12kHz
EQ
1.5k
LOW CUT
100Hz
U
10
+50
+30dB
GAIN
U
-20dB
U
IC GAIN
M
INSERT
LINE IN
BAL /UNBAL
MIC
40
50
60
30
20
10
5
U
5
dB
10
U
8k
L
OL
R
+15
+15
U
+15
U
U
-15 +15
100
-15 +15
600
-15 +15
U
PFL
SOLO
L-R
3-4
1-2
11
MUTE
PAN
FX
2
MON
1
MON
AUX
LOW
80Hz
FREQ
MID
HI
12kHz
EQ
1.5k
LOW CUT
100Hz
U
11
+50
+30dB
GAIN
U
IC GAIN
M
U
-20dB
150
MAX
COMP
OFF
LINE IN
BAL /UNBAL
MIC
40
50
60
30
20
10
5
U
5
dB
10
L
OL
R
+15
+15
U
+15
U
U
-15 +15
U
8k
-15 +15
600
-15 +15
U
100
150
PFL
SOLO
L-R
3-4
1-2
12
MUTE
PAN
FX
2
MON
1
MON
AUX
LOW
80Hz
FREQ
MID
HI
12kHz
EQ
1.5k
LOW CUT
100Hz
U
12
+50
+30dB
GAIN
U
-20dB
U
IC GAIN
M
MAX
COMP
OFF
LINE IN
BAL /UNBAL
MIC
40
50
60
30
20
10
5
U
5
dB
10
L
OL
R
+15
+15
U
+15
U
U
-15 +15
U
8k
-15 +15
600
-15 +15
U
100
150
PFL
SOLO
L-R
3-4
1-2
13
MUTE
PAN
FX
2
MON
1
MON
AUX
LOW
80Hz
FREQ
MID
HI
12kHz
EQ
1.5k
LOW CUT
100Hz
U
13
+50
+30dB
GAIN
U
-20dB
U
IC GAIN
M
MAX
COMP
OFF
LINE IN
BAL /UNBAL
MIC
40
50
60
30
20
10
5
U
5
dB
10
L
OL
R
+15
+15
U
+15
U
U
-15 +15
U
8k
-15 +15
600
-15 +15
U
100
150
PFL
SOLO
L-R
3-4
1-2
14
MUTE
PAN
FX
2
MON
1
MON
AUX
LOW
80Hz
FREQ
MID
HI
12kHz
EQ
1.5k
LOW CUT
100Hz
U
14
+50
+30dB
GAIN
U
-20dB
U
IC GAIN
M
MAX
COMP
OFF
LINE IN
BAL /UNBAL
MIC
MIC
L
MUTE
40
50
60
30
20
10
5
U
PFL
SOLO
L-R
3-4
40
50
60
30
20
10
5
U
5
5
1-2
dB
10
15/16
R
PAN
FX
2
MON
1
MON
AUX
LOW
80Hz
MID
2.5kHz
HI
12kHz
dB
10
OL
+15
+15
U
+15
U
U
-15 +15
U
-15 +15
U
-15 +15
U
LOW CUT
100Hz
GAIN
L
OL
MUTE
PAN
FX
2
MON
1
MON
AUX
LOW
80Hz
MID
2.5kHz
HI
12kHz
EQ
R
L
(MONO)
PFL
SOLO
L-R
3-4
1-2
17/18
R
+15
+15
U
+15
U
U
-15 +15
U
-15 +15
U
-15 +15
U
LOW CUT
100Hz
GAIN
+50
IC GAIN
M
+50
U
LINE IN 12
LINE IN 11
BAL /UNBAL
IC GAIN
M
EQ
R
L
(MONO)
MIC
17/18
U
LINE IN 10
LINE IN 9
BAL /UNBAL
15/16
40
50
60
30
20
10
5
U
5
U
+20
L
OL
MUTE
PAN
FX
2
MON
1
MON
AUX
LOW
80Hz
MID
2.5kHz
HI
12kHz
EQ
R
PFL
SOLO
L-R
3-4
1-2
19/20
R
+15
+15
U
+15
U
U
-15 +15
U
-15 +15
U
-15 +15
U
GAIN
-20
LINE IN 14
LINE IN 13
L
(MONO)
19/20
BAL /UNBAL
dB
10
2
1
MON SEND
BAL /UNBAL
BAL /UNBAL
40
50
60
30
20
10
5
U
5
dB
10
U
+20
L
OL
MUTE
PAN
FX
2
MON
1
MON
AUX
LOW
80Hz
MID
2.5kHz
HI
12kHz
EQ
SOURCE
R
L
(MONO)
PFL
SOLO
L-R
3-4
1-2
21/22
R
+15
+15
U
+15
U
U
-15 +15
U
-15 +15
U
-15 +15
U
LINE
USB
GAIN
-20
LINE IN 16
LINE IN 15
BAL /UNBAL
21/22
FX SEND
BAL /UNBAL
FOOTSWITCH
CR OUT
R
L
R
500
R
MAIN
SUB 1-2
1K
2K
TAPE
USB
+10
+15
U
R
40
50
60
40
50
60
30
20
40
50
60
30
20
20
30
10
10
5
5
10
U
U
5
5
5
5
dB
10
U
+15
LEVEL
R
SUB 3
L
dB
10
SUB 2
L
U
TO
MAIN
L-R
TO
MON 2
TO
MON 1
AUX
RETURN
+15
U
2-TRACK RETURN
FX
2
EQ IN
BYPASS
09 CHORUS
10 CHORUS + REV
11 DOUBLER
12 TAPE SLAP
dB
10
SUB 1
L
USB OUT
+15
+15
U
MON
1
MON
U
05 WARM HALL
06 CONCERT HALL
07 PLATE REVERB
08 CATHEDRAL
AUX
MASTER
+15
U
U
01 BRIGHT ROOM
02 WARM LOUNGE
03 SMALL STAGE
04 WARM THEATER
MAIN MIX
MON 1
4K
8K
5
BREAK
TO
MAIN
L-R
TO
MON 2
TO
MON 1
dB
10
40
50
60
30
20
10
5
U
5
R
SUB 4
L
L
LEVEL
SET
SIG/OL
40
50
60
30
20
10
5
U
5
dB
10
MAIN
CR /PHONES
INT FX
MUTE
R
RUDE
SOLO
MAX
OL
15
10
6
3
0
2
4
7
10
20
30
0dB = 0dBu
MAIN
METERS
INTERNAL FX
(MUTES ALL CH)
+10
+15
U
+15
U
U
13 DELAY 1 (300ms)
14 DELAY 2 (380ms)
15 DELAY 3 (480ms)
16 REVERB + DLY (250ms)
15
10
5
10
15
0
0
5
10
POWER
4
3
OUT
BAL /UNBAL
PHANTOM
48V
15
5
2
1
R
TAPE
L
SUB OUT
BAL /UNBAL
PHONES
IN
10
250
STEREO GRAPHIC EQ
PROFESSIONAL MIC/LINE MIXER WITH FX
R
L
(MONO)
BAL /UNBAL
BAL /UNBAL
BALANCED
15
125
L
MAIN OUT
AUX RETURN
BAL /UNBAL
BAL /UNBAL
BALANCED
ProFX16 and ProFX22
Professional Mic/Line Mixers with FX and USB I/O
OWNER’S MANUAL
Important Safety Instructions
1.
2.
3.
4.
5.
6.
7.
Read these instructions. Keep these instructions.
Heed all warnings.
Follow all instructions.
Do not use this apparatus near water.
Clean only with a dry cloth.
Do not block any ventilation openings. Install in accordance with the
manufacturer’s instructions.
8. Do not install near any heat sources such as radiators, heat registers,
stoves, or other apparatus (including amplifiers) that produce heat.
9. Do not defeat the safety purpose of the polarized or grounding-type
plug. A polarized plug has two blades with one wider than the other.
A grounding-type plug has two blades and a third grounding prong.
The wide blade or the third prong are provided for your safety. If the
provided plug does not fit into your outlet, consult an electrician for
replacement of the obsolete outlet.
10. Do not overload wall outlets and extension cords as this can result in a
risk of fire or electric shock.
11. Protect the power cord from being walked on or pinched particularly at
plugs, convenience receptacles, and the point where they exit from the
apparatus.
12. Only use attachments/accessories specified by the manufacturer.
PORTABLE CART
13. Use only with a cart, stand, tripod, bracket, or
WARNING
table specified by the manufacturer, or sold with
the apparatus. When a cart is used, use caution
when moving the cart/apparatus combination to
avoid injury from tip-over.
14. Unplug this apparatus during lightning storms or
when unused for long periods of time.
15. Refer all servicing to qualified service personnel. Servicing is required
when the apparatus has been damaged in any way, such as 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 filled 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 a rocker-style AC mains power
switch. This switch is located on the rear panel and should remain
readily accessible to the user.
19. The MAINS plug or an appliance coupler is used as the disconnect
device, so the disconnect device shall remain readily operable.
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.
AUCUN ENTRETIEN DE PIECES INTERIEURES PAR L'USAGER.
CONFIER L'ENTRETIEN AU PERSONNEL QUALIFIE.
AVIS: POUR EVITER LES RISQUES D'INCENDIE OU D'ELECTROCUTION, N'EXPOSEZ PAS CET ARTICLE
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.
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 modifications to this device not expressly
approved by LOUD Technologies Inc. could void the user's authority to
operate the equipment under FCC rules.
21. This apparatus does not exceed the Class A/Class B (whichever is
applicable) limits for radio noise emissions from digital apparatus as
set out in the radio interference regulations of the Canadian Department
of Communications.
ATTENTION — Le présent appareil numérique n’émet pas de bruits
radioélectriques dépassant las limites applicables aux appareils
numériques de class A/de class B (selon le cas) prescrites dans le
réglement sur le brouillage radioélectrique édicté par les ministere des
communications du Canada.
22. Exposure to extremely high noise levels may cause permanent hearing
loss. Individuals vary considerably in susceptibility to noise-induced
hearing loss, but nearly everyone will lose some hearing if exposed to
sufficiently intense noise for a period of time. The U.S. Government’s
Occupational Safety and Health Administration (OSHA) has specified
the permissible noise level exposures shown in the following chart.
According to OSHA, any exposure in excess of these permissible limits
could result in some hearing loss. To ensure against potentially 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
6
4
3
2
1.5
1
Sound Level
dBA, Slow
Response
90
92
95
97
100
102
105
0.5
110
0.25 or less 115
Typical Example
Duo in small club
Subway Train
Very loud classical music
Matty screaming at T-roy about
deadlines
Loudest parts at a rock concert
WARNING — To reduce the risk of fire or electric shock, do not
expose this apparatus to rain or moisture.
2 ProFX16 and ProFX22
Correct disposal of this product. This symbol indicates that this product should not be disposed of with your household waste, according to the WEEE Directive (2002/96/EC) and your national law. This product
should be handed over to an authorized collection site for recycling waste electrical and electronic equipment (EEE). Improper handling of this type of waste could have a possible negative impact on the environment and
human health due to potentially hazardous substances that are generally associated with EEE. At the same time, your cooperation in the correct disposal of this product will contribute to the effective usage of natural
resources. For more information about where you can drop off your waste equipment for recycling, please contact your local city office, waste authority, or your household waste disposal service.
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. 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.
4. The mono channel gain affects the mic and the
line inputs. The stereo channel gain adjusts the
stereo line inputs. Adjust as desired, and make
sure that the OL LED does not come on during
the loudest passages.
3. Set all buttons to the “out” position.
Note: there are two hybrid channels [9/10 and
11/12 on the ProFX16 and 15/16 and 17/18 on
the ProFX22] that have both mono mic and
stereo line inputs. In these channels, the gain
control affects only the mic gain.
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:
1. Plug signal sources into the mixer, such as:
• 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.
2. Connect cords from the main outs to your powered speakers or amplifier.
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 amplifier level
controls to however the manufacturer recommends. (This is usually all the way up.)
Set the Gain
1. Plug 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.
2. Engage the channel's PFL Solo switch to view
the input level via the main meters.
5. Repeat steps 1 to 4 for the other channels.
Instant Mixing
1. To get sound out of the speakers and into a
waiting world, engage a channel's L-R assign
switch, turn up that channel’s fader to the “U”
(unity gain) position, and slowly bring up the
main fader to a comfortable listening level.
2. Sing and play. You’re a star!
3. Bring in other channels as mentioned above.
USB
The USB connection allows you to play two channels
of audio from your computer, and to record the main
mix to your computer. This feature is explained more
thoroughly on pages 4, 9-10, 16 and 23.
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 shutting down the system, turn off amplifiers or
powered speakers first. When powering up, turn them
on last. This will prevent the possibility of turn-on and
turn-off thumps heard in your speakers.
Save the shipping box and receipt! You may need
them someday.
Part No. SW0898 Rev. C 05/11
©2011 LOUD Technologies Inc. All Rights Reserved.
Hey buddy, why are you reading this? It's an A-B
conversation. Why don't you C your way out of it?
Owner's Manual 3
Introduction
Awesomely unheard of features
Powerful on-board FX engine and four individual compressors
In pursuit of the ultimate Mackie “do-it-all” live
sound mixer, we threw in the kitchen sink and packed
this bad boy with a full set of processors allowing you to
travel “rack free” while still making professional sounding mixes.
For starters, we added our patented Running Man FX
processors (RMFX™) featuring 16 “gig-ready” effects
right into the board. This does not include useless effects such as “the warbler” or the “insanity delay”, but
rather a suite of quickly accessible and useable reverbs,
choruses and delays that make enhancing your mix a
breeze.
USB Recording and Playback
The ProFX Series Mixers feature a 2x2 USB recording
and playback function. This means two signals may be
recorded simultaneously and a stereo mix returned to
the mixer for playback.
There is a switch in the master section labeled USB
OUT that allows for some powerful and flexible routing.
The default switch configuration allows the L-R mix to
be recorded for convenient stereo mixes of the show.
Or it routes subgroups 1-2 over the USB connection to
your favorite DAW software for an alternate 2-track recording when the USB OUT switch is engaged.
For playback, there is a switch in the master section
labeled 2-TRACK RETURN. This switch changes the
standard dual RCA inputs to main (tape, switch The ProFX16 and ProFX22 also have four single knob
disengaged) to stereo USB to main (USB, switch
compressors to stop the dynamic signals from poking
engaged).This is an extremely convenient function for
out of the mix. They are located on the last four mono
playing music over the main mix from a computer. We
mic inputs so that the most critical signals (such as
prefer to jam some Johnny 'The Man in Black' Cash in
vocals, snare drum, the occasional jaw harp or
between bands at the local rock clubs. But feel free to
mountain goats) may be addressed.
play whatever you want, unless it's... ah, never mind, we
Bottom line? You have an awesome mixer with Mackie won't go there!
sound quality, “built-like-a-tank” build quality and a Another cool feature of the ProFX is routing the
recording and processing feature set that is stereo USB return to the last stereo channel of the
unparalleled. Congratulations... and happy mixing!
mixer. This is a mighty fine tool for a number of live and
recording uses. For example, playback through the stereo channel allows the EQ to be utilized to sweeten
the sounds. It may also be used for overdubbing by sending music to the musicians' headphones through
the auxes.
Features
How To Use This Manual
• Professional 4•Bus live sound mixer with onboard effects and USB I/O
• Low-noise, high-headroom Mackie mic preamps
with +50 dB gain range
• Dedicated inline compression for critical inputs
• 32-bit RMFX™ processor with 16 “Gig-Ready”
reverbs, choruses and delays
The first pages after the table of contents are the
hookup diagrams. These show typical setups for your
ProFX16 or ProFX22.
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 Connections: The AC input, power
switch and USB I/O.
• Precision 7-band graphic EQ for tuning mains
and monitors
• Front Panel Connection Section and Channel
Controls: The upper section, where you
connect microphones, guitars, etc and the
channel strips where you adjust and control
each channel.
• USB I/O for recording shows and music playback via Mac or PC
• Stream subgroups 1-2 or main L/R to your computer for recording
• Stereo USB/tape I/O with input level control to mains
• Convenient USB return to stereo channel for implementation of EQ, auxes and more
• 3-band EQ with sweepable midrange on mono
channels
• Multiple high-headroom line inputs
• Individual channel mute switches and overload
(OL) indicators
• Front Panel Additional Inputs & Outputs:
The upper section, where you connect loudspeakers, headphones, CD player, etc.
• Master Controls: The section on the right, with
graphic EQ, Stereo Effect Processor and main
level controls.
Throughout these sections you’ll find illustrations
with each feature numbered and described in nearby
paragraphs.
This icon marks information that is critically
important or unique to the mixer. For your own
good, read them and remember them.
• 18 dB/octave 100 Hz low cut filters on all mic
channels
• Inserts on mono mic/line channels for connecting outboard processors
This icon will lead you to some explanations of
features and practical tips.
• 60mm faders for input channels, subgroups and
mains
• 48V phantom power with LED for use with
condenser mics
• FX mute button also controllable via footswitch
• Break switch mutes all channels for music
playback between sets
• Control room / headphone outputs with rotary
level control
• Balanced XLR and balanced/unbalanced 1/4-inch main outputs
• Rack-mountable design using optional rack
ears [ProFX16]
Appendices
Appendix A: Service Information
• Troubleshooting
• Repair
Appendix B: Connections
• XLR Connectors
• 1/4" TRS Phone Plugs and Jacks
• 1/4" TS Phone Plugs and Jacks
• RCA Plugs and Jacks
• TRS Send/Receive Insert Jacks
Appendix C: Technical Information
• Specifications
• Dimensions
• Block Diagram
• Track Sheet
• Rugged steel chassis
• Switching multi-voltage power supply for worldwide use
• Includes Tracktion 3™ Music Production Software for Mac or PC
Appendix D: Table of Effects Presets
Owner's Manual 5
Contents
IMPORTANT SAFETY INSTRUCTIONS......................... 2
QUICK START........................................................... 3
INTRODUCTION....................................................... 4
FEATURES................................................................ 5
TABLE OF CONTENTS................................................ 6
HOOKUP DIAGRAMS............................................... 7
REAR PANEL - CONNECTIONS................................ 9
1. POWER CONNECTION................................ 9
2. POWER Switch.......................................... 9
3. USB INPUT/OUTPUT................................. 9
4. RUNNING MAN LOGO............................. 10
FRONT PANEL..................................................... 11
CONNECTIONS & CHANNEL STRIP........................ 11
5. MIC INPUTS............................................ 11
PHANTOM POWER.................................. 11
6. LINE INPUTS........................................... 12
7. STEREO LINE INPUTS............................... 12
8. INSERT................................................... 13
9. GAIN...................................................... 13
10. LOW CUT Switch..................................... 13
CHANNEL EQUALIZATION........................ 13
11. HIGH EQ................................................. 14
12. MID EQ (mono channels).......................... 14
13. MID EQ FREQUENCY (mono channels)....... 14
14. MID EQ (stereo channels) . ...................... 14
15. LOW EQ . ............................................... 14
16. AUX MON 1-2........................................ 14
17. AUX FX.................................................. 15
18. PAN....................................................... 15
19. OL LED.................................................... 15
20. MUTE Switch........................................... 15
21. ASSIGN Switches.................................... 15
22. PFL SOLO Switch..................................... 16
23. CHANNEL FADER..................................... 16
24. USB Switch............................................. 16
25. COMPRESSOR......................................... 17
ADDITIONAL INPUTS & OUTPUTS........................ 18
26. MON SEND............................................. 18
27. FX SEND................................................. 18
28. FX FOOTSWITCH..................................... 18
29. L/R AUX RETURN................................... 19
30. L/R MAIN OUT: XLR & 1/4"................... 19
31. L/R CR OUT............................................ 19
32. SUB OUT 1-4.......................................... 19
33. PHONES................................................. 19
34. TAPE INPUTS/OUTPUTS.......................... 19
STEREO GRAPHIC EQ, MAIN METERS & MORE...... 20
35. 48V PHANTOM POWER Switch................ 20
36. POWER LED............................................ 20
37. STEREO GRAPHIC EQ............................... 20
38. MAIN MIX / MON 1 Switch.................... 21
39. EQ IN / BYPASS Switch........................... 21
40. MAIN METERS......................................... 21
41. RUDE SOLO LED...................................... 21
AUX MASTERS, AUX RETURNS & INTERNAL FX.... 22
42. AUX MASTERS........................................ 22
43. AUX RETURNS........................................ 22
44. INTERNAL FX.......................................... 22
45. PRESET SELECTOR................................... 22
46. PRESET DISPLAY..................................... 22
47. SIG / OL LED.......................................... 22
48. INT FX MUTE Switch and LED................... 23
MAIN & SUBS MIX, USB OUT, 2-TRACK RETURN.. 23
49. USB OUT Switch...................................... 23
50. 2-TRACK RETURN TAPE/USB Switch........ 23
51. 2-TRACK RETURN LEVEL.......................... 23
52. BREAK Switch and LED............................. 23
53. CR / PHONES......................................... 23
54. SUBS ASSIGN Switches............................ 24
55. SUB 1-4 FADERS..................................... 24
56. MAIN MIX.............................................. 24
APPENDIX A: SERVICE INFORMATION..................... 25
APPENDIX B: CONNECTIONS.................................. 26
APPENDIX C: TECHNICAL INFORMATION................. 28
DIMENSIONS...................................................... 29
BLOCK DIAGRAM................................................ 30
TRACK SHEET...................................................... 31
APPENDIX D: TABLE of EFFECTS PRESETS................. 34
LIMITED WARRANTY.............................................. 35
Hookup Diagrams
Footswitch
iPod
Docking Station
Microphones
Drums
Headphones
BAL /UNBAL
BALANCED
BALANCED
L
1
FOOTSWITCH
IN
2
MIC
MIC
MIC
MIC
MIC
MIC
MIC
MIC
MIC
BAL /UNBAL
MIC
MON SEND
1
2
BAL /UNBAL
3
BAL /UNBAL
4
BAL /UNBAL
5
BAL /UNBAL
6
BAL /UNBAL
7
BAL /UNBAL
8
BAL /UNBAL
9/10
BAL /UNBAL
11/12
BAL /UNBAL
L
L
(MONO)
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN 9
INSERT
INSERT
INSERT
INSERT
COMP
U
U
U
U
U
IC GAIN
M
U
-20dB
IC GAIN
M
U
-20dB
+50
+30dB
GAIN
EQ
U
MID
MID
-15 +15
600
150
FREQ
150
8k
U
U
LOW
80Hz
AUX
+15
U
OO
+15
U
OO
OO
OO
AUX
OO
+15
U
OO
OO
+15
U
FX
+15
OO
+15
PAN
OO
OO
+15
PAN
OO
OO
R
L
OL
R
L
OL
MUTE
R
L
OL
MUTE
R
L
OL
MUTE
R
L
OO
OO
5
OL
MUTE
L
OL
MUTE
R
L
OL
MUTE
OO
OO
AUX
250
OO
OO
1
Electric
Guitar
U
20
10
L
40
50
60
10
20
L-R
30
PFL
SOLO
40
50
60
10
20
L
OO
40
50
60
10
40
50
60
10
L-R
30
PFL
SOLO
40
50
60
10
40
50
60
10
L
OL
OO
OO
+15
OO
L
+15
OO
+15
40
50
60
5
3-4
10
40
50
60
10
40
50
60
10
40
50
60
10
40
50
60
3-4
20
L-R
30
PFL
SOLO
1-2
5
3-4
20
L-R
30
PFL
SOLO
U
BREAK
+15
LEVEL
OO
L
R
L
(MUTES ALL CH)
SUB 2
dB
10
R
L
SUB 3
dB
10
R
OO
MAX
CR /PHONES
MAIN
SRM450v2
Powered Speakers
SUB 4
dB
10
dB
10
5
5
5
5
5
U
U
U
U
U
5
5
5
5
5
10
10
10
10
10
20
20
20
20
20
30
30
30
30
30
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
L-R
30
PFL
SOLO
R
SUB 1
dB
10
5
1-2
5
3-4
20
L-R
30
PFL
SOLO
U
+10
U
15/16
dB
10
5
1-2
5
3-4
20
L-R
30
PFL
SOLO
U
OO
SIG/OL
INT FX
MUTE
TAPE
USB
MUTE
13/14
dB
10
5
1-2
+15
U
OL
MUTE
11/12
dB
10
5
U
OO
TO
MAIN
L-R
+10
OO
2-TRACK RETURN
USB OUT
R
+15
U
TO
MAIN
L-R
PAN
R
OO
TO
MON 2
+15
U
FX
RUDE
SOLO
TO
MON 1
+15
U
TO
MON 2
+15
U
R
LEVEL
SET
INTERNAL FX
U
TO
MON 1
OO
2
FX
OL
MUTE
9/10
dB
10
1-2
20
L-R
30
PFL
SOLO
U
5
3-4
20
L-R
30
PFL
SOLO
8
5
1-2
5
3-4
20
L-R
30
PFL
SOLO
U
8K
13 DELAY 1 (300ms)
14 DELAY 2 (380ms)
15 DELAY 3 (480ms)
AUX
RETURN
MON
+15
U
PAN
R
MUTE
dB
10
5
1-2
5
3-4
20
L-R
30
PFL
SOLO
U
4K
09 CHORUS
10 CHORUS + REV
11 DOUBLER
12 TAPE SLAP
U
1
+15
U
2
OO
05 WARM HALL
06 CONCERT HALL
07 PLATE REVERB
08 CATHEDRAL
MON
OO
MON
+15
U
PAN
R
OL
MUTE
7
dB
10
5
1-2
U
5
3-4
6
dB
10
5
1-2
U
5
3-4
5
dB
10
5
1-2
5
3-4
20
L-R
30
U
4
dB
10
5
1-2
5
3-4
3
dB
10
5
1-2
5
10
2
dB
10
5
U
2K
EQ IN
BYPASS
AUX
MASTER
1
+15
U
FX
+15
U
MON
OO
2
+15
U
01 BRIGHT ROOM
02 WARM LOUNGE
03 SMALL STAGE
04 WARM THEATER
L
dB
10
1K
500
MAIN MIX
MON 1
AUX
1
MON
FX
+15
LOW
80Hz
U
+15
U
2
PAN
R
OL
MUTE
OL
15
10
6
3
0
2
4
7
10
20
30
15
125
-15 +15
MON
OO
MON
+15
U
PAN
U
1
+15
U
FX
+15
PAN
R
0dB = 0dBu
5
MAIN
SUB 1-2
L
MAIN
METERS
0
10
15
LOW
80Hz
U
MON
OO
2
FX
+15
PAN
10
5
10
MID
2.5kHz
-15 +15
AUX
1
+15
U
MON
+15
U
FX
10
-15 +15
U
LOW
80Hz
U
MON
OO
2
+15
U
FX
15
0
U
POWER
48V
15
5
HI
12kHz
MID
2.5kHz
-15 +15
AUX
1
MON
2
SUB OUT
L
+15
U
MON
CR OUT
STEREO GRAPHIC EQ
SOURCE
EQ
U
-15 +15
U
LOW
80Hz
U
MON
OO
4
AUX RETURN
-15 +15
U
MID
2.5kHz
-15 +15
AUX
1
+15
U
2
2
PHANTOM
HI
12kHz
-15 +15
U
LOW
80Hz
U
MON
OO
MON
R
+20
GAIN
-15 +15
U
-15 +15
-15 +15
AUX
1
+15
U
2
R
FREQ
8k
U
-20
EQ
U
HI
12kHz
MID
2.5kHz
1.5k
100
LOW
80Hz
U
MON
OO
MON
+15
U
PAN
150
-15 +15
AUX
1
+15
U
FX
+15
PAN
U
LOW
80Hz
U
FREQ
8k
3
R
LINE
USB
-15 +15
U
-15 +15
600
1.5k
100
-15 +15
MON
OO
2
OO
150
Mono Effects
1
MON
+15
U
FREQ
8k
U
MID
-15 +15
600
1.5k
100
LOW
80Hz
+15
U
FX
+15
PAN
U
U
MON
OO
2
150
-15 +15
AUX
1
MON
FREQ
8k
1
U
+20
GAIN
EQ
U
HI
12kHz
-15 +15
MID
-15 +15
600
1.5k
100
LOW
80Hz
U
+15
U
FX
+15
U
MON
OO
2
150
-15 +15
AUX
1
MON
FREQ
8k
-20
LOW CUT
100Hz
EQ
U
HI
12kHz
-15 +15
U
MID
-15 +15
600
1.5k
100
LOW
80Hz
U
+15
U
FX
OO
U
MON
OO
2
150
-15 +15
AUX
1
+15
U
FREQ
8k
L
LINE IN 16
U
+50
GAIN
LOW CUT
100Hz
EQ
U
HI
12kHz
-15 +15
U
MID
-15 +15
600
1.5k
100
LOW
80Hz
U
MON
OO
150
-15 +15
MON
OO
FREQ
8k
EQ
U
HI
12kHz
-15 +15
U
MID
-15 +15
600
1.5k
100
-15 +15
U
MID
-15 +15
600
1.5k
100
EQ
U
HI
12kHz
U
+50
GAIN
LOW CUT
100Hz
BAL /UNBAL
L
U
+50
+30dB
GAIN
LOW CUT
100Hz
LINE IN 14
IC GAIN
M
IC GAIN
M
IC GAIN
M
U
-20dB
+50
+30dB
GAIN
R
LINE IN 12
BAL /UNBAL
(MONO)
LINE IN 15
R
LINE IN 10
U
PHONES
BAL /UNBAL
(MONO)
MAX
COMP
IC GAIN
M
U
-20dB
+50
+30dB
LOW CUT
100Hz
-15 +15
U
OFF
U
GAIN
EQ
U
MAX
COMP
IC GAIN
M
U
-20dB
+50
+30dB
HI
12kHz
-15 +15
U
OFF
U
LOW CUT
100Hz
EQ
U
HI
12kHz
-15 +15
U
MAX
COMP
GAIN
LOW CUT
100Hz
EQ
U
HI
12kHz
-15 +15
U
OFF
IC GAIN
M
U
-20dB
+50
+30dB
GAIN
LOW CUT
100Hz
EQ
U
HI
12kHz
U
-20dB
+50
+30dB
GAIN
LOW CUT
100Hz
-15 +15
U
IC GAIN
M
IC GAIN
M
U
-20dB
+50
+30dB
GAIN
LOW CUT
100Hz
Bass
Guitar
MAX
LINE IN 13
R
MAIN OUT
BAL /UNBAL
L
(MONO)
LINE IN 11
R
OFF
L
(MONO)
L
15/16
BAL /UNBAL
BAL /UNBAL
R
TAPE
BAL /UNBAL
FX SEND
13/14
BAL /UNBAL
OUT
BAL /UNBAL
BAL /UNBAL
40
50
60
PFL
SOLO
Monitor EQ
POWER
SRM450v2 Powered Monitors
USB
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
RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.
SERIAL NUMBER
REVISION
THIS DEVICE COMPLIES WITH PART 15 OF THE FCC RULES FOR THE U.S. AND
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.
Laptop Computer
with iTunes for
playback in
between bands
This diagram shows a mic'd up drum kit utilizing the first seven channels of the mixer. Microphones are
connected to the next three channels for lead and background vocals. A guitar and bass are attached
to the next two channels' line-level inputs, each via a mono effects processor. An iPod docking station is
attached to the stereo tape 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 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 to a DAW. Two channels of audio can also play from your computer to the main mix.
Typical Live Sound System
Owner's Manual 7
Bass
Guitar
Condenser
microphones
for vocals
Headphones
Electric
Guitar
Amplifier
Modeler
Headphone Amp
Mono Effects
BAL /UNBAL
BALANCED
BALANCED
L
1
FOOTSWITCH
IN
2
MIC
MIC
MIC
MIC
MIC
MIC
MIC
MIC
MIC
BAL /UNBAL
MIC
MON SEND
1
2
BAL /UNBAL
3
BAL /UNBAL
4
BAL /UNBAL
5
BAL /UNBAL
6
BAL /UNBAL
7
BAL /UNBAL
8
BAL /UNBAL
9/10
BAL /UNBAL
11/12
BAL /UNBAL
(MONO)
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN 9
INSERT
U
U
-20dB
U
-20dB
+50
+30dB
GAIN
U
-20dB
+50
+30dB
EQ
-15 +15
U
100
FREQ
150
8k
U
100
OO
OO
+15
OO
+15
U
OO
L
OL
+15
U
OO
OO
+15
PAN
R
L
OL
L
OL
R
+15
U
OO
+15
OO
OL
R
L
OL
OO
OO
OO
OO
5
5
10
10
L
OO
OO
OL
L
OL
OO
+15
U
OO
+15
PAN
OO
R
L
OO
+15
PAN
OL
R
L
OO
OL
L
OL
L
OO
OL
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
4
5
6
7
8
9/10
11/12
13/14
15/16
U
5
10
U
5
3-4
20
10
L-R
40
50
60
10
L-R
40
50
60
PFL
SOLO
U
40
50
60
40
50
60
10
L-R
40
50
60
10
L-R
40
50
60
10
L-R
40
50
60
10
L-R
40
50
60
10
L-R
40
50
60
10
L-R
40
50
60
10
L-R
40
50
60
3-4
20
30
PFL
SOLO
U
1-2
5
3-4
20
30
PFL
SOLO
U
5
1-2
5
3-4
20
30
PFL
SOLO
U
dB
10
5
1-2
5
3-4
20
30
PFL
SOLO
U
dB
10
5
1-2
5
3-4
20
30
PFL
SOLO
U
dB
10
5
1-2
5
3-4
20
30
PFL
SOLO
U
dB
10
5
1-2
5
3-4
20
30
PFL
SOLO
U
dB
10
5
1-2
5
3-4
10
L-R
30
PFL
SOLO
U
20
L-R
dB
10
5
1-2
5
3-4
10
20
30
dB
10
5
1-2
5
3-4
20
30
PFL
SOLO
U
dB
10
5
5
3-4
20
30
dB
10
1-2
TO
MAIN
L-R
+10
OO
OO
+10
TAPE
USB
2-TRACK RETURN
BREAK
+15
LEVEL
OO
R
L
SUB 1
R
L
SUB 2
(MUTES ALL CH)
R
L
SUB 3
R
OO
MAX
CR /PHONES
MAIN
SUB 4
dB
10
dB
10
dB
10
dB
10
dB
10
5
5
5
5
5
U
U
U
U
U
5
5
5
5
5
10
10
10
10
10
20
20
20
20
20
30
30
30
30
30
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
MR8mk2 Powered
Reference Monitors
L-R
30
PFL
SOLO
SIG/OL
INT FX
MUTE
U
L
5
+15
U
OL
MUTE
dB
10
OO
TO
MAIN
L-R
+15
USB OUT
R
+15
U
TO
MON 2
+15
U
PAN
R
3
1-2
OO
FX
+15
PAN
R
TO
MON 1
OO
TO
MON 2
+15
U
RUDE
SOLO
U
TO
MON 1
2
R
LEVEL
SET
INTERNAL FX
+15
U
MON
OO
MUTE
5
OL
15
10
6
3
0
2
4
7
10
20
30
8K
13 DELAY 1 (300ms)
14 DELAY 2 (380ms)
15 DELAY 3 (480ms)
AUX
RETURN
U
OO
FX
2
dB
10
4K
09 CHORUS
10 CHORUS + REV
11 DOUBLER
12 TAPE SLAP
1
+15
U
FX
05 WARM HALL
06 CONCERT HALL
07 PLATE REVERB
08 CATHEDRAL
+15
U
2
MUTE
1-2
2K
MON
OO
1
5
0dB = 0dBu
EQ IN
BYPASS
AUX
MASTER
U
MON
2
+15
U
01 BRIGHT ROOM
02 WARM LOUNGE
03 SMALL STAGE
04 WARM THEATER
+15
U
MON
FX
+15
PAN
R
1K
500
MAIN MIX
MON 1
1
OO
MUTE
dB
10
250
MAIN
SUB 1-2
R
MAIN
METERS
15
125
MON
+15
U
2
FX
+15
PAN
0
AUX
U
1
OO
MON
+15
U
LOW
80Hz
MON
+15
U
2
FX
+15
PAN
5
0
-15 +15
AUX
U
1
OO
MON
+15
U
U
LOW
80Hz
MON
1
+15
U
2
+15
U
10
5
MID
2.5kHz
-15 +15
AUX
U
MON
OO
MON
FX
+15
PAN
L
OO
FX
Keyboard
PAN
R
OO
FX
15
10
-15 +15
U
LOW
80Hz
-15 +15
AUX
U
1
2
48V
15
15
U
MID
2.5kHz
U
LOW
80Hz
+15
U
MON
2
+15
U
FX
+15
PAN
R
OO
MON
-15 +15
-15 +15
4
POWER
L
U
MON
OO
HI
12kHz
U
MID
2.5kHz
-15 +15
-15 +15
AUX
U
1
+15
U
2
SUB OUT
STEREO GRAPHIC EQ
SOURCE
EQ
U
-15 +15
U
MID
2.5kHz
LOW
80Hz
MON
OO
U
+20
GAIN
HI
12kHz
-15 +15
-15 +15
8k
U
R
CR OUT
FREQ
-15 +15
AUX
U
1
+15
U
2
100
LOW
80Hz
MON
OO
MON
2
8k
U
-20
EQ
U
3
PHANTOM
LINE
USB
HI
12kHz
-15 +15
1.5k
+20
GAIN
EQ
U
HI
12kHz
MID
150
-20
LOW CUT
100Hz
EQ
U
HI
12kHz
-15 +15
AUX
U
1
+15
U
MON
100
LOW
80Hz
MON
OO
FX
+15
PAN
L
OO
FX
8k
U
FREQ
+50
GAIN
LOW CUT
100Hz
-15 +15
600
1.5k
U
+50
GAIN
MID
150
-15 +15
AUX
U
1
+15
U
2
100
LOW
80Hz
MON
OO
MON
+15
U
FX
8k
U
FREQ
R
AUX RETURN
U
EQ
U
-15 +15
600
1.5k
U
-15 +15
U
MID
150
-15 +15
AUX
U
1
2
100
FREQ
R
LINE IN 16
U
+50
+30dB
HI
12kHz
-15 +15
600
1.5k
LOW
80Hz
+15
U
MON
+15
U
8k
U
MON
OO
150
-15 +15
AUX
U
+15
U
2
100
FREQ
R
LINE IN 14
IC GAIN
M
LOW CUT
100Hz
EQ
U
R
LINE IN 12
IC GAIN
M
GAIN
-15 +15
U
MID
-15 +15
600
1.5k
LOW
80Hz
1
OO
MON
Electronic Drum Kit
8k
U
MON
1
+15
U
150
-15 +15
AUX
U
MON
OO
100
FREQ
EQ
-15 +15
U
MID
-15 +15
600
1.5k
LOW
80Hz
-15 +15
AUX
U
150
8k
U
LOW
80Hz
-15 +15
OO
FREQ
U
-20dB
+50
+30dB
LOW CUT
100Hz
BAL /UNBAL
1
LINE IN 15
LINE IN 10
U
IC GAIN
M
BAL /UNBAL
L
(MONO)
MAX
COMP
GAIN
HI
12kHz
-15 +15
U
MID
-15 +15
600
1.5k
U
-20dB
+50
+30dB
U
OFF
U
IC GAIN
M
LOW CUT
100Hz
EQ
MAX
COMP
GAIN
HI
12kHz
-15 +15
U
MID
-15 +15
600
1.5k
U
-20dB
+50
+30dB
U
OFF
U
IC GAIN
M
LOW CUT
100Hz
HI
12kHz
MAX
COMP
GAIN
EQ
U
-15 +15
U
MID
-15 +15
600
150
U
-20dB
+50
+30dB
LOW CUT
100Hz
HI
12kHz
OFF
U
IC GAIN
M
GAIN
EQ
U
HI
12kHz
-15 +15
U
U
-20dB
+50
+30dB
LOW CUT
100Hz
EQ
U
HI
12kHz
U
IC GAIN
M
GAIN
LOW CUT
100Hz
MAX
COMP
INSERT
U
IC GAIN
M
GAIN
LOW CUT
100Hz
U
INSERT
U
IC GAIN
M
PHONES
BAL /UNBAL
L
(MONO)
LINE IN 13
R
MAIN OUT
BAL /UNBAL
L
(MONO)
LINE IN 11
R
OFF
INSERT
IC GAIN
M
L
(MONO)
L
15/16
BAL /UNBAL
BAL /UNBAL
L
R
TAPE
BAL /UNBAL
FX SEND
13/14
BAL /UNBAL
L
OUT
BAL /UNBAL
BAL /UNBAL
40
50
60
PFL
SOLO
POWER
USB
RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.
SERIAL NUMBER
REVISION
Desktop Mac
or PC with
Tracktion 3 for
Recording
This diagram shows a bass and effects processor attached to the channel 5 line-level input, microphones attached to channels 6, 7 and 8, a guitar amplifier modeler connected to the line-level
inputs of channel 9/10, an electronic drum kit connected to channel 13/14 and a keyboard attached to channel 15/16.
Mackie MR8mk2 powered reference monitors are connected to the left and right control room outputs
for careful and accurate monitoring of the performance. Headphones connected to mon send 1 via a
headphone amp are available for the talent to utilize when tracking.
A desktop computer connects to the USB port to record the 2-channel main mix to the DAW, as well as
play back two channels from the DAW.
Typical Recording System
ProFX Features – Rear Panel
4
POWER
1
2
SERIAL NUMBER
REVISION
USB
4
AVIS: RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.
3
Connections
1. POWER CONNECTION
3. USB INPUT/OUTPUT
This is a standard 3-prong IEC power connector.
Connect the detachable linecord (included in the box
with your mixer) to the power receptacle, and plug
the other end of the linecord into an AC outlet. ProFX
Series mixers have a universal power supply that accepts any AC voltage ranging from 100 VAC to 240 VAC.
No need for voltage select switches. It will work virtually
anywhere in the world. That’s why we call it a “PlanetEarth” power supply! It is less susceptible to voltage sags
or spikes, compared to conventional power supplies, and
provides greater electromagnetic isolation and better
protection against AC line noise.
The built-in USB interface allows for some powerful and flexible routing. It is a 2x2 interface
allowing you to record two streams from the mixer, or to
input stereo playback from a computer and route it to
nearly any output or pair of outputs on the mixer.
Disconnecting the plug’s ground pin is dangerous. Don’t do it.
2. POWER Switch
Press the top of this rocker switch inwards to turn on
the mixer. The front panel power LED [36] 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 put the mixer into
standby mode. It will not function, but some circuits
are still live. To remove AC power, either turn off the AC
mains supply, or unplug the power cord from the mixer
and the AC mains supply.
As a general guide, you should turn on your
mixer first, before any external power amplifiers or powered speakers, and turn it off
last. This will reduce the possibility of any turn-on, or
turn-off thumps in your speakers.
The USB routing capabilities are as follows:
USB input TO the mixer - playback:
(1) Stereo channel 15/16 (on the ProFX16) and 21/22 (on the ProFX22) features a USB button, so one
may route computer output (such as iTunes®) down the
last stereo channel of the board. This stereo signal may
then be EQ'd, sent to auxiliaries (i.e. to feed monitors,
headphones or effects) and is routable to mains and/or
subgroups via the fader routing features that are available on all other channels. In short, this signal may
be sent to nearly any desired output or pair of outputs.
Additionally, the gain knob at the top of this channel
strip adjusts the USB input level to the mixer to achieve
an optimal signal level.
(2) The 2-Track Return section features a flip switch,
so a “Tape” source (such as an iPod® connected via RCA
cables) or the USB signal from a computer (playing Windows Media Player® files, for example) may
be routed to the main bus. This section also features an
input level adjustment for fading house music up and
down between bands, at a house of worship, or any other
event where this may be necessary.
Owner's Manual 9
USB output FROM the mixer - recording, etc:
Round Two Rejects
In the USB OUT section you may select either the
main mix (disengaged) or subgroups 1-2 (engaged)
from the conveniently titled USB OUT switch [49]. The
USB tap points for the subgroups are pre-fader and signals will show up on the DAW dependent upon how
they are panned on the channels.
In other words, if subgroups 1 and 2 are used to submix drums and those drums have a stereo image
(e.g. overheads and toms pan according to desire), this
stereo image is retained in the DAW inputs (assuming
subgroup 1 is set to “L” and subgroup 2 is set to “R”).
Any adjustments made to the subgroup drum levels during the show only pertain to the live show itself;
recording levels are not adjusted in the DAW unless they
are adjusted on the channels.
Likewise, it is possible to record the main mix to take
home a copy of the live show. These levels are also pre-main fader. Therefore, levels may be mixed up or
down in the DAW later depending on the needs of the
recording versus the live show. The end result is that
fade-ins and/or fade-outs made during the show do not
affect recorded levels.
Smashing Guitar Man
Then, in the early 2000s, the graphic designers decided to give the Running Man logo some color,
basically adding a theme to “spice it up”. This idea
didn't take off, so it was eventually shelved.
Jazz Man
Reggae Man
Country Man
4. RUNNING MAN LOGO
The Running Man logo has been a point of controversy
since its inception.
The history of the Running Man is rather vague; nor
do we know what he is running from...or towards? Or
perhaps the man is running sound and not actually running to or from anything or anyone. Here is what we
do know:
Rockabilly Man
Samba Man
Metal Man
Current status, the future and beyond:
Origins:
It originated in the early '90s when founder Greg
Mackie decided that a logo was just as (if not moreso)
important than just the name. He stated that, “brands
are not recognized by name alone, but by their accompanying logo...take a look at the logos of
McDonald's®, Nike®, Microsoft® and Apple®. You can recognize those brands based on the logo alone.”
The current status is easy; it's as you see it today on
every Mackie product. Who knows what the future of
the Running Man logo holds? It's like the wheel analogy:
why fix it if it ain't broke? The Running Man logo may be
seen all over the world, from the tiniest hole-in-the-wall
clubs to the biggest sized arenas, mid-sized theatres,
houses of worship, casinos and more!
He quickly assembled a team to design what would
eventually become the Running Man logo. Here are a
few early examples that were eventually rejected:
Round One Rejects
Thinking Man
Drinking Man
Stinking Man
Running Man (in all his glorious glory)
ProFX Features
Front Panel - Connections and Channel Strip
The vertical channel strips look very similar, and
have only a few differences between them. Each
channel works independently, and just controls the
signals plugged into the inputs directly above them.
BAL /UNBAL
1
5
FOOTSWITCH
BAL /UNBAL
2
MIC
MIC
This is a female XLR connector that accepts a balanced mic or line level input from almost any type of
source. The mic preamps feature our XDR2 design, with
higher fidelity and headroom rivaling any standalone
mic preamp on the market today.
The XLR inputs are wired as follows:
Pin 1 = Shield or ground
Pin 2 = Positive (+ or hot)
Pin 3 = Negative (– or cold)
We use phantom-powered, balanced inputs just like
the big mega-consoles, for e xactly the same reason: This
kind of circuit isexcellent at rejecting hum and noise.
Professional ribbon, dynamic, and condenser mics all
sound excellent through these inputs. The mic/line inputs will handle any kind of level you can toss at
them, without overloading.
Microphone-level signals are passed through the
mixer's splendid microphone preamplifiers to become
line-level signals.
See Appendix B (page 26) for further details and
some rather lovely drawings of the connectors you can
use with your mixer.
PHANTOM POWER
Most modern professional condenser mics require 48V phantom power, which lets the mixer send low-current DC voltage to the mic’s electronics through the same wires that carry audio. (Semi-pro
condenser mics 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.
MIC
MON SEND
XX
BAL /UNBAL
BAL /UNBAL
6
L
8
L
U
10
15
FREQ
U
LOW
80Hz
AUX
OO
+15
U
OO
+15
U
+15
U
OO
+15
U
OO
+15
MON
17
19
L
L
MUTE
20
5
20
40
50
60
OO
L
MUTE
XX
21
21
21
22
10
OO
OO
PAN
L
U
10
XX / XX
dB
10
5
1-2
1-2
U
5
3-4
20
3-4
10
20
L-R
30
PFL
SOLO
MUTE
XX / XX
5
3-4
R
MUTE
L-R
40
50
60
FX
OL
5
1-2
30
PFL
SOLO
+15
2
R
dB
10
20
L-R
OO
MON
PAN
L
5
3-4
10
+15
U
OL
5
U
OO
FX
XX / XX
1-2
U
40
50
60
+15
+15
U
2
R
dB
10
30
PFL
SOLO
OO
1
OO
MON
MUTE
20
L-R
30
+15
U
OL
5
3-4
OO
PAN
5
1-2
+15
U
FX
R
dB
10
5
10
+15
OO
2
OL
XX
23
OO
MON
1
MON
PAN
R
dB
10
U
+15
U
FX
PAN
OL
OO
AUX
U
MON
1
+15
U
-15 +15
AUX
U
MON
OO
LOW
80Hz
-15 +15
AUX
U
2
+15
U
LOW
80Hz
-15 +15
FX
OO
-15 +15
U
LOW
80Hz
MON
2
MID
2.5kHz
-15 +15
U
1
OO
U
MID
2.5kHz
FREQ
MON
1
HI
12kHz
-15 +15
U
MID
2.5kHz
AUX
U
EQ
HI
12kHz
-15 +15
-15 +15
MON
16
14
SOURCE
U
-15 +15
U
LOW
80Hz
-15 +15
+20
GAIN
EQ
U
HI
12kHz
8k
U
-20
LINE
USB
-15 +15
1.5k
100
+20
GAIN
EQ
U
MID
150
-20
LOW CUT
100Hz
-15 +15
600
1.5k
+50
GAIN
HI
12kHz
8k
U
18
U
MID
100
U
-15 +15
U
-15 +15
600
150
U
EQ
U
HI
12kHz
12
IC GAIN
M
LOW CUT
100Hz
-15 +15
U
R
LINE IN XX
+50
+30dB
EQ
U
R
LINE IN XX
GAIN
LOW CUT
100Hz
11
13
U
-20dB
+50
+30dB
LINE IN XX
LINE IN XX
IC GAIN
M
GAIN
LINE IN XX
R
U
IC GAIN
M
L
(MONO)
MAX
COMP
INSERT
U
-20dB
LINE IN XX
25
OFF
BAL /UNBAL
(MONO)
7
LINE IN
XX / XX
BAL /UNBAL
(MONO)
9
FX SEND
XX XX / XX XX / XX
BAL /UNBAL
LINE IN
5. MIC INPUTS
BAL /UNBAL
40
50
60
OO
L-R
30
PFL
SOLO
40
50
60
PFL
SOLO
OO
Mono Channels
Stereo Channels
Channels 1-8 on ProFX16
Channels 1-14 on ProFX22 Channels 15-22 on ProFX22
Owner's Manual 11
24
Phantom power may be selected by engaging the mixer's phantom [35] switch.
BAL /UNBAL
1
5
Never plug single-ended (unbalanced) microphones, or ribbon mics into the mic input jacks if phantom power is on. Do not
plug instrument outputs into the mic XLR input jacks
with phantom power on, u nless you are certain it is safe
to do so.
FOOTSWITCH
BAL /UNBAL
BAL /UNBAL
2
MIC
MIC
MIC
MON SEND
XX
XX XX / XX XX / XX
BAL /UNBAL
BAL /UNBAL
BAL /UNBAL
6
L
LINE IN
8
L
OFF
U
10
15
FREQ
1.5k
100
LOW
80Hz
16
OO
OO
19
OO
OO
L
OL
20
XX
dB
10
23
5
10
L-R
R
L
R
MUTE
XX
XX / XX
XX / XX
XX / XX
dB
10
5
1-2
U
5
3-4
10
10
OO
10
L-R
40
50
60
OO
5
1-2
3-4
10
20
L-R
30
PFL
SOLO
1-2
U
5
3-4
20
30
PFL
SOLO
U
5
3-4
20
L-R
dB
10
5
1-2
40
50
60
OO
Tip = Positive (+ or hot)
RING SLEEVE
Sleeve = Shield or ground
SLEEVE RING TIP
OL
MUTE
U
22
PAN
MUTE
21
21
21
40
50
60
+15
OO
OL
dB
10
TIP
SLEEVE
MUTE
30
PFL
SOLO
L
TIP
FX
PAN
R
SLEEVE
TIP
+15
U
OO
+15
OO
OL
20
30
OO
L
5
3-4
20
40
50
60
R
5
1-2
+15
U
PAN
SLEEVE
2
FX
+15
To connect unbalanced lines to these inputs, use a
1⁄4" mono (TS) phone plug, wired as follows:
MON
2
FX
Tip = Positive (+ or hot)
Ring = Negative (– or cold)
Sleeve = Shield or ground
+15
U
OO
MON
OO
1
+15
U
OO
+15
U
OO
dB
10
5
U
+15
U
2
OL
MUTE
RING
MON
1
MON
+15
AUX
U
MON
1
OO
-15 +15
AUX
U
MON
OO
LOW
80Hz
-15 +15
AUX
U
PAN
R
U
LOW
80Hz
-15 +15
+15
U
PAN
L
U
LOW
80Hz
FX
+15
MID
2.5kHz
-15 +15
FREQ
2
+15
U
TIP
TIP
MID
2.5kHz
-15 +15
U
FX
OO
MID
2.5kHz
MON
2
17
U
-15 +15
+15
U
MON
OO
U
1
+15
U
SLEEVE RING TIP
HI
12kHz
U
MON
1
RING SLEEVE
EQ
U
-15 +15
AUX
U
MON
24
SLEEVE
-15 +15
AUX
SOURCE
HI
12kHz
-15 +15
LOW
80Hz
-15 +15
EQ
U
TIP
+20
GAIN
-15 +15
8k
U
-20
SLEEVE
To connect balanced lines to these inputs, use a 1⁄4"
Tip-Ring-Sleeve (TRS) plug, wired as follows:
LINE
USB
HI
12kHz
14
-15 +15
600
8k
U
+20
GAIN
EQ
U
MID
150
-20
LOW CUT
100Hz
-15 +15
U
1.5k
+50
GAIN
HI
12kHz
-15 +15
600
U
18
U
MID
100
U
EQ
U
-15 +15
U
150
U
LOW CUT
100Hz
HI
12kHz
12
IC GAIN
M
+50
+30dB
EQ
U
LINE IN XX
SLEEVE
These 1/4" jacks share circuitry
(but not phantom
TIP
power) with the mic preamps, and can be driven
by TIP
balanced or unbalanced sources.
SLEEVE
R
LINE IN XX
GAIN
LOW CUT
100Hz
11
13
U
-20dB
+50
+30dB
R
LINE IN XX
IC GAIN
M
GAIN
6. LINE INPUTS
LINE IN XX
MAX
U
IC GAIN
M
L
(MONO)
LINE IN XX
R
COMP
INSERT
U
-20dB
LINE IN XX
25
BAL /UNBAL
(MONO)
7
LINE IN
XX / XX
BAL /UNBAL
(MONO)
9
FX SEND
L-R
30
PFL
SOLO
40
50
60
PFL
SOLO
OO
Mono Channels
Stereo Channels
7. STEREO LINE INPUTS
TIP
RING
The stereo line inputs are designed for 1/4" TIP
TRS balanced or 1/4" TS unbalanced signals. They SLEEVE
may accept any line-level instrument, effects device, CD
player, etc.
Level control is available –20 dB to +20 dB. If you are
connecting a mono source, use the left (mono) input,
and the mono signals will appear on both sides of the
main mix.
The first two stereo channels [9/10 and 11/12 on the
ProFX16 and 15/16 and 17/18 on the ProFX22] are hybrid channels, each with a mic input XLR jack [5]
and low cut switch [10]. In these channels, the gain
control [9] only affects the mic input. The stereo line
inputs are fixed at unity gain.
8.INSERT
These unbalanced 1/4" jacks are for connecting serial effects processors such as compressors,
equalizers, de-essers, or filters. The insert point is after the gain control [9] and low cut filter [10], but before the channel’s EQ [11-15] and level [23]. The channel signal can go out of the insert jack to an external device, be processed and come back in on the same insert jack.
To do this requires a standard insert cable that must be
wired thusly:
tip
ring
SEND to processor
sleeve
(TRS plug)
This plug connects to one of the
mixer’s Channel Insert jacks.
“tip”
“ring”
RETURN from processor
Tip = send (output to effects device)
Ring = return (input from effects device)
Sleeve = common ground
Insert jacks may be used as channel direct outputs;
post-gain, and pre-EQ. See the connector section on
page 27 (figure G) showing three ways to use insert
cables.
“U” like Unity gain
Mackie mixers have a “U” symbol on almost every level
control. It stands for “unity gain,” meaning no change in
signal level. The labels on the controls are measured in
decibels (dB), so you’ll know what you’re doing level-wise if you choose to change a control’s settings.
9. GAIN
If you haven’t already, please read the level-setting
procedure on page 3.
The gain knobs adjust the input sensitivity of the mic
and line inputs. This allows signals from the outside
world to be adjusted to run through each channel at
optimal internal operating levels.
If the signal originates through the mic XLR jack,
there will be 0 dB of gain with the knob fully down,
ramping to 50 dB of gain fully up.
Through the 1⁄4" line input of channels 1-8 (ProFX16)
and channels 1-14 (ProFX22), there is 20 dB of attenuation fully down and 30 dB of gain fully up, with
unity gain “U” at 12:00.
Through the 1⁄4" line input of channels 13/14 and
15/16 (ProFX16) and 19/20 and 21/22 (ProFX22), there
is 20 dB of a ttenuation fully down and 20 dB of gain fully
up, with unity gain “U” at 12:00.
This 20 dB of attenuation can be very handy when you
are i nserting a hot signal, or when you want to add EQ
gain, or both. Without this “virtual pad,” there is more
chance of channel clipping.
10. LOW CUT Switch
All mono channels have a low-cut switch (often referred to as a high-pass filter) that cuts bass frequencies below 100 Hz at a rate of 18 dB per octave.
We recommend that you use low-cut on e very microphone application except kick drum, bass guitar,
or bassy synth patches. These aside, there isn’t much
down there that you want to hear, and filtering it out
makes the low stuff you do want much more crisp and
tasty. Not only that, but low-cut can help reduce the
possibility of feedback in live situations, and it helps to
conserve amplifier power.
Another way to consider low-cut’s function is
that it actually adds flexibility during live
performances. With the addition of low-cut,
you can safely use low equalization on vocals.
Many times, bass shelving EQ can really benefit voices.
Trouble is, adding low EQ also boosts stage rumble, mic
handling clunks and breath pops from way-down low.
Applying low-cut removes all those problems, so you can
add low EQ without blowing your subwoofers.
CHANNEL EQUALIZATION (EQ)
All ProFX mono channels have 3-band EQ with shelving hi, peaking mid with adjustable mid frequency and shelving low. The stereo channels have
a peaking mid EQ control in addition to the shelving hi
and shelving low EQ controls.
Shelving means that the circuitry boosts or cuts all
frequencies past the specified frequency. For example,
the low EQ boosts bass frequencies below 80 Hz and
continuing down to the lowest note you never heard.
Peaking means that certain frequencies form a “hill”
around the center frequency.
With too much EQ, you can really upset things.
We’ve designed a lot of boost and cut into
each equalizer circuit because we know that
everyone will occasionally need that. But if you max
the EQ on every channel, you’ll get mix mush. Equalize
subtly and use the left sides of the knobs (cut), as well
as the right (boost). If you find yourself repeatedly using
a lot of boost or cut, consider altering the sound source,
such as placing a mic differently, trying a different kind
of mic, a different vocalist, changing the strings, or
gargling.
Owner's Manual 13
11. HI EQ
BAL /UNBAL
1
5
The hi EQ provides up to
15 dB of boost or cut above
12 kHz, and it is also flat (no 0
boost or cut) at the detent.
Use it to add sizzle to cymbals,
an overall sense of transparency, or an edge to keyboards, vocals, guitar and
bacon frying. Turn it down a little to reduce sibilance or
to mask tape hiss.
+15
+10
FOOTSWITCH
BAL /UNBAL
+5
BAL /UNBAL
2
MIC
MIC
–5
MIC
MON SEND
XX
XX XX / XX XX / XX
BAL /UNBAL
BAL /UNBAL
BAL /UNBAL
6
L
LINE IN
L
8
25
OFF
U
U
-20dB
10
HI
12kHz
MID
150
15
FREQ
150
8k
U
LOW
80Hz
MON
16
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
18
19
OO
L
OL
+15
U
+15
U
OO
+15
U
MON
OO
+15
U
MON
2
FX
+15
OO
+15
U
2
FX
+15
1
OO
MON
2
FX
+15
OO
PAN
20
R
L
+15
+10
+5
0
–5
–10
–15
20Hz
100Hz
1kHz
10kHz 20kHz
14. MID EQ (stereo channels only)
+15
Short for “midrange,” this
+10
knob provides up to 15 dB of +5
boost or cut, centered at
0
2.5 kHz, also flat at the center –5
detent. Midrange EQ is often –10
–15
thought of as the most 20
100
1k
10k 20k
dynamic, because the frequencies that define any particular sound are almost always found in this range.
You can create many interesting and useful EQ changes
by turning this knob down as well as up.
Hz
Hz
Hz
Hz
15. LOW EQ
The low EQ provides up to
15 dB of boost or cut below
80 Hz. The circuit is flat at
0
the center detent position.
This frequency represents the
punch in bass drums, bass
guitar, fat synth patches, and some really serious male
singers who eat raw beef for breakfast.
+15
+15
OO
PAN
PAN
+10
XX / XX
XX / XX
XX / XX
dB
10
21
21
21
U
10
OO
10
40
50
60
OO
5
1-2
3-4
10
20
L-R
30
PFL
SOLO
1-2
U
5
3-4
20
L-R
30
PFL
SOLO
U
5
3-4
20
L-R
dB
10
5
1-2
5
3-4
10
22
dB
10
5
1-2
U
40
50
60
–5
OL
XX
30
PFL
SOLO
OL
R
MUTE
20
L-R
L
MUTE
5
30
R
MUTE
5
3-4
L
MUTE
dB
10
1-2
R
OL
OL
MUTE
20
OO
OO
MON
1
OO
24
The mono channels employ
a semi-parametric mid-sweep
EQ. The gain (up to 15 dB of
boost or cut) is set via the mid
eq [12], and then “aimed” at a
specific frequency, from 100 Hz to 8 kHz, via freq [13].
Hz
AUX
U
MON
1
+15
U
-15 +15
AUX
U
MON
OO
LOW
80Hz
-15 +15
AUX
U
PAN
R
5
40
50
60
U
LOW
80Hz
-15 +15
10kHz 20kHz
+5
L
5
10
MID
2.5kHz
-15 +15
U
LOW
80Hz
FX
PAN
dB
10
23
U
FX
+15
MID
2.5kHz
-15 +15
FREQ
2
XX
U
MID
2.5kHz
MON
2
OO
U
1
MON
17
U
MON
1
HI
12kHz
U
AUX
U
EQ
HI
12kHz
-15 +15
-15 +15
AUX
U
SOURCE
U
-15 +15
LOW
80Hz
-15 +15
EQ
U
-15 +15
8k
U
+20
GAIN
LINE
USB
HI
12kHz
14
1.5k
100
-20
-15 +15
MID
-15 +15
600
1.5k
100
+20
GAIN
EQ
U
-15 +15
U
-15 +15
600
-20
U
LOW CUT
100Hz
HI
12kHz
-15 +15
U
12
+50
EQ
U
LINE IN XX
U
GAIN
LOW CUT
100Hz
EQ
U
U
+50
+30dB
GAIN
LOW CUT
100Hz
11
13
U
-20dB
+50
+30dB
1kHz
12. MID EQ and 13. FREQ (mono channels only)
R
LINE IN XX
IC GAIN
M
IC GAIN
M
GAIN
R
LINE IN XX
100Hz
LINE IN XX
MAX
U
IC GAIN
M
L
(MONO)
LINE IN XX
R
COMP
INSERT
9
LINE IN XX
20Hz
BAL /UNBAL
(MONO)
7
LINE IN
–15
XX / XX
BAL /UNBAL
(MONO)
–10
FX SEND
40
50
60
OO
L-R
30
PFL
SOLO
40
50
60
PFL
SOLO
OO
Mono Channels
Stereo Channels
–10
–15
20Hz
100Hz
1kHz
10kHz 20kHz
16. AUX MON 1-2
These knobs tap a portion of each channel's signal to
set up a nice monitor mix feeding stage monitors, independent of the main mix. Adjust these controls on
each channel until the band is happy with the stage
monitor mix.
The controls are off when fully turned down, deliver
unity gain at the center detent, and can provide up to 15 dB of gain turned fully up.
The pan [18], mute [20] and channel fader [23] do
not affect the monitor output, but the other channel
controls will. The aux mon is pre-fader.
19. OL LED
This LED indicates the channel’s signal level after the
gain [9] and EQ controls [11-15], but just before the
channel’s level [23]. So even if the level is turned down,
you can see if the channel is being overloaded.
The overall output level may be adjusted with the aux
master mon knobs [42] and monitor 1's EQ tweaked
with the graphic EQ [37] if the main mix/mon 1 switch
The OL (overload) LED will come on when the [38] is pressed in. Internal FX may also be added to the channel’s input signal is too high. This should be
monitor mix with the internal FX to mon knobs [44].
avoided, as distortion will occur. If the OL LED comes
on regularly, check that the gain control [9] is set 17. AUX FX
correctly for your input device, and that the channel
EQ is not set with too much boost. The OL LED will
These knobs tap a portion of each channel's signal to
also illuminate when a channel's mute switch [20] is
set up a nice FX mix feeding the internal FX processor,
engaged.
and to feed external processors via the FX send [27].
The controls are off when fully turned down, deliver
unity gain at the center detent, and can provide up to 15 dB of gain turned fully up.
The mute [20], channel fader [23] and other channel
controls affect the FX output, but pan [18] 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.
master FX knob [42]. FX are added to the main mix by
increasing the level of the internal FX to main L-R knob [44]. Internal FX may also be added to the monitor mix by increasing the level of the internal FX to mon knobs [44].
18. PAN
This control allows you to adjust how much of the
channel signal is sent to the left versus the right outputs.
With the knob panned hard left, the signal feeds the main left, sub 1, or sub 3 busses, depending on the setting of the assign switches [21]. With the knob
panned hard right, the signal feeds the main right, sub
2, or sub 4 busses, again dependent on the setting of the
assign switches.
The pan control employs a design called “Constant
Loudness.” If you have a channel panned hard left (or
right) and then pan to the center, the signal is attenuated about 3 dB to maintain the same apparent
loudness. Otherwise, it would make the sound appear
much louder when panned center.
20. MUTE Switch
Mute switches do just what they sound like they do.
They turn off the signal by “routing” it into oblivion.
Engaging a channel's mute switch (almost) provides
the same results as turning the fader all the way down
(a pre-aux send is not affected by the channel fader,
but it is by the mute switch). Any channel assignments
to main mix, subgroup 1-2, or subgroup 3-4 will be
interrupted and all of the aux sends will be silenced
(both pre- and post-fader). The channel insert [8] will
continue to provide a signal when a channel is muted.
The OL LED [19] will illuminate when a channel's mute
switch is engaged.
21. ASSIGN Switches
Alongside each channel fader are three buttons
referred to as channel assignment switches. Used in
conjunction with the channel's pan knob [18], they
are used to determine the destination of the channel's
signal.
With the pan knob at the center detent, the left and
right sides receive equal signal levels (main mix L-R,
sub 1-2 and sub 3-4). To feed only one side or the other,
turn the pan knob accordingly.
If you are doing a mixdown to a 2-track, for example,
simply engage the main mix switch on each channel
that you want to hear, and they will be sent to the main
mix bus. If you want to create a group of certain channels, engage either the 1-2 or 3-4 switches instead
of the main mix, and they will be sent to the appropriate
subgroup faders. From there, the groups may be sent
back to the main mix (using the group assign switches
[54] above the group faders [55]), allowing you to use
the group faders as a master control for those channels.
If you are creating new tracks or bouncing existing
ones, you will also use the 1-2 and 3-4 switches, but not
the main mix switch. Here you do not want the groups
sent back into the main mix bus, but sent out, via the
sub out jacks [32], to your multitrack inputs.
Owner's Manual 15
22. PFL SOLO Switch
BAL /UNBAL
1
5
When a channel's solo switch is engaged, any existing
selection is replaced by the solo signal, appearing at the
control room outputs [31], phones [33] and at the left
meter [40]. The audible solo levels are then controlled
by the control room knob [53]. The solo levels
appearing on the meters are not controlled by the control room knob [53] - you would not want that, anyway. What you do want to see is the actual channel
level on the meters regardless of how loud the control
room and phones output levels might be.
FOOTSWITCH
BAL /UNBAL
BAL /UNBAL
2
MIC
MIC
MIC
MON SEND
XX
XX XX / XX XX / XX
BAL /UNBAL
BAL /UNBAL
BAL /UNBAL
6
L
LINE IN
8
L
U
10
15
FREQ
LOW
80Hz
OO
+15
U
OO
+15
U
+15
U
OO
+15
U
MON
17
OO
19
L
L
MUTE
20
5
10
20
40
50
60
OO
MUTE
40
50
60
22
10
MUTE
OO
U
10
40
50
60
OO
XX / XX
5
1-2
1-2
U
5
3-4
3-4
10
20
L-R
30
40
50
60
OO
The USB switch on the last stereo channel provides
stereo playback of iTunes®, or a DAW via the USB connection. Like any other input, this signal may also
be EQ'd, sent to an aux bus, or mixed in with the other
signals and assigned to subgroups or main outs. This
switch overrides the TRS inputs [6, 7].
dB
10
20
PFL
SOLO
R
MUTE
XX / XX
L-R
30
PFL
SOLO
L
OL
5
3-4
+15
PAN
R
5
1-2
24. USB Switch
FX
OO
dB
10
20
L-R
2
+15
L
This is the last control in a channel’s signal path, and
it adjusts the level of each channel onto the main mix.
The “U” mark i ndicates unity gain, meaning no increase
or decrease of signal level. All the way up provides an
additional 10 dB, should you need to boost a section of
a song. If you find that the overall level is too quiet or
too loud with the level near unity, check that the gain
control [9] is set correctly.
MON
OL
5
3-4
10
30
PFL
SOLO
R
5
U
+15
U
PAN
XX / XX
1-2
U
OO
FX
OO
dB
10
21
21
21
+15
U
2
MUTE
XX
1
OO
MON
+15
L
20
L-R
30
+15
U
OL
5
3-4
OO
PAN
5
1-2
+15
U
FX
R
dB
10
5
OO
2
OO
MON
1
MON
OL
XX
23
+15
U
PAN
R
OL
OO
AUX
U
MON
1
+15
U
-15 +15
AUX
U
MON
OO
LOW
80Hz
-15 +15
AUX
U
+15
PAN
U
LOW
80Hz
-15 +15
FX
OO
-15 +15
U
LOW
80Hz
2
+15
dB
10
U
U
FX
MID
2.5kHz
-15 +15
24
Remember, PFL taps the channel signal before
the fader. If you have a channel's fader set
way below “U” (unity gain), solo will not know
that and will send a unity gain signal to the C-R outs
[31], phones output [33] and meter display [40], which
may raise some eyebrows.
23. CHANNEL FADER
U
MID
2.5kHz
-15 +15
MON
2
HI
12kHz
-15 +15
FREQ
1
OO
EQ
HI
12kHz
U
MON
1
SOURCE
U
-15 +15
MID
2.5kHz
AUX
U
MON
16
14
-15 +15
AUX
GAIN
EQ
U
U
LOW
80Hz
-15 +15
PFL means Pre-Fader Listen (post-EQ). With the PFL
Solo switch engaged, solo will not be affected by a channel's mute switch [20] position.
+20
LINE
USB
HI
12kHz
8k
U
-20
GAIN
-15 +15
1.5k
100
+20
EQ
U
MID
150
-20
LOW CUT
100Hz
HI
12kHz
8k
U
+50
GAIN
-15 +15
600
1.5k
U
18
U
MID
100
U
-15 +15
U
-15 +15
600
150
U
EQ
U
HI
12kHz
12
IC GAIN
M
LOW CUT
100Hz
-15 +15
U
R
LINE IN XX
GAIN
EQ
U
R
LINE IN XX
+50
+30dB
LOW CUT
100Hz
11
13
U
-20dB
GAIN
LINE IN XX
LINE IN XX
IC GAIN
M
+50
+30dB
LINE IN XX
R
U
IC GAIN
M
L
(MONO)
MAX
COMP
INSERT
U
-20dB
LINE IN XX
25
OFF
BAL /UNBAL
(MONO)
7
LINE IN
XX / XX
BAL /UNBAL
(MONO)
9
FX SEND
L-R
30
PFL
SOLO
40
50
60
PFL
SOLO
OO
Mono Channels
Stereo Channels
25. COMPRESSOR
When the incoming signal exceeds the threshold level
set by this knob, the signal level is automatically
compressed. This reduces the dynamic range and
reduces the chance of distortion due to overloading the
input signals.
Dynamic range is the difference in level between the quietest and loudest parts of a
song. A compressor “squeezes” the dynamic
range, resulting in an overall steadier, more constant
volume level for the signal. It helps sources, such as
vocals, “sit” properly in the mix; it is very useful for live
sound.
The compression ratio is fixed at around 6:1, with
a soft knee response. The threshold can be adjusted
clockwise from off (no compression) to 0 dBu (max).
As an example, suppose the threshold is set to maximum. An incoming signal reaches the threshold of
0 dBu. As it increases beyond the threshold, it becomes
compressed at a ratio of 6:1. This means that even if the
input further increases by 6 dB, the actual output only
increases by 1 dB. This compresses the output signal, so
there is more protection to your system from distortion
and overload due to poor microphone technique (say
it ain't so) and general pops, bangs and heavy metal
screaming. The soft knee means that the compression
slowly ramps up to 6:1 from the threshold. It does not
jump abruptly to 6:1, as this would be hard knee compression, and harder on the ears too.
The graph on this page shows the input signal level
going into the compressor, versus the output level coming out of it. It is the typical graph to view when compressors are discussed, and is just the kind of thing
our engineers like to discuss during the company Christmas party*.
If the compressor is off, then the input = output. For
example an input signal level of +5 dBu results in an
output level of +5 dBu. The diagonal line from lower left
to upper right represents x = y, that is, input = output.
+20
+15
OUTPUT SIGNAL STRENGTH dBu
Each of the last four mono channels of the ProFX
mixer has an in-line compressor circuit with a variable
threshold. This is very useful for compression of vocals,
and snare drums, for example, so you might consider
connecting your vocal and drum mics to these channels,
rather than one of the other channels.
+10
+5
SLOPE 6:1
FT
SO
+0
-5
E
OP
SL
EE
KN
1:1
-10
-10
-5
+0
+5
+10
+15
+20
INPUT SIGNAL STRENGTH dBu
At the maximum compression, the threshold is set at
0 dBu, and the input to output relationship is represented by the lower curve. If the input is –5 dBu
(that is, below the threshold), the output is –5 dBu. As
the input reaches 0 dBu, the output is a bit less than
0 dBu. If the input is +5 dBu, the output is about
+2 dBu. If the input reaches +10 dBu, then the output
is +3 dBu. Notice the shapely curve of the soft knee
between the diagonal slope of x = y and the compressor
slope of 6:1 (the compression ratio).
The other blue curves represent in-between positions
of the compressor knob, with higher thresholds before
compression begins.
Outboard compressors often have controls such as
compression ratio, threshold, soft knee/hard knee, attack time, and release time. These last two affect how
quickly the compressor kicks in when the input exceeds
the threshold, and how quickly it is released after it
drops below the threshold. In this compressor, these
parameters are specially chosen to give you the best
overall performance.
Adjust the threshold carefully, so your dynamic range
is still lovely, without distortion or overload during the
performance. Run through a few practice screams and
high-notes, and adjust the compression as required.
* My High School math teacher, Mr. Marvin, thought that
graphs might come in handy for me one day. Finally!
Owner's Manual 17
BAL /UNBAL
28
1
26
BALANCED
BAL /UNBAL
27
2
MON SEND
FX SEND
XX / XX
XX / XX
BAL /UNBAL
BAL /UNBAL
L
LINE IN 13
BAL /UNBAL
R
BAL /UNBAL
L
LINE IN 16
31
R
R
CR OUT
BAL /UNBAL
1
3
32
R
AUX RETURN
33
PHONES
BAL /UNBAL
L
(MONO)
29
LINE IN 15
R
MAIN OUT
BAL /UNBAL
OUT
R
TAPE
BAL /UNBAL
30
(MONO)
34
IN
L
L
(MONO)
L
30
FOOTSWITCH
BAL /UNBAL
LINE IN 14
BALANCED
2
4
SUB OUT
Additional Inputs & Outputs
26. MON SEND
27. FX SEND
Stage monitors allow the talented musicians in the
band to hear themselves clearly on stage. This can be a
good thing! The monitor mix may be carefully adjusted
in level using the aux mon controls [16]. These tap a
portion of each channel's signal to provide a 1/4" TRS
output here to feed external stage monitors. These
could either be passive stage monitors powered by an
external amplifier, or powered stage monitors with their
own built-in amplifier.
This 1/4" TRS line-level output may 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 [17] is turned to more than minimum.
The monitor signal is the sum (mix) of all the channels whose aux mon control is set to more than
minimum. If they want “more me and less Brian,” you
may turn up their channel's aux mon control, and turn
down Brian's. Of course, with two monitor buses and
two monitor outputs, anyone who wants “more Brian”
can have their own monitor mix.
The overall output level may be adjusted with the aux master mon knob [42] and mon 1 may have its EQ tweaked with the graphic EQ [37] if the main mix/mon 1 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.
(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.)
master FX knob [42]. (This knob also affects the level going into the internal FX.)
The output is “post-fader,” so any changes to the channel faders [23] will also affect the level going to
the external processor.
The processed output from the effects processor is
usually returned to the aux returns [29] or a spare
channel, and you may carefully mix the original unprocessed channel (dry) and the processed channel
(wet). Altering the original channel fader increases
both the wet and dry signals and keeps them at the
same delicate ratio. For example, the reverb remains at
the same level relative to the original.
The monitor output is not affected by the main mix
fader [56] or the channel faders [23]. 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.”
28. FX FOOTSWITCH
32. SUB OUT 1-4
This 1/4" TRS connector is where to connect your
favorite footswitch. This allows you to easily mute or
un-mute the internal effects at will. Any one-button on/off footswitch will work.
These four 1/4" jacks are usually patched to the
inputs of a multitrack deck or to secondary amplifiers in a complex installation.
If the internal effects have already been muted with
the internal FX mute switch [48], then the footswitch
has no affect.
29. AUX RETURN L/R
The stereo (aux) returns are designed for 1/4" TRS
balanced or 1/4" TS unbalanced signals, from -20 dB to
+20 dB. They allow the stereo processed output from
external effects processors or other devices to be added
to the main mix.
Level adjustment of the incoming signals is made with
the aux return controls [43].
You may also use these inputs to add any stereo
line-level signals to your main mix, so it could be
another line-level source, not just an effects processor.
If you are connecting a mono source, use the left
(mono) stereo return input, and the mono signals will
appear on both sides of the main mix.
30. MAIN OUT L/R: XLR & 1/4"
The male XLR connectors provide a balanced
line-level signal that represents the end of the mixer
chain, where your fully mixed stereo signal enters the
real world. Connect these to the left and right inputs of
your main power amplifiers, powered speakers, or serial
effects processor (like a graphic equalizer or compressor/limiter). The XLR outputs are 6 dB hotter
than the TRS outputs.
The 1/4" TRS output connectors provide balanced or
unbalanced line-level signals. Connect these to the next
device in the signal chain like an external processor
(compressor/limiter), or directly to the inputs of the
main amplifier. These are the same signal that appears
at the XLR main outputs, but 6 dB lower than the XLR
outputs. When the meters read “0”, these TRS outputs
are at 0 dBu.
31. CR OUT L/R
These 1/4" jacks are usually patched to the inputs of
a control room amplifier or a headphone distribution
amplifier.
33. PHONES
This 1/4" TRS connector supplies the output to your
stereo headphones. It is the same signal that is routed
to the control room outputs [31]. The volume is controlled with the cr/phones knob [53], right above
the main mix fader [56].
Whenever a solo switch [22] is engaged, you will
only hear the soloed channel(s) in the headphones.
This gives you the opportunity to audition the channels
before they are added to the main mix. (Solo signals
reaching the headphones are not affected by the channel level or main level, therefore turn down the
phones level first, as soloed channels may be loud.)
The phones output follows standard conventions:
Tip = Left channel
Ring = Right channel
Sleeve = Common ground
WARNING: The headphone amp is loud and
can cause permanent hearing damage. Even
intermediate levels may be painfully loud
with some headphones. BE CAREFUL! Always turn the
phones level control [53] all the way down before connecting headphones or pressing a solo switch, or
doing anything new that may affect the headphone
volume. Then turn it up slowly as you listen carefully.
34. TAPE INPUTS / OUTPUTS
The stereo unbalanced RCA inputs allow you to play a
tape, CD player, iPod® dock, or other line-level source.
The tape in jacks accept an unbalanced signal using
standard hi-fi hookup cables.
The stereo unbalanced RCA outputs allow you to
record the main stereo mix onto a tape deck, hard disk
recorder, or automatic CD burner, for example. This
lets you make a recording for posterity/archive/legal purposes whenever the band gets back together again.
The tape output is the stereo main mix, and it is not
affected by the main mix fader [56]. The output could
also be used as an extra set of main outputs for feeding
another zone.
Owner's Manual 19
4
35
PHANTOM
STEREO GRAPHIC EQ
15
15
37
10
5
0
0
5
5
10
10
15
15
250
38
500
MAIN MIX
MON 1
1K
2K
4K
40
0dB = 0dBu
OL
15
10
6
3
0
2
4
7
10
20
30
8K
39
EQ IN
BYPASS
36
MAIN
METERS
10
5
125
POWER
48V
L
LEVEL
SET
Stereo Graphic EQ, Main Meters & more!
35. 48V PHANTOM POWER Switch
Most modern professional condenser mics require
48V phantom power, which lets the mixer send lowcurrent 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 e xternal power and aren’t affected by
it anyway.
Press this switch in if your microphone requires phantom power. (Always check the position of this
switch before connecting microphones.) A red LED just
to the right of the switch will illuminate to indicate that
phantom power is active. This is a global switch that
affects all mic channels' XLR jacks at once.
Never plug single-ended (unbalanced) microphones, or ribbon mics into the mic input jacks if phantom power is on. Do not
plug instrument outputs into the mic XLR input jacks
with phantom power on, u nless you know for certain
it is safe to do so. Be sure the main mix fader [56] is
turned down when connecting microphones to the mic
inputs when phantom power is turned on, to prevent
pops from getting through to the speakers.
R
41
RUDE
SOLO
36. POWER LED
This green LED will illuminate when the mixer is
turned on, as a reminder of how on it really is. If it is
not on, then it is off, and the mixer becomes a rather
nice weight for keeping your morning newspaper from blowing away in the wind.
If it does not turn on, make sure the power cord is
correctly inserted at both ends, the local AC mains supply is active, and the power switch [2] is on.
37. STEREO GRAPHIC EQ
This 7-band graphic equalizer adjusts the main mix
output. It affects the line-level outputs [30, 31], but
not the headphones [33], tape outputs [34], or the
USB output [3]. This EQ may be used for a monitor mix
instead of the main mix if the main mix/mon 1 switch
[38] is engaged. It may 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, 1 k, 2 k, 4 k and 8 kHz.
The EQ section comes before the main mix fader [56]
and meters [40]. 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 boosting the desired range. You may use it to reduce the
level of some frequency bands where feedback occurs.
4
35
PHANTOM
STEREO GRAPHIC EQ
15
10
5
0
0
5
5
10
10
15
15
38
250
500
1K
MAIN MIX
MON 1
40
0dB = 0dBu
10
5
125
2K
EQ IN
BYPASS
4K
36
MAIN
METERS
15
37
POWER
48V
OL
15
10
6
3
0
2
4
7
10
20
30
8K
39
L
LEVEL
SET
R
41
RUDE
SOLO
38. MAIN MIX / MON 1 Switch
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 monitors. For example, there may be
times when the graphic EQ may be used wisely in the
monitor mix to reduce feedback in the monitors from
nearby microphones. Note that this does not affect the
monitors 2 send, only the monitors 1 output.
39. EQ IN / BYPASS Switch
This switch allows you to quickly engage or disengage
the stereo graphic EQ [37]. This may 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. MAIN METERS
These peak meters are made up of two columns of
twelve LEDs, with three colors to indicate different
ranges of signal level, traffic light style. They range from
–30 at the bottom, to 0 in the middle, to +20 (CLIP) at
the top.
When a channel is soloed, the right meter shows no
reading, and the left meter shows the level of that channel’s signal level, pre-fader.
The left meter's 0 dB LED is labeled “level set” to
show where the level should be when adjusting a channel’s gain [9] in the solo mode.
When 0 dBu (0.775 V) is at the main left and right
TRS outputs [30], it shows as 0 dB on the meters.
You can get a good mix with peaks flashing anywhere
between –20 and +10 dB on the meters. Most amplifiers
clip at about +10 dBu, and some recorders aren’t so
forgiving either. For best real-world results, try to keep
your peaks between “0” and “+6.” Remember, audio meters are just tools to help assure you that your levels
are “in the ballpark.” You don’t have to stare at them
(unless you want to).
41. RUDE SOLO LED
This large red LED flashes when one or more solo
switches are engaged [22]. This acts as a reminder that
what you hear in the control room and headphones
is the soloed channel(s). If you forget that you are in
solo mode, you can easily be tricked into thinking that
something is wrong with your mixer. Hence, the rude
solo light. Please forgive its rudeness, it is only trying to
help, and wants to be your friend.
Owner's Manual 21
4
45. PRESET SELECTOR
01 BRIGHT ROOM
02 WARM LOUNGE
03 SMALL STAGE
04 WARM THEATER
05 WARM HALL
06 CONCERT HALL
07 PLATE REVERB
08 CATHEDRAL
AUX
42MASTER
U
09 CHORUS
10 CHORUS + REV
11 DOUBLER
12 TAPE SLAP
AUX
43RETURN
OO
+15
U
2
OO
+15
U
OO
+15
+15
U
OO
+10
SIG/OL
47
TO
MON 2
OO
+15
U
TO
MAIN
L-R
FX
OO
OO
+15
U
46
TO
MON 1
TO
MON 2
MON
INTERNAL FX
U
TO
MON 1
1
+15
U
44
U
MON
OO
13 DELAY 1 (300ms)
14 DELAY 2 (380ms)
15 DELAY 3 (480ms)
TO
MAIN
L-R
OO
INT FX
MUTE
45
48
Rotate this endless control to
select one of the 16 preset effects.
When the rotation stops, that preset
will be loaded and become operational. The current preset
number is shown in the display [46].
The different presets are shown in
the table below and on the
silkscreen just below the stereo
graphic EQ [37]. Further details of
each preset are explained in Appendix D on page 34. Only one
preset may be selected at a time.
+10
Aux Masters, Aux Returns &
Internal FX
42. AUX MASTERS
These knobs provide overall control over the aux
mon and aux FX levels just before they are delivered
to the aux mon and aux FX outputs [26, 27], as well as
internal FX in the case of the FX master. These knobs go
from off to +15 db when turned all the way up.
1
Bright Room
9
Chorus
2
Warm Lounge
10
Chorus + Reverb
3
Small Stage
11
Doubler
4
Warm Theater
12
Tape Slap
5
Warm Hall
13
Delay 1 (300ms)
6
Concert Hall
14
Delay 2 (380ms)
7
Plate Reverb
15
Delay 3 (480ms)
8
Cathedral
16
Reverb + Delay (250ms)
Auxiliary is usually the knob you turn up when the
lead singer glares at you, points at his stage monitor,
and sticks his thumb up in the air. (It would follow that
if the singer stuck his thumb down, you’d turn the knob
down, but that never happens.)
46. PRESET DISPLAY
43. AUX RETURNS
A new preset will be loaded approximately 1/4 of a
second after you stop turning the knob, and it will be
stored into the FX memory after about one second.
When the mixer is turned on, the FX section will load up
the last-used preset.
These three controls set the overall level of line
signals received from the aux return L-R jacks [29].
These controls range from off to +15 db (to mon 1/2)
and off to +10 db (to main L-R) of gain when fully clockwise, to compensate for low-level effects.
Signals passing through these controls go
directly to the main mix and monitor mix
where they are combined with signals from
the channels.
44. INTERNAL FX
These knobs route the effects output to mon 1, mon
2 and mains independently. Use mon 1 and mon 2 to
provide effects to monitors. Slowly add effects to the
monitors by turning the 'to mon 1' and 'to mon 2' knobs
clockwise. Use the aux master [42] to monitor the
amount sent. The FX output to the mains will be heard
directly from the PA.
This display shows the number of the currently
selected effects preset, as shown in the list of presets
above. Rotate the preset selector knob [45] right or left
to change a preset.
47. SIG / OL LED
This bi-colored LED illuminates green when the signal
level going into the effects processor is within a good
operating range (sig). It illuminates red if the effects
processor is overloaded with too strong of a signal (ol).
Turn down the FX send master level [44] and check the
channel sends if these light red regularly.
The signals going into the processor are affected by
the channel gain [9], EQ [11-15], and channel faders
[23], as well as the channel FX sends [17] and the FX
send master [42].
49
48. INT FX MUTE Switch and LED
When engaged, the internal effects
processor is muted, and its output
will not appear on the main mix or
monitor mix. The adjacent mute LED
will illuminate as a reminder that the effects are muted. When power is first
applied, this LED will illuminate and
the FX will be muted for about 10 seconds while the little FX gerbils
inside settle down.
If this switch is not engaged, then
the internal effects are set free and
may be added as required to the main
mix and/or monitor mix.
50
2-TRACK RETURN
USB OUT
54
R
L
SUB 1
dB
10
52
U
53
TAPE
USB
MAIN
SUB 1-2
L
51
BREAK
+15
LEVEL
OO
R
L
SUB 2
(MUTES ALL CH)
R
L
SUB 3
R
OO
MAIN
SUB 4
dB
10
dB
10
dB
10
dB
10
5
5
5
5
U
U
U
U
U
5
5
5
5
5
10
10
10
10
10
20
20
20
20
20
30
30
30
30
30
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
OO
OO
OO
OO
OO
5
55
MAX
CR /PHONES
56
Main & Subs Mix, USB Out,
2-Track Return, and more!
49. USB OUT Switch
52. BREAK Switch and LED
This switch allows flexibility on the recordable
signals. The default switch configuration (disengaged)
allows the main L-R mix to be recorded for convenient
stereo mixes of the show. Engaging the switch routes
subgroups 1-2 over the USB connection to your favorite
DAW software for an alternate 2-track recording.
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 [26] and FX send [27] are not
affected. If there is no sound coming out of the system,
be sure to check this switch first. The adjacent break
LED will come on as a reminder that the channels are
muted.
50. 2-TRACK RETURN TAPE / USB Switch
This determines if the 2-track return gets its signal
from the RCA “tape” inputs [34] (switch disengaged) or USB (switch engaged).
51. 2-TRACK RETURN LEVEL
This knob controls the overall level to the mains of
the tape (RCA) or USB, depending on the position of
the 2-track return tape/USB switch [50]. This knob's
level ranges from off, through unity (center detent position), on up to 15 dB of extra gain (fully clockwise).
It is possible to play the stereo RCA tape inputs [34]
in the main stereo mix or play audio coming in from the
computer via the USB inputs. For example, a soothing
CD may be played while the band is off stage.
53. CR/PHONES
As one might expect, this knob controls the levels
of both the stereo control room and the headphones.
Make sure that this knob is fully off [counter-clockwise]
before selecting or adding a new source.
Owner's Manual 23
Whatever the selection, the control room outputs may
also be used for other applications. The sound quality is
just as impeccable as the main outputs. It may be used
as an additional main mix output and this one will have
its own level control. However, be aware that if a solo
switch [22] is engaged, the mix will be interrupted:
When a channel's solo switch [22] is engaged, any
existing selection is replaced by the solo signal, appearing at the control room outputs [31], phones
[33] and at the left meter [40]. The audible solo levels
are then controlled by the control room knob [53]. The
solo levels appearing on the meters are not controlled
by the control room knob [53] - you would not want
that, anyway. What you do want to see is the actual
channel level on the meters regardless of how loud the
control room and phones output levels might be.
Solo signals reaching the headphones and
monitor outputs are not affected by the channel level or main level; therefore, turn
down the phones level [53] and monitor level [42] first,
as soloed channels may be loud.
54. SUBS ASSIGN Switches
One popular use of the subs is to use them as master faders for a group of channels on their way to
the main mix fader [56]. Let us say you have a drum kit
hogging up seven channels and you are going to want to
control their group volume more conveniently. You do
not want to try that with seven hands or seven fingers,
so just unassign these channels from the main mix and
reassign them to subs 1-2, engage the assign to main mix
left on sub 1 and assign to main mix right on sub 2.
Now you may ride the entire drum mix with two faders – subs 1 and 2.
If you engage just one assign to main mix button per
group (left or right), the signal sent to the main mix
fader [56] will be the same level as the sub outs [32].
If you want the subgroup to appear in the center of the
main mix, engage both the assign to main mix left and
right buttons. The signal will be sent to both sides, and
reduced in level by 3 dB like a pan pot, so the overall
level is the same, whether the group is assigned to main
left, main right, or both.
55. SUB 1-4 FADERS
As you might expect, these faders control the levels of
the signals sent to the sub outs [32]. All channels that
are assigned to subs, not muted, and not turned fully
down will appear at the sub outs.
The sub signal is off when its fader is fully down, the
“U” marking is unity gain, and fully up provides 10 dB
additional gain. Remember that if you are treating two
subs as a stereo pair, sub 1 and 2 for example, make sure
that both sub faders “ride” together to maintain the left/
right balance.
56. MAIN MIX
This stereo fader allows you to adjust the levels of the
main mix signals sent to the XLR and 1/4" main line-level outputs [30] and the tape outputs [34].
This gives you the ultimate feeling of power and
control over the sound levels sent to your audience.
Adjust this control carefully, with your good eye on the
meters to check against overloading, and your good
ear to the levels to make sure your audience (if any) is
happy.
The main mix signals are 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 that
it’s there. The fader is stereo, as it affects both the left
and right of the main mix equally. This is the ideal control to slowly bring down at the end of a song (or
quickly in the middle of a song if the need ever arises).
This control does not affect the mon send or FX send
outputs [26, 27]. This does, however, conclude the main
portion of the owner's manual. From here on out it's all
appendices.
Appendix A: Service Information
If you think your mixer has a problem, please check
out the following troubleshooting tips and do your best
to confirm the problem. Visit the Support section of our
website (www.mackie.com) where you will find lots of
useful information such as FAQs, documentation and
any updated PC drivers etc. You may find the answer to
the problem without having to send your mixer away.
Noise
Troubleshooting
Power
Bad Channel
• Is the channel EQ set up nicely?
• Is the channel gain set correctly?
• Is the channel level up enough?
• Is the channel OL led on?
• Is the channel pan set in the middle?
• Try the same source signal in another channel,
set up exactly like the suspect channel.
• Is phantom power required for your microphone?
Bad Output
• Is the main level turned up?
• Are the EQs set to reasonable levels?
• Are any aux returns maxed out?
• Unplug anything from the other line-level
outputs, such as monitor out, just in case one of
your external pieces has a problem.
• Turn the channel gains down, one by one. If the
sound disappears, it’s either that channel or
whatever is plugged into it, so unplug whatever
that is. If the noise disappears, it’s from your
whatever.
• The power LED should come on if the mixer is
connected to a suitable live AC mains outlet,
and the power switch is on. Check to make sure
that the power cord is securely plugged in.
Repair
For warranty service, refer to the warranty information on page 35.
Non-warranty service 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 during normal business hours, Pacific
Time, to explain the problem. Tech Support will tell you
where the nearest factory-authorized service center is
located in your area.
• Make sure that you are not overdriving your
amplifiers. Check the loudspeaker average load
impedance is not less than the minimum your
amplifier can handle. Check the speaker wiring.
Owner's Manual 25
Appendix B: Connections
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.
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.
2
SHIELD
HOT
COLD
SHIELD
• 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 available on a mono 1⁄4" phone jack or plug. See Figure C.
1
3
SLEEVE
SLEEVE
TIP
1
TIP
TIP
COLD 3
HOT
1
3
2
SLEEVE
SHIELD
Figure C: TS Plug
COLD
2
HOT
Figure A: XLR Connectors
1⁄4"
TRS Phone Plugs and Jacks
SLEEVE
SLEEVE
TIP
TS jacks and plugs areRING
used
in many
different
SLEEVE
SLEEVE RING TIP
applications, always unbalanced. The tip is connected to
TIP
the audio signal and the sleeve
to ground (earth). Some
RING
examples:
TRS stands for Tip-Ring-Sleeve,
the three connections
TIP
TIP jack or
available on a stereo 1/4" or balanced phone
plug. See Figure B.
SLEEVE
• Unbalanced microphones
TRS jacks and plugs are used in several different applications:
• Speaker connections
RING SLEEVE
RING
TIP
SLEEVE
Figure B: TRS Plug
• 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).
• 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 microphones. They
must be separated into a left cord and a right
cord, which are plugged into two mic preamps.
SLEEVE
• Electric guitars and electronic instruments
• Unbalanced line-level connections
Don’t use guitar cords for speaker cables!
They’re not designed to handle speaker-level
signals and could overheat.
SLEEVE RING TIP
TIP
TIP
RCA Plugs and Jacks
RCA-type plugs (also known as phono plugs) and
jacks are often used in home s tereo 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.”
SLEEVE TIP SLEEVE TIP
Figure D: RCA Plug
Figure E: Does not appear in this owner's manual, due
to a contractual obligation, but performs nightly at the
downtown Woodinville Cocoa Rooms and Tea Bar
TRS Send/Receive Insert Jacks
Mackie’s single-jack inserts are the three-conductor,
TRS 1⁄4" phone type. They are unbalanced, but have
both the mixer output (send) and the mixer input
(return) signals in one connector. See Figure F.
tip
ring
SEND to processor
sleeve
(TRS plug)
This plug connects to one of the
mixer’s Channel Insert jacks.
“tip”
“ring”
RETURN from processor
Figure F
The sleeve is the common ground (earth) for both
signals. The send from the mixer to the e xternal unit is
carried on the tip, and the return from the unit to the
mixer is on the ring.
Using the Send-only on an Insert Jack
If you insert a TS (mono) 1⁄4" plug only partially (to
the first click) into a Mackie insert jack, the plug will
not activate the jack switch and will not open the insert
loop in the circuit (thereby allowing the channel signal
to continue on its merry way through the mixer).
This allows you to tap out the channel signal without
interrupting normal operation.
If you push the 1⁄4" TS plug in to the second click, you
will open the jack switch and create a d irect out, which
does interrupt the signal in that channel. See Figure G.
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.”
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 G
Owner's Manual 27
Appendix C: Technical Information
Specifications
Noise Characteristics:
4-Band Equalization (stereo channels)
(20 Hz to 20 kHz bandwidth, 150 Ω Source Impedance Equivalent Input Noise)
Low ±15 dB @ 80 Hz
Mid ±15 dB @ 2.5 kHz
Mic in to Insert Send out, max gain
High ±15 dB @ 12 kHz
–128.0 dBu
(Residual Output Noise)
All outputs, master levels off, all channel levels off
–95 dBu
All outputs, master levels unity, all channel levels off
–85 dBu
All outputs, master levels unity, 1 channel level unity –85 dBu
Frequency Response:
USB
Format
USB 1.1
I/O
A/D/A
Stereo Input, Stereo Output
16 bit, 44.1 kHz / 48 kHz
(Mic input to any output, gain at unity)
20 Hz to 40 kHz +0 dB / –1 dB
Input and Output Impedance:
Mic in 3.3 kΩ
Distortion (THD+N):
Channel Insert return 10 kΩ
(20 Hz to 20 kHz bandwidth)
All other inputs 20 kΩ
Mic in to Main Out
<0.01% @ +4 dBu output
Tape out 1 kΩ
Phones out All other outputs Attenuation and Crosstalk:
25 Ω
120 Ω
(20 Hz to 20 kHz bandwidth)
Adjacent Inputs @ 1 kHz
–90 dBu
AC Power Requirements:
Fader Off @ 1 kHz –75 dBu
Power Consumption 40 watts (ProFX16)
45 watts (ProFX22)
Universal AC Power Supply
100 VAC – 240 VAC, 50 – 60 Hz
Mute Switch/Break Switch Mute @ 1 kHz –100 dBu
Common Mode Rejection Ratio (CMRR):
Power Connector
(Mic in to Main out, channel gain at max: 50 dB)
@1 kHz 70 dB
Maximum Levels:
3 Pin IEC
Physical Dimensions and Weight
Front Height
Rear Height
1.7 in / 44 mm (both)
3.8 in / 97 mm (both)
16.0 in / 407 mm (both)
All inputs +22 dBu
Depth
Main Mix XLR
+28 dBu
All other outputs +22 dBu
Width
18.7 in / 475 mm (ProFX16)
25.1 in / 639 mm (ProFX22)
Weight
13 lb / 5.9 kg (ProFX16)
18 lb / 8.2 kg (ProFX22)
3-Band Equalization (mono channels)
Low Mid
High Low Cut Filter
±15 dB @ 80 Hz
±15 dB sweep 100 Hz–8 kHz
±15 dB @ 12 kHz
18 dB/octave, –3 dB @ 100 Hz
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 specifications at any time without notice.
“Mackie,” and the “Running Man” are registered trademarks of LOUD
Technologies Inc. All other brand names mentioned are trademarks
or registered trademarks of their respective holders, and are hereby
acknowledged.
Please check our website for any updates to this manual: www.mackie.com.
©2011 LOUD Technologies Inc. All Rights Reserved.
Dimensions
3.8 in /
97 mm
WEIGHT
13 lb
5.9 kg
POWER
USB
WARNING:
RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR
REVISION
SERIAL NUMBER
BAL /UNBAL
BALANCED
BALANCED
L
1
FOOTSWITCH
IN
2
MIC
MIC
MIC
MIC
MIC
MIC
MIC
MIC
MIC
BAL /UNBAL
MIC
MON SEND
1
2
BAL /UNBAL
3
BAL /UNBAL
4
BAL /UNBAL
5
BAL /UNBAL
6
BAL /UNBAL
7
BAL /UNBAL
8
BAL /UNBAL
9/10
BAL /UNBAL
11/12
BAL /UNBAL
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN 9
R
OFF
INSERT
INSERT
U
U
-20dB
INSERT
U
IC GAIN
M
U
-20dB
+50
+30dB
GAIN
MID
-15 +15
600
1.5k
100
-15 +15
600
150
FREQ
8k
U
1.5k
100
FREQ
LOW
80Hz
AUX
AUX
U
AUX
U
+15
U
+15
U
FX
FX
+15
FX
+15
FX
+15
PAN
PAN
PAN
PAN
PAN
-15 +15
U
U
MID
2.5kHz
10
5
5
0
0
5
5
10
10
15
15
125
MID
2.5kHz
-15 +15
U
U
250
500
R
L
R
L
OL
R
L
OL
MUTE
R
L
OL
MUTE
R
L
OL
MUTE
R
L
OL
MUTE
LOW
80Hz
LOW
80Hz
-15 +15
AUX
U
AUX
U
MON
1
L
2
dB
10
5
3
dB
10
5
1-2
U
5
1-2
U
5
FX
PAN
TO
MAIN
L-R
+15
L
R
L
OL
PAN
R
L
OL
MUTE
L
U
20
20
20
L-R
30
PFL
SOLO
40
50
60
PFL
SOLO
40
50
60
20
L-R
30
MUTE
PFL
SOLO
PFL
SOLO
40
50
60
PFL
SOLO
PFL
SOLO
40
50
60
20
L-R
30
PFL
SOLO
40
50
60
PFL
SOLO
40
50
60
20
L-R
30
PFL
SOLO
40
50
60
L-R
30
PFL
SOLO
40
50
60
3-4
10
20
L-R
30
1-2
U
5
3-4
10
PFL
SOLO
L
R
L
SUB 2
R
L
SUB 3
dB
10
MAX
CR /PHONES
MAIN
R
SUB 4
dB
10
dB
10
dB
10
5
5
5
5
5
U
U
U
U
U
5
5
5
5
5
10
10
10
10
10
20
20
20
20
20
30
30
30
30
30
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
L-R
30
40
50
60
R
SUB 1
dB
10
5
1-2
U
5
3-4
10
20
L-R
30
15/16
dB
10
5
1-2
U
5
3-4
10
BREAK
(MUTES ALL CH)
MUTE
13/14
dB
10
5
1-2
U
5
3-4
10
20
L-R
30
40
50
60
5
20
L-R
30
5
1-2
U
3-4
10
11/12
dB
10
+15
LEVEL
OL
MUTE
9/10
dB
10
5
1-2
U
5
3-4
10
20
L-R
30
40
50
60
5
3-4
10
20
L-R
30
5
1-2
U
5
3-4
10
8
dB
10
TAPE
USB
2-TRACK RETURN
USB OUT
R
INT FX
MUTE
TO
MAIN
L-R
+10
+10
PAN
R
OL
MUTE
SIG/OL
TO
MON 2
+15
U
FX
+15
TO
MON 1
+15
U
+15
U
FX
+15
RUDE
SOLO
U
TO
MON 2
+15
U
R
LEVEL
SET
INTERNAL FX
+15
U
2
+15
U
FX
+15
PAN
R
7
dB
10
5
1-2
U
5
3-4
10
6
dB
10
5
1-2
U
5
3-4
10
5
dB
10
5
1-2
U
5
3-4
10
4
dB
10
OL
15
10
6
3
0
2
4
7
10
20
30
8K
TO
MON 1
1
MON
2
L
1
dB
10
0dB = 0dBu
13 DELAY 1 (300ms)
14 DELAY 2 (380ms)
15 DELAY 3 (480ms)
AUX
RETURN
U
+15
U
MON
2
+15
U
FX
OL
MUTE
4K
09 CHORUS
10 CHORUS + REV
11 DOUBLER
12 TAPE SLAP
MON
1
+15
U
MON
2
+15
PAN
R
MUTE
2K
MAIN
METERS
EQ IN
BYPASS
05 WARM HALL
06 CONCERT HALL
07 PLATE REVERB
08 CATHEDRAL
AUX
MASTER
U
AUX
U
MON
+15
U
MON
+15
U
FX
AUX
U
1
+15
U
2
01 BRIGHT ROOM
02 WARM LOUNGE
03 SMALL STAGE
04 WARM THEATER
-15 +15
MON
1
MON
+15
U
LOW
80Hz
-15 +15
MON
+15
U
2
OL
MUTE
1K
MAIN MIX
MON 1
POWER
L
LOW
80Hz
1
PAN
15
10
-15 +15
MID
2.5kHz
4
SUB OUT
48V
15
HI
12kHz
-15 +15
+15
PAN
CR OUT
MAIN
SUB 1-2
L
OL
3
STEREO GRAPHIC EQ
SOURCE
EQ
U
MON
+15
+20
LINE
USB
U
MON
FX
+15
AUX RETURN
U
-15 +15
+15
U
FX
+15
2
GAIN
U
+15
U
2
+15
U
FX
+15
U
AUX
U
1
MON
+15
U
R
PHANTOM
-15 +15
-15 +15
MON
+15
U
2
R
HI
12kHz
-15 +15
LOW
80Hz
AUX
U
1
R
FREQ
-15 +15
MON
-20
EQ
U
HI
12kHz
MID
2.5kHz
1.5k
+20
GAIN
EQ
U
HI
12kHz
8k
U
-20
LOW CUT
100Hz
EQ
U
-15 +15
150
100
MON
+15
U
2
+15
U
FREQ
+50
GAIN
LOW CUT
100Hz
LOW
80Hz
AUX
U
1
MON
+15
U
1.5k
8k
U
U
+50
GAIN
MID
-15 +15
MON
+15
U
2
U
EQ
-15 +15
600
150
100
U
-15 +15
U
LOW
80Hz
AUX
U
1
MON
2
FREQ
8k
U
-15 +15
MON
+15
U
MON
2
+15
U
AUX
U
1
+15
U
MON
1.5k
100
LINE IN 16
U
HI
12kHz
-15 +15
600
150
-15 +15
MON
1
+15
U
2
FREQ
8k
U
LOW
80Hz
-15 +15
MON
1
MON
1.5k
100
LINE IN 14
IC GAIN
M
+50
+30dB
U
MID
-15 +15
600
150
FREQ
8k
U
1
R
LINE IN 12
LOW CUT
100Hz
MID
L
HI
12kHz
-15 +15
U
R
IC GAIN
M
GAIN
EQ
U
-15 +15
U
LOW
80Hz
-15 +15
MON
1.5k
100
U
-20dB
+50
+30dB
LOW CUT
100Hz
HI
12kHz
BAL /UNBAL
L
LINE IN 15
LINE IN 10
U
IC GAIN
M
BAL /UNBAL
(MONO)
MAX
COMP
GAIN
EQ
U
-15 +15
600
150
LOW
80Hz
-15 +15
+15
U
FREQ
8k
U
LOW
80Hz
-15 +15
U
1.5k
100
U
-20dB
+50
+30dB
LOW CUT
100Hz
MID
-15 +15
600
150
8k
U
OFF
U
IC GAIN
M
HI
12kHz
MID
MAX
COMP
GAIN
EQ
U
-15 +15
U
MID
-15 +15
600
150
U
-20dB
+50
+30dB
LOW CUT
100Hz
-15 +15
U
MID
OFF
U
IC GAIN
M
HI
12kHz
-15 +15
U
MAX
COMP
GAIN
EQ
U
HI
12kHz
-15 +15
U
U
-20dB
+50
+30dB
LOW CUT
100Hz
EQ
U
HI
12kHz
OFF
U
IC GAIN
M
GAIN
LOW CUT
100Hz
EQ
U
HI
12kHz
-15 +15
U
U
-20dB
+50
+30dB
GAIN
LOW CUT
100Hz
EQ
U
16.0 in /
407 mm
U
-20dB
+50
+30dB
GAIN
LOW CUT
100Hz
U
IC GAIN
M
IC GAIN
M
MAX
COMP
INSERT
U
IC GAIN
M
PHONES
BAL /UNBAL
(MONO)
L
LINE IN 13
R
MAIN OUT
BAL /UNBAL
L
(MONO)
LINE IN 11
L
15/16
BAL /UNBAL
BAL /UNBAL
L
(MONO)
R
TAPE
BAL /UNBAL
FX SEND
13/14
BAL /UNBAL
L
(MONO)
OUT
BAL /UNBAL
BAL /UNBAL
PFL
SOLO
40
50
60
1.7 in /
44 mm
18.7 in / 475 mm
WEIGHT
18 lb
8.2 kg
3.8 in /
97 mm
POWER
USB
WARNING:
RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR
REVISION
SERIAL NUMBER
BAL /UNBAL
BALANCED
BALANCED
L
1
FOOTSWITCH
BAL /UNBAL
IN
2
MIC
MIC
MIC
MIC
MIC
MIC
MIC
MIC
MIC
MIC
MIC
MIC
MIC
MIC
MIC
BAL /UNBAL
MIC
MON SEND
1
2
BAL /UNBAL
3
BAL /UNBAL
4
BAL /UNBAL
5
BAL /UNBAL
6
BAL /UNBAL
7
BAL /UNBAL
8
BAL /UNBAL
9
BAL /UNBAL
10
BAL /UNBAL
11
BAL /UNBAL
12
BAL /UNBAL
13
BAL /UNBAL
14
BAL /UNBAL
15/16
BAL /UNBAL
17/18
BAL /UNBAL
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN 9
R
OFF
INSERT
INSERT
U
U
-20dB
U
-20dB
+50
+30dB
GAIN
EQ
MID
FREQ
MID
150
8k
U
LOW
80Hz
MID
150
MON
MON
1
MON
1
+15
U
FX
+15
FX
+15
PAN
MON
FX
+15
PAN
FX
+15
PAN
FX
+15
PAN
R
L
R
L
OL
R
L
OL
R
L
OL
R
L
OL
R
L
OL
R
L
OL
R
L
OL
R
L
OL
R
L
OL
R
L
OL
15
10
10
5
5
0
0
5
5
10
10
U
L
LOW
80Hz
MON
250
500
FX
+15
FX
+15
PAN
R
L
OL
L
L
L
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
3
4
5
6
7
8
9
10
11
12
13
14
15/16
17/18
19/20
21/22
dB
10
10
3-4
10
3-4
10
40
50
60
U
3-4
10
40
50
60
3-4
10
40
50
60
U
3-4
10
40
50
60
3-4
10
40
50
60
U
3-4
10
40
50
60
3-4
10
40
50
60
U
3-4
10
40
50
60
3-4
10
40
50
60
U
3-4
10
40
50
60
3-4
10
40
50
60
U
3-4
10
40
50
60
3-4
10
40
50
60
25.1 in / 639 mm
U
TO
MAIN
L-R
3-4
10
40
50
60
3-4
10
40
50
60
3-4
10
40
50
60
1-2
3-4
20
L-R
30
PFL
SOLO
U
5
20
L-R
30
PFL
SOLO
5
1-2
5
20
L-R
U
TO
MAIN
L-R
+10
+10
TAPE
USB
2-TRACK RETURN
BREAK
+15
LEVEL
R
L
SUB 1
R
L
SUB 2
(MUTES ALL CH)
dB
10
R
L
SUB 3
dB
10
R
MAX
CR /PHONES
MAIN
SUB 4
dB
10
dB
10
5
5
5
5
5
U
U
U
U
U
5
5
5
5
5
10
10
10
10
10
20
20
20
20
20
30
30
30
30
30
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
L-R
30
PFL
SOLO
SIG/OL
INT FX
MUTE
U
dB
10
dB
10
5
1-2
5
30
PFL
SOLO
dB
10
5
1-2
20
L-R
30
PFL
SOLO
U
5
20
L-R
dB
10
5
1-2
5
30
PFL
SOLO
dB
10
5
1-2
20
L-R
30
PFL
SOLO
U
5
20
L-R
dB
10
5
1-2
5
30
PFL
SOLO
dB
10
5
1-2
20
L-R
30
PFL
SOLO
U
5
20
L-R
dB
10
5
1-2
5
30
PFL
SOLO
dB
10
5
1-2
20
L-R
30
PFL
SOLO
U
5
20
L-R
dB
10
5
1-2
5
30
PFL
SOLO
dB
10
5
1-2
20
L-R
30
PFL
SOLO
U
5
20
L-R
dB
10
5
1-2
5
30
PFL
SOLO
dB
10
5
1-2
20
L-R
30
PFL
SOLO
U
5
20
L-R
dB
10
5
1-2
5
30
PFL
SOLO
dB
10
5
1-2
20
L-R
30
PFL
SOLO
U
5
20
L-R
30
dB
10
5
1-2
5
20
40
50
60
dB
10
5
U
TO
MON 2
+15
U
OL
2
1-2
+15
U
TO
MON 2
+15
R
RUDE
SOLO
TO
MON 1
TO
MON 1
FX
USB OUT
R
LEVEL
SET
INTERNAL FX
+15
U
PAN
R
OL
MUTE
5
8K
U
+15
U
2
+15
PAN
R
OL
1
5
4K
13 DELAY 1 (300ms)
14 DELAY 2 (380ms)
15 DELAY 3 (480ms)
AUX
RETURN
1
+15
U
FX
+15
PAN
R
OL
U
MON
2
+15
U
L
U
OL
15
10
6
3
0
2
4
7
10
20
30
EQ IN
BYPASS
MON
+15
U
MON
2
+15
U
MUTE
dB
10
2K
09 CHORUS
10 CHORUS + REV
11 DOUBLER
12 TAPE SLAP
05 WARM HALL
06 CONCERT HALL
07 PLATE REVERB
08 CATHEDRAL
AUX
MASTER
1
+15
U
MON
2
U
MON
1
+15
U
MON
+15
U
FX
AUX
U
MON
1
+15
U
2
PAN
L
1K
MAIN MIX
MON 1
01 BRIGHT ROOM
02 WARM LOUNGE
03 SMALL STAGE
04 WARM THEATER
-15 +15
AUX
U
MON
1
MON
+15
U
LOW
80Hz
-15 +15
AUX
U
+15
U
+15
LOW
80Hz
-15 +15
AUX
U
FX
R
0dB = 0dBu
L
LOW
80Hz
-15 +15
2
OL
MAIN
METERS
15
125
MID
2.5kHz
-15 +15
1
PAN
R
OL
4
POWER
48V
15
MAIN
SUB 1-2
L
OL
3
SUB OUT
15
U
MID
2.5kHz
U
MON
+15
PAN
U
MID
2.5kHz
-15 +15
+15
U
FX
+15
PAN
U
U
+15
U
2
CR OUT
STEREO GRAPHIC EQ
SOURCE
HI
12kHz
-15 +15
MON
1
+15
U
AUX RETURN
-15 +15
U
LOW
80Hz
MON
2
+15
U
2
EQ
U
HI
12kHz
-15 +15
-15 +15
AUX
U
+15
U
MON
2
+15
U
R
PHANTOM
GAIN
EQ
U
HI
12kHz
U
-15 +15
MON
1
+15
U
MON
2
R
FREQ
8k
U
LOW
80Hz
AUX
U
R
LINE
USB
-15 +15
MID
2.5kHz
1.5k
100
1
+20
-20
GAIN
EQ
U
HI
12kHz
-15 +15
MID
150
-15 +15
MON
1
+15
U
MON
+15
U
FX
LOW
80Hz
AUX
U
FREQ
+20
-20
LOW CUT
100Hz
EQ
U
HI
12kHz
8k
U
+50
GAIN
LOW CUT
100Hz
-15 +15
600
1.5k
100
U
+50
GAIN
BAL /UNBAL
L
U
MID
150
-15 +15
MON
1
+15
U
2
+15
PAN
LOW
80Hz
AUX
U
FREQ
8k
U
U
EQ
U
-15 +15
600
1.5k
100
LINE IN 16
U
-15 +15
U
MID
150
-15 +15
MON
1
MON
FX
+15
PAN
LOW
80Hz
+15
U
FREQ
8k
U
LINE IN 14
IC GAIN
M
+50
+30dB
HI
12kHz
-15 +15
600
1.5k
100
AUX
U
+15
U
2
MID
150
-15 +15
MON
1
MON
FX
+15
PAN
LOW
80Hz
+15
U
FREQ
8k
U
LINE IN 12
LOW CUT
100Hz
-15 +15
U
R
IC GAIN
M
GAIN
EQ
U
HI
12kHz
-15 +15
600
1.5k
100
AUX
U
+15
U
2
150
-15 +15
MON
1
MON
FX
+15
PAN
LOW
80Hz
+15
U
FREQ
8k
U
EQ
U
U
-20dB
+50
+30dB
LOW CUT
100Hz
BAL /UNBAL
L
LINE IN 15
LINE IN 10
U
IC GAIN
M
PHONES
BAL /UNBAL
(MONO)
MAX
COMP
GAIN
-15 +15
U
MID
-15 +15
600
1.5k
100
AUX
U
+15
U
2
150
-15 +15
MON
1
MON
FX
+15
PAN
LOW
80Hz
+15
U
FREQ
8k
U
U
-20dB
+50
+30dB
EQ
OFF
U
IC GAIN
M
LOW CUT
100Hz
HI
12kHz
MAX
COMP
GAIN
-15 +15
U
MID
-15 +15
600
1.5k
100
AUX
U
+15
U
2
MID
150
-15 +15
MON
1
FX
+15
PAN
LOW
80Hz
+15
U
FREQ
8k
U
U
-20dB
+50
+30dB
U
-15 +15
U
OFF
U
IC GAIN
M
LOW CUT
100Hz
HI
12kHz
MAX
COMP
GAIN
EQ
U
HI
12kHz
-15 +15
600
1.5k
100
AUX
U
MON
2
+15
U
MID
150
-15 +15
+15
U
MON
2
+15
U
FX
LOW
80Hz
+15
U
MON
2
+15
U
FREQ
8k
U
U
-20dB
+50
+30dB
LOW CUT
100Hz
-15 +15
U
OFF
U
IC GAIN
M
GAIN
EQ
U
HI
12kHz
-15 +15
600
1.5k
100
AUX
U
1
+15
U
MON
2
150
-15 +15
MON
1
+15
U
MON
+15
U
LOW
80Hz
AUX
U
FREQ
8k
U
U
-20dB
+50
+30dB
LOW CUT
100Hz
-15 +15
U
MID
-15 +15
600
1.5k
100
U
IC GAIN
M
GAIN
EQ
U
HI
12kHz
-15 +15
U
MID
150
-15 +15
AUX
U
FREQ
8k
U
U
-20dB
+50
+30dB
LOW CUT
100Hz
MAX
COMP
INSERT
U
IC GAIN
M
GAIN
EQ
U
HI
12kHz
-15 +15
600
1.5k
100
-15 +15
AUX
U
MID
150
LOW
80Hz
-15 +15
AUX
FREQ
8k
U
U
-20dB
+50
+30dB
LOW CUT
100Hz
-15 +15
U
INSERT
U
IC GAIN
M
GAIN
EQ
U
HI
12kHz
-15 +15
600
1.5k
100
LOW
80Hz
-15 +15
U
FREQ
8k
U
U
-20dB
+50
+30dB
LOW CUT
100Hz
-15 +15
U
INSERT
U
IC GAIN
M
GAIN
EQ
U
HI
12kHz
-15 +15
600
1.5k
100
U
-20dB
+50
+30dB
LOW CUT
100Hz
-15 +15
U
INSERT
U
IC GAIN
M
GAIN
EQ
U
HI
12kHz
-15 +15
600
1.5k
100
U
-20dB
+50
+30dB
LOW CUT
100Hz
-15 +15
U
INSERT
U
IC GAIN
M
GAIN
EQ
U
HI
12kHz
-15 +15
600
150
U
-20dB
+50
+30dB
LOW CUT
100Hz
-15 +15
U
INSERT
U
IC GAIN
M
GAIN
EQ
U
HI
12kHz
16.0 in /
407 mm
U
-20dB
+50
+30dB
LOW CUT
100Hz
-15 +15
U
INSERT
U
IC GAIN
M
GAIN
LOW CUT
100Hz
U
INSERT
U
IC GAIN
M
IC GAIN
M
R
BAL /UNBAL
(MONO)
L
LINE IN 13
R
MAIN OUT
BAL /UNBAL
L
(MONO)
LINE IN 11
L
21/22
BAL /UNBAL
L
(MONO)
R
TAPE
BAL /UNBAL
FX SEND
19/20
BAL /UNBAL
L
(MONO)
OUT
BAL /UNBAL
40
50
60
PFL
SOLO
1.7 in /
44 mm
Owner's Manual 29
Phantom Power
Global 48v
Switch/LED
L
R
L
R
L
Phantom
Power
Mic
R
L
-
+
-
+
USB In R
USB In L
2.5K
MID
LO
80
2.5K
Line
USB
Int FX Out R
12K
HI
12K
MIDMID HI
80
LO
100~8K
MID
3-Band EQ
w/ Swept Mid
80
LO
3-Band EQ
EQ in
EQ in
To
Stereo Channel
15/16 EQ In
Comp
Int FX Out L
To
Post-Break
Switch
bypass
HPF In
-
+
-
+
HPF
100Hz
bypass
HPF In
HPF
100Hz
Insert
12K
HI
Level
To Mon 2
To Mon 1
To Main Mix
To Mon 2
To Mon 1
To Main Mix
Mute
OL /
Mute
Mute
OL /
Mute
Pan
Level
Pan
PFL
Mon 1
Mon 2
FX
3/4
1/2
L/R
Assign
PFL
Mon 1
Mon 2
FX
3/4
1/2
L/R
Assign
Mon 2 (pre)
Mon 1 (pre)
FX (post)
4
Sub 3
2
1
4
3 Sub
2
1
Main R
L
R Main
L
NOTE: Switches are shown in the default (out) position.
Level
Line
-20 ~ +20dB
Gain
HPF
100Hz
preamp out
2-Track
Return
-
+
-
+
-
+
Gain
bypass
HPF In
Solo
USB
In
R
Tape Input
Aux Return
[ProFX22]
identical except
for USB)
[ProFX16] and
21/22 (19/20
(13/14 identical
except for USB)
Stereo
Channel 15/16
Stereo
Channels
9/10 & 11/12
[ProFX16] and
15/16 & 17/18
[ProFX22]
-
+
Mic: 0 ~ +50dB
Line: -20 ~ +30dB
Mic Gain:
0 ~ +50dB
Phantom Power
(To All Mics)
Mono Channels 5-8 [ProFX16] /
11-14 [ProFX22]
identical except compressor
instead of insert jack
Mono
Mic
Channels
1 - 4 [ProFX16] /
1-10 [ProFX22] Line
48V
Main L
Mon 1
Main R
Mon 1
EQ assign
switch
Mains
Break
switch
7-band Stereo
Graphic EQ
2-Track Return R
2-Track Return L
EQ out
Bypass
switch
EQ In
PFL
Solo
Solo Logic
to/from Graphic EQ
(Only on Mon 1)
Sub 1 sum
L
R
Sub Assign To
Main Mix
PFL Solo
Meter
Select
If either the front panel
switch or the footswitch
is engaged, the FX mutes.
Active
FX Mute
To FX Return R
To FX Return L
FX Master Level
Mon 1 Master Level
Internal FX
FX 1 Bypass
Logic
Sub 1 level
To USB/Tape Out R (Sub 2)
In
Footswitch
Out R
FX 1
Out L
FX
Preset
Display
Phones
R
L
Control
Room
Out
R
L
Tape Out
USB Out
R
Main Out
L
FX send
(Mon send 2 identical)
Monitor send 1
(Sub 2-4 identical)
Sub 1 Out
Preset select
Main
Sub 1-2
CR/Phones
Level
Sig/OL
RUDE
SOLO
LED
From Sub2
Main R Sum
Main L
Sum
From Sub1
To USB/Tape Out L (Sub 1)
Main L
Mon 1
Main R
Main level
To/From
Graphic EQ
Note: When not assigned to EQ, signal is sent to straight through to destination.
R sum
L sum
To USB/Tape Out R
Block Diagram
Solo
FX (post)
Mon 2 (pre)
Mon 1 (pre)
Track Sheet - Mono Channels
MIC
MIC
–––
MIC
–––
MIC
–––
MIC
–––
MIC
–––
MIC
–––
MIC
–––
–––
BAL /UNBAL
BAL /UNBAL
BAL /UNBAL
BAL /UNBAL
BAL /UNBAL
BAL /UNBAL
BAL /UNBAL
BAL /UNBAL
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
U
U
IC GAIN
M
U
-20dB
U
-20dB
+50
+30dB
GAIN
U
-20dB
+50
+30dB
GAIN
LOW CUT
100Hz
-15 +15
600
150
-15 +15
600
1.5k
100
FREQ
150
8k
U
1.5k
100
U
MON
+15
U
+15
U
FX
FX
+15
R
L
R
L
OL
–––
–––
5
U
20
10
U
10
40
50
60
–––
U
10
–––
U
10
40
50
60
40
50
60
PAN
L
–––
U
10
–––
5
1-2
U
10
3-4
20
L-R
30
40
50
60
1-2
5
3-4
20
PFL
SOLO
R
dB
10
5
3-4
L-R
40
50
60
L
OL
5
1-2
30
PFL
SOLO
PAN
R
dB
10
20
L-R
30
PFL
SOLO
10
FX
+15
OL
5
3-4
20
L-R
30
FX
R
5
5
3-4
2
+15
U
+15
–––
U
MON
+15
U
dB
10
1-2
1
+15
U
2
OL
5
1-2
20
PFL
SOLO
L
MON
MON
PAN
R
dB
10
5
3-4
L-R
40
50
60
L
AUX
U
+15
U
FX
OL
5
1-2
30
PFL
SOLO
R
dB
10
20
L-R
30
PFL
SOLO
–––
5
3-4
20
L-R
30
L
-15 +15
1
+15
PAN
OL
5
1-2
5
3-4
R
dB
10
5
1-2
PAN
OL
dB
10
5
40
50
60
PAN
U
MON
+15
U
FREQ
8k
LOW
80Hz
AUX
U
2
+15
1.5k
100
-15 +15
MON
FX
+15
150
LOW
80Hz
+15
U
+15
U
FX
+15
PAN
OL
+15
U
FX
+15
PAN
10
+15
U
U
1
2
FREQ
8k
MON
MON
MID
-15 +15
600
1.5k
100
AUX
U
+15
U
2
150
-15 +15
1
MON
2
U
MON
+15
U
FREQ
8k
LOW
80Hz
AUX
U
-15 +15
U
MID
-15 +15
600
1.5k
100
-15 +15
1
MON
2
U
MON
+15
U
150
LOW
80Hz
AUX
U
FREQ
8k
HI
12kHz
-15 +15
U
-15 +15
600
1.5k
100
-15 +15
1
MON
2
U
MON
+15
U
150
LOW
80Hz
AUX
U
FREQ
8k
EQ
U
HI
12kHz
MID
-15 +15
600
1.5k
100
-15 +15
1
+15
U
dB
10
U
MON
1
150
LOW
80Hz
AUX
U
FREQ
8k
LOW CUT
100Hz
EQ
U
-15 +15
U
MID
-15 +15
600
1.5k
100
-15 +15
AUX
MON
U
150
LOW
80Hz
-15 +15
L
FREQ
8k
LOW
80Hz
U
-15 +15
600
+50
+30dB
GAIN
LOW CUT
100Hz
HI
12kHz
-15 +15
U
MID
U
-20dB
+50
+30dB
EQ
U
U
IC GAIN
M
GAIN
LOW CUT
100Hz
HI
12kHz
-15 +15
U
MID
U
-20dB
+50
+30dB
EQ
U
U
IC GAIN
M
GAIN
LOW CUT
100Hz
HI
12kHz
-15 +15
U
MID
U
-20dB
+50
+30dB
EQ
U
U
IC GAIN
M
GAIN
LOW CUT
100Hz
HI
12kHz
-15 +15
U
MID
U
-20dB
+50
+30dB
EQ
U
U
IC GAIN
M
GAIN
LOW CUT
100Hz
HI
12kHz
-15 +15
U
U
-20dB
+50
+30dB
EQ
U
HI
12kHz
U
IC GAIN
M
GAIN
LOW CUT
100Hz
EQ
U
U
IC GAIN
M
IC GAIN
M
L-R
30
PFL
SOLO
40
50
60
PFL
SOLO
Owner's Manual 31
Track Sheet - Comp & Stereo Channels
BAL /UNBAL
1
FOOTSWITCH
BAL /UNBAL
BAL /UNBAL
2
MIC
MIC
MIC
MIC
MIC
MIC
MON SEND
–––
–––
BAL /UNBAL
–––
BAL /UNBAL
–––
BAL /UNBAL
BAL /UNBAL
–––/–––
–––/––– –––/–––
–––/–––
BAL /UNBAL
BAL /UNBAL
BAL /UNBAL
L
LINE IN
LINE IN
LINE IN
MAX
OFF
COMP
U
U
U
-20dB
+50
+30dB
LINE IN 9
U
-20dB
LINE IN 11
LOW CUT
100Hz
EQ
U
HI
12kHz
-15 +15
600
150
1.5k
100
FREQ
U
1.5k
100
U
LOW
80Hz
MON
1
1
+15
U
MON
2
+15
U
+15
U
FX
FX
+15
R
L
–––
L
–––
5
U
20
10
10
40
50
60
U
10
40
50
60
L
U
5
3-4
10
40
50
60
PFL
SOLO
U
10
40
50
60
U
10
40
50
60
10
40
50
60
1-2
3-4
20
L-R
30
PFL
SOLO
U
5
3-4
20
L-R
–––/–––
5
1-2
5
3-4
R
dB
10
5
1-2
30
PFL
SOLO
L
OL
dB
10
20
L-R
30
R
–––/––– –––/–––
5
3-4
20
L-R
30
L
PAN
OL
5
1-2
+15
PAN
R
dB
10
5
1-2
FX
+15
OL
dB
10
20
L-R
PFL
SOLO
R
––– –––/–––
5
3-4
30
PFL
SOLO
L
+15
U
FX
PAN
OL
5
1-2
20
L-R
30
PFL
SOLO
U
R
dB
10
5
3-4
20
L-R
30
–––
5
1-2
5
3-4
L
OL
dB
10
5
1-2
R
2
+15
U
+15
PAN
MON
2
FX
+15
PAN
OL
dB
10
5
40
50
60
R
OL
dB
10
+15
PAN
+15
U
MON
+15
U
FX
1
+15
U
2
+15
U
FX
+15
PAN
OL
+15
U
FX
+15
PAN
10
+15
U
MON
1
MON
2
AUX
U
MON
+15
U
MON
2
-15 +15
AUX
U
1
+15
U
LOW
80Hz
-15 +15
MON
1
MON
2
U
LOW
80Hz
AUX
U
MON
+15
U
MON
2
-15 +15
U
-15 +15
AUX
U
1
+15
U
MID
2.5kHz
-15 +15
LOW
80Hz
-15 +15
MON
1
+15
U
MON
U
MON
U
MID
2.5kHz
U
LOW
80Hz
AUX
U
U
-15 +15
U
-15 +15
AUX
U
-15 +15
FREQ
8k
U
HI
12kHz
-15 +15
MID
2.5kHz
-15 +15
SOURCE
EQ
U
HI
12kHz
U
LOW
80Hz
-15 +15
AUX
U
MON
L
U
EQ
U
-15 +15
MID
2.5kHz
1.5k
100
GAIN
LINE
USB
HI
12kHz
U
+20
-20
GAIN
EQ
U
HI
12kHz
-15 +15
150
LOW
80Hz
-15 +15
AUX
FREQ
+20
-20
LOW CUT
100Hz
EQ
U
MID
8k
+50
GAIN
LOW CUT
100Hz
-15 +15
600
1.5k
100
U
+50
GAIN
-15 +15
U
150
LOW
80Hz
-15 +15
U
FREQ
8k
U
HI
12kHz
-15 +15
600
150
8k
U
U
MID
-15 +15
600
IC GAIN
M
EQ
U
-15 +15
U
R
IC GAIN
M
LOW CUT
100Hz
MID
R
LINE IN 16
+50
+30dB
HI
12kHz
-15 +15
U
MID
R
LINE IN 15
LINE IN 14
GAIN
EQ
U
HI
12kHz
-15 +15
U
U
-20dB
LOW CUT
100Hz
LINE IN 13
LINE IN 12
U
+50
+30dB
(MONO)
LINE IN 10
IC GAIN
M
GAIN
L
(MONO)
MAX
COMP
U
+50
+30dB
EQ
OFF
IC GAIN
M
GAIN
LOW CUT
100Hz
MAX
COMP
IC GAIN
M
GAIN
U
OFF
COMP
IC GAIN
M
U
-20dB
MAX
L
(MONO)
R
OFF
BAL /UNBAL
L
(MONO)
LINE IN
FX SEND
L-R
30
PFL
SOLO
40
50
60
PFL
SOLO
Track Sheet - Master Section
BALANCED
BALANCED
L
IN
BAL /UNBAL
OUT
R
TAPE
BAL /UNBAL
L
R
PHONES
MAIN OUT
BAL /UNBAL
BAL /UNBAL
BAL /UNBAL
BAL /UNBAL
L
L
1
3
R
R
2
4
(MONO)
AUX RETURN
CR OUT
SUB OUT
POWER
PHANTOM
STEREO GRAPHIC EQ
15
15
10
10
5
5
0
0
5
5
10
10
15
15
125
250
500
1K
2K
MAIN MIX
MON 1
4K
MAIN
METERS
0dB = 0dBu
OL
15
10
6
3
0
2
4
7
10
20
30
8K
EQ IN
BYPASS
L
01 BRIGHT ROOM
02 WARM LOUNGE
03 SMALL STAGE
04 WARM THEATER
U
AUX
MASTER
13 DELAY 1 (300ms)
14 DELAY 2 (380ms)
15 DELAY 3 (480ms)
09 CHORUS
10 CHORUS + REV
11 DOUBLER
12 TAPE SLAP
05 WARM HALL
06 CONCERT HALL
07 PLATE REVERB
08 CATHEDRAL
U
AUX
RETURN
MON
TO
MON 1
+15
U
MON
TO
MON 2
TO
MON 2
2
+15
U
+15
U
+15
U
TO
MAIN
L-R
FX
+15
RUDE
SOLO
INTERNAL FX
+15
U
+15
U
R
U
TO
MON 1
1
LEVEL
SET
TO
MAIN
L-R
SIG/OL
INT FX
MUTE
+10
+10
U
MAIN
SUB 1-2
L
TAPE
USB
2-TRACK RETURN
USB OUT
R
L
SUB 1
BREAK
+15
LEVEL
R
L
SUB 2
(MUTES ALL CH)
R
L
SUB 3
R
MAX
CR /PHONES
MAIN
SUB 4
dB
10
dB
10
dB
10
dB
10
dB
10
5
5
5
5
5
U
U
U
U
U
5
5
5
5
5
10
10
10
10
10
20
20
20
20
20
30
30
30
30
30
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
Owner's Manual 33
Appendix D: Table of Effects Presets
No. Title
Description
Example of its use
01 Bright Room
This room has a bright tone with lots of scattered
reflections to simulate harder, more reflective surfaces.
Useful on vocals that require a brighter reverb to
cut through the mix, or for giving acoustic
instruments a livelier vibe.
02
Warm Lounge
This preset features a medium sized room sound, with
Useful for vocals on songs that require a larger,
just enough enhancement of the lower mids to produce a more “wet” sound, or for giving dimension to
warm tone.
bright horns without adding harshness.
03 Small Stage
This preset simulates the sound of a small concert stage,
with a medium reverb time and reverberant space.
Useful for vocals or guitars in fast paced,
high-energy songs that call for a “live”
sounding reverberation.
04 Warm Theater
This reverb has a warm bodied tone and medium long
reverb time to simulate the live acoustics of a theater
space.
Perfect for vocals, drums, acoustic and electric
guitars, keyboards and more.
05 Warm Hall
This reverb simulates the sound of a spacious, yet cozy,
heavily draped and carpeted concert hall with an
especially warm tone.
Perfect for adding natural concert hall ambience
to close-mic’ed orchestral instruments.
06 Concert Hall
This hall reverb is characterized by its large, spacious
sound, long pre-delay, and vibrant tone.
Adds life to acoustic instruments and vocals from
solos to full-on symphonies and choirs.
07 Plate Reverb
This preset emulates vintage mechanical reverberation
that was generated with a metal plate. Its sound is
characterized by lots of early reflections and no
pre-delay.
Perfect for thickening percussive instruments, such
as a snare drum, or tight vocal arrangements.
08 Cathedral
This reverb emulates the extremely long tails, dense
Gives amazing depth to choirs, wind instruments,
diffusion and long pre-delays and reflections that would organs and soft acoustic guitars.
be found in a very large, stone walled house of worship.
09 Chorus
This preset provides a soft, ethereal sweeping effect
that is useful for thickening and for making a
particular sound pop out of the mix.
Perfect for enhancement of electric and acoustic
guitar and bass, or to add a dramatic effect to
vocals, particularly group harmonies and choirs.
10 Chorus + Reverb
This preset perfectly combines the chorus effect above
with a large, roomy reverb.
This effect thickens the sound with chorus while
adding warmth and spaciousness thanks to the
smooth reverb.
11 Doubler
This effect simulates the sound of a vocal or instrument
being recorded twice (double-tracked) on a multi-track
recorder.
Provides a vibe that is similar to chorus without
the subtle swirl.
12 Tape Slap
This effect provides a single, relatively rapid delay of
the original signal, with the added warmth that
vintage tape-based echo units provided.
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.
13 DLY 1 (300ms)
14 DLY 2 (380ms)
15 DLY 3 (480ms)
These three presets provide delay. The default delay time These work best with full, up-beat music like rock
for each preset is shown in ms – the smaller the time, the where the delay needs to cut through the mix.
faster the delay.
16 Reverb + DLY (250ms)
This effect combines the Warm Theater reverb effect with Perfect for thickening vocals while adding
the echoes of the 3-repeat delay effect.
dimensions, it can also be used as a spacey
effect on electric guitars.
ProFX16 and ProFX22 Limited Warranty
Please keep your sales receipt in a safe place.
This Limited Product Warranty (“Product Warranty”) is provided by LOUD Technologies Inc. (“LOUD”)
and is applicable to products purchased in the United States or Canada through a LOUD-authorized
reseller or dealer. The Product Warranty will not extend to anyone other than the original purchaser of
the product (hereinafter, “Customer,” “you” or “your”).
For products purchased outside the U.S. or Canada, please visit www.mackie.com/warranty to find
contact information for your local distributor, and information on any warranty coverage provided by the
distributor in your local market.
LOUD warrants to Customer that the product will be free from defects in materials and workmanship
under normal use during the Warranty Period. If the product fails to conform to the warranty then LOUD
or its authorized service representative will at its option, either repair or replace any such nonconforming
product, provided that Customer gives notice of the noncompliance within the Warranty Period to the
Company at: www.mackie.com/support or by calling LOUD technical support at 1.800.898.3211 (toll-free in the U.S. and Canada) during normal business hours Pacific Time, excluding weekends or
LOUD holidays. Please retain the original dated sales receipt as evidence of the date of purchase. You will
need it to obtain any warranty service.
For full terms and conditions, as well as the specific duration of the Warranty for this product, please visit
www.mackie.com/warranty.
The Product Warranty, together with your invoice or receipt, and the terms and conditions located
at www.mackie.com/warranty constitutes the entire agreement, and supersedes any and all prior
agreements between LOUD and Customer related to the subject matter hereof. No amendment,
modification or waiver of any of the provisions of this Product Warranty will be valid unless set forth in a
written instrument signed by the party to be bound thereby.
Need help with your mixer?
• Visit www.mackie.com and click Support to find: FAQs, manuals, addendums, and other useful information.
• Email us at: techmail@mackie.com.
• Telephone 1-800-898-3211 to speak with one of our splendid technical support chaps (Monday through Friday,
normal business hours, Pacific Time).
Owner's Manual 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

ProFX16 and ProFX22 - Marblehead Little Theatre

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