Mackie Pro FX12 Owner's Manual Profx Om

Mackie ProFX12 Owner's Manual profx-om Mackie - ProFX12 - Owner's Manual

Mackie ProFX8 Owner's Manual profx-om Mackie - ProFX8 - Owner's Manual

User Manual: Mackie ProFX12 Owner's Manual Mackie - ProFX12 - Owner's Manual

Open the PDF directly: View PDF .
Page Count: 33

Download
Open PDF In Browser	View PDF

ProFX8 and ProFX12
Professional Mic/Line Mixers with FX and USB I/O
OWNER’S MANUAL

MAIN
RIGHT

POWER
ON

MAIN
LEFT

(BALANCED)

(BALANCED)

USB

MIC

MIC

MIC

MIC

MIC

MIC

(UNBALANCED)

L

L

R

R

TAPE
IN

1

LINE
HI-Z

2

BAL /
UNBAL

3

BAL /
UNBAL

LINE/HI-Z IN 1

4

BAL /
UNBAL

LINE IN 2

5/6

BAL /
UNBAL

LINE IN 5

LINE IN 4

LINE IN 3

7/8

INSERT

U

IC GAIN
M

U
-20dB

LEVEL
SET

U
-20dB

+50
+30dB

GAIN

(MONO)

(MONO)

L

L

L

L

BAL /
UNBAL

BAL /
UNBAL

R

R

BAL /
UNBAL

LINE IN 7

LOW
80Hz

AUX

+15
U

OO

FX
OO

OO

OO

OO

OO

OO

LOW
80Hz

LOW
80Hz

AUX

AUX

U

MON
+15
U

OO

FX
OO

OO

OO

OO

0
5
10
15
125

FX

+15

PAN

5

5

+15
U

FX

+15

PAN

10

0

15

MON

+15
U

FX

+15

PAN

OO

15

5

10

AUX

U

MON

+15
U

OO

PHONES

HI
12kHz

-15 +15

AUX

U

MON

MAIN OUT

FX SEND

EQ

LOW
80Hz

-15 +15

FOOTSWITCH

R

250

500

1K

2K

MAIN MIX
MON

4K

+15

PAN

POWER

MAIN
METERS
0dB=0dBu
OL
15
10
6
3
0
2
4
7
10
20
30

USB

FX PRESETS

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

PAN

8K

48V
PHANTOM
POWER

EQ IN
BYPASS

-15 +15
U
LOW
80Hz

-15 +15

BAL /
UNBAL

10

MID
2.5kHz

-15 +15
U

L
BAL /
UNBAL

15

-15 +15
U
MID
2.5kHz

-15 +15
U

-15 +15

U

-15 +15
U
MID
2.5kHz

BAL /
UNBAL

MON SEND

STEREO GRAPHIC EQ

HI
12kHz

-15 +15
U

-15 +15
U

OO

EQ

U

HI
12kHz

MID
2.5kHz

+15

PAN

EQ

U

(MONO)

ST RETURN

LOW CUT
100 Hz

-15 +15
U

U

LEVEL
SET

+50

GAIN

EQ

FX

+15

PAN

U

HI
12kHz

+15
U

FX

+15

PAN

GAIN

MON

+15
U

FX

+15

-20 +20

GAIN

AUX

U

MON

+15
U

-20 +20

LEVEL
SET

+50

U

-15 +15

AUX

U

MON

U

LOW
80Hz

-15 +15

AUX

U

MON

LINE IN 12

U

LOW CUT
100 Hz

-15 +15
U
LOW
80Hz

LOW
80Hz
-15 +15

LINE IN 10

C GAIN
MI

MID
2.5kHz

-15 +15
U

LINE IN 11

R

R

GAIN

-15 +15
U
MID
2.5kHz

BAL /
UNBAL

LINE IN 9

LINE IN 8

HI
12kHz

-15 +15
U

BAL /
UNBAL

C GAIN
MI

EQ

U

11/12

(MONO)

L

LINE IN 6

U

LOW CUT
100 Hz

HI
12kHz

-15 +15
U

LEVEL
SET

+50
+30dB

GAIN

EQ

U

MID
2.5kHz

-15 +15

U
-20dB

LOW CUT
100 Hz

-15 +15
U

-15 +15
U

IC GAIN
M

LEVEL
SET

+50
+30dB

HI
12kHz

MID
2.5kHz

U

GAIN

EQ

U

-15 +15
U

OO

U
-20dB

LOW CUT
100 Hz

HI
12kHz

U

IC GAIN
M

LEVEL
SET

+50
+30dB

EQ

U

U

GAIN

LOW CUT
100 Hz

INSERT

INSERT

U

IC GAIN
M

9/10

(MONO)

R
INSERT

TAPE
OUT

U

OO

PRESETS

+10

INPUT LEVEL

L

R

MUTE

USB THRU

U

BREAK

(MUTES ALL CHANNELS)

U

U
OL

L

R

L

MUTE

L

MUTE

OL

dB
10

R

dB
10

L

MUTE

OL

1

R

dB
10

L

MUTE

OL

2

R

MUTE

OL

3

dB
10

L

R

dB
10

L

MUTE

OL

4

R

MUTE

OL

5/6

dB
10

L

R

dB
10

OO

OL

9/10

dB
10

+15

FX MASTER

MUTE

OL

7/8

R

OO

+15

OO

OL

11/12

dB
10

ST RTN

dB
10

FX RTN

MAX

OO

+20

PHONES

TAPE LEVEL

MON

MAIN

FX TO MON

MUTE

dB
10

dB
10

5

5

5

5

5

5

5

5

5

5

5

5

U

U

U

U

U

U

U

U

U

U

U

U

5

5

5

5

5

5

5

5

5

5

5

5

10

10

10

10

10

10

10

10

10

10

10

10

20

20

20

20

20

20

20

20

20

20

20

20

30

30

30

30

30

30

30

30

30

30

30

30

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

OO

OO

OO

OO

OO

OO

OO

OO

OO

OO

OO

OO

ProFX8 and ProFX12

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. Protect the power cord from being walked on or pinched particularly at
plugs, convenience receptacles, and the point where they exit from the
apparatus.
11. Only use attachments/accessories specified by the manufacturer.
PORTABLE CART
12. 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.
13. Unplug this apparatus during lightning storms or
when unused for long periods of time.
14. 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.
15. 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.
16. Do not overload wall outlets and extension cords as this can result in a
risk of fire or electric shock.
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.

2

ProFX8 and ProFX12

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
Matt screaming at Troy 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.

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.

2. For mono channels, adjust the gain control so
the level set LED just comes on occasionally
during the loudest parts of the performance.
The mono channel gain affects the mic and the
line inputs. The hybrid channel gain affects the
mic input only, not the stereo line inputs.
The stereo channel gain adjusts the stereo
line inputs. Adjust as desired, and make sure
that the OL LED does not come on during the
loudest passages.

Zero the Mixer
1. Turn down all knobs except the channel EQ and
pan knobs, and set all the faders fully down.
2. Set all channel EQ knobs, pan knobs, and the
graphic EQ sliders at their center detent.
3. Set all buttons to the “out” position.
4. Whistle a popular show tune.

Connections
If you already know how you want to connect the
mixer, go ahead and connect the inputs and outputs
the way you want them. If you just want to get sound
through the mixer, follow these steps:
1. Plug signal sources into the mixer, such as:
•

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

•

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

•

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

3. Repeat steps 1 and 2 for the other channels.

Instant Mixing
1. To get sound out of the speakers and into a
waiting world, turn up the channel’s fader to the
“U” (unity gain) position, and slowly bring up the
main fader to a comfortable listening level.
2. Sing and play. You’re a star! Bring in the other
channels, and adjust their faders to make a
nice mix and generally have fun.

USB
The USB connection allows you to play 2 channels of
audio from the computer, and to record the main mix to
the computer.

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

2. Connect cords from the main outs to powered
speakers or an amplifier.

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

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

4. If using powered speakers, turn them on.
Otherwise, connect passive speakers to an amp
with speaker cables, and turn it on. Adjust the
powered speaker or amplifier level controls
to however the manufacturer recommends.
(This is usually all the way up.)

Set the Gain
1. Play something into an input. This could be an
instrument, singing or speaking, or a line level
source such as a keyboard or CD player. Be sure
that the volume of the input is the same as it
would be during normal use, or the gain may
have to be readjusted in the middle of a set. You
can listen with headphones by carefully turning
up the channel fader and headphones level a
little.
Part No. SW0713 Rev. D					
©2011 LOUD Technologies Inc. All Rights Reserved.
No electrons were harmed during the production of this PDF.

Owner’s Manual

Read This Page!

Save the shipping box! You may need it someday.

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

Purchased at:

Date of purchase:

Owner’s Manual

3

ProFX8 and ProFX12

Introduction
Thank you for choosing a Mackie professional ProFX
mixer. It is equipped with our rather lovely microphone
preamps, an internal FX processor and a USB port for
playing and recording 2 channels of audio using a
computer. The ProFX8 has 8 channels and the ProFX12
has 12 channels. Apart from this difference, the mixers
are identical and this manual covers both models.
At Mackie, we know what it takes to be roadworthy.
After all, our mixers have traveled all over the world,
often under the worst of conditions, and we’ve applied
what we’ve learned to the mechanical design of our
ProFX mixers.
Reliability is paramount to sound reinforcement.
That’s why our engineers have subjected our mixers
to the most rigorous and fiendish tests imaginable to
fine-tune the d esign, and extend its limits beyond
those of ordinary mixers.

Features

4

•

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

•

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

•

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

•

Headphones level control

•

Tape input level control

•

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

•

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

•

12-segment stereo output meters on main mix

•

Break switch mutes all channels except tape
input and USB input

•

Faders for stereo return, FX return, monitor
and main

•

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

•

USB thru switch and input level

How To Use This Manual
The first few pages after the table of contents are the
hookup diagrams. These show typical setups for fun
times with your ProFX8 or ProFX12 mixer.
Next is a detailed tour of the entire mixer. The
descriptions are divided into sections, just as the
mixer is o rganized into distinct zones:
•

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

•

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

•

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

•

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

•

Stereo Effect Processor

•

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

•

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

•

+48V phantom power can be applied to all mics

•

Tape/CD stereo RCA inputs and outputs

•

1/4" TRS insert jacks on mono channels

•

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

•

Low cut switch on mono and hybrid channels

•

3-band EQ on each channel

•

Aux monitor control on each channel

•

Aux FX control on each channel

•

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

•

Stereo return has mute, OL LED and fader

Appendix A: Service information

•

XLR and 1/4" TRS main stereo line outputs

Appendix B: Connectors

•

1/4" TRS stereo return

Appendix C: Technical information

•

1/4" TRS FX send and monitor send

•

1/4" TRS stereo headphones output

ProFX8 and ProFX12

Throughout these sections are illustrations with 		
each feature numbered and described in the nearby
paragraphs.
This icon marks information that is critically
important or unique to the mixer. For your own
good, read them and remember them.
This icon will lead to some explanations of
features and practical tips. Go ahead and skip
these if you really need to go.

IMPORTANT SAFETY INSTRUCTIONS......................... 2
READ THIS PAGE!..................................................... 3
INTRODUCTION....................................................... 4
CONTENTS .............................................................. 5
HOOKUP DIAGRAMS............................................... 6
REAR PANEL FEATURES.......................................... 12
1. POWER CONNECTION.............................. 12
2. POWER SWITCH...................................... 12
3. XLR MAIN OUTS .................................... 12
4. USB PORT .............................................. 12
FRONT PANEL FEATURES........................................ 13
CONNECTION SECTION........................................ 13
5. MIC INPUTS............................................ 13
6. LINE/HI-Z SWITCH.................................. 13
7. LINE/HI-Z INPUT (CHANNEL 1 ONLY)....... 13
8. MONO LINE INPUTS................................ 14
9. STEREO LINE INPUTS............................... 14
10. CHANNEL INSERT.................................... 14
11. STEREO RETURN..................................... 14
12. MON SEND............................................. 15
13. FX SEND................................................. 15
14. 1⁄4" MAIN OUTS..................................... 15
15. FX FOOTSWITCH..................................... 15
16. PHONES................................................. 15
17. TAPE INPUT............................................ 16
18. TAPE OUTPUTS ....................................... 16
CHANNEL CONTROLS.......................................... 17
19. GAIN ..................................................... 18
20. LEVEL SET LED......................................... 18
21. LOW CUT................................................ 18
22. HI EQ...................................................... 19
23. MID EQ................................................... 19
24. LOW EQ.................................................. 19
25. AUX MON............................................... 19

26. AUX FX.................................................. 20
27. PAN....................................................... 20
28. OL LED.................................................... 20
29. MUTE..................................................... 20
30. CHANNEL FADER..................................... 20
MASTER CONTROLS............................................ 21
31. PHANTOM POWER SWITCH..................... 21
32. POWER LED............................................ 21
33. METERS.................................................. 21
34. BREAK SWITCH ..................................... 22
35. TAPE LEVEL ........................................... 22
36. STEREO GRAPHIC EQ............................... 22
37. MAIN MIX/MON.................................... 22
38. EQ IN/BYPASS........................................ 22
39. USB INPUT LEVEL.................................... 22
40. USB THRU.............................................. 23
41. PHONES LEVEL........................................ 23
42. OL LED (FOR STEREO RETURNS)............... 23
43. MUTE (FOR STEREO RETURNS)................. 23
44. STEREO RETURN FADER........................... 23
45. FX RETURN FADER.................................. 23
46. MONITOR FADER.................................... 23
47. MAIN FADER........................................... 23
STEREO EFFECTS PROCESSOR.............................. 24
48. PRESET DISPLAY..................................... 24
49. PRESET SELECTOR................................... 24
50. INTERNAL FX MUTE................................. 24
51. FX MASTER............................................. 24
52. OL LED.................................................... 24
53. FX TO MON............................................ 24
APPENDIX A: SERVICE INFORMATION..................... 26
APPENDIX B: CONNECTIONS.................................. 27
APPENDIX C: TECHNICAL INFORMATION................. 29
PROFX8 AND PROFX12 LIMITED WARRANTY......... 32

Owner’s Manual

Contents

Need help with your mixer?
• Visit www.mackie.com and click Support to find:		
FAQs (Frequently Asked Questions), manuals, addendums, and
user forums.
• Email us at: techmail@mackie.com.
• Telephone 1-800-898-3211 to speak with one of our splendid
technical support representatives, (Monday through Friday,
normal business hours, Pacific Time).
Owner’s Manual

5

ProFX8 and ProFX12

HOOKUP DIAGRAMS
Electric
Guitar
Acoustic
Guitar with
pickup

Bass
Guitar

Microphones
iPod
Docking Station
Mono Effects
Footswitch

Headphones

press HI-Z
button
MIC

MIC

MIC

MIC

MIC

MIC

(UNBALANCED)

L

L

R

R

TAPE
IN

1

LINE
HI-Z

2

3

4

5/6

7/8
(MONO)

(MONO)
BAL /
UNBAL

BAL /
UNBAL

LINE/HI-Z IN 1

BAL /
UNBAL

LINE IN 2

BAL /
UNBAL

L

LINE IN 4

LINE IN 3

LINE IN 5

LINE IN 7

INSERT

U

U

C GAIN
MI

U
-20dB

IC GAIN
M

LEVEL
SET

U
-20dB

+50
+30dB

GAIN

EQ

-15 +15

OO

+15
U

OO

+15

OO

+15
U

OO

+15

FX

Drum
Machine

OO

+15
U

OO

+15

FX

PAN

OO

+15
U

OO

+15

FX

PAN

OO

+15

FX

PAN

R

OO

+15
U

OO

+15

OO

+15
U

OO

+15

FX

PAN

FOOTSWITCH

MAIN OUT

PHONES

15
10

5

5

0

0

5

5

10
15

48V
PHANTOM
POWER

POWER

10

MAIN
METERS

15
125

MON

250

500

1K

2K

MAIN MIX
MON

4K

8K

0dB=0dBu

+15
U

OO

+15

FX

PAN

USB

FX PRESETS

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

PAN

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

EQ IN
BYPASS

U

OO

+10

Effects Processor
Mono in, Stereo out

OO

FX

PAN

FX SEND

15

EQ

AUX

U

MON

FUSE: T1.6AL AC250V

R

10

HI
12kHz

-15 +15

AUX

U

BAL /
UNBAL

ST RETURN

LOW
80Hz

-15 +15

MON

L

BAL /
UNBAL

MON SEND

-15 +15
U
LOW
80Hz

AUX

FX

PAN

L
BAL /
UNBAL

R

MID
2.5kHz

-15 +15
U

~100-240V 50/60 Hz 25W

BAL /
UNBAL

L

-15 +15
U
MID
2.5kHz

-15 +15
U

U

HI
12kHz

LOW
80Hz

MON
+15
U

EQ

U

-15 +15
U

-15 +15
U

AUX

OO

GAIN

MID
2.5kHz

-15 +15
U

-20 +20

GAIN

HI
12kHz

(MONO)

STEREO GRAPHIC EQ

-20 +20

EQ

U

LOW
80Hz

MON

U

-15 +15
U

-15 +15
U

AUX

U

MON

U

LEVEL
SET

+50

MID
2.5kHz

-15 +15

AUX

U

MON

LINE IN 12

MANUFACTURING DATE

MAIN
LEFT

(BALANCED)

USB

BAL /
UNBAL

LOW CUT
100 Hz

HI
12kHz

LOW
80Hz

LINE IN 10

GAIN

EQ

U

-15 +15
U

-15 +15

AUX

U

MON

U

-15 +15
U
MID
2.5kHz

LOW
80Hz

-15 +15

AUX

+50
LOW CUT
100 Hz

HI
12kHz

-15 +15
U

C GAIN
MI

LEVEL
SET

LINE IN 11

R

LINE IN 8

GAIN

-15 +15
U
MID
2.5kHz

LOW
80Hz

U

EQ

U

HI
12kHz

-15 +15
U
LOW
80Hz

+50
+30dB

LOW CUT
100 Hz

-15 +15
U
MID
2.5kHz

C GAIN
MI

LEVEL
SET

GAIN

EQ

U

HI
12kHz

-15 +15
U

U
-20dB

+50
+30dB

LOW CUT
100 Hz

-15 +15
U
MID
2.5kHz

LINE IN 6

U

IC GAIN
M

LEVEL
SET

GAIN

EQ

U

HI
12kHz

U

U
-20dB

+50
+30dB

LOW CUT
100 Hz

-15 +15
U

INSERT

U

C GAIN
MI

LEVEL
SET

GAIN

LOW CUT
100 Hz

U

INSERT

BAL /
UNBAL

LINE IN 9

R

AVIS: RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR
SERIAL NUMBER

MAIN
RIGHT

(BALANCED)

(MONO)

L

BAL /
UNBAL

ON

11/12

(MONO)

L

BAL /
UNBAL

R
INSERT

9/10

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

POWER

TAPE
OUT

INPUT LEVEL

PRESETS

L

R

MUTE

USB THRU

U

Laptop Computer
with Tracktion
for recording

BREAK

(MUTES ALL CHANNELS)

U

U

OL

L

R

L

MUTE

L

MUTE

OL

dB
10

R

MUTE

OL

1

dB
10

L

R

dB
10

L

MUTE

OL

2

R

dB
10

L

MUTE

OL

3

R

MUTE

OL

4

dB
10

L

R

MUTE

OL

5/6

dB
10

L

R

dB
10

OO

OL

9/10

dB
10

+15

FX MASTER

MUTE

OL

7/8

R

OO

+15

OO

MUTE

dB
10

ST RTN

dB
10

5

5

5

5

5

5

5

5

5

5

U

U

U

U

U

U

U

U

U

U

FX RTN

OO

+20

TAPE LEVEL

MON

MAIN

FX TO MON

OL

11/12

MAX

PHONES

dB
10

dB
10

Monitor EQ
5

5

U

U

5

5

5

5

5

5

5

5

5

5

5

5

10

10

10

10

10

10

10

10

10

10

10

10

20

20

20

20

20

20

20

20

20

20

20

20

30

30

30

30

30

30

30

30

30

30

30

30

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

OO

OO

OO

OO

OO

OO

OO

OO

OO

OO

OO

OO

SRM450v2 Powered Monitors

SRM450v2 Powered Speakers

Keyboard

This diagram shows a guitar connected directly to channel 1 (with the hi-z switch pressed in),
microphones attached to channels 2, 3, and 4, guitar effects processors connected to the left line-level
input of channel 5/6 and 7/8, a keyboard attached to channel 9/10's line-level inputs and a drum
machine connected to channel 11/12. An iPod docking station is attached to the stereo tape inputs. 		
An effects processor receives a mono input from the FX send and its stereo outputs connect to the
stereo return inputs.
Mackie SRM450v2 powered speakers are connected to the left and right main output. Two of these
speakers are also set up as stage monitors and connect to the mixer's monitor output via a graphic EQ.
The aux mon controls of each channel allow you to create a stage monitor mix that is independent of the
main mix. Use the external graphic EQ to adjust the stage monitor EQ as desired. Headphones are used
for monitoring, and a footswitch allows you to mute/un-mute the internal effects as desired.
A laptop connects to the USB port, and allows the 2-channel main mix of the performance to be
recorded using Tracktion software. Two channels of audio can also play from the computer to the
main mix.

Band System ProFX12

6

ProFX8 and ProFX12

Owner’s Manual

Acoustic Guitar
and Mic

Electric
Guitar

Lavalier
Clip-on Mic

Microphones
iPod
Docking Station

Assistive Listening
System
Headphones

Mono Effects

MIC

MIC

MIC

MIC

MIC

MIC

(UNBALANCED)

L

L

R

R

TAPE
IN

1

LINE
HI-Z

2

3

4

5/6

7/8

BAL /
UNBAL

BAL /
UNBAL

LINE/HI-Z IN 1

BAL /
UNBAL

LINE IN 2

BAL /
UNBAL

L

LINE IN 4

LINE IN 3

LINE IN 5

LINE IN 7

INSERT

U

C GAIN
MI

U
-20dB

U

IC GAIN
M

LEVEL
SET

U
-20dB

+50
+30dB

GAIN

EQ

MON
OO

+15
U

OO

+15

MON
OO

+15
U

OO

+15

FX

MON
OO

+15
U

OO

+15

FX

OO

+15
U

OO

+15

FX

Dual Compressors
PAN

L

PAN

R

L

MUTE

PAN

R

L

MUTE

OL

dB
10

dB
10

dB
10

L

R

OO

+15
U

OO

+15

FX

OO

+15
U

OO

+15

BAL /
UNBAL

FUSE: T1.6AL AC250V

FOOTSWITCH

R
MAIN OUT

FX SEND

PHONES

15

15

10

10

5

5

0

0

5

5

EQ

10

HI
12kHz

15

LOW
80Hz

48V
PHANTOM
POWER

MAIN
METERS

15
250

500

1K

2K

MAIN MIX
MON

4K

8K

0dB=0dBu

USB
U

OO

+10

Effects Processor
Mono in, Stereo out

OO

+15
U

OO

+15

FX

PAN

PAN

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

EQ IN
BYPASS

FX PRESETS

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

PRESETS

INPUT LEVEL

L

R

MUTE

USB THRU

U

Laptop
with Tracktion
recording
the service

POWER

10

125

MON

FX

PAN

L

BAL /
UNBAL

MON SEND

ST RETURN

AUX

U

MON

FX

PAN

R

L

MUTE

dB
10

R

L

MUTE

OL

3

R

Compressor/Limiter

BREAK

(MUTES ALL CHANNELS)

U

U

OL

OL

2

+15

PAN

MUTE

OL

1

OO

FX

L
BAL /
UNBAL

R

-15 +15

AUX

MON

~100-240V 50/60 Hz 25W

BAL /
UNBAL

L

-15 +15
U
LOW
80Hz

-15 +15
U

USB

MID
2.5kHz

-15 +15
U
LOW
80Hz

(BALANCED)

(MONO)

-15 +15
U
MID
2.5kHz

AUX

U

U

HI
12kHz

-15 +15

MON
+15
U

EQ

U

-15 +15
U

-15 +15
U
LOW
80Hz

OO

GAIN

MID
2.5kHz

AUX

MON

-20 +20

GAIN

HI
12kHz

MANUFACTURING DATE

MAIN
LEFT

STEREO GRAPHIC EQ

-20 +20

EQ

U

-15 +15
U

U

-15 +15
U

-15 +15
U
LOW
80Hz

U

+50

MID
2.5kHz

AUX

U

LINE IN 12

LEVEL
SET

(BALANCED)

BAL /
UNBAL

LOW CUT
100 Hz

HI
12kHz

-15 +15

LINE IN 10

GAIN

EQ

U

-15 +15
U
LOW
80Hz

AUX

U

-15 +15
U
MID
2.5kHz

-15 +15
U

+50
LOW CUT
100 Hz

HI
12kHz

-15 +15
U
LOW
80Hz

AUX

U

C GAIN
MI

LEVEL
SET

LINE IN 11

R

LINE IN 8

GAIN

-15 +15
U
MID
2.5kHz

-15 +15

AUX

U

EQ

U

HI
12kHz

-15 +15
U
LOW
80Hz

-15 +15

+50
+30dB

LOW CUT
100 Hz

-15 +15
U
MID
2.5kHz

C GAIN
MI

LEVEL
SET

GAIN

EQ

U

HI
12kHz

-15 +15
U

U
-20dB

+50
+30dB

LOW CUT
100 Hz

-15 +15
U
MID
2.5kHz

LINE IN 6

U

IC GAIN
M

LEVEL
SET

GAIN

EQ

U

HI
12kHz

U

U
-20dB

+50
+30dB

LOW CUT
100 Hz

-15 +15
U

INSERT

U

C GAIN
MI

LEVEL
SET

GAIN

LOW CUT
100 Hz

U

INSERT

BAL /
UNBAL

LINE IN 9

R

AVIS: RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR
SERIAL NUMBER

MAIN
RIGHT

(MONO)

L

BAL /
UNBAL

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

ON

11/12

(MONO)

L

BAL /
UNBAL

R
INSERT

9/10

(MONO)

(MONO)

WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC

POWER

TAPE
OUT

dB
10

L

R

MUTE

OL

4

dB
10

R

L

MUTE

OL

5/6

dB
10

R

OO

OL

9/10

dB
10

+15

FX MASTER

MUTE

OL

7/8

OO

+15

dB
10

ST RTN

OO

MAX

PHONES

FX TO MON

OO

dB
10

FX RTN

+20

TAPE LEVEL

MAIN

MON

MUTE
OL

11/12

Monitor EQ
dB
10

dB
10

5

5

5

5

5

5

5

5

5

5

5

5

U

U

U

U

U

U

U

U

U

U

U

U

5

5

5

5

5

5

5

5

5

5

5

5

10

10

10

10

10

10

10

10

10

10

10

10

20

20

20

20

20

20

20

20

20

20

20

20

30

30

30

30

30

30

30

30

30

30

30

30

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

OO

OO

OO

OO

OO

OO

OO

OO

OO

OO

OO

OO

SRM450v2 Powered Monitors
HD1521 Powered Speakers
Keyboard

This diagram shows various microphones attached to channels 1 to 4, a mic'd guitar on channel 5/6,
a guitar effects processor connected to the left line-level input of channel 7/8 and a keyboard attached
to channel 9/10's line-level inputs. An iPod docking station is attached to the stereo tape inputs.
An effects processor receives a mono input from the FX send and its stereo outputs connect to the stereo
return inputs. An assistive listening system is connected to the line-level main output. Dual compressors
are connected to the inserts of channels 1 to 4, allowing vocal compression.
Mackie HD1521 powered speakers are connected to the left and right main output via a compressor/
limiter. Two SRM450v2 powered speakers are set up as stage monitors and connect to the mixer's
monitor output via a graphic EQ. The aux mon controls of each channel allow you to create a stage
monitor mix that is independent of the main mix. Use the external graphic EQ to adjust the stage
monitor EQ, as desired. Headphones are used for monitoring.
A laptop connects to the USB port, and allows the 2-channel main mix of the service to be recorded
using Tracktion software. Two channels of audio can also play from the computer to the main mix.

House of Worship System ProFX12
Owner’s Manual

7

ProFX8 and ProFX12

Microphones

iPod
Docking Station

CD Player

Headphones

MIC

MIC

MIC

MIC

(UNBALANCED)

L

L

R

R

TAPE
IN

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

TAPE
OUT

AVIS: RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR
SERIAL NUMBER

POWER

1

LINE
HI-Z

2

3/4

5/6

(MONO)
BAL /
UNBAL

LINE/HI-Z IN 1

L

LINE IN 2

LINE IN 3

LINE IN 5

U

C GAIN
MI

U
-20dB

U

C GAIN
MI

LEVEL
SET

U
-20dB

+50
+30dB

GAIN

+50
+30dB

EQ

MID
2.5kHz

MID
2.5kHz

AUX

U

+15
U

OO

+15

OO

+15
U

OO

+15

FX

OO

+15
U

OO

+15

FX

PAN

+15
U

OO

+15

FX

PAN

-15 +15

AUX

U

MON
OO

MON
OO

+15
U

OO

+15

FX

PAN

5

5

0

0

5

5

10

FX

PAN

48V
PHANTOM
POWER

POWER

10

15

15
125

LOW
80Hz

AUX

U

MON

10

250

1K

500

2K

MAIN MIX
MON

4K

MAIN
METERS
0dB=0dBu
OL
15
10
6
3
0
2
4
7
10
20
30

USB

FX PRESETS

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

PAN

8K

EQ IN
BYPASS

-15 +15
U

-15 +15

AUX

U

MON

PHONES

15

10

MID
2.5kHz

LOW
80Hz

-15 +15

AUX

U

MON
OO

LOW
80Hz

-15 +15

-15 +15

HI
12kHz

-15 +15
U

MAIN OUT

15

-15 +15
U
MID
2.5kHz

-15 +15
U
LOW
80Hz

LOW
80Hz

EQ

U

HI
12kHz

MID
2.5kHz

-15 +15
U

-15 +15
U

GAIN

-15 +15
U

FX SEND

FOOTSWITCH

R

STEREO GRAPHIC EQ

-20 +20

EQ

U

HI
12kHz

BAL /
UNBAL

ST RETURN

LOW CUT
100Hz

-15 +15
U

MANUFACTURING DATE

(BALANCED)

L
BAL /
UNBAL

MON SEND

R

U

GAIN

EQ

U

HI
12kHz
-15 +15
U

L
BAL /
UNBAL

R

LEVEL
SET

BAL /
UNBAL

L
BAL /
UNBAL

(BALANCED)

MAIN
LEFT

USB

(MONO)

LINE IN 8

+50

U

LOW CUT
100 Hz

EQ

U

HI
12kHz
-15 +15
U

C GAIN
MI

LEVEL
SET

GAIN

LOW CUT
100 Hz

LINE IN 7

R

+50

U

GAIN

LOW CUT
100 Hz

U

C GAIN
MI

LEVEL
SET

BAL /
UNBAL

LINE IN 6

LINE IN 4

ON

(MONO)

L

BAL /
UNBAL

R
INSERT

INSERT

7/8

(MONO)

MAIN
RIGHT

U

OO

+10

INPUT LEVEL

L

R

PRESETS

Laptop running Tracktion
and DJ software

MUTE

USB THRU

U

BREAK

(MUTES ALL CHANNELS)

U

U

OL

L

L

R

MUTE

MUTE

1

5
U
5

L

dB
10
5

L

R

MUTE

OL

OL

dB
10

R

R

L

MUTE

OL

3/4
5

dB
10

OO

OL

5/6

dB
10

+15

OO

FX MASTER

MUTE

OL

2

R

+15

OO

FX TO MON

MUTE
OL

7/8

dB
10

ST RTN

dB
10

5

5

5

FX RTN

OO

TAPE LEVEL

MON

MAIN

dB
10

dB
10

5

5

U

U

U

U

U

U

U

5

5

5

5

5

5

5

5

10

10

10

10

10

10

10

10

20

20

20

20

20

20

20

20

20

30

30

30

30

30

30

30

30

30

10

+20

PHONES

U

CD Turntable

5

MAX

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

OO

OO

OO

OO

OO

OO

OO

OO

OO

Effects Processor

Reverb
Compressor

SRM450v2 Powered Monitors

HD1531 Powered Speakers

This diagram shows two microphones attached to channels 1 and 2, a CD player connected to the
line-level inputs of channel 3/4 and a CD turntable connected to the line-level inputs of channel 7/8.
An iPod docking station is attached to the stereo tape inputs. An effects processor receives a mono input
from the FX send and its stereo outputs connect to the stereo return inputs. A reverb and compressor are
connected to the insert of channel 1 allowing vocal compression and a touch of reverb.
Mackie HD1531 powered speakers are connected to the left and right main output. Two SRM450v2
powered speakers are set up as stage monitors and connect to the mixer's monitor output. The aux mon
controls of each channel allow you to create a stage monitor mix that is independent of the main mix.
Switch the internal graphic EQ to adjust the stage monitor EQ if desired. Headphones are used for
monitoring.
A laptop connects to the USB port and allows 2-channel output of DJ software to play in the main mix.
It may also be used to record a set on the computer for posterity.

DJ System ProFX8

8

ProFX8 and ProFX12

TV monitor

Video

CD+G Player

Headphones

MIC

MIC

MIC

MIC

(UNBALANCED)

L

L

R

R

TAPE
IN

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

TAPE
OUT

AVIS: RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR

1

LINE
HI-Z

2

3/4

5/6

(MONO)
BAL /
UNBAL

LINE/HI-Z IN 1

L

LINE IN 2

LINE IN 3

LINE IN 5

INSERT

INSERT

U

U
-20dB

U
-20dB

+50
+30dB

GAIN

+50
+30dB

EQ

MID
2.5kHz

MID
2.5kHz

AUX

U

OO

+15
U

OO

+15
U

FX
OO

OO

FX

+15

OO

OO

AUX

U

MON
OO

+15
U

FX

+15

PAN

-15 +15

+15
U

FX

+15

PAN

OO

OO

FX

+15

PAN

10

10

5

5

0

0

OO

+15

PAN

48V
PHANTOM
POWER

5

10

POWER

10

15

15
125

LOW
80Hz

MON

+15
U

PHONES

15

250

1K

500

2K

MAIN MIX
MON

MID
2.5kHz

AUX

U

MAIN OUT

4K

MAIN
METERS
0dB=0dBu
OL
15
10
6
3
0
2
4
7
10
20
30

USB

FX PRESETS

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

PAN

8K

EQ IN
BYPASS

-15 +15
U

-15 +15

MON

FX SEND

FOOTSWITCH

R

5

HI
12kHz

LOW
80Hz

AUX

U

MON

BAL /
UNBAL

ST RETURN

EQ

U

MID
2.5kHz

-15 +15

AUX

U

MON

L
BAL /
UNBAL

MON SEND

15

-15 +15
U

-15 +15
U
LOW
80Hz

(BALANCED)

STEREO GRAPHIC EQ

HI
12kHz

MID
2.5kHz

-15 +15

-15 +15

R

GAIN

-15 +15
U

-15 +15
U
LOW
80Hz

LOW
80Hz

R

-20 +20

EQ

U

HI
12kHz
-15 +15
U

-15 +15
U

-15 +15
U

L
BAL /
UNBAL

LOW CUT
100Hz

EQ

U

HI
12kHz
-15 +15
U

(BALANCED)

MAIN
LEFT

USB
BAL /
UNBAL

L
BAL /
UNBAL

U

GAIN

MAIN
RIGHT

(MONO)

LINE IN 8

LEVEL
SET

+50

U

LOW CUT
100 Hz

EQ

U

HI
12kHz
-15 +15
U

C GAIN
MI

GAIN

LOW CUT
100 Hz

LINE IN 7

LINE IN 6

LEVEL
SET

+50

U

GAIN

LOW CUT
100 Hz

U

C GAIN
MI

LEVEL
SET

BAL /
UNBAL

R

LINE IN 4

U

C GAIN
MI

LEVEL
SET

ON

(MONO)

L

BAL /
UNBAL

R

C GAIN
MI

7/8

(MONO)

MANUFACTURING DATE

SERIAL NUMBER

POWER

Owner’s Manual

Microphones

U

OO

+10

INPUT LEVEL

L

R

PRESETS
MUTE

USB THRU

U

Laptop Computer
with Karaoke Software

BREAK

(MUTES ALL CHANNELS)

U

U

OL

L

L

R

MUTE

Effects Processor
L

MUTE
OL

OL

dB
10

R

1

dB
10

L

R

MUTE

dB
10

L

MUTE

OL

2

R

dB
10

OO

OL

5/6

dB
10

+15

FX MASTER

MUTE

OL

3/4

R

OO

+15

OO

FX TO MON

MUTE

OL

7/8

dB
10

ST RTN

dB
10

FX RTN

MAX

OO

TAPE LEVEL

MON

MAIN

dB
10

dB
10

5

5

5

5

5

5

5

5

5

U

U

U

U

U

U

U

U

U

5

5

5

5

5

5

5

5

5

10

10

10

10

10

10

10

10

10

20

20

20

20

20

20

20

20

20

30

30

30

30

30

30

30

30

30

Dual Compressor

+20

PHONES

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

OO

OO

OO

OO

OO

OO

OO

OO

OO

SRM450v2
Powered
Speaker

SRM1801
Powered
Subwoofer
SRM350v2 Powered Monitors

This diagram shows microphones attached to channels 1 to 4 and a CD+G player connected to the
line-level inputs of channel 7/8. An effects processor receives a mono input from the FX send and its
stereo outputs connect to the stereo return inputs. A dual compressor is connected to the insert of channel
1 and 2, allowing vocal compression.
Mackie SRM450v2 powered speakers and SRM1801 powered subwoofers are connected to the left
and right main output. Two SRM450v2 powered speakers are set up as stage monitors and connect to
the mixer's monitor output. The aux mon controls of each channel allow you to create a stage monitor
mix that is independent of the main mix. Headphones are used for monitoring.
A laptop running Karaoke software connects to the USB port and allows a 2-channel output to play in
the main mix.
The CD+G player allows karaoke text and graphics to be displayed on the TV monitor.

Karaoke System ProFX8
Owner’s Manual

9

ProFX8 and ProFX12

Electric
Guitar

Acoustic
Guitar with
pickup

Condenser
microphone
for vocals

Headphones
Amplifier
Modeler

Headphone Amp

press HI-Z
button
MIC

MIC

MIC

MIC

(UNBALANCED)

L

L

R

R

TAPE
IN

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

TAPE
OUT

AVIS: RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR
SERIAL NUMBER

POWER

1

LINE
HI-Z

2

3/4

5/6

(MONO)
BAL /
UNBAL

LINE/HI-Z IN 1

L

LINE IN 2

LINE IN 3

LINE IN 5

INSERT

INSERT

U

U
-20dB

U
-20dB

+50
+30dB

GAIN

+50
+30dB

EQ

MID
2.5kHz

MID
2.5kHz

-15 +15

-15 +15

AUX

U

OO

+15
U

OO

OO

+15

OO

OO

+15

PAN

L

R

MUTE

L

MUTE

1

dB
10

OO

MON
OO

+15
U
FX

Keyboard
OO

+15

OO

R

L

MUTE

dB
10

5

0

0

dB
10

POWER

10

15

15
250

1K

500

2K

MAIN MIX
MON

4K

8K

MAIN
METERS
0dB=0dBu
OL
15
10
6
3
0
2
4
7
10
20
30

EQ IN
BYPASS

USB

FX PRESETS

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

PAN

U

OO

+20

INPUT LEVEL

L

USB THRU

U

BREAK

(MUTES ALL CHANNELS)

OO

U

+15

FX MASTER

OO

U

+15

OO

FX TO MON

MUTE
OL

7/8

dB
10

ST RTN

dB
10

FX RTN

MAX

OO

TAPE LEVEL

MON

MAIN

dB
10

dB
10

5

5

5

5

5

5

5

5

U

U

U

U

U

U

U

U

U

5

5

5

5

5

5

5

5

5

10

10

10

10

10

10

10

10

10

20

20

20

20

20

20

20

20

20

30

30

30

30

40
50
60
OO

Electronic Drum Kit
30

30

30

30

+20

PHONES

5

30

R

PRESETS
MUTE

OL

R

OL

5/6

48V
PHANTOM
POWER

5

10

MUTE

OL

3/4

+15

PAN

L

R

MUTE

dB
10

AUX

U

FX

OL

2

-15 +15

+15
U

PAN

R

OL

OL

dB
10

+15
U

10

5

125

LOW
80Hz

MON

FX

+15

PAN

L

OO

FX

10

MID
2.5kHz

AUX

U

PHONES

15

-15 +15
U

-15 +15

MON

+15
U

FX

HI
12kHz

LOW
80Hz

AUX

U

MON

MAIN OUT

FX SEND

5

EQ

U

MID
2.5kHz

-15 +15

AUX

U

MON

FOOTSWITCH

R

15

-15 +15
U

-15 +15
U
LOW
80Hz

BAL /
UNBAL

STEREO GRAPHIC EQ

HI
12kHz

MID
2.5kHz

(BALANCED)

L
BAL /
UNBAL

MON SEND

ST RETURN

GAIN

-15 +15
U

-15 +15
U
LOW
80Hz

LOW
80Hz

R

-20 +20

EQ

U

HI
12kHz
-15 +15
U

-15 +15
U

-15 +15
U

R

LOW CUT
100Hz

EQ

U

HI
12kHz
-15 +15
U

L
BAL /
UNBAL

MANUFACTURING DATE

MAIN
LEFT

USB
BAL /
UNBAL

L
BAL /
UNBAL

U

GAIN

(BALANCED)

(MONO)

LINE IN 8

LEVEL
SET

+50

U

LOW CUT
100 Hz

EQ

U

HI
12kHz
-15 +15
U

C GAIN
MI

GAIN

LOW CUT
100 Hz

LINE IN 7

LINE IN 6

LEVEL
SET

+50

U

GAIN

LOW CUT
100 Hz

U

C GAIN
MI

LEVEL
SET

BAL /
UNBAL

R

LINE IN 4

U

C GAIN
MI

LEVEL
SET

ON

(MONO)

L

BAL /
UNBAL

R

C GAIN
MI

7/8

(MONO)

MAIN
RIGHT

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

OO

OO

OO

OO

OO

OO

OO

OO

Desktop
MR8mk2 Powered Reference Monitors
Mac or PC
using Tracktion

This diagram shows an acoustic guitar connected directly to channel 1 (with the hi-z switch pressed in),
a condenser microphone attached to the channel 2 mic input, a guitar amplifier modeler connected to
the line-level inputs of channel 3/4, an electronic drum kit connected to channel 5/6 and a keyboard
attached to channel 7/8.
Mackie MR8mk2 powered reference monitors are connected to the left and right main output for
careful and accurate monitoring of the performance.
A desktop computer connects to the USB port and allows the 2-channel main mix to be recorded 		
and 2 channels to be played back using Tracktion software.

Home Studio System ProFX8

10

ProFX8 and ProFX12

Headphones

MIC

MIC

MIC

MIC

(UNBALANCED)

L

L

R

R

TAPE
IN

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

TAPE
OUT

AVIS: RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR
SERIAL NUMBER

POWER

1

LINE
HI-Z

2

3/4

5/6

(MONO)
BAL /
UNBAL

LINE/HI-Z IN 1

(MONO)

L

LINE IN 2

LINE IN 3

LINE IN 5

INSERT

U

C GAIN
MI

U
-20dB

U

C GAIN
MI

LEVEL
SET

U
-20dB

+50
+30dB

GAIN

+50
+30dB

EQ

MID
2.5kHz

MID
2.5kHz

MON
OO

MON

+15
U

OO

+15
U

FX
OO

OO

OO

+15

PAN

OO

OO

MON
OO

+15
U

FX

+15

PAN

LOW
80Hz

AUX

U

+15
U

FX
OO

FX

+15

PAN

10

10

5

5

0

0

5

5

10

OO

+15

PAN

48V
PHANTOM
POWER

POWER

10

15

15
125

-15 +15

MON

+15
U

FX

+15

LOW
80Hz

MON

PHONES

15

250

1K

500

2K

MAIN MIX
MON

MID
2.5kHz

AUX

U

FOOTSWITCH

R
MAIN OUT

4K

MAIN
METERS
0dB=0dBu
OL
15
10
6
3
0
2
4
7
10
20
30

USB

FX PRESETS

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

PAN

8K

EQ IN
BYPASS

-15 +15
U

-15 +15

AUX

U

HI
12kHz

MID
2.5kHz

-15 +15

AUX

U

FX SEND

15

-15 +15
U

-15 +15
U
LOW
80Hz

-15 +15

AUX

U

MID
2.5kHz
-15 +15
U

LOW
80Hz

LOW
80Hz
-15 +15

EQ

U

HI
12kHz
-15 +15
U

BAL /
UNBAL

STEREO GRAPHIC EQ

GAIN

EQ

U

HI
12kHz

U

OO

+20

INPUT LEVEL

L

R

Laptop Computer
with Tracktion

PRESETS
MUTE

USB THRU

U

BREAK

(MUTES ALL CHANNELS)

U

U

OL

L

L

R

MUTE

dB
10

L

R

MUTE

OL

1

dB
10

5

5

U

U

5

R

L

MUTE

OL

2

dB
10

R

L

MUTE

OL

3/4

dB
10

R

OO

OL

5/6

CD Turntable

dB
10

+15

FX MASTER

MUTE

OL

MANUFACTURING DATE

(BALANCED)

L
BAL /
UNBAL

MON SEND

ST RETURN

LOW CUT
100Hz

-15 +15
U

-15 +15
U

-15 +15
U

R

-20 +20

GAIN

EQ

U

HI
12kHz
-15 +15
U

R

U

LEVEL
SET

BAL /
UNBAL

L
BAL /
UNBAL

(BALANCED)

MAIN
LEFT

USB

(MONO)

L
BAL /
UNBAL

LINE IN 8

+50

U

LOW CUT
100 Hz

EQ

U

HI
12kHz
-15 +15
U

C GAIN
MI

LEVEL
SET

GAIN

LOW CUT
100 Hz

LINE IN 7

LINE IN 6

+50

U

GAIN

LOW CUT
100 Hz

U

C GAIN
MI

LEVEL
SET

BAL /
UNBAL

R

LINE IN 4

ON

(MONO)

L

BAL /
UNBAL

R
INSERT

7/8

MAIN
RIGHT

Owner’s Manual

Microphones

OO

+15

OO

FX TO MON

MUTE
OL

7/8

dB
10

ST RTN

dB
10

5

5

5

5

5

U

U

U

U

U

5

5

5

5

5

5

10

10

10

10

10

10

20

20

20

20

20

20

30

30

30

30

30

30

FX RTN

MAX

OO

+20

PHONES

TAPE LEVEL

MON

MAIN

dB
10

dB
10

Effects/ Sampler
5

5

U

U

5

5

10

10

10

20

20

20

30

30

30

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

OO

OO

OO

OO

OO

OO

OO

OO

OO

MR8mk2 Powered Reference Monitors

Keyboard workstation

This diagram shows microphones attached to the channel 1 and 2 mic inputs, a keyboard workstation attached to channel 3/4's line-level inputs and a CD turntable connected to channel 5/6's line-level
inputs. An effects/sampler receives a mono input from the FX send and its stereo outputs connect to the
stereo return inputs.
Mackie MR8mk2 powered reference monitors are connected to the left and right main output for
careful and accurate monitoring.
A desktop computer connects to the USB port and allows the 2-channel main mix to be recorded 		
and 2 channels played back using Tracktion software.

Podcast System ProFX8
Owner’s Manual

11

ProFX8 and ProFX12

Rear Panel Features
MAIN
RIGHT

POWER
ON

1

MAIN
LEFT

(BALANCED)

2

(BALANCED)

USB

3

MIC

MIC

MIC

4

MIC

MIC

MIC

(UNBALANCED)

1. POWER CONNECTION

L

This is a standard 3-prong IEC AC power connector.
1 the supplied
2
3
4 linecord
5/6 here
7/8
Securely connect
detachable
and plug the other end into an AC outlet. The mixer has
a universal power supply that may accept any AC voltage
ranging from 100 VAC to 240 VAC. No need for voltage
select switches or step-up or step-down transformers;
it will work virtually anywhere in the world. It is less
susceptible to voltage sags or spikes than conventional
power supplies and provides greater electromagnetic
isolation and better protection against AC line noise.
BAL /
UNBAL

LINE/HI-Z IN 1

BAL /
UNBAL

LINE IN 2

BAL /
UNBAL

LINE IN 4

LINE IN 3

LINE IN 5

(MONO)

(MONO)

L

L

BAL /
UNBAL

BAL /
UNBAL

LINE IN 7

R

INSERT

INSERT

INSERT

INSERT

The XLR outputs are 6 dB higher output than
the
1/4" TRS main outputs [14]. Balanced
11/12
connections offer better immunity to external
noise (specifically, hum and buzz) than unbalanced
connections. Because of this, it is the preferred
interconnect method, especially where very long
lengths of cable are being
STEREOused.
GRAPHIC EQ

U

U

U

U

IC GAIN
M

U
-20dB

IC GAIN
M

LEVEL
SET

U
-20dB

+50
+30dB

GAIN

HI
12kHz

-15 +15
U

U

-15 +15
U

-15 +15
U

LOW
80Hz

-15 +15
U

LOW
80Hz

-15 +15
U

-15 +15
U

U

-20 +20

-20 +20

GAIN

GAIN

-15 +15

-15 +15

U

U

U

U

U

U

U

MON

MON

OO

MON

+15
U

OO

MON

+15
U

OO

OO

FX

OO

L

FX

+15

OO

R

L

OL

FX

+15

OO

R

L

OL

1

dB
10

FX

+15

OO

L

R

OL

2

dB
10

OO

R

L

OL

3

dB
10

OO

R

L

OL

4

dB
10

OO

+15
U

OO

+15

FX

+15

dB
10

As a general guide, turn on the 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 the speakers.

L

dB
10

5

5

5

5

5

5

U

U

U

U

U

MON

OO

+15
U

OO

+15

FX

R

•

0

5

5

10

10

15

15

250

500

1K

2K

4K

POWER

MAIN MIX
MON

8K

0dB=0dBu
OL
15
10
6
3
0
2
4
7
10
20
30

EQ IN
BYPASS

FX PRESETS

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

U

OO

PRESETS

+10

INPUT LEVEL

MUTE

USB THRU

BREAK

(MUTES ALL CHANNELS)

U

U

The USB thru switch [40] allows you to also
MAIN in your
MONcomputer
MUTE
include
theMUTE
output from your
11/12
ST
RTN
FX
RTN
recording. See page 23 for more details of this
switch.
L

OL

9/10

dB
10
5

R

OO

+15

FX MASTER

OO

+15

OO

MAX

PHONES

FX TO MON

OO

+20

TAPE LEVEL

OL

dB
10
5

dB
10
5

dB
10
5

dB
10
5

The computer may also playback two channels into
the mixer via the USB interface:

5

5

5

5

5

5

5

10

10

10

10

10

10

10

20

20

20

20

20

20

20

30

30

30

30

30

30

30

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

OO

OO

OO

OO

OO

OO

OO

ProFX8 and ProFX12

0

48V
PHANTOM
POWER

• MainAUXmix output, left and right. These output
AUX
signals are independent of any adjustments
L
R
made to the main fader [47] and graphic EQ
[36]. This allows you to easily record live
PAN
PAN
performance
directly to a laptop.

MUTE

U

The main mix is the sum of all active channels
currently playing, including any 2-channel USB input
from the computer. How much of a channel that is
heard in the main mix is determined by that channel’s
fader [30].

LOW
80Hz

OL

5

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

5

OL

U

3. XLR MAIN OUTS

10

5

U

R

7/8

PHONES

15

125

-15 +15

FX

+15

OL

5/6

MAIN OUT

FX SEND

-15 +15
U

MON

+15
U

FX

+15

FOOTSWITCH

R

10

MID
2.5kHz

U

MON

+15
U

BAL /
UNBAL

15

-15 +15
U

LOW
80Hz

-15 +15

+15
U

HI
12kHz

-15 +15
U

LOW
80Hz

-15 +15

OO

L

BAL /
UNBAL

MON SEND

ST RETURN

U

-15 +15

+15
U

BAL /
UNBAL

The interface provides two audio outputs to the
computer:
USB

Press the bottom of this switch to put the mixer into
standby mode.PANIt will not
but PAN
the circuits
PAN function,
PAN
PAN are PAN
still live. To remove AC power, either turn off the AC
mains supply, or unplug the power cord from the mixer
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
and the AC mains
supply.

12

U

-15 +15

MON

dB
10

LINE IN 12

-15 +15

OO

R

MID
2.5kHz

-15 +15
U

LOW
80Hz

LOW
80Hz

LOW
80Hz

R

-15 +15
U

MID
2.5kHz

Press the top of this rocker switch to turn on the
mixer. The front panel power LED [32] will glow with
happiness...orAUXat leastAUX
it will ifAUX
the mixer
is plugged
intoAUX
AUX
AUX
a suitable live AC mains supply.
-15 +15
U

BAL /
UNBAL

HI
12kHz

-15 +15
U
MID
2.5kHz

BAL /
UNBAL

U

HI
12kHz

-15 +15
U
MID
2.5kHz

L

BAL /
UNBAL

LINE IN 11

(MONO)

TheEQUSB serial
I/O interface allows digital audio to
EQ
MAIN
METERS
transfer to and from a computer.

EQ

HI
12kHz

L

4. USB PORT

LOW CUT
100 Hz

U

(MONO)

L

LINE IN 10

LEVEL
SET

+50

EQ

(MONO)

R

GAIN

LOW CUT
100 Hz

HI
12kHz

MID
2.5kHz

C GAIN
MI

LEVEL
SET

GAIN

U

LINE IN 9

LINE IN 8

+50

EQ

U

-15 +15
U
MID
2.5kHz

U

LOW CUT
100 Hz

HI
12kHz

-15 +15
U

MID
2.5kHz

+50
+30dB

EQ

U

C GAIN
MI

LEVEL
SET

GAIN

LOW CUT
100 Hz

HI
12kHz

2. POWER SWITCH

U
-20dB

+50
+30dB

EQ

U

IC GAIN
M

LEVEL
SET

GAIN

LOW CUT
100 Hz

EQ

U

U
-20dB

+50
+30dB

GAIN

LOW CUT
100 Hz

IC GAIN
M

LEVEL
SET

R

9/10

R

LINE IN 6

TAPE
OUT

R

LINE
HI-Z

BAL /
UNBAL

L

TAPE
IN

U

•

U

U

U

U

5

5

5

5

5

10

10

10

10

10

20

20

20

20

30

30

30

30

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

OO

OO

OO

OO

OO

20
30

Left and right signals from the computer are
added to the main mix. The USB input level
control [39] allows you to adjust the level of
the incoming audio from the computer being
added to the main mix.

MIC

MIC

MIC

MIC

MIC

MIC

(UNBALANCED)

5

L

R

R

TAPE
IN

6

1

LINE
HI-Z

7

L

2

8

BAL /
UNBAL

LINE/HI-Z IN 1

10

8

LINE IN 2

10

INSERT

3

BAL /
UNBAL

U

8

BAL /
UNBAL

LINE IN 3

10

INSERT

4

U

BAL /
UNBAL

U
-20dB

IC GAIN
M

LEVEL
SET

+50
+30dB

GAIN

U
-20dB

+50
+30dB

GAIN

LOW CUT
100 Hz

IC GAIN
M

U
-20dB

GAIN

LOW CUT
100 Hz

U
-20dB

C GAIN
MI

LEVEL
SET

+50
+30dB

U

GAIN

(MONO)

(MONO)

L

L

L

L

L

BAL /
UNBAL

BAL /
UNBAL

9

BAL /
UNBAL

9

BAL /
UNBAL

LINE IN 7

U

U

U

+50
LOW CUT
100 Hz

HI
12kHz

HI
12kHz

-15 +15
U

HI
12kHz

-15 +15
U

MID
2.5kHz

-15 +15
U

HI
12kHz

-15 +15
U

-15 +15
U

MID
2.5kHz

MID
2.5kHz

-15 +15
U

EQ

U

HI
12kHz

-15 +15
U

MID
2.5kHz

-15 +15
U

U

HI
12kHz

-15 +15
U

MID
2.5kHz

-15 +15
U

-15 +15
U

MID
2.5kHz

LOW
80Hz

-15 +15

-15 +15

AUX

-15 +15

U

AUX

5. MIC INPUTS

MON

U

MON

OO

+15
U

OO

LOW
80Hz

LOW
80Hz

-15 +15
U

-15 +15

AUX

U

AUX

U

MON

+15
U

OO

-15 +15

MON

+15
U

OO

MON

+15
U

OO

MON

+15
U

OO

FX

L

FX

+15

OO

R

L

OL

dB
10

FX

+15

OO

R

L

OL

dB
10

FX

+15

OO

R

L

OL

dB
10

OO

L

R

OL

dB
10

+15
U

FX

+15

+15

R

OL

dB
10

FX

OO

-20 +20

GAIN

GAIN

+15

PAN

L
BAL /
UNBAL

MON SEND
BAL /
UNBAL

R
ST RETURN

U

FOOTSWITCH

R
MAIN OUT

FX SEND

PHONES

15

15

10

10

5

5

U

48V
PHANTOM
POWER

0

0

6. LINE/HI-Z
SWITCH
EQ
EQ
5

5

10

10

15

15

POWER

MAIN
METERS

To connect a guitar directly to the mixer without
using a DI Box, press this switch in first; then connect
the output from the guitar to channel 1's 1⁄4" TRS
USB for direct
input [7]. The inputFXimpedance
is optimized
PRESETS
connection and high-frequency fidelity is assured.
HI
12kHz

HI
12kHz

MID
2.5kHz

250

500

1K

2K

MAIN MIX
MON

MID
2.5kHz

4K

8K

0dB=0dBu
OL
15
10
6
3
0
2
4
7
10
20
30

EQ IN
BYPASS

-15 +15
U

LOW
80Hz

LOW
80Hz

-15 +15

AUX

U

125

-15 +15
U

-15 +15

AUX

U

We use phantom-powered, balanced m
 icrophone
inputs just
big studio
for
PAN like the
PAN
PANmega-consoles
PAN
PAN	
exactly the same reason: This kind of circuit is	
excellent at rejecting hum and noise. You can plug 		
in almost
of mic that
standardMUTE
X
 LR 		
MUTEany kind
MUTE
MUTE has aMUTE
male mic connector.
1
2
3
4
5/6
OO

LOW
80Hz

-15 +15

AUX

U

-20 +20

-15 +15
U

LOW
80Hz

BAL /
UNBAL

STEREO GRAPHIC EQ

U

-15 +15
U

See Appendix B for further details and drawings of
the connectors to use with the ProFX mixer.
LOW
80Hz

R
LINE IN 12

U

LEVEL
SET

GAIN

LOW CUT
100 Hz

LINE IN 11

R
LINE IN 10

C GAIN
MI

LEVEL
SET

+50

U

9

BAL /
UNBAL

LINE IN 9

R
LINE IN 8

This is where to plug things in: microphones, lineEQ
EQ
EQ
EQ
EQ
level instruments and effects, headphones, and the
ultimate destination for your sound: PA system, stage
monitors, effects processors, CD p layer/recorder, etc.
U

11/12

(MONO)

GAIN

LOW CUT
100 Hz

LOW CUT
100 Hz

9/10

(MONO)

LINE IN 6

U

IC GAIN
M

LEVEL
SET

+50
+30dB

7/8

(MONO)

R

U

LEVEL
SET

LINE IN 5

INSERT

Connection Section
IC GAIN
M

9

LINE IN 4

10

INSERT

5/6

TAPE
OUT

AUX

U

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

U

In the out position, channel 1's 1⁄4" TRS input L
R
INPUT LEVEL
becomes a line input just like the other mono line
inputs [8].
BREAK
USB THRU
MON

OO

+15
U

OO

+15

MON

OO

+15
U

OO

+15

FX

FX

PAN

PAN

OO

+10

PRESETS

MUTE

(MUTES ALL CHANNELS)

To use guitars or other instruments on other
channels, you will need to use an external DI box 		
PHONES
TAPE LEVEL
FX MASTER
FX TO MON
first. Without the DI box – or if this switch is not
MAIN
MON
MUTE
MUTE
MUTE
pressed in – guitars may sound dull and muddy.
U

U

U

OL

L

L

R

MUTE

OL

dB
10

L

R

OL

7/8

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

dB
10

R

OL

9/10

dB
10

OO

+15

OO

+15

OO

MAX

OO

+20

OL

11/12

dB
10

ST RTN

dB
10

FX RTN

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

dB
10

dB
10

5

5

5

5

5

5

U

U

U

U

U

U

5

5

5

5

5

5

10

10

10

10

10

10

20

20

20

20

20

20

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

30

30

30

30

30

30

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

OO

OO

OO

OO

OO

OO

PHANTOM POWER

Owner’s Manual

Front Panel Features

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

5

5

5

5

5

5

U

U

U

U

U

U

5

5

5

5

5

5

10

10

10

10

10

10

20

20

20

20

20

20

30

30

30

30

30

30

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

OO

OO

OO

OO

OO

OO

To connect a balanced line to this input, use a 1⁄4"
Tip-Ring-Sleeve (TRS) plug.
To connect an unbalanced line to this input, use a 1⁄4"
mono (TS) phone plug or i nstrument cable.
This line-level input may also accept instrument-level
signals if the hi-z switch [6] is pressed in. This allows
you to connect guitars directly into channel 1 without
the need for a DI box.

The ProFX mixer’s phantom power is globally
controlled by the phantom power switch [31]. (This
means that phantom power for all mic inputs is turned
on and off together.)
Never plug single-ended (unbalanced)
microphones or ribbon microphones into the
mic input jacks if phantom power is on. Do
not plug instrument outputs into the mic input jacks
with phantom power on u nless you know for certain it is
safe to do so.

Owner’s Manual

13

ProFX8 and ProFX12

MIC

MIC

5

MIC

5

6

5

1

LINE
HI-Z

BAL /
UNBAL

8

LINE/HI-Z IN 1

10

LINE IN 2

10

INSERT

U

IC GAIN
M

8

LINE IN 3

U

IC GAIN
M

LEVEL
SET

8. MONO LINE INPUTS
U
-20dB

+50
+30dB

GAIN

U
-20dB

+50
+30dB

GAIN

LOW CUT
100 Hz

U
-20dB

INSERT

+50
+30dB

U
-20dB

+50
+30dB

U

GAIN

U

U

(MONO)

(MONO)

L

L

L

L

L

BAL /
UNBAL

9

BAL /
UNBAL

LINE IN 7

R

HI
12kHz

HI
12kHz

C GAIN
MI

LEVEL
SET

U

-15 +15
U

-15 +15
U

MID
2.5kHz

-15 +15
U

MID
2.5kHz

-15 +15
U

MID
2.5kHz

MID
2.5kHz

EQ

HI
12kHz

-15 +15
U

HI
12kHz

-15 +15
U

-15 +15
U

LOW
80Hz

-15 +15
U

LOW
80Hz

-15 +15

-15 +15
U

-15 +15

-15 +15
U

LOW
80Hz

LOW
80Hz

-15 +15

-15 +15

AUX

U

MON

OO

AUX

U

MON

+15
U

OO

AUX

U

MON

+15
U

OO

MON

+15
U

OO

U

MON

+15
U

OO

+15
U

OO

L

FX

+15

OO

R

L

OL

dB
10

FX

+15

OO

R

L

OL

dB
10

FX

+15

OO

R

L

OL

dB
10

OO

L

R

OL

dB
10

MON

R

OO

+15
U

OO

+15

16

10

5

5

48V
PHANTOM
POWER

0

5

5

10

10

15

15

250

500

1K

2K

MAIN MIX
MON

4K

POWER

8K

0dB=0dBu
OL
15
10
6
3
0
2
4
7
10
20
30

EQ IN
BYPASS

-15 +15
U

LOW
80Hz

-15 +15

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

U

Tip = send (output to effects device)
AUX

U

MON

LEVEL
Ring = return (input from effects INPUT
device)
OO

+15
U

FX

OO

tip
L

+15

PAN

OO

+10

L

R

PRESETS

OL

dB
10

5

5

5

5

5

5

5

U

U

U

U

U

U

sleeve
L

R

MUTE

USB THRU

U

U
OL

ring

MUTE

OL

dB
10

FOOTSWITCH

PHONES

15

MID
2.5kHz

PAN

R

R

(TRS plug)
OO

+15

FX MASTER

OO

+15

OO

dB
10

dB
10

ST RTN

dB
10

U

“tip”

MAX

MON

MUTE

11/12

BREAK

(MUTES ALL CHANNELS)

OO

PHONES

FX TO MON

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

9/10

SEND to processor

MAIN

“ring”

RETURN from processor
FX RTN
dB
10

dB
10

Insert jacks may be used as channel direct outputs;
post-gain, and pre-EQ. See the connector section on
page 28 (figure F) showing three ways to use insert
connections.
5

5

5

5

5

U

U

U

U

U

5

5

5

5

5

5

5

5

5

5

5

5

10

10

10

10

10

10

10

10

10

10

10

20

20

20

20

20

20

20

20

20

20

20

20

30

30

30

30

30

30

30

30

30

30

30

30

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

OO

OO

OO

OO

OO

OO

OO

OO

OO

OO

OO

OO

To connect balanced lines to these inputs, use a 1⁄4"
Tip-Ring-Sleeve (TRS) plug.
To connect unbalanced lines to these inputs, use a
1⁄4" mono (TS) phone plug or instrument cable.
If using just a mono source, plug it into the left input
(labeled mono) and the signal will appear (as if by
magic) equally on the left and right of the main mix.

10. CHANNEL INSERT
These unbalanced 1/4" jacks are for connecting serial
effects processors such as compressors, equalizers,
de-essers, or filters.
We’ve included inserts for just the mono channels.
If using this kind of processing on other channels,
simply patch through the processor before plugging
into the ProFX mixer.
ProFX8 and ProFX12

+20

TAPE LEVEL

10

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

14

R

MAIN OUT

FX SEND

10

125

FX

U

9. STEREO LINE INPUTS

14

15

Sleeve = common ground

+15

L

13

BAL /
UNBAL

15

-15 +15
U

MON

+15
U

OO

HI
12kHz

AUX

U

FX

+15

OL

dB
10

U

AUX

FX

+15

U

-15 +15

If using a stereo source, and the stereo 		
and hybrid
channels
are inPAN
use, utilize
two PAN
PAN
PAN
PAN
PAN
mono channels instead. Traditionally, an
odd-numbered channel receives the left signal. For
example,
mixer a stereo
signal
MUTE feed the
MUTEProFX MUTE
MUTE
MUTEby
MUTE
inserting 1the device’s
left
output
plug
into
the
2
3
4
5/6
7/8
channel 1 jack (panned fully left) and its right output
plug into the channel 2 jack (panned fully right).
FX

OO

-20 +20

LOW
80Hz

-15 +15

AUX

U

-20 +20

-15 +15
U

LOW
80Hz

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

U

MON SEND

L

BAL /
UNBAL

STEREO GRAPHIC EQ

MID
2.5kHz

-15 +15
U

LOW
80Hz

-15 +15

U

-15 +15
U

MID
2.5kHz

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

U

R

ST RETURN

HI
12kHz

-15 +15
U

MID
2.5kHz

R

LINE IN 12

BAL /
UNBAL

BAL /
UNBAL

0

LOW CUT
100 Hz

U

HI
12kHz

11

12

The insert
GAIN
GAINpoint is after the gain control [19], level
set LED [20] and low cut switch [21], but before the
EQ
EQ
channel
EQ [22-24]
and fader [30]. The channelMAIN
signal
METERS
may go out of the insert jack to an external device,
be
processed (or whatever) and come back in on the same
insert jack. To do this requires a special insert cable
USB
that must be wired FXthusly:
PRESETS

GAIN

LOW CUT
100 Hz

R

9

BAL /
UNBAL

LINE IN 11

LINE IN 10

LEVEL
SET

+50

U

HI
12kHz

9

BAL /
UNBAL

LINE IN 9

LINE IN 8

+50

U

11/12

(MONO)

TheseEQ1/4" jacksEQshare circuitry
(but
EQ
EQ not phantom
EQ
power) with the mic preamps and may be driven by
balanced or unbalanced sources.
U

9/10

(MONO)

GAIN

LOW CUT
100 Hz

LOW CUT
100 Hz

7/8

R

(MONO)

R

C GAIN
MI

LEVEL
SET

TAPE
OUT

R

LINE IN 6

U

IC GAIN
M

LEVEL
SET

GAIN

LOW CUT
100 Hz

LINE IN 5

L

TAPE
IN

5/6

9

LINE IN 4

10

INSERT

U

IC GAIN
M

LEVEL
SET

4

18

(UNBALANCED)

L

5

BAL /
UNBAL

8

17

MIC

5

3
BAL /
UNBAL

10

INSERT

MIC

5

2

BAL /
UNBAL

7

MIC

11. STEREO RETURN

This is where to connect the outputs of parallel
effects devices (or extra audio sources). The circuits
will handle stereo or mono, balanced or unbalanced
signals. They may be used with just about any pro or
semi-pro e ffects device or line-level source on the
market. The signals coming into these inputs may be
adjusted using the stereo return fader [44] before
passing onto the main mix bus (see page 23). Signals
coming in here may also be quickly muted with the
mute switch [43], and the OL LED [42] will illuminate
if the incoming signal is too high.
Stereo Device: If using a stereo parallel effects device
(two cords), use stereo return left and right.
Mono Device: If using an effects device with a mono
output (one cord), plug that into the stereo return left/
mono, and leave the right unplugged. The signal will be
sent to both sides, magically appearing in the center as
a mono signal.

14. 1/4" MAIN OUTS

Stage monitors allow the talented musicians to hear
themselves clearly on stage, and this can often be a
good thing. The monitor mix may be carefully adjusted
in level using the aux mon controls [25]. These tap a
portion of each channel's signal to provide a 1/4" TRS
output here to feed external stage monitors. These
could either be passive stage monitors powered by an
external amplifier, or powered stage monitors with their
own amplifier built in.

These outputs feed the main mix out into the waiting
world. Amplifiers may be fed this way or through the
XLR main outputs [3].

The monitor signal is the sum (mix) of all the
channels whose aux mon control is set to more than
minimum. If they want “more me, and less Keith,” you
should turn up their channel's aux mon control, and
turn down Keith's.
The overall output level may be adjusted with the
monitor fader [46] and its EQ tweaked with the graphic
EQ [36] if the main mix/mon switch [37] is pressed in.
Alternatively, an external graphic EQ may be added
between this output and the powered monitors. This
allows you to adjust the EQ and minimize the chance of
feedback from nearby microphones.
The monitor output is not affected by the main fader
[47] or the channel faders [30]. 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.”

To use these outputs to drive balanced inputs, 		
connect 1⁄4" TRS (Tip–Ring–Sleeve) phone plugs like
this:
Tip = + (hot)
Ring = –(cold)
Sleeve = Ground
To use these outputs to drive unbalanced inputs,
connect 1⁄4" TS (Tip-Sleeve) phone plugs like this:
Tip = + (hot)
Sleeve = Ground

15. FX FOOTSWITCH
This 1/4" TRS connector is where to connect a
footswitch. This will allow you to easily mute or 		
un-mute the internal effects, while stamping your
foot and looking like you were mad about something.
Any latching one-button on/off footswitch will work.
If the internal effects have already been muted with
the internal FX mute switch [50], then the footswitch
has no effect, but you can still stamp your foot and pout
if that helps any. Cultivate that bad-boy image.

13. FX SEND

16. PHONES

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 [26] is turned to more than minimum.

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

(The processed output of the internal FX does not
come out of this output, but is added internally to the
main mix or monitor mix.)
The overall output level may be adjusted with the
FX master knob [51]. (This knob also effects the
level going into the internal FX.)
The output is “post-fader,” so any changes to the
channel faders [30] will also affect the level going to
the external processor.
The processed output from the effects processor is
usually returned to the stereo returns [11] or a spare
channel where 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.)

Owner’s Manual

12. MON SEND

Tip = Left channel
Ring = Right channel
Sleeve = Common ground
The headphones output is the stereo main mix, not
affected by the main fader [47], or the graphic EQ [36].
Warning: When we say the headphone
output is loud, we’re not kidding. It can cause
permanent ear damage. Even intermediate
levels may be painfully loud with some earphones. Be
careful! Always turn the phones level control [41] all
the way down before connecting headphones, adding
new sources, or making any other changes. Keep it down
until you’ve put the phones on. Then turn it up slowly.

Owner’s Manual

15

ProFX8 and ProFX12

MIC

MIC

MIC

MIC

MIC

17

MIC

L

TAPE
IN

TAPE
OUT

R

1

LINE
HI-Z

2

BAL /
UNBAL

3

BAL /
UNBAL

LINE/HI-Z IN 1

4

BAL /
UNBAL

LINE IN 2

5/6

BAL /
UNBAL

LINE IN 4

LINE IN 3

LINE IN 5

7/8

INSERT

U

IC GAIN
M

U

U

IC GAIN
M

LEVEL
SET

+50
+30dB

GAIN

U
-20dB

IC GAIN
M

LEVEL
SET

17. TAPE INPUT
U
-20dB

INSERT

INSERT

+50
+30dB

GAIN

U
-20dB

+50
+30dB

GAIN

U
-20dB

C GAIN
MI

LEVEL
SET

+50
+30dB

U

GAIN

9/10
(MONO)

(MONO)

(MONO)

L

L

L

L

L

BAL /
UNBAL

BAL /
UNBAL

BAL /
UNBAL

BAL /
UNBAL

LINE IN 7

LOW CUT
100 Hz

C GAIN
MI

LEVEL
SET

+50

U

U

U

U

HI
12kHz

U

HI
12kHz

LINE IN 12

U

U

LEVEL
SET

+50

-15 +15
U

MID
2.5kHz

MID
2.5kHz

-15 +15
U

-15 +15
U

LOW
80Hz

-15 +15

-15 +15

-15 +15

-15 +15

U

U

U

U

U

U

MON

MON

MON

MON

MON

MON

These may be used with a tape or CD player to feed
music to a PA system between sets when the break
switch [34]
is engaged.
The
level coming
intoPAN
the mixerPAN
PAN
PAN
PAN
PAN
may be adjusted with the tape level knob [35]. For
example, press the break switch to mute all channels at
once, then
the tape or
CD player
MUTE play MUTE
MUTE
MUTEand bring
MUTE up itsMUTE
level slowly.
1
2
3
4
5/6
7/8
OO

+15

OO

+15
U

OO

+15

FX

L

+15
U

OO

+15

FX

R

L

OL

dB
10

OO

L

OL

18. TAPE OUTPUT

+15
U

OO

+15

FX

R

dB
10

OO

+15
U

OO

+15

FX

R

L

OL

dB
10

OO

+15
U

OO

+15

FX

L

R

OL

dB
10

OO

OO

+15

FX

R

L

OL

dB
10

+15
U

10

5

5

+15
U

OO

+15

5

EQ
HI
12kHz

15

15
125

FX

PAN

48V
PHANTOM
POWER

0

10

MON
OO

FX

250

500

1K

2K

MAIN MIX
MON

4K

0dB=0dBu
OL
15
10
6
3
0
2
4
7
10
20
30

EQ IN
BYPASS

USB

FX PRESETS

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

PAN

8K

POWER

MAIN
METERS

U

OO

PRESETS

+10

INPUT LEVEL

L

L

L

R

MUTE

OL

MUTE

USB THRU

U

BREAK

(MUTES ALL CHANNELS)

U

U

OO

OL

9/10

dB
10

+15

FX MASTER

MUTE

OL

dB
10

R

OO

+15

OO

MUTE
OL

11/12

dB
10

ST RTN

dB
10

FX RTN

MAX

OO

TAPE LEVEL

MON

MAIN

dB
10

dB
10

5

5

5

5

5

5

5

5

5

5

5

5

U

U

U

U

U

U

U

U

U

U

U

5

5

5

5

5

5

5

5

5

5

5

5

10

10

10

10

10

10

10

10

10

10

10

10

20

20

20

20

20

20

20

20

20

20

20

20

30

30

30

30

30

30

30

30

30

30

30

30

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

OO

OO

OO

OO

OO

OO

OO

OO

OO

OO

OO

OO

The tape output is the stereo main mix, not affected
by the main fader [47], or the graphic EQ [36].

ProFX8 and ProFX12

+20

PHONES

FX TO MON

U

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

R

OL

R

dB
10

15

10

5

AUX

U

MON
OO

PHONES

0

-15 +15

AUX

U

R

10

LOW
80Hz

-15 +15

FOOTSWITCH

MAIN OUT

FX SEND

-15 +15
U
LOW
80Hz

AUX

BAL /
UNBAL

15

MID
2.5kHz

-15 +15
U

MON SEND

R

-15 +15
U
MID
2.5kHz

LOW
80Hz

-15 +15

U

-15 +15
U

-15 +15
U

LOW
80Hz

-15 +15

+15
U

EQ

MID
2.5kHz

Connect the source’s line-level outputs here using
AUX
AUX
AUX
AUX
good quality
hi-fi AUX
(RCA) cables.
OO

GAIN

HI
12kHz

-15 +15
U

MID
2.5kHz

-15 +15
U

LOW
80Hz

GAIN

HI
12kHz

-15 +15
U

MID
2.5kHz

-15 +15
U

LOW
80Hz

HI
12kHz

-15 +15
U

MID
2.5kHz

-15 +15
U

LOW
80Hz

HI
12kHz

-15 +15
U

-20 +20

U

L
BAL /
UNBAL

STEREO GRAPHIC EQ

-20 +20

U

BAL /
UNBAL

ST RETURN

LOW CUT
100 Hz

U

HI
12kHz

R

LINE IN 10

GAIN

LOW CUT
100 Hz

LINE IN 11

R

R
LINE IN 8

GAIN

LOW CUT
100 Hz

LOW CUT
100 Hz

BAL /
UNBAL

LINE IN 9

These stereo unbalanced RCA inputs are designed
EQ
EQ
EQ
EQ
to work EQ
with semi-pro
as well
as pro EQ
player/recorders.
They may also be connected to any standard source with
an unbalanced line-level output, such as a CD or DVD
player, iPod, and so on.
LOW CUT
100 Hz

11/12

(MONO)

LINE IN 6

U

IC GAIN
M

LEVEL
SET

R

(MONO)

R
INSERT

-15 +15
U

16

18

(UNBALANCED)

L

MIC

MIC

MIC

MIC

MIC

MIC

(UNBALANCED)

L

L

R

R

TAPE
IN

1

LINE
HI-Z

2

BAL /
UNBAL

3

BAL /
UNBAL

LINE/HI-Z IN 1

4

BAL /
UNBAL

LINE IN 2

5/6

LINE IN 3

INSERT

INSERT

INSERT

U

U

U

U

IC GAIN
M

U
-20dB

IC GAIN
M

LEVEL
SET

U
-20dB

+50
+30dB

GAIN

(MONO)

L

L

BAL /
UNBAL

LINE IN 7

BAL /
UNBAL

EQ

EQ

U

AUX

AUX

U

MON

MON

+15
U

OO

FX
OO

FX

+15

PAN

OO

FX

+15

OO

PAN

OO

OO

FX

+15

OO

PAN

+15
U
FX

+15

OO

OO

PAN

+15

PAN

250

R

L

R

MUTE

L

OL

L

L

PAN

OO

dB
10

5

5

5

5

5

5

5

5

5

U

U

U

U

U

U

U

U

U

5

5

10

10

10
ON

5

5

20

20

20

20

20

20

30

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

MAIN
RIGHT

POWER

5

LEFT10
(BALANCED)

10

MIC

MIC

MIC

2

3/4

LINE/HI-Z IN 1

LINE IN 3

BAL /
UNBAL

LINE IN 5

20

20

20

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

10

STEREO

R

R
INSERT

INSERT

U

IC GAIN
M

U
-20dB

U

IC GAIN
M

LEVEL
SET

U
-20dB

+50
+30dB

GAIN

U

AUX

LOW
80Hz

+15
U

OO

+15
U

FX

OO

FX

+15

OO

OO

AUX

U

MON
OO

+15
U

FX

+15

PAN

LOW
80Hz

+15
U

FX

+15

PAN

OO

OO

FX

+15

PAN

5

OO

+15

PAN

5
10

15

15
250

500

1K

2K

MAIN MIX
MON

4K

L

R

MUTE

L

MUTE

OL

dB
10

R

MUTE

OL

1

dB
10

L

R

MUTE

OL

2

dB
10

L

R

dB
10

dB
10

OO

OO

+20

INPUT LEVEL
PRESETS
MUTE

USB THRU

+15

OO

+15

OO

dB
10

ST RTN

MON
dB
10

FX RTN

dB
10

5

5

5

5

5

5

5

U

U

U

U

U

U

U

U

5

5

5

5

5

5

5

5

10

10

10

10

10

10

10

10

20

20

20

20

20

20

20

20

30

30

30

30

30

30

30

30

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

OO

OO

OO

OO

OO

OO

OO

OO

HYBRID

STEREO

MAX

PHONES

FX TO MON

MUTE

5

MONO

20

30

30

40
50
60

40
50
60

OO

OO

The low cut switch only affects the mic input.

•

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

•

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

48V

•

These controls affect the stereo line-level
inputs.

POWER

•

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

MAIN
METERS
0dB=0dBu
OL
15
10
6
3
0
2
4
7
10
20
30

•

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

“U” LIKE UNITY GAIN
L

R

BREAK

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

(MUTES ALL CHANNELS)

U

OL

7/8

20

•

PHANTOM
POWER

U

U

FX MASTER

OL

5/6

5

10

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

USB

U

MUTE

OL

3/4

R

5

10

Except for gain and low cut, these controls
affect the mono mic input and the stereo 		
line-level input.

FOOTSWITCH

EQ IN
BYPASS

FX PRESETS

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

PAN

8K

OL

L

dB
10

0

5
10

125

-15 +15

MON

+15
U

10

5

MID
2.5kHz

AUX

U

MON

15

10

-15 +15
U
LOW
80Hz

dB
10

PHONES

15

-15 +15
U

-15 +15

AUX

U

MON

HI
12kHz

MID
2.5kHz

-15 +15

MAIN OUT

FX SEND

0

EQ

HI
12kHz

-15 +15
U

R

STEREO GRAPHIC EQ

U

-15 +15
U

BAL /
UNBAL

+20

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

L
BAL /
UNBAL

MON SEND

ST RETURN

GAIN

EQ

U

-15 +15
U

AUX

U

MON

R

LOW CUT
100Hz

MID
2.5kHz

-15 +15

R

-20 +20

GAIN

-15 +15
U

LOW
80Hz

LOW
80Hz

LEVEL
SET

+50

HI
12kHz

-15 +15
U

-15 +15

U

EQ

U

MID
2.5kHz

-15 +15
U

LEVEL
SET

+50
LOW CUT
100 Hz

-15 +15
U
MID
2.5kHz

OO

C GAIN
MI

HI
12kHz

-15 +15
U

OO

C GAIN
MI

EQ

U

HI
12kHz

U

LINE IN 8

GAIN

LOW CUT
100 Hz

EQ

LINE IN 6

U

GAIN

LOW CUT
100 Hz

U

LEVEL
SET

+50
+30dB

LINE IN 4

L
BAL /
UNBAL

OO

TAPE LEVEL

•

(MONO)

L

FX RTN

MAX

5

20

BAL /
UNBAL

OO

PHONES

U

R

LINE IN 7

+15

U

•

7/8

BAL /
UNBAL

U

The 3-band EQ has shelving high, shelving low,
and MON
peakingMAIN
mid EQ.

U

5

BAL /
UNBAL

BREAK

5

10

(MONO)

R

(MUTES ALL CHANNELS)

5

TAPE
OUT

L

L

LINE IN 2

dB
10

5

L

(MONO)

OO

L

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

(UNBALANCED)

5/6

(MONO)
BAL /
UNBAL

•

10

R

INPUT LEVEL

USB THRU

5

L

1

MUTE

+10

Channel 1 has a hi-z switch to connect a guitar
directly.

PRESETS

10

TAPE
IN

LINE
HI-Z

OO

•

ST RTN

ProFX8
MIC

U

5

HYBRID

MONO

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

USB

10

USB

0dB=0dBu

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

FX TO MON

MAIN

(BALANCED)

POWER

MAIN
METERS

•

OL

11/12

dB
10

8K

EQ IN
BYPASS

MUTE

OL

9/10

dB
10

4K

The gain knob adjusts both mic and line inputs.

U

+15

2K

•

FX MASTER

MUTE

OL

7/8

dB
10

1K

U

R

MUTE

OL

5/6

dB
10

L

R

MUTE

OL

4

dB
10

R

MUTE

OL

3

dB
10

L

R

MUTE

OL

2

dB
10

R

MUTE

OL

1

dB
10

L

R

MUTE

5

10

500

OL

L

The mono channel controls affect both the
mono mic input and the mono line-level input.
15

FX PRESETS

MON

+15
U

FX

+15

PAN

•

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

AUX

U

MON
OO

FX

+15

OO

PAN

LOW
80Hz

AUX

0

MAIN MIX
MON

-15 +15

U

+15
U

OO

15

MID
2.5kHz

LOW
80Hz

MON

+15
U

10

-15 +15
U

-15 +15

AUX

U

MON

+15
U

OO

FX

+15

OO

MON

+15
U

OO

AUX

U

EQ
HI
12kHz

-15 +15
U

LOW
80Hz
-15 +15

48V

PHANTOM
POWER

5

125

MID
2.5kHz
-15 +15
U

LOW
80Hz

AUX

U

-15 +15
U

PHONES

10

0
5

MID
2.5kHz

-15 +15

MON

+15
U

GAIN

EQ

MAIN OUT

FX SEND

15

5

HI
12kHz

-15 +15
U

LOW
80Hz

U

GAIN

U

FOOTSWITCH

R

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

15

-15 +15
U
MID
2.5kHz

-15 +15

AUX

U

U

-20 +20

HI
12kHz

-15 +15
U

LOW
80Hz
-15 +15

U

EQ

U

-15 +15
U
MID
2.5kHz

-15 +15
U

LOW
80Hz
-15 +15

EQ
HI
12kHz

-15 +15
U
MID
2.5kHz

ST RETURN

LOW CUT
100 Hz

U

BAL /
UNBAL

STEREO GRAPHIC EQ

-20 +20

LEVEL
SET

+50

GAIN

HI
12kHz

-15 +15
U

LOW
80Hz
-15 +15

U

GAIN

EQ

U

-15 +15
U
MID
2.5kHz

-15 +15
U

+50
LOW CUT
100 Hz

HI
12kHz

-15 +15
U

-15 +15
U

GAIN

EQ

U

LINE IN 12

L

BAL /
UNBAL

MON SEND

R

10
U

BAL /
UNBAL

L

BAL /
UNBAL

R

LINE IN 10

C GAIN
MI

LEVEL
SET

(MONO)

BAL /
UNBAL

LINE IN 11

R

LINE IN 8

C GAIN
MI

LEVEL
SET

+50
+30dB

LOW CUT
100 Hz

HI
12kHz

MID
2.5kHz

OO

GAIN

LOW CUT
100 Hz

HI
12kHz
-15 +15
U

U
-20dB

BAL /
UNBAL

LINE IN 9

R

LINE IN 6

IC GAIN
M

LEVEL
SET

+50
+30dB

LOW CUT
100 Hz

U

U

U
-20dB

GAIN

LOW CUT
100 Hz

IC GAIN
M

LEVEL
SET

+50
+30dB

11/12

(MONO)

L

R
INSERT

9/10

(MONO)

L
LINE IN 5

LINE IN 4

7/8

(MONO)
BAL /
UNBAL

The vertical channel strips look very similar, with only
a few differences between them. Each channel works
independently, and just controls the signals plugged into
the inputs directly above it. There are three different
flavors of channel strip: Mono, Hybrid and Stereo.

TAPE
OUT

Owner’s Manual

Channel Controls

ProFX12

OO

+20

TAPE LEVEL

dB
10
5

U
5

10
20
30

40
50
60

OO

Owner’s Manual

17

LINE/HI-Z IN 1

LINE IN 2

LINE IN 5

LINE IN 4

LINE IN 3

LINE IN 7

UNBAL

R

20

ProFX8 and ProFX12

INSERT

19
21
22
23
24
25
26
27
28

U

IC GAIN
M

LEVEL
SET

U
-20dB

+50
+30dB

GAIN

EQ
HI
12kHz

-15 +15
U

-15 +15

AUX

AUX

U

MON
+15
U

OO

+15

MON
OO

+15
U

OO

+15

FX

dB
10

+15
U

OO

+15

FX

PAN

+15
U

OO

+15

FX

PAN

MON
+15
U

OO

+15

FX

PAN

MON
OO

+15
U

OO

+15

FX

PAN

+15
U

OO

+15

FX

PAN

10

5

5

0

0
5

10

10

HI
12kHz

15

15
125

AUX

U

MON
OO

+15
U

OO

+15

FX

PAN

15

10

EQ

LOW
80Hz

MON
OO

250

500

1K

2K

MAIN MIX
MON

4K

FX

PAN

L

R

L

MUTE

OL

29

1

R

L

MUTE

L

MUTE

OL

dB
10

R

dB
10

L

R

MUTE

OL

2

R

L

MUTE

OL

3

L

R

MUTE

OL

5/6

dB
10

dB
10

L

R

MUTE

OL

4

dB
10

U

OO

PRESETS

+10

INPUT LEVEL

GAIN

R

MUTE

USB THRU

U

BREAK

(MUTES ALL CHANNELS)

U

U

dB
10

OO

OL

9/10

dB
10

+15

FX MASTER

MUTE

OL

7/8

R

OO

+15

OO

MUTE
OL

11/12

dB
10

ST RTN

dB
10

FX RTN

MAX

OO

TAPE LEVEL

MON

MAIN

dB
10

dB
10

5

5

5

5

5

5

5

5

5

5

5

U

U

U

U

U

U

U

U

U

U

5

5

5

5

5

5

5

5

5

5

5

5

10

10

10

10

10

10

10

10

10

10

10

10

20

20

20

20

20

20

20

20

20

20

20

20

30

30

30

30

30

30

30

30

30

30

30

30

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

OO

OO

OO

OO

OO

OO

OO

OO

OO

OO

OO

OO

IN

ForU mono channels (mic input with a
mono line input), the gain knob adjusts
the
input sensitivity of the mic and line
-20 +20
GAIN
inputs.

If the signal comes through the mic XLR jack, there
will be 0 dB of gain (“U” for unity) with the knob fully
down, ramping to 50 dB of gain fully up.
Through the 1⁄4" mono input, there is 20 dB of
a ttenuation fully down and 30 dB of gain fully up,
with a “U” (unity gain) mark at 12:00. This 20 dB of
attenuation can be very handy when i nserting a very
hot signal, need to add a lot of EQ boost, or both.
Without this “ virtual pad,” thisscenario might lead
to channel clipping.

ProFX8 and ProFX12

C GAIN
MI

U

LEVEL
SET

+50

GAIN
LEVEL
SET

U

-20 +20

GAIN

+20

PHONES

FX TO MON

U

Adjust the gain control so the level set LEDs [20]
illuminate occasionally during the louder moments and
are off during the quieter moments.

18

L

5

Setting the gain correctly will ensure that the preU
+50
amplifier’s gain is not too high, where distortion could
GAIN
occur, and not too low, where the quieter, exquisitelydelicate passages might be lost in background noise.

+50

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

U

MI

U

0dB=0dBu

OL

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

LEVEL
SET

POWER

MAIN
METERS

USB

FX PRESETS

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

PAN

8K

48V
PHANTOM
POWER

EQ IN
BYPASS

19. GAIN

C GAIN
MI

PHONES

5

-15 +15

AUX

U

R

-15 +15
U

-15 +15

FOOTSWITCH

MAIN OUT

FX SEND

15

MID
2.5kHz

LOW
80Hz

AUX

U

R
ST RETURN

-15 +15
U

-15 +15
U

-15 +15

AUX

U

MID
2.5kHz

LOW
80Hz

-15 +15

OO

EQ
HI
12kHz

-15 +15
U

MON
OO

GAIN

-15 +15
U

LOW
80Hz

U

GAIN

MID
2.5kHz

-15 +15
U

AUX

U

MON
OO

MID
2.5kHz

-15 +15

-20 +20

HI
12kHz
-15 +15
U

LOW
80Hz

AUX

U

HI
12kHz

-15 +15
U

-20 +20

U

UNBAL

BAL /
UNBAL

STEREO GRAPHIC EQ

U

EQ

U

MON SEND

UNBAL

R

LOW CUT
100 Hz

EQ

U

MID
2.5kHz

-15 +15

+50

UNBAL

LINE IN 12

U

LEVEL
SET

GAIN

-15 +15
U

LOW
80Hz

-15 +15

GAIN

-15 +15
U

-15 +15
U
LOW
80Hz

U

HI
12kHz

MID
2.5kHz

-15 +15
U
LOW
80Hz

+50

EQ

U

-15 +15
U

C GAIN
MI

LEVEL
SET

LOW CUT
100 Hz

HI
12kHz

MID
2.5kHz

U

LOW CUT
100 Hz

EQ

U

-15 +15
U
MID
2.5kHz

+50
+30dB

R
LINE IN 10

LINE IN 8

C GAIN
MI

LEVEL
SET

GAIN

LOW CUT
100 Hz

HI
12kHz

-15 +15
U

U
-20dB

+50
+30dB

EQ

U

U

IC GAIN
M

LEVEL
SET

GAIN

LOW CUT
100 Hz

U

OO

U
-20dB

+50
+30dB

GAIN

LOW CUT
100 Hz

U

U

IC GAIN
M

LEVEL
SET

LINE IN 11

UNBAL

R

LINE IN 6

INSERT

INSERT

U

IC GAIN
M

U
-20dB

30

INSERT

LINE IN 9

UNBAL

ForU hybrid channels (mic input and
stereo line input), the gain control just
-20 +20
affects
the microphone input.
GAIN

For stereo channels (no mic input) the
gain control just affects the line-level
inputs, with 20 dB of gain, and 20 dB of
attenuation. There is no level set LED.

20. LEVEL SET LED
These LEDs are used with the gain control [19] to set
the channel preamplifier gain just right for each source.
If one or more channels are distorting, check the level
set LEDs. If they are on continuously, turn down the
gain.

21. LOW CUT
Each channel with a mic input has a low cut switch
that cuts the bass frequencies below 100 Hz, at a rate of
18 dB per octave. All mic inputs are affected, as well as
the line inputs of the mono channels.
We recommend using low cut on every microphone
application except kick drum, bass guitar, and bassy
synth patches. These aside, there isn’t much down there
that you want to hear, and filtering it out makes the low
stuff you do want much more crisp and tasty. Not only
that, low cut can help reduce the possibility of feedback
in live situations and help to conserve the amplifier
power.

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

3-BAND EQ
The ProFX mixer has 3-band equalization at carefully
selected points — low shelving at 80 Hz, mid peaking at
2.5 kHz, and high shelving at 12 kHz. “Shelving” means
that the circuitry boosts or cuts all frequencies past the
specified frequency. For example, rotating the low EQ
knob 15 dB to the right boosts bass starting at 80 Hz and
continuing down to the lowest note you never heard.
“Peaking” means that certain f requencies form a “hill”
around the center frequency — 2.5 kHz in the case of
the mid EQ.
The following graphs of frequency vs. signal level
show the approximate overall effect of EQ adjustment
on the frequency range.

22. HI EQ
+15
This control gives you
+10
up to 15 dB boost or cut
+5
above 12 kHz, and it is flat
0
(no boost or cut) at the
–5
detent. Use it to add sizzle –10
to cymbals, and an overall –15
20
100
1k
10k 20k
sense of transparency, or
edge to keyboards, v ocals,
Hi EQ
guitar and bacon frying. Turn
it down a little to reduce s ibilance, or to hide tape hiss.
Hz

Hz

Hz

Hz

Hz

23. MID EQ
+15
Short for “midrange,”
+10
this knob provides 15 dB
+5
of boost or cut, centered at
0
2.5 kHz, also flat at the
–5
center detent. Midrange
–10
EQ is o ften thought of as
–15
100
1k
10k
the most dynamic, because 20
the frequencies that define Mid EQ
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
+10
+5

0
–5
–10
–15
20Hz

100Hz

1kHz

10kHz 20kHz

1kHz

10kHz 20kHz

Low EQ
+15
+10

Used in conjunction with
the low cut [21] switch,
you can boost the low EQ
without injecting a ton of
subsonic debris into the
mix.

+5

0

Owner’s Manual

24. LOW EQ

Another way to consider low cut’s function is that it
actually adds flexibility during live performances. With
the a ddition of low cut, you may safely use low EQ 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.
Applying low cut r emoves all those problems so you
can add low EQ without blowing the subwoofers.

–5
–10
–15
20Hz

100Hz

Low EQ with Low Cut

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

25. AUX MON
These knobs tap a portion of each channel's signal
to set up a nice monitor mix feeding stage monitors,
independent of the main mix. Adjust these controls on
each channel until the band is happy with the stage
monitor mix.
The aux mon feed from hybrid and stereo channels is
a mono sum of the left and right sides of these channels.
The controls are off when turned fully down, deliver
unity gain at the center detent, and can provide up to
15 dB of gain turned fully up.

20kHz

The channel fader [30], pan [27] and mute [29] do
not affect the monitor output, but the other channel
controls will. (The aux mon is pre-fader.)
The monitor signal from the monitor output jack [12]
is the sum (mix) of all the channels whose aux mon
control is set to more than minimum. The overall
output level may be adjusted with the monitor fader
[46] and its EQ tweaked with the graphic EQ [36]
if the main mix/mon switch [37] is pressed in.
Internal FX may also be added to the monitor mix 		
with the FX to mon knob [53].
Owner’s Manual

19

LINE/HI-Z IN 1

LINE IN 2

LINE IN 5

LINE IN 4

LINE IN 3

LINE IN 7

UNBAL

R

20

ProFX8 and ProFX12

INSERT

19
21
22
23
24
25
26
27
28

U

IC GAIN
M

LEVEL
SET

U
-20dB

+50
+30dB

GAIN

EQ
HI
12kHz

-15 +15
U

-15 +15
U
LOW
80Hz

-15 +15

-15 +15

AUX

AUX

U

MON
+15
U

OO

+15

+15
U

OO

+15

MON
OO

+15
U

OO

+15

FX

PAN

MON
OO

+15
U

OO

+15

FX

PAN

+15
U

OO

+15

FX

PAN

MON
OO

+15
U

OO

+15

FX

PAN

+15
U

OO

+15

FX

PAN

5

0

0
5

10

10

HI
12kHz

15

15
125

AUX

U

MON
OO

+15
U

OO

+15

FX

PAN

10

5

EQ

LOW
80Hz

MON
OO

15

10

250

500

1K

2K

MAIN MIX
MON

4K

FX

PAN

POWER

MAIN
METERS
0dB=0dBu
OL
15
10
6
3
0
2
4
7
10
20
30

EQ IN
BYPASS

USB

FX PRESETS

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

PAN

8K

48V
PHANTOM
POWER

U

OO

PRESETS

+10

INPUT LEVEL

L

R

MUTE

USB THRU

U

BREAK

(MUTES ALL CHANNELS)

U

U
OL

L

R

L

MUTE

OL

29

1

R

L

MUTE

L

MUTE

OL

dB
10

R

MUTE

OL

2

dB
10

L

R

dB
10

R

L

MUTE

OL

4

dB
10

L

R

MUTE

OL

3

MUTE

OL

5/6

dB
10

L

R

dB
10

OO

OL

9/10

dB
10

+15

FX MASTER

MUTE

OL

7/8

R

OO

+15

OO

MUTE
OL

11/12

dB
10

ST RTN

dB
10

FX RTN

MAX

OO

TAPE LEVEL

MON

MAIN

dB
10

dB
10

5

5

5

5

5

5

5

5

5

5

5

5

U

U

U

U

U

U

U

U

U

U

U

5

5

5

5

5

5

5

5

5

5

5

5

10

10

10

10

10

10

10

10

10

10

10

10

20

20

20

20

20

20

20

20

20

20

20

20

30

30

30

30

30

30

30

30

30

30

30

30

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

40
50
60

OO

OO

OO

OO

OO

OO

OO

OO

OO

OO

OO

OO

26. AUX FX

28. OL LED

These knobs tap a portion of each channel's signal to
set up a nice FX mix feeding the internal FX processor,
and to feed external processors via the FX output [13].

This LED will light if the channel signal is too high,
and this may cause distortion due to overloading.

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

The OL LED comes before the channel fader [30] in
the signal path, so the fader has no effect in your efforts
to turn off the OL LED.

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

Overloading may occur if the gain [19] is set too high,
so check that the level set LED [20] is not turning on
frequently. Turn down the gain if it is.

The channel fader [30], mute [29] and other channel
controls affect the FX output, but pan [27] does not.
(The aux FX is post-fader.)

Overloading may also occur if the channel EQ [22-24]
is set too high. Check that the EQ settings are moderate.
Use the low cut switches [21] if the overloading is due
to lower unwanted bass thumps and bangs.

The FX signal from the internal FX processor is added
to the main mix using the FX return fader [45], and may
be added to the monitors with the FX to mon knob [53].

27. PAN
These knobs adjust the amount of channel signal sent
to the left versus the right outputs. On mono channels
these controls act as pan pots. On h ybrid and stereo
channels, they work like the balance control on a home
stereo. They do not affect the aux mon or FX mixes.
ProFX8 and ProFX12

+20

PHONES

FX TO MON

U

The FX signal reaching the internal FX processor
and the FX send output jack, is the sum (mix) of all
the channels whose aux FX control is set to more than
minimum. The overall FX send level may be adjusted
with the FX master knob [51].

20

MON
OO

PHONES

5

-15 +15

AUX

U

R

-15 +15
U

-15 +15

FOOTSWITCH

MAIN OUT

FX SEND

15

MID
2.5kHz

LOW
80Hz

AUX

U

R
ST RETURN

-15 +15
U

-15 +15
U

-15 +15

AUX

U

MID
2.5kHz

LOW
80Hz

-15 +15
U

EQ

-15 +15
U

-15 +15
U
LOW
80Hz

AUX

U

GAIN

MID
2.5kHz

-15 +15
U

-15 +15

AUX

U

MON
OO

FX

dB
10

-15 +15

GAIN

HI
12kHz

-15 +15
U
MID
2.5kHz

LOW
80Hz

-20 +20

HI
12kHz

-15 +15
U

-15 +15
U

-20 +20

U

UNBAL

BAL /
UNBAL

STEREO GRAPHIC EQ

U

EQ

U

MON SEND

UNBAL

R

LOW CUT
100 Hz

EQ

MID
2.5kHz

LOW
80Hz

GAIN

UNBAL

LINE IN 12

U

LEVEL
SET

+50

HI
12kHz

-15 +15
U

-15 +15
U
LOW
80Hz

U

LOW CUT
100 Hz

HI
12kHz

MID
2.5kHz

C GAIN
MI

LEVEL
SET

GAIN

U

R
LINE IN 10

LINE IN 8

+50

EQ

U

-15 +15
U
MID
2.5kHz

U

LOW CUT
100 Hz

HI
12kHz

-15 +15
U
MID
2.5kHz

+50
+30dB

EQ

U

C GAIN
MI

LEVEL
SET

GAIN

LOW CUT
100 Hz

HI
12kHz

-15 +15
U

U
-20dB

+50
+30dB

EQ

U

U

IC GAIN
M

LEVEL
SET

GAIN

LOW CUT
100 Hz

U

OO

U
-20dB

+50
+30dB

GAIN

LOW CUT
100 Hz

U

U

IC GAIN
M

LEVEL
SET

LINE IN 11

UNBAL

R

LINE IN 6

INSERT

INSERT

U

IC GAIN
M

U
-20dB

30

INSERT

LINE IN 9

UNBAL

29. MUTE
Press this switch in to mute the channel in the main
mix. The aux mon output of the channel is not muted,
but the FX output to the internal FX processor and FX
send jack [13] is.

30. CHANNEL FADER
These faders control the channel’s level from off, to
unity gain, on up to 10 dB of additional gain. The mono
channels have mono faders, and the hybrid and stereo
channels use stereo faders.
With the gain control [19] set correctly, the faders
should be set around unity gain (U).

R

BAL /
UNBAL

R

LINE IN 12

ST RETURN

R
MAIN OUT

FX SEND

15

10

10

5

5

0

0

5

5

EQ

10

10

HI
12kHz

15

GAIN

U

-15 +15
U

15
125

250

37

500

1K

2K

MAIN MIX
MON

MID
2.5kHz

4K

-15 +15

AUX

U

MON
+15
U
FX
+15

PAN

L

U

OO

dB
10

MUTE

U

11/12

50

53

40

dB
10

USB THRU

+15

MAIN
METERS
0dB=0dBu

33

43
dB
10

FX RTN

L

MAX

TAPE LEVEL

MON

MAIN

dB
10

dB
10

5

5

5

U

U

U

U

U

5

5

5

5

5

10

45

10

46

10

47

Never plug single-ended (unbalanced)
microphones, or ribbon microphones into the
mic input jacks if phantom power is on. Do
not plug instrument outputs into the mic input jacks
with phantom power on, u nless you know for certain it
is safe to do so.

+20

PHONES

5

44

BREAK

(MUTES ALL CHANNELS)

OO

If the microphones need phantom power, press 		
in this switch to add phantom power to all the XLR 		
microphone inputs of the mixer. This lets the mixer
send low-current DC voltage to the mic’s electronics
through the same wires that carry audio. The LED will
turn on as a reminder that phantom power is engaged.
Most modern professional condenser mics require
phantom power. Semi-pro condenser mics often have
batteries to accomplish the same thing. “Phantom” owes
its name to an ability to be “unseen” by dynamic mics
(Shure SM57/SM58, for instance), which don’t need
external power and aren’t affected by it anyway.

R

34

5

10

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

35
OO

FX TO MON

ST RTN

POWER

U

MUTE
OL

+10

INPUT LEVEL

41

OO

FX MASTER

42

OO

PRESETS

+15

32

39

49

31. PHANTOM POWER SWITCH

PHANTOM
POWER

U

52

51

R

48

OL

MUTE
OL

USB

FX PRESETS

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

48V

38

EQ IN
BYPASS

-15 +15
U
LOW
80Hz

8K

31

Owner’s Manual

36

15

-20 +20

OO

Master Controls

STEREO GRAPHIC EQ

U

OO

PHONES

32. POWER LED
This LED comes on when the mixer is plugged into
the AC mains supply, and the rear panel power switch
[2] is on.
If the LED does not turn on, make sure the 		
AC power is live, both ends of the power cord are 		
correctly inserted, the electricity bill has been 		
paid and the lights in town are on.

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

O

OO

OO

OO

OO

33. METERS
These meters have 2 columns of 12 LEDs each, 		
with dB markings from –30 to +15, and OL (overload
at +20 dBu). They indicate the stereo signal strength
of the main mix after the main fader [47].
Typically, these meters should be bouncing between
the “0” and the “+3” LEDs. It is okay if the OL LEDs light
occasionally, but if they light frequently or continuously,
turn down the main fader until they blink occasionally
or not at all.
Remember, audio meters are just tools to help a ssure
that the levels are “in the ballpark.” You don’t have to
stare at them (unless you want to).

Owner’s Manual

21

R
LINE IN 12

ProFX8 and ProFX12

ST RETURN

U

R
MAIN OUT

FX SEND

15

15

10

10

5

5

0

0

5

5

EQ

10

10

HI
12kHz

15

15

-15 +15
U

125

250

37

500

1K

2K

MAIN MIX
MON

MID
2.5kHz

4K

LOW
80Hz

-15 +15

AUX
MON

+15
U
FX

OO

+15

PAN

L

OO

42

MUTE

dB
10

MUTE

U

11/12

50

53

40

dB
10

USB THRU

+15

MAIN
METERS
0dB=0dBu

33

43
dB
10

FX RTN

L

MAX

OO

TAPE LEVEL

MON

MAIN

dB
10

dB
10

5

5

5

U

U

U

U

U

5

5

5

5

5

10

45

10

+20

PHONES

5

44

BREAK

46

10

47

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

34. BREAK SWITCH
This important “take-a-break” switch quickly mutes
all the microphones and line-level inputs when the band
is between sets. This will prevent protestors or rogue
karaoke singers from storming the stage at the interval.
The monitor send [12] and FX send [13] are not
affected. Check this switch first if you are having trouble
with no sound in the system.
You can still play the stereo RCA tape inputs [17] in
the main stereo mix, and play audio coming in from your
computer via the USB inputs. For example, you could
play a soothing CD while the band is off stage.

22

ProFX8 and ProFX12

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

(MUTES ALL CHANNELS)

5

10

R

34

36. STEREO GRAPHIC EQ
This 7-band graphic equalizer adjusts the main mix
output. It affects the line-level outputs [3, 14], but not
the tape outputs [18], headphones [16], or the USB
output [4]. This EQ may be used for the monitor mix
instead of the main mix, if the main mix/mon switch
[37] is engaged. It may also be quickly bypassed using
the EQ in/bypass switch [38].

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

35
OO

FX TO MON

ST RTN

POWER

U

MUTE
OL

+10

INPUT LEVEL

41

OO

FX MASTER

OL

OO

PRESETS

+15

32

39

49

OL

PHANTOM
POWER

U

52

51

R

48

31

This knob controls the input level of signals entering
the tape inputs. It is conveniently located close to the
break switch [34] so all channels may be quickly muted
while bringing up the background music while the band
is taking a break.

48V

38
USB

FX PRESETS

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

U

8K

EQ IN
BYPASS

-15 +15
U

OO

35. TAPE LEVEL

36

GAIN

U

PHONES

STEREO GRAPHIC EQ

-20 +20

U

BAL /
UNBAL

R

The EQ section comes before the main fader [47]
and meters [33]. As with the channel EQ, just take it
easy. There is a large amount of adjustment, and if you
are not careful, you can upset the delicate balance of
nature. Although it may not seem cool to actually turn
down controls, with EQ it is often your best option. Turn
down the offending frequency range, rather than boost
the wanted range. Use it to reduce the level of some
frequency bands where feedback occurs.

37. MAIN MIX/MON
Use this switch to choose if the stereo graphic 		
EQ [36] is used for the stereo left and right main
mix or if it is used for the 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.

38. EQ IN/BYPASS
Use this switch to quickly engage or disengage the
stereo graphic EQ. This may be used for quick checks
of EQ settings or to shorten the signal path if not using
the EQ.

39. USB INPUT LEVEL
This control adjusts the signal level of the two channels coming in from the computer, via the USB port,
relative to the mix of the other channels. Adjust it carefully to achieve the desired mix with the other channels.
The USB input from audio software such as Tracktion,
could be individual instrument tracks, a mix of tracks,
or processed tracks.

44. STEREO RETURN FADER

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

Use this fader to lovingly adjust the level of any audio
coming into the stereo return inputs [11] from external
processors or other equipment. The audio is added to
the main mix and it may also be muted with the stereo
return mute switch [43].

•

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

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

•

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

45. FX RETURN FADER

41. PHONES LEVEL
This controls the volume of the headphones output
from off to maximum gain.
Warning: The headphone amplifier is 		
designed to drive any standard headphones
to a very loud level. It can cause permanent
hearing damage. Even intermediate levels may be
painfully loud with some headphones. Be careful!
Always start with the phones level control turned all
the way down before connecting headphones or making
any connections. Keep it down until you’ve put on the
headphones, and turn it down first whenever you play a
new source or instrument.

42. OL LED (for stereo returns)
This LED will light if the signal coming into the
stereo return inputs [11] is too high, and this may
cause distortion due to overloading.
The OL LED comes before the stereo return fader
[44], so the fader has no effect in your efforts to turn
off the OL LED.
Check external processors and other devices, and
turn down their levels until the OL LED does not come
on.

43. MUTE (for stereo returns)
Press this switch in to mute the signals coming into
the stereo return inputs [11].

Owner’s Manual

40. USB THRU

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

46. MONITOR FADER
This fader controls the overall level of t he monitor
send signal sent out to the stage monitors.
Adjust it carefully and check that the band is happy
with the levels. The fader does not affect the main mix
level.
The monitor send signals are off with the fader 		
fully down, the “U” marking is unity gain, and fully
up provides 10 dB of additional gain.

47. MAIN FADER
This fader controls the level of the main mix and
affects the meters [33] and main line-level outputs
[3, 14]. The level adjustment occurs after the stereo
graphic EQ [36] in the signal path.
This gives you ultimate control over the audience.
Adjust it carefully, with a good eye on the meters to
check against overloading and a good ear on the levels
to make sure the audience is happy.
The control does not affect the monitor send [12],
tape output [18], headphones [16], or USB output [4].
The main mix signals are off with the fader fully down,
the “U” marking is unity gain and fully up provides 		
10 dB of additional gain. This additional gain will 		
typically never be needed, but once again, it’s nice to
know it’s there. The level control is stereo, as it affects
both the left and right of the main mix equally. This is
the control to turn down at the end of the song when
you want “The Great Fade-Out.”

Owner’s Manual

23

R

R

LINE IN 12

ProFX8 and ProFX12

ST RETURN

GAIN

U

MAIN OUT

FX SEND

15

10

10

5

5

0

0

5

5

EQ

10

10

HI
12kHz

15

15
125

250

500

1K

2K

MAIN MIX
MON

MID
2.5kHz

4K

LOW
80Hz

-15 +15

AUX
MON

+15
U
FX

OO

+15

PAN

L

R

FX MASTER

MUTE

dB
10

+15

OO

PRESETS

U

50

0dB=0dBu
OL
15
10
6
3
0
2
4
7
10
20
30

+10

INPUT LEVEL

L

OO

R

USB THRU

BREAK

(MUTES ALL CHANNELS)

U

+15

OO

MAX

OO

+20

PHONES

TAPE LEVEL

MON

MAIN

Stereo
Processor
ST RTNEffects
FX RTN
dB
10

dB
10

The Mackie Running-Man 32-bit internal effects
processor
is a mono-in,
stereo-out
effects processor,
5
5
5
5
with 16 presets. It is fed by adjusting the aux FX control
U
U
U
U
[26] on each channel. The FX master knob [51] adjusts
5
the5 overall level entering
the FX5 processor and5 the 		
OL10LED [52] shows
is too high. 10
10 if the level 10

5

U
5

10

20
20
The
output from
the processor20 may be added20 to 		
30
30
30 return fader30[45].
the main mix by adjusting the FX
Its 40output may also
the monitor mix
40 be added to 40
40 by
50
50
50
50
adjusting
the
FX
to
mon
knob
[53].
60
60
60
60

20

30
40
50
60
OO

OO

24

OO

When engaged, the internal effects processor is
muted. Its output will not appear in the main mix or
monitors, and the adjacent LED will come on. The
footswitch connection [15] becomes disabled and the
footswitch cannot be used to mute or un-mute the 		
effects.

51. FX MASTER

FX TO MON

dB
10

50. INTERNAL FX MUTE and LED

If this switch is not engaged, then the internal effects
may be muted or un-muted with a footswitch.

53

MUTE

dB
10

MAIN
METERS

MUTE

OL

11/12

POWER

U

49

OL

OO

OL

48

52

51

PHANTOM
POWER

USB

FX PRESETS

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

U

8K

Rotate this knob to increase or decrease the number
of the preset. The available presets are shown in the
table on the next page and are marked on the panel
silkscreen. (Only one preset may be selected at a time.)

48V

EQ IN
BYPASS

-15 +15
U

OO

49. PRESET SELECTOR

15

-15 +15
U

U

PHONES

STEREO GRAPHIC EQ

U

-20 +20

R

UNBAL

OO

Use this knob to control the level of t he signals going
into the internal effects processor. Adjust it carefully,
with an inner magical eye on the adjacent OL LED [52]
to prevent overloading the effects processor.
Fully down is off, 12 o'clock is unity gain, and fully up
is 15 dB of gain.
It also affects the level going out of the FX send
output [13].

52. OL LED
This LED illuminates when the effects processor is
being overloaded with too strong a signal (OL). Turn
down the FX master [51] if it is.
The signals going into the processor are affected by
the channel aux FX controls [26], and the channel
faders [30]. Check the LED if these controls have been
altered.

OO

48. PRESET DISPLAY

53. FX TO MON

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

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

ProFX8 and ProFX12

No.

Title

Description

Example of its use

1

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.

2

WARM LOUNGE

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

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

3

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.

4

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.

5

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’d orchestral
instruments.

6

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.

7

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.

8

CATHEDRAL

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

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

9

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 + REV

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

This lets you both thicken your sound
with the chorus effect 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. (50MS)

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. (180 MS)

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
14
15

DELAY 1 (300MS)
DELAY 2 (380MS)
DELAY 3 (480 MS)

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

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

16

REVERB + DLY
(250MS)

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

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

Owner’s Manual

Owner’s Manual

TABLE OF INTERNAL EFFECTS

25

ProFX8 and ProFX12

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

Troubleshooting
Bad Channel
•

Has the gain been set correctly?

•

Is the mute switch on?

•

Is the fader turned up?

•

Is the channel OL LED on?

•

Is the channel EQ set moderately?

•

Try unplugging any insert devices.

•

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

Bad Output

26

•

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

•

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

•

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

•

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

ProFX8 and ProFX12

Noise
•

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

Power
•

Check that the power cord is firmly connected
at both ends.

Repair
For warranty service, refer to the warranty
information on page 32.
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, 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.

“XLR” Connectors

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

COLD
SHIELD

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

•

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

1⁄4"

TS Phone Plugs and Jacks

“TS” stands for Tip-Sleeve, the two connections
available on a “mono” 1⁄4" phone jack or plug.
See Figure C.

2

SHIELD

•

1

3

Owner’s Manual

Appendix B: Connections

SLEEVE

SLEEVE

TIP

1
TIP

COLD 3
HOT

1
3

TIP
2

SLEEVE

SHIELD
COLD

2

Figure C: TS Plug

HOT

Figure A: XLR Connectors
SLEEVE

1⁄4"

SLEEVE

TIP

TRS Phone Plugs and Jacks
TIP

•

Unbalanced microphones

SLEEVE

•

Electric guitars and electronic instruments

•

Unbalanced line-level connections

SLEEVE RING TIP

TIP

RING
TIP
SLEEVE

Figure B: 1⁄4" TRS Plugs

TRS jacks and plugs are used in several different

applications:
•

RING

TIP

“TRS” stands for Tip-Ring-Sleeve, the three
connections available on a “stereo” 1⁄4" or “balanced”
phone jack or plug. See Figure B.
RING SLEEVE

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

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 the two mic
preamps.

TIP
SLEEVE

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

Owner’s Manual

27

ProFX8 and ProFX12

TRS Send/Receive Insert Jacks Mackie Stereo Inputs and Returns: Mono,
Mackie’s single-jack inserts are the three-conductor,
TRS-type 1⁄4" phone. They are unbalanced, but have
both the mixer output (send) and the mixer input
(return) signals in one connector. See Figure E.
The sleeve is the common ground (earth) for both
signals. The send from the mixer to the e xternal unit is
carried on the tip, and the return from the unit to the
mixer is on the ring.
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 E

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 or bus signal
without interrupting normal operation.
If you push the 1⁄4" TS plug in to the second click, you
will open the jack switch and create a d irect out, which
does interrupt the signal in that channel. See Figure F.
NOTE: Do not overload or short-circuit the signal you
are tapping from the mixer. That will affect the internal
signal.

MONO PLUG
Channel Insert jack

Direct out with no signal interruption to master.
Insert only to first “click.”

MONO PLUG
Channel Insert jack

Direct out with signal interruption to master.
Insert all the way in to the second “click.”

STEREO
PLUG
Channel Insert jack

For use as an effects loop.
(TIP = SEND to effect, RING = RETURN from effect.)
Figure F

28

ProFX8 and ProFX12

Stereo, Whatever

Stereo line inputs and stereo returns are a fine
example of the Mackie philosophy (which we just made
up) of Maximum Flexibility with Minimum Headache.
The inputs and returns will automatically be mono or
stereo, depending upon how you use the jacks. Here’s
how it works:
A mono signal should be patched into the input or
return jack labeled left (mono). The signal will be
routed to both the left and right sides of the return
circuit, and will show up in the center of the stereo pair
of buses it’s assigned to, or it can be “panned” with the
pan control.
A stereo signal, having two plugs, should be patched
into the left (mono) and the right input or return jacks.
A jack switch in the right jack will disable the mono
function, and the signals will show up in stereo.
A mono signal connected to the right jack will show
up in the right bus only. You probably will only want to
use this sophisticated effect for special occasions.

Specifications
Noise

Maximum Voltage Gain (EQ Flat)

20 Hz – 20 kHz, 150 Source Impedance
Equivalent Input Noise
(Mic in to Insert Send out, max gain)
–125 dBu
Residual Output Noise
(All outputs, master levels off, all channel levels off)		
–95 dBu
(All outputs, master levels unity, all channel levels off)		
–80 dBu
(All outputs, master levels unity, one channel level unity)
–80 dBu

Mic Input Channel to
Insert Output
Tape Output
USB Output
1/4 Inch Main Output
XLR Main Output
Monitor Send
FX Send
Mono Line Input Channel to
Insert Output
Tape Output
USB Output
XLR Main Output
Monitor Send
FX Send
Stereo Line Input Channel to
Tape Output
USB Output
XLR Main Output
Monitor Send
FX Send
Tape Input to
Tape Output
USB Output
XLR Main Output
USB Input to
Tape Output
USB Output
XLR Main Output
Stereo Return to
Tape Output
USB Output
XLR Main Output
Effects Return to
Tape Output
USB Output
XLR Main Output
Monitor Send

Distortion
20 Hz – 20 kHz
THD+N, SMPTE IMD
(Mic input to Main output) <0.03% @ +4 dBu output

Common Mode Rejection Ratio
1 kHz
(Mic input to Insert Send output) 60 dB gain at unity

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

Crosstalk
20 Hz – 20 kHz
Adjacent Inputs
Inputs to Outputs
Fader Off
Mute Switch/Break Switch Mute

–90 dB @ 1 kHz
–90 dB @ 1 kHz
–75 dB @ 1 kHz
–90 dB @ 1 kHz

Maximum Levels
All Inputs
Main Mix XLR
All other outputs

+22 dBu
+28 dBu
+22 dBu

50 dB
60 dB
50 dB
70 dB
76 dB
75 dB
90 dB

Owner’s Manual

Appendix C: Technical Information

30 dB
40 dB
30 dB
56 dB
55 dB
70 dB
30 dB
20 dB
46 dB
45 dB
60 dB
20 dB
10 dB
36 dB
20 dB
10 dB
36 dB
10 dB
0 dB
26 dB
10 dB
0 dB
26 dB
25 dB

Channel EQ
Low Cut
High Shelving
Mid Peaking
Low Shelving

100 Hz, –18 dB/Octave
±15 dB @ 12 kHz
±15 dB @ 2.5 kHz
±15 dB @ 80 Hz

Impedances
Mic in
Channel Insert return
Ch 1 Instrument Input
All other inputs
Tape out
Phones out
All other outputs

3k
10 k
1M
20 k
1.1 k
25
120

Digital Effects
I/O
Number of Presets

Mono Input / Stereo Output
16

Owner’s Manual

29

0 dBu (normal operating level)

Dimensions
WEIGHT

7.1 lb
3.2 kg

Channel OL LED
–1 dB before channel clipping
Measured post-EQ, pre-fader

3.58 in/
91 mm

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

14.05 in/ 357mm

ProFX8 and ProFX12

Channel Level Set LED

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

11.41 in/ 290 mm

USB

WEIGHT

Format
I/O
A/D/A

9.0 lb
4.1 kg

USB 1.1
Stereo Input / Stereo Output
16 Bit, 44.1 kHz / 48 kHz

3.58 in/
91 mm

Phantom Power

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

14.05 in/ 357mm

48 VDC to all Mic channels at once

Dimensions (H x W x D)
ProFX8 			
			
ProFX12			
			

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

14.6 in/ 370 mm

Weight
ProFX8 			
ProFX12			

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

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.
©2011 LOUD Technologies Inc. All Rights Reserved.

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

30

ProFX8 and ProFX12

Owner’s Manual

R

L

R

L

Mic Gain:
0 ~ +50dB

-

+

Gain

HPF

100 Hz

Gain

-

+

HPF

100 Hz

Low Cut In

Low Cut In

Mic: 0 ~ +50dB
Line: -20 ~ +30dB

Line Gain:
-20 ~ +20 dB

Level Set

Line /
Hi-Z

Mic: 0 ~ +50dB
Line: -20 ~ +30dB

-

+

Gain

Level Set

MID
12K

HI

12K

HI

OL (Flicker)

2.5K

LO
80

2.5K

80

MID

2.5K

MID
12K

HI

Fader
Mute

Mute

Fader

OL (Flicker)

Fader

OL (Flicker)

3-Band EQ

80

LO

Insert

3-Band EQ
LO

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

Stereo Return

Stereo
Channels
7-8 ProFX8
9-12 ProFX12

Phantom
Power

Mic

R

L

Line /
Hi-Z

Hybrid
Channels
3-6 ProFX8
5-8 ProFX12

Mono
Channel
1 ProFX8
1 ProFX12

Mic

Phantom
Power

Mono
Channels
2-2 ProFX8 Line
2-4 ProFX12

Mic

Phantom Power

Phantom Power
(To All Mics)

Mute

Pan

Pan

Mon

FX

Mon

FX

FX (post)
FX (post)

Mon (pre)
Mon (pre)

L
R Main
L
Main R

Global 48v
48V Switch/LED

Break
switch

R

L

Level

Level

USB Input

R

L

Tape Input

R sum

L sum

Mains

7-band Stereo
GEQ

EQ In
Bypass

Bypass
switch

FX level

OL

FX to Main L/R Fader

FX to Mon

to/from
7-Band EQ

Mon Fader

active

FX Bypass
Logic

FX Mute

Internal FX

footswitch

Out R

FX

Out L

In

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

Mon

Main R

EQ assign
switch

Main L
Mon
Main R

Phones
Level

Main
Meters

Main L
Mon

USB Thru

to/from
7-Band
GEQ

Main Fader

FX
Preset
Display

Preset select

FX send

Monitor send

USB
Out

Phones

Tape Out
Right

Left

Right

Main out

Left

Owner’s Manual

Block Diagram

31

ProFX8 and ProFX12

ProFX8 and ProFX12 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 (tollfree 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.

32

ProFX8 and ProFX12

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

Source Exif Data:

File Type                       : PDF
File Type Extension             : pdf
MIME Type                       : application/pdf
PDF Version                     : 1.6
Linearized                      : No
Encryption                      : Standard V4.4 (128-bit)
User Access                     : Print, Extract, Print high-res
Create Date                     : 2011:08:01 11:50:01-07:00
Creator                         : Adobe InDesign CS5.5 (7.5)
Modify Date                     : 2011:08:01 11:52:15-07:00
XMP Toolkit                     : Adobe XMP Core 5.2-c001 63.139439, 2010/09/27-13:37:26
Instance ID                     : uuid:9e1bf0ea-123f-f544-a111-560547ea2a02
Document ID                     : adobe:docid:indd:a574d450-84f2-11de-bf68-9b40144d262e
Original Document ID            : adobe:docid:indd:a574d450-84f2-11de-bf68-9b40144d262e
Rendition Class                 : proof:pdf
Derived From Instance ID        : a574d44f-84f2-11de-bf68-9b40144d262e
Derived From Document ID        : adobe:docid:indd:082eede0-397f-11dd-8030-a85081b856db
History Action                  : saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved, saved
History Instance ID             : xmp.iid:74D3FB7C1F2068118083D1FBC2F1898B, xmp.iid:422BFE7C1F2068118083D1FBC2F1898B, xmp.iid:D29499DF1F2068118083D1FBC2F1898B, xmp.iid:D39499DF1F2068118083D1FBC2F1898B, xmp.iid:9E21327E282068118083E29B425728C7, xmp.iid:18013DF3282068118083E29B425728C7, xmp.iid:262C440F292068118083E29B425728C7, xmp.iid:44AD54A7292068118083E29B425728C7, xmp.iid:0539AD432A2068118083E29B425728C7, xmp.iid:39E8E1D52C2068118083E29B425728C7, xmp.iid:8734BE6C2D2068118083E29B425728C7, xmp.iid:F2D81D7407206811822AF5AB520EF034, xmp.iid:F3D81D7407206811822AF5AB520EF034, xmp.iid:11811B8F0C206811822AF5AB520EF034, xmp.iid:12811B8F0C206811822AF5AB520EF034, xmp.iid:90AE7CD30D206811822AF5AB520EF034, xmp.iid:91AE7CD30D206811822AF5AB520EF034, xmp.iid:92AE7CD30D206811822AF5AB520EF034, xmp.iid:78CD398D0F206811822AF5AB520EF034, xmp.iid:79CD398D0F206811822AF5AB520EF034, xmp.iid:7ACD398D0F206811822AF5AB520EF034, xmp.iid:7BCD398D0F206811822AF5AB520EF034, xmp.iid:7CCD398D0F206811822AF5AB520EF034, xmp.iid:000DBF2A21206811822AF5AB520EF034, xmp.iid:5A351D7407206811822A9A22DFF6E2BA, xmp.iid:5B351D7407206811822A9A22DFF6E2BA, xmp.iid:7585388B08206811822A9A22DFF6E2BA, xmp.iid:FBDB04C108206811822A9A22DFF6E2BA, xmp.iid:D7DED34109206811822A9A22DFF6E2BA, xmp.iid:98DED78C09206811822A9A22DFF6E2BA, xmp.iid:99DED78C09206811822A9A22DFF6E2BA, xmp.iid:013E7D710A206811822A9A22DFF6E2BA, xmp.iid:4F2998C90A206811822A9A22DFF6E2BA, xmp.iid:502998C90A206811822A9A22DFF6E2BA, xmp.iid:5818EBFB0D206811822A9A22DFF6E2BA, xmp.iid:D9DDBE690E206811822A9A22DFF6E2BA, xmp.iid:44D1587C13206811822A9A22DFF6E2BA, xmp.iid:E778C5B316206811822A9A22DFF6E2BA, xmp.iid:442B741417206811822A9A22DFF6E2BA, xmp.iid:41BD762818206811822A9A22DFF6E2BA, xmp.iid:A85C30F81A206811822A9A22DFF6E2BA, xmp.iid:33601D74072068118083833DC8FB6BCC, xmp.iid:3CAD4FAE092068118083833DC8FB6BCC, xmp.iid:77B2CD090A2068118083833DC8FB6BCC, xmp.iid:9CAA39360A2068118083833DC8FB6BCC, xmp.iid:D9286DD40A2068118083833DC8FB6BCC, xmp.iid:62A830FF0A2068118083833DC8FB6BCC, xmp.iid:25D7BA560B2068118083833DC8FB6BCC, xmp.iid:6043D8970B2068118083833DC8FB6BCC, xmp.iid:552885DA0B2068118083833DC8FB6BCC, xmp.iid:7E2165AE0E2068118083833DC8FB6BCC, xmp.iid:6495ADDE0E2068118083833DC8FB6BCC, xmp.iid:6595ADDE0E2068118083833DC8FB6BCC, xmp.iid:340739DA102068118083833DC8FB6BCC, xmp.iid:7FFC78EC102068118083833DC8FB6BCC, xmp.iid:26200625152068118083833DC8FB6BCC, xmp.iid:B4109D2F152068118083833DC8FB6BCC, xmp.iid:ED356550152068118083833DC8FB6BCC, xmp.iid:EE356550152068118083833DC8FB6BCC, xmp.iid:4F061F7407206811808389A5C57A96FF, xmp.iid:50061F7407206811808389A5C57A96FF, xmp.iid:51061F7407206811808389A5C57A96FF, xmp.iid:364C288108206811808389A5C57A96FF, xmp.iid:63D9AA730C206811808389A5C57A96FF, xmp.iid:922F561B0D206811808389A5C57A96FF, xmp.iid:F30447EF0D206811808389A5C57A96FF, xmp.iid:D05D549D0E206811808389A5C57A96FF, xmp.iid:E7EDFCF30E206811808389A5C57A96FF, xmp.iid:FEBEAD4C0F206811808389A5C57A96FF, xmp.iid:0EE0F7A80F206811808389A5C57A96FF, xmp.iid:518DAE3415206811808389A5C57A96FF, xmp.iid:E04B595115206811808389A5C57A96FF, xmp.iid:6F74B56115206811808389A5C57A96FF, xmp.iid:7074B56115206811808389A5C57A96FF, xmp.iid:5F4515E315206811808389A5C57A96FF, xmp.iid:FF3AD73F19206811808389A5C57A96FF, xmp.iid:97ED805819206811808389A5C57A96FF, xmp.iid:88C47EB919206811808389A5C57A96FF, xmp.iid:86CD69B51A206811808389A5C57A96FF, xmp.iid:9E0F2A7A1B206811808389A5C57A96FF, xmp.iid:9A3BF9A81B206811808389A5C57A96FF, xmp.iid:525999EF1B206811808389A5C57A96FF, xmp.iid:5779157407206811822AEAC54342D521, xmp.iid:5879157407206811822AEAC54342D521, xmp.iid:005360DE07206811822AEAC54342D521, xmp.iid:45D344BC0B206811822AEAC54342D521, xmp.iid:A9C085AE0C206811822AEAC54342D521, xmp.iid:53F2EAFC0C206811822AEAC54342D521, xmp.iid:73935F1A0D206811822AEAC54342D521, xmp.iid:74935F1A0D206811822AEAC54342D521, xmp.iid:8C0FB0F00E206811822AEAC54342D521, xmp.iid:08BD06460F206811822AEAC54342D521, xmp.iid:3DBF580110206811822AEAC54342D521, xmp.iid:8F065D5710206811822AEAC54342D521, xmp.iid:51A477C912206811822AEAC54342D521, xmp.iid:1D4A5E2D13206811822AEAC54342D521, xmp.iid:1E4A5E2D13206811822AEAC54342D521, xmp.iid:2444A79F14206811822AEAC54342D521, xmp.iid:F8E0F45B15206811822AEAC54342D521, xmp.iid:2543744616206811822AEAC54342D521, xmp.iid:0D09584C18206811822AEAC54342D521, xmp.iid:B930E68719206811822AEAC54342D521, xmp.iid:E75629C21D206811822AEAC54342D521, xmp.iid:56FF4E581F206811822AEAC54342D521, xmp.iid:AE0EF60F20206811822AEAC54342D521, xmp.iid:20E0167407206811822A9006C0D57BCF, xmp.iid:091FDF9407206811822A9006C0D57BCF, xmp.iid:1675BFA30C206811822A9006C0D57BCF, xmp.iid:BEF042090D206811822A9006C0D57BCF, xmp.iid:B5FC15C60D206811822A9006C0D57BCF, xmp.iid:BA9FF24C0E206811822A9006C0D57BCF, xmp.iid:050BEDE30E206811822A9006C0D57BCF, xmp.iid:6B7458060F206811822A9006C0D57BCF, xmp.iid:344EA51210206811822A9006C0D57BCF, xmp.iid:756DEEC410206811822A9006C0D57BCF, xmp.iid:66E15F1811206811822A9006C0D57BCF, xmp.iid:2E7ED97D11206811822A9006C0D57BCF, xmp.iid:09D0D73F12206811822A9006C0D57BCF, xmp.iid:6E92EC6D13206811822A9006C0D57BCF, xmp.iid:CC70B00916206811822A9006C0D57BCF, xmp.iid:37E3E4D818206811822A9006C0D57BCF, xmp.iid:C47BF67519206811822A9006C0D57BCF, xmp.iid:FB866F061B206811822A9006C0D57BCF, xmp.iid:82D21C74072068118083EFC1AC81AD2F, xmp.iid:470E9CB3082068118083EFC1AC81AD2F
History When                    : 2011:07:20 16:25:22-07:00, 2011:07:20 16:25:22-07:00, 2011:07:20 16:28:08-07:00, 2011:07:20 16:28:43-07:00, 2011:07:21 16:07:09-07:00, 2011:07:21 16:10:26-07:00, 2011:07:21 16:11:13-07:00, 2011:07:21 16:15:28-07:00, 2011:07:21 16:19:50-07:00, 2011:07:21 16:46:52-07:00, 2011:07:21 16:51:05-07:00, 2011:07:22 09:59:39-07:00, 2011:07:22 10:16:35-07:00, 2011:07:22 11:03:48-07:00, 2011:07:22 11:05:23-07:00, 2011:07:22 11:12:52-07:00, 2011:07:22 11:17:48-07:00, 2011:07:22 11:22:51-07:00, 2011:07:22 11:25:13-07:00, 2011:07:22 11:28:22-07:00, 2011:07:22 11:29:04-07:00, 2011:07:22 13:26:20-07:00, 2011:07:22 13:27:54-07:00, 2011:07:22 13:31:18-07:00, 2011:07:22 13:46:35-07:00, 2011:07:22 13:47:47-07:00, 2011:07:22 13:54:23-07:00, 2011:07:22 13:55:53-07:00, 2011:07:22 13:59:29-07:00, 2011:07:22 14:01:35-07:00, 2011:07:22 14:03:02-07:00, 2011:07:22 14:07:59-07:00, 2011:07:22 14:10:26-07:00, 2011:07:22 14:32:36-07:00, 2011:07:22 14:33:19-07:00, 2011:07:22 14:36:23-07:00, 2011:07:22 15:44:13-07:00, 2011:07:22 16:07:14-07:00, 2011:07:22 16:09:56-07:00, 2011:07:22 16:17:40-07:00, 2011:07:22 16:37:47-07:00, 2011:07:25 10:15:51-07:00, 2011:07:25 10:31:48-07:00, 2011:07:25 10:34:22-07:00, 2011:07:25 10:35:36-07:00, 2011:07:25 10:40:02-07:00, 2011:07:25 10:41:13-07:00, 2011:07:25 10:43:40-07:00, 2011:07:25 10:45:30-07:00, 2011:07:25 10:47:21-07:00, 2011:07:25 11:07:36-07:00, 2011:07:25 11:08:57-07:00, 2011:07:25 11:20:58-07:00, 2011:07:25 11:23:09-07:00, 2011:07:25 11:23:39-07:00, 2011:07:25 11:53:52-07:00, 2011:07:25 11:54:10-07:00, 2011:07:25 11:55:05-07:00, 2011:07:25 12:06:25-07:00, 2011:07:25 13:46:38-07:00, 2011:07:25 13:47:04-07:00, 2011:07:25 13:52:51-07:00, 2011:07:25 13:54:10-07:00, 2011:07:25 14:22:24-07:00, 2011:07:25 14:27:06-07:00, 2011:07:25 14:33:01-07:00, 2011:07:25 14:37:53-07:00, 2011:07:25 14:40:19-07:00, 2011:07:25 14:42:47-07:00, 2011:07:25 14:45:22-07:00, 2011:07:25 15:31:57-07:00, 2011:07:25 15:32:45-07:00, 2011:07:25 15:33:12-07:00, 2011:07:25 15:35:57-07:00, 2011:07:25 15:36:49-07:00, 2011:07:25 16:00:53-07:00, 2011:07:25 16:01:35-07:00, 2011:07:25 16:04:17-07:00, 2011:07:25 16:11:20-07:00, 2011:07:25 16:16:50-07:00, 2011:07:25 16:18:09-07:00, 2011:07:25 16:20:07-07:00, 2011:07:27 10:02:42-07:00, 2011:07:27 10:03:58-07:00, 2011:07:27 10:05:40-07:00, 2011:07:27 11:07:07-07:00, 2011:07:27 11:13:54-07:00, 2011:07:27 11:16:05-07:00, 2011:07:27 11:16:55-07:00, 2011:07:27 11:19:25-07:00, 2011:07:27 11:30:04-07:00, 2011:07:27 11:32:27-07:00, 2011:07:27 11:37:41-07:00, 2011:07:27 11:40:06-07:00, 2011:07:27 14:45:41-07:00, 2011:07:27 14:48:28-07:00, 2011:07:27 14:53:31-07:00, 2011:07:27 14:58:49-07:00, 2011:07:27 15:04:05-07:00, 2011:07:27 15:10:39-07:00, 2011:07:27 15:25:08-07:00, 2011:07:27 15:33:57-07:00, 2011:07:27 16:25:18-07:00, 2011:07:27 16:36:39-07:00, 2011:07:27 16:41:48-07:00, 2011:07:28 09:21:14-07:00, 2011:07:28 09:22:09-07:00, 2011:07:28 09:58:21-07:00, 2011:07:28 10:01:11-07:00, 2011:07:28 10:06:28-07:00, 2011:07:28 10:10:14-07:00, 2011:07:28 10:14:28-07:00, 2011:07:28 10:15:25-07:00, 2011:07:28 10:22:56-07:00, 2011:07:28 10:27:55-07:00, 2011:07:28 10:30:15-07:00, 2011:07:28 10:33:05-07:00, 2011:07:28 10:38:30-07:00, 2011:07:28 10:46:57-07:00, 2011:07:28 11:05:38-07:00, 2011:07:28 13:30:11-07:00, 2011:07:28 13:34:35-07:00, 2011:07:28 13:45:47-07:00, 2011:08:01 11:40:41-07:00, 2011:08:01 11:49:37-07:00
History Software Agent          : Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5, Adobe InDesign 7.5
History Changed                 : /;/metadata, /metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata, /;/metadata
Metadata Date                   : 2011:08:01 11:52:15-07:00
Creator Tool                    : Adobe InDesign CS5.5 (7.5)
Page Image Page Number          : 1, 2
Page Image Format               : JPEG, JPEG
Page Image Width                : 256, 256
Page Image Height               : 256, 256
Page Image                      : (Binary data 11508 bytes, use -b option to extract), (Binary data 11656 bytes, use -b option to extract)
Doc Change Count                : 3998
Format                          : application/pdf
Producer                        : Adobe PDF Library 9.9
Trapped                         : False
Page Layout                     : SinglePage
Page Count                      : 33

EXIF Metadata provided by EXIF.tools

Mackie Pro FX12 Owner's Manual Profx Om

Mackie ProFX12 Owner's Manual profx-om Mackie - ProFX12 - Owner's Manual

Mackie ProFX8 Owner's Manual profx-om Mackie - ProFX8 - Owner's Manual

Navigation menu

Versions of this User Manual:

Views

Navigation