Mackie 406M Owners Manual PPM Series Owner's

2016-05-04

: Mackie Mackie-406M-Owners-Manual-820271 mackie-406m-owners-manual-820271 mackie pdf

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Page Count: 36

CONTENTS

OWNER’S MANUAL

EFX

MON

12kHz

MID

2.5kHz

MON

MID

2.5kHz

MON

12kHz

MID

2.5kHz

MON

12kHz

MID

2.5kHz

MON

12kHz

MID

2.5kHz

MON

12kHz

MID

2.5kHz

MON

12kHz

MID

2.5kHz

MON

12kHz

MID

2.5kHz

LOW

80Hz

PAN PAN PAN PAN PAN PAN PAN PAN

VOLUME CH. VOLUME CH. VOLUME CH. VOLUME CH. VOLUME CH. VOLUME CH. VOLUME CH. VOLUME CH.

EFX

LOW

80Hz

EFX

LOW

80Hz

EFX

LOW

80Hz

EFX

LOW

80Hz

EFX

LOW

80Hz

EFX

LOW

80Hz

EFX

LOW

80Hz

EFX BYPASS

EFX DRIVE

LEVEL

120

NORMAL

INPUT

LEVEL

SET

INPUT

LEVEL

SET

INPUT

LEVEL

SET

INPUT

LEVEL

SET

INPUT

LEVEL

SET

INPUT

LEVEL

SET

INPUT

LEVEL

SET

INPUT

LEVEL

SET

EFX

CLIP

PARAMETERS

100100

REVERBS

DELAYS

CHORUS

FLANGE

DAMPING

DEPTH

PHASER

TIME

RATE

NORMAL NORMAL

CUSTOM 32-BIT PRECISION

DIGITAL STEREO EFFECTS PROCESSING

EFX WIDE

MAIN-STEREO/MONO EQUALIZER

CLIP

EFX FOOT

SWITCH

RIGHT RETURNLEFT RETURN

SEND

L MIXER OUT R MIXER OUT COMPRESSOR

L POWER

AMP IN

R POWER

AMP IN

EFFECTS

(OVERRIDES INTERNAL EFX)

MONITOR

MAINS

TAPE IN

TAPE OUT

LEVEL

MIC

INSERT INSERT INSERT INSERT INSERT

LINELINELINELINE

LINELINE

INSERT

+15

1K50025063 125 16K

LEVEL

2K 4K 8K

MAIN

MASTER

EFX TO

MAIN

+10

MASTER OUTPUT SECTION

LINE

+12dB

POWER

OUT

MONITOR EQUALIZER

15-

15+

-15

+15

15-

15+

-15

+15

1K50025063 125 16K2K 4K 8K

MONITOR

MASTER

EFX TO

MON

+10

+12dB

75Hz RUMBLE

REDUCTION

LEFT/MONO

RIGHT

LEFT/MONO

RIGHT

MIC

75Hz RUMBLE

REDUCTION

PHANTOM

POWER CH 1-8

BREAK

(MUTES CH 1-6)

808S

POWER AMP ROUTING

STEREO

MIC/

LINE

HI-Z

STEREO

MIC/

LINE

HI-Z

SM. ROOM

MD. PLATE

LG. PLATE

LG. HALL

GATED

REVERSE

CATHEDRAL

MD. HALL

SPRING

PHASER

DELAY 4

CHORUS

DELAY 3

DELAY 1

FLANGE

DELAY 2

OUT

STEREO MAINS

LEFT = MAIN

RIGHT = MONITOR

2 X 600W STEREO

LEVEL

CLIP

+10

+15-15

+12-12

+20dB

HILOW

NORMAL

+15

+10

+15-15

+12-12

+20dB

HILOW

NORMAL

+15

+10

+15-15

+12-12

+20dB

HILOW

NORMAL

+15

+10

+15-15

+12-12

+20dB

HILOW

NORMAL

+15

+10

+15-15

+12-12

+20dB

HILOW

NORMAL

+15

+10

+15-15

+12-12

+20dB

HILOW

NORMAL

+15

+10

+15-15

+12-12

+20dB

HILOW

NORMAL

+15

+10

+15-15

+12-12

+20dB

HILOW

NORMAL

RL RL RL RL RL RL RL RL

+15

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.

12. Damage Requiring Service — This Mackie product should be serviced

only by qualified service personnel when:

A. The power-supply cord or the plug has been damaged; or

B. Objects have fallen, or liquid has spilled into this Mackie product; or

C. This Mackie product has been exposed to rain; or

D. This Mackie product does not appear to operate normally or exhibits

a marked change in performance; or

E. This Mackie product has been dropped, or its chassis damaged.

13. Servicing — The user should not attempt to service this Mackie product

beyond those means described in this operating manual. All other servicing

should be referred to the Mackie Service Department.

14. To prevent electric shock, do not use this polarized plug with an

extension cord, receptacle or other outlet unless the blades can be fully

inserted to prevent blade exposure.

Pour prévenir les chocs électriques ne pas utiliser cette fiche polariseé avec un

prolongateur, un prise de courant ou une autre sortie de courant, sauf si les

lames peuvent être insérées à fond sans laisser aucune pariie à découvert.

15. Grounding or Polarization — Precautions should be taken so that the

grounding or polarization means of this Mackie product is not defeated.

16. Power Precaution — Unplug this Mackie product during lightning storms

or when unused for long periods of time.

Note that this Mackie product is

not completely disconnected from the AC mains service when the power

switch is in the OFF position.

17. 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 règlement sur le brouillage

radioélectrique édicté par les ministere des communications du Canada.

18.

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 equip-

ment 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 a

permanent hearing loss if exposure is in excess of the limits set forth here.

SAFETY INSTRUCTIONS

1. Read Instructions — All the safety and operation instructions should be

read before this Mackie product is operated.

2. Retain Instructions — The safety and operating instructions should be kept

for future reference.

3. Heed Warnings — All warnings on this Mackie product and in these operating

instructions should be followed.

4. Follow Instructions — All operating and other instructions should be

followed.

5. Water and Moisture — This Mackie product should not be used near water

– for example, near a bathtub, washbowl, kitchen sink, laundry tub, in a wet

basement, near a swimming pool, swamp or salivating St. Bernard dog, etc.

6. Cleaning — Clean only with a dry cloth.

7. Ventilation — This Mackie product should be situated so that its

location or position does not interfere with its proper ventilation. For

example, the Component should not be situated on a bed, sofa, rug, or

similar surface that may block any ventilation openings, or placed in a

built-in installation such as a bookcase or cabinet that may impede the

flow of air through ventilation openings.

8. Heat — This Mackie product should be situated away from heat sources

such as radiators, or other devices which produce heat.

9. Power Sources — This Mackie product should be connected to a power

supply only of the type described in these operation instructions or as marked

on this Mackie product.

10 . Power Cord Protection — Power supply cords should be routed so that

they are not likely to be walked upon or pinched by items placed upon or

against them, paying particular attention to cords at plugs, convenience

receptacles, and the point where they exit this Mackie product.

11 . Object and Liquid Entry — Care should be taken so that objects do not

fall on, and liquids are not spilled into, this Mackie product.

Duration Per Day Sound Level dBA, Typical

In Hours Slow Response Example

8 90 Duo in small club

692

4 95 Subway Train

397

2 100 Very loud classical music

1.5 102

1 105 Patrice screaming at Ron about deadlines

0.5 110

0.25 or less 115 Loudest parts at a rock concert

WARNING — To reduce the risk of fire or electric shock,

do not expose this appliance to rain or moisture.

Lend Me Your Ears

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 this 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

these levels use hearing protectors while this

unit is in operation. Ear plugs or protectors in

the ear canals or over the ears must be worn

when operating this amplification system in

order to prevent a permanent hearing loss if

exposure is in excess of the limits set forth here.

Duration Per Day Sound Level dBA, Typical

In Hours Slow Response Example

8 90 Duo in small club

692

4 95 Subway Train

397

2 100 Very loud classical music

1.5 102

1 105 Lori screaming at Ron about deadlines

0.5 110

0.25 or less 115 Loudest parts at a rock concert

Part No. 820-077-00 Rev. B 2/02

INTRODUCTION

406M 408M 808M 408S 808S

6 Mono Channels ✓ ✓ ✓ ✓ ✓

2 Mono/Stereo Channels ✓* ✓* ✓ ✓

Pan Controls ✓ ✓

Effects Return(s) 1 1 1 2 2

Tape Inputs ✓* ✓* ✓* ✓ ✓

Tape Outputs ✓** ✓** ✓** ✓ ✓

Mixer Line Output(s) 1 1 1 2 2

Two 250W Amplifiers ✓ ✓ ✓

Two 600W Amplifiers ✓ ✓

** Summed to Main Bus

** Mono Tape Outputs

PPM Series Features

In addition, the PPM Series boast solid design

features such as:

• Two FR Series™ (Fast Recovery)

power amplifiers

808M/808S

1200 total watts (600 watts x 2 into 2 ohms)

406M/408M/408S

500 total watts (250 watts x 2 into 2 ohms)

• Built-in compressor to prevent clipping

• Two built-in graphic equalizers for Mains

and Monitors

• Two switchable low-cut Rumble Reduction

filters for Mains and Monitors

• EMAC

custom 32-bit precision digital

stereo effects processor

• Global phantom power switch

• Exclusive Break switch mutes channels 1-6

while break music is playing

• Power amp routing switch selects main out

only or main on one output and monitor on

the other output

• 3-band EQ on each channel

• Monitor and Effects send on each channel

• Balanced/unbalanced 1/4" and XLR inputs

on each channel

• 1/4" Insert jacks on channels 1-6

• 1/4" Mixer line output(s) and Monitor line

output

• 1/4" Power Amp line inputs

• Two 1/4" Speaker outputs per side

• RCA stereo Tape In and Tape Out

• Three year warranty

At Mackie, we know what it takes to be

roadworthy. After all, our mixers have traveled

all over the world under the worst of conditions,

and we’ve applied what we’ve learned to the

mechanical design of our powered mixers.

Reliability is paramount to sound reinforce-

ment. That’s why our engineers have subjected

our powered mixers to the most rigorous and

fiendish tests imaginable to fine-tune the

design and extend its limits beyond those of

ordinary mixers or amplifiers.

Our Fast Recovery (FR) amplifiers used in

the Professional Powered Mixer Series perform

better than conventional designs when present-

ed with adverse conditions such as clipping.

Conventional designs use lots of negative feed-

back to provide stability and lower distortion.

When clipping occurs, this “feedback” causes

high-frequency sticking, keeping the amplifier

“latched” in the clipping state longer than

necessary. This results in painfully audible

distortion. The Fast Recovery design eliminates

this high-frequency sticking and allows the

amplifier to remain stable when powering

highly reactive loads at high volume levels.

Please read the “Quick Start” section on

page 6. It gives an overview of the powered mixer,

and the rest of the manual explains the wealth of

features and operating instructions in more detail.

Please write your serial number here for

future reference (i.e., insurance claims, tech

support, return authorization, etc.):

Purchased at:

Date of purchase:

Thank you for choosing a Mackie Designs

PPM Series™ Powered Mixer! These powerful,

compact mixers are designed to meet the

needs of almost any small to medium-sized

club/meeting room/sanctuary/outdoor

gathering.

This chart illustrates the differences be-

tween the various models at a glance:

Don’t forget to visit our website at www.mackie.com

for more information about these and other Mackie products.

CONTENTS

Lend Me Your Ears ......................................... 3

INTRODUCTION ............................................ 4

READ THIS PAGE! .......................................... 6

QUICK START .......................................... 6

APPLICATION DIAGRAMS .......................... 7

FEATURES AND CONTROLS ........................... 14

Channel Strip Description........................ 14

INPUT LEVEL SET ............................. 14

VOLUME ........................................ 14

PAN............................................... 14

LOW EQ ......................................... 14

MID EQ .......................................... 14

HI EQ ............................................. 14

EFX Send ........................................ 15

MON Send ...................................... 15

EMAC Section Description ....................... 15

EFX DRIVE LEVEL ............................. 15

EFX CLIP......................................... 15

EFX BYPASS ................................... 15

EFX WIDE ....................................... 16

Preset Select ................................... 16

Preset Effects Descriptions ..................... 16

TIME/RATE PARAMETER .................. 18

DAMPING/DEPTH PARAMETER ......... 18

MASTER OUTPUT SECTION Description .... 18

POWER LED .................................... 18

MONITOR EQUALIZER...................... 18

MAIN EQUALIZER ............................ 18

75Hz RUMBLE REDUCTION ............... 18

EFX TO MON .................................. 19

MONITOR MASTER .......................... 19

EFX TO MAIN .................................. 19

MAIN MASTER ................................ 19

LEVEL Meters .................................. 19

PHANTOM POWER Switch ................ 19

BREAK Switch ................................. 20

POWER AMP ROUTING .................... 20

COMPRESSOR................................. 20

TAPE IN LEVEL ................................. 20

POWER switch ................................ 21

MAKING THE CONNECTIONS ............................ 21

Front Panel Connections ............................. 21

Connecting Microphones and

Line-Level Signals ...................... 21

Channel Inserts .................................... 22

EFFECTS SEND and RETURN ................... 23

EFX FOOT SWITCH ............................... 23

POWER AMP IN 1 and 2 ...................... 23

MIXER LINE OUT ................................. 24

MONITOR LINE OUT ............................ 24

TAPE IN and TAPE OUT ......................... 24

Rear Panel Connections .............................. 25

SPEAKER OUT ..................................... 25

IEC Socket .......................................... 25

GENERAL PRECAUTIONS AND CONSIDERATIONS . 26

Thermal Considerations .............................. 26

AC Power Considerations ........................... 26

APPENDIX A: Service Info ................................ 27

Warranty Service...................................... 27

Troubleshooting ........................................ 27

Repair ..................................................... 28

APPENDIX B: Some Arcane Mysteries Illuminated 29

Balanced Lines .......................................... 29

Unbalancing a Line .................................... 29

Grounding ................................................ 30

APPENDIX C: Technical Info .............................. 31

Specifications ........................................... 31

Block Diagrams ......................................... 33

NOTES ....................................................... 35

READ THIS PAGE!

QUICK START

We know you can’t wait to

get your new mixer set up

and working. Who has time

to read the manual? But

please, take a moment to

read through this section at least to get the

bare essentials.

The Mackie Designs powered mixers are de-

signed to set up and operate quickly and easily.

Just follow these simple directions.

Setup

Place the powered mixer in a position where

it is easy to reach the controls. All the controls

and input connection points are located on the

front panel so you can make quick adjustments

and connections onstage.

Make sure there is at least 6

inches of airspace behind

the powered mixer for ven-

tilation. There is no fan

built into the Mackie PPM

Series. It relies on convection cooling, which

means the heatsink on the back is cooled by the

natural flow of air through the heatsink fins.

Connections

1. Be sure the

POWER

switch on the back

OFF

before making any connections.

2. Plug a balanced microphone into one of

the

MIC

XLR (3-pin) connectors on the

front panel. Or you can connect any line-

level signal (keyboard, guitar preamp, DI

box) to the

LINE

jack using a TS or a

TRS 1/4" plug.

3. The

INSERT

jacks are used to connect an

external effects or dynamics processor

into the signal chain. See page 21 for

more info.

4. Plug the speakers (2 ohms or greater)

into the

SPEAKER OUT

jacks on the rear

panel. If you plug two speakers into a side,

each speaker must be 4 ohms or greater

to maintain a 2-ohm minimum load on

the amplifier. Use at least 18 gauge

speaker cable with 1/4" TS plugs.

Don’t use guitar cords for

speaker cables! They’re

not designed to handle

speaker-level signals and

could overheat.

Level Setting

1. Turn down the channel

MON, EFX,

INPUT LEVEL SET,

and

VOLUME

knobs

(fully counterclockwise). Set all the

controls to center, including the graphic

EQ sliders. Turn down the

MAIN MASTER

and

MONITOR MASTER

controls.

2. If your microphone is a condenser mic,

push in the

PHANTOM POWER

switch. If

you are using both condenser and dynamic

mics, don’t worry. Phantom power will not

hurt most dynamic mics. Check the micro-

phone’s user manual if you’re not sure.

3. Leave the

POWER AMP ROUTING

switch in the OUT position (

MAIN/MAIN

STEREO MAINS

4. Push the linecord securely into the IEC

connector on the rear panel, and plug it

into a 3-prong AC outlet properly config-

ured for the type of plug supplied with

your powered mixer. Turn on the

POWER

switch, which is located on the rear panel.

5. Play something into the selected input.

This could be an instrument, a singing or

speaking voice, or a line input such as a

CD player or tape recorder output. Be

sure that the volume of the input signal

is the same as it would be during normal

use. If it isn’t, you might have to readjust

these levels during the middle of the set.

6. Turn up the

INPUT LEVEL SET

control

until the LED next to it begins to blink.

7. Turn up the channel

VOLUME

control to

unity (center).

8. Slowly turn up the

MAIN MASTER

control

until you can hear the signal in the speakers.

9. Repeat steps 5, 6, and 7 for the remain-

ing channels.

10. Now you’re ready to rock and roll!

Things You Must Remember:

• Never plug amplifier outputs into

anything except speakers (unless you

have an outboard box specifically

designed to handle high-power speaker-

level signals).

• Before making connections to an exter-

nal amp or reconfiguring an amp’s

routing, turn the amp’s level (gain)

controls down, turn the power off, make

the changes, turn the power back on,

and then turn the level controls back up.

• When you shut down your equipment, turn

off any external amplifiers first. When

powering up, turn on the amplifiers last.

•Save the shipping box and packing

material! You may need them someday,

and you probably don’t want to have to

pay for them again.

EFX

MON

12kHz

MID

2.5kHz

MON

MID

2.5kHz

MON

12kHz

MID

2.5kHz

MON

12kHz

MID

2.5kHz

MON

12kHz

MID

2.5kHz

MON

12kHz

MID

2.5kHz

MON

12kHz

MID

2.5kHz

MON

12kHz

MID

2.5kHz

LOW

80Hz

VOLUME CH. VOLUME CH. VOLUME CH. VOLUME CH. VOLUME CH. VOLUME CH. VOLUME CH. VOLUME CH.

EFX

LOW

80Hz

EFX

LOW

80Hz

EFX

LOW

80Hz

EFX

LOW

80Hz

EFX

LOW

80Hz

EFX

LOW

80Hz

EFX

LOW

80Hz

EFX BYPASS

EFX DRIVE

LEVEL

120

NORMAL

INPUT

LEVEL

SET

INPUT

LEVEL

SET

INPUT

LEVEL

SET

INPUT

LEVEL

SET

INPUT

LEVEL

SET

INPUT

LEVEL

SET

INPUT

LEVEL

SET

INPUT

LEVEL

SET

EFX

CLIP

PARAMETERS

100100

REVERBS

DELAYS

CHORUS

FLANGE

DAMPING

DEPTH

PHASER

TIME

RATE

NORMAL NORMAL

CUSTOM 32-BIT PRECISION

DIGITAL STEREO EFFECTS PROCESSING

EFX WIDE

MAIN EQUALIZER

CLIP

EFX FOOT

SWITCH

RETURN

SEND

MIXER LINE OUT

POWER

AMP 1 IN

POWER

AMP 2 IN

EFFECTS

(OVERRIDES INTERNAL EFX)

MONITOR

MAINS

TAPE IN

TAPE OUT

LEVEL

MIC

INSERT INSERT INSERT INSERT INSERT

LINELINELINELINE

LINELINE

INSERT

+15

1K50025063 125 16K

LEVEL

CLIP

LEVEL

2K 4K 8K

MAIN

MASTER

EFX TO

MAIN

+10

MASTER OUTPUT SECTION

LINE

+12dB

POWER

OUT

COMPRESSOR

2 X 250 WATTS

MONITOR EQUALIZER

15-

15+

-15

+15

15-

15+

-15

+15

1K50025063 125 16K2K 4K 8K

MONITOR

MASTER

EFX TO

MON

+10

+12dB

75Hz RUMBLE

REDUCTION

LEFT

RIGHT

LEFT

RIGHT

MIC

75Hz RUMBLE

REDUCTION

PHANTOM

POWER CH 1-8

BREAK

(MUTES CH 1-6)

408M

POWER AMP ROUTING

SUM

MONO

MIC/

LINE

HI-Z

SUM

MONO

MIC/

LINE

HI-Z

AMP 1

MAIN

MAIN MONITOR

AMP 2

MAIN

SM. ROOM

MD. PLATE

LG. PLATE

LG. HALL

GATED

REVERSE

CATHEDRAL

MD. HALL

SPRING

PHASER

DELAY 4

CHORUS

DELAY 3

DELAY 1

FLANGE

DELAY 2

OUT

+10

+15-15

+12-12

+20dB

HILOW

NORMAL

+15

+10

+15-15

+12-12

+20dB

HILOW

NORMAL

+15

+10

+15-15

+12-12

+20dB

HILOW

NORMAL

+15

+10

+15-15

+12-12

+20dB

HILOW

NORMAL

+15

+10

+15-15

+12-12

+20dB

HILOW

NORMAL

+15

+10

+15-15

+12-12

+20dB

HILOW

NORMAL

+15

+10

+15-15

+12-12

+20dB

HILOW

NORMAL

+15

+10

+15-15

+12-12

+20dB

HILOW

NORMAL

+15

Vocal

Mics

Monitor

Speaker

Monitor

Speaker

Stereo Processor

Processor

Direct Box

FOH Speaker FOH Speaker

From MAIN

SPEAKER OUT

From MAIN

SPEAKER OUT

From MONITOR

SPEAKER OUT

From MONITOR

SPEAKER OUT

POWER AMP ROUTING

Button Pushed IN

(MAIN/MONITOR)

This is how to power the Main Front

of House (FOH) speakers and the

monitor speakers with the built-in

amplifiers.

Note: Since each amplifier is driving

two speakers in parallel, each

speaker must be 4 ohms or greater.

408M — Small Club Gig using a Mono PA System

APPLICATION DIAGRAMS

EFX

MON

12kHz

MID

2.5kHz

MON

MID

2.5kHz

MON

12kHz

MID

2.5kHz

MON

12kHz

MID

2.5kHz

MON

12kHz

MID

2.5kHz

MON

12kHz

MID

2.5kHz

MON

12kHz

MID

2.5kHz

MON

12kHz

MID

2.5kHz

LOW

80Hz

PAN PAN PAN PAN PAN PAN PAN PAN

VOLUME CH. VOLUME CH. VOLUME CH. VOLUME CH. VOLUME CH. VOLUME CH. VOLUME CH. VOLUME CH.

EFX

LOW

80Hz

EFX

LOW

80Hz

EFX

LOW

80Hz

EFX

LOW

80Hz

EFX

LOW

80Hz

EFX

LOW

80Hz

EFX

LOW

80Hz

EFX BYPASS

EFX DRIVE

LEVEL

120

NORMAL

INPUT

LEVEL

SET

INPUT

LEVEL

SET

INPUT

LEVEL

SET

INPUT

LEVEL

SET

INPUT

LEVEL

SET

INPUT

LEVEL

SET

INPUT

LEVEL

SET

INPUT

LEVEL

SET

EFX

CLIP

PARAMETERS

100100

REVERBS

DELAYS

CHORUS

FLANGE

DAMPING

DEPTH

PHASER

TIME

RATE

NORMAL NORMAL

CUSTOM 32-BIT PRECISION

DIGITAL STEREO EFFECTS PROCESSING

EFX WIDE

MAIN-STEREO/MONO EQUALIZER

CLIP

EFX FOOT

SWITCH

RIGHT RETURNLEFT RETURN

SEND

L MIXER OUT R MIXER OUT COMPRESSOR

L POWER

AMP IN

R POWER

AMP IN

EFFECTS

(OVERRIDES INTERNAL EFX)

MONITOR

MAINS

TAPE IN

TAPE OUT

LEVEL

MIC

INSERT INSERT INSERT INSERT INSERT

LINELINELINELINE

LINELINE

INSERT

+15

1K50025063 125 16K

LEVEL

2K 4K 8K

MAIN

MASTER

EFX TO

MAIN

+10

MASTER OUTPUT SECTION

LINE

+12dB

POWER

OUT

MONITOR EQUALIZER

15-

15+

-15

+15

15-

15+

-15

+15

1K50025063 125 16K2K 4K 8K

MONITOR

MASTER

EFX TO

MON

+10

+12dB

75Hz RUMBLE

REDUCTION

RIGHT RIGHT

MIC

75Hz RUMBLE

REDUCTION

PHANTOM

POWER CH 1-8

BREAK

(MUTES CH 1-6)

408S

POWER AMP ROUTING

SM. ROOM

MD. PLATE

LG. PLATE

LG. HALL

GATED

REVERSE

CATHEDRAL

MD. HALL

SPRING

PHASER

DELAY 4

CHORUS

DELAY 3

DELAY 1

FLANGE

DELAY 2

OUT

STEREO MAINS

LEFT = MAIN

RIGHT = MONITOR

2 X 250W STEREO

LEVEL

CLIP

LEFT/MONO LEFT/MONO

STEREO

MIC/

LINE

HI-Z

STEREO

MIC/

LINE

HI-Z

+10

+15-15

+12-12

+20dB

HILOW

NORMAL

+15

+10

+15-15

+12-12

+20dB

HILOW

NORMAL

+15

+10

+15-15

+12-12

+20dB

HILOW

NORMAL

+15

+10

+15-15

+12-12

+20dB

HILOW

NORMAL

+15

+10

+15-15

+12-12

+20dB

HILOW

NORMAL

+15

+10

+15-15

+12-12

+20dB

HILOW

NORMAL

+15

+10

+15-15

+12-12

+20dB

HILOW

NORMAL

+15

+10

+15-15

+12-12

+20dB

HILOW

NORMAL

RL RL RL RL RL RL RL RL

+15

Vocal

Mics

Monitor

Amplifier

Monitor

Speakers

Stereo Processor

Processor

Direct Box

Left FOH Speaker Right FOH Speaker

From LEFT

SPEAKER OUT

From RIGHT

SPEAKER OUT

From MONITOR LINE OUT

POWER AMP ROUTING

Button OUT

This is a typical setup using both

built-in amplifiers for the main Front

of House (FOH) speakers and an

external amplifier for the monitor

speakers.

Note: If you have a 406M, 408M, or

808M, there is no stereo output

because these are mono versions.

The Main Mix bus is routed to both

internal amplifiers in these models.

408S — Small Club Gig using a Stereo PA System

EFX

MON

12kHz

MID

2.5kHz

MON

MID

2.5kHz

MON

12kHz

MID

2.5kHz

MON

12kHz

MID

2.5kHz

MON

12kHz

MID

2.5kHz

MON

12kHz

MID

2.5kHz

MON

12kHz

MID

2.5kHz

MON

12kHz

MID

2.5kHz

LOW

80Hz

VOLUME CH. VOLUME CH. VOLUME CH. VOLUME CH. VOLUME CH. VOLUME CH. VOLUME CH. VOLUME CH.

EFX

LOW

80Hz

EFX

LOW

80Hz

EFX

LOW

80Hz

EFX

LOW

80Hz

EFX

LOW

80Hz

EFX

LOW

80Hz

EFX

LOW

80Hz

EFX BYPASS

EFX DRIVE

LEVEL

120

NORMAL

INPUT

LEVEL

SET

INPUT

LEVEL

SET

INPUT

LEVEL

SET

INPUT

LEVEL

SET

INPUT

LEVEL

SET

INPUT

LEVEL

SET

INPUT

LEVEL

SET

INPUT

LEVEL

SET

EFX

CLIP

PARAMETERS

100100

REVERBS

DELAYS

CHORUS

FLANGE

DAMPING

DEPTH

PHASER

TIME

RATE

NORMAL NORMAL

CUSTOM 32-BIT PRECISION

DIGITAL STEREO EFFECTS PROCESSING

EFX WIDE

MAIN EQUALIZER

CLIP

EFX FOOT

SWITCH

RETURN

SEND

MIXER LINE OUT

POWER

AMP 1 IN

POWER

AMP 2 IN

EFFECTS

(OVERRIDES INTERNAL EFX)

MONITOR

MAINS

TAPE IN

TAPE OUT

LEVEL

MIC

INSERT INSERT INSERT INSERT INSERT

LINELINELINELINE

LINELINE

INSERT

+15

1K50025063 125 16K

LEVEL

CLIP

LEVEL

2K 4K 8K

MAIN

MASTER

EFX TO

MAIN

+10

MASTER OUTPUT SECTION

LINE

+12dB

POWER

OUT

COMPRESSOR

MONITOR EQUALIZER

15-

15+

-15

+15

15-

15+

-15

+15

1K50025063 125 16K2K 4K 8K

MONITOR

MASTER

EFX TO

MON

+10

+12dB

75Hz RUMBLE

REDUCTION

LEFT

RIGHT

LEFT

RIGHT

MIC

75Hz RUMBLE

REDUCTION

PHANTOM

POWER CH 1-8

BREAK

(MUTES CH 1-6)

POWER AMP ROUTING

SUM

MONO

MIC/

LINE

HI-Z

SUM

MONO

MIC/

LINE

HI-Z

AMP 1

MAIN

MAIN MONITOR

AMP 2

MAIN

SM. ROOM

MD. PLATE

LG. PLATE

LG. HALL

GATED

REVERSE

CATHEDRAL

MD. HALL

SPRING

PHASER

DELAY 4

CHORUS

DELAY 3

DELAY 1

FLANGE

DELAY 2

OUT

2 X 600 WATTS

808M

+10

+15-15

+12-12

+20dB

HILOW

NORMAL

+15

+10

+15-15

+12-12

+20dB

HILOW

NORMAL

+15

+10

+15-15

+12-12

+20dB

HILOW

NORMAL

+15

+10

+15-15

+12-12

+20dB

HILOW

NORMAL

+15

+10

+15-15

+12-12

+20dB

HILOW

NORMAL

+15

+10

+15-15

+12-12

+20dB

HILOW

NORMAL

+15

+10

+15-15

+12-12

+20dB

HILOW

NORMAL

+15

+10

+15-15

+12-12

+20dB

HILOW

NORMAL

+15

Vocal

Mics

CD Player

Vocal Enhancer

Effects Processor

FOH Speaker FOH Speaker

From

POWER

AMP 1

SPEAKER

OUT

From

POWER

AMP 2

SPEAKER

OUT

From MONITOR LINE OUT

POWER AMP ROUTING

Button OUT

Cassette Deck

Monitor

Amplifier

Monitor

Speakers

This system uses the higher powered

808M (600W per side) with two

speakers per side to provide more

power and coverage for a larger club,

hall, or auditorium, and an external

amplifier for the monitor speakers. It

also demonstrates how to connect a

serial processor to the channel

INSERT jack, an external (parallel)

processor using the EFFECTS SEND

and RETURN jacks, and a cassette

deck to the TAPE IN and OUT jacks.

Note: Since each amplifier is driving

two speakers in parallel, each

speaker must be 4 ohms or greater.

Note: Turn down the TAPE IN

LEVEL control (or better yet,

disconnect the TAPE IN jacks

at the mixer) when the

cassette deck is in record

mode to avoid creating a

feedback loop.

808M — Large Club or Auditorium using a Mono PA System

EFX

MON

12kHz

MID

2.5kHz

MON

MID

2.5kHz

MON

12kHz

MID

2.5kHz

MON

12kHz

MID

2.5kHz

MON

12kHz

MID

2.5kHz

MON

12kHz

MID

2.5kHz

MON

12kHz

MID

2.5kHz

MON

12kHz

MID

2.5kHz

LOW

80Hz

PAN PAN PAN PAN PAN PAN PAN PAN

VOLUME CH. VOLUME CH. VOLUME CH. VOLUME CH. VOLUME CH. VOLUME CH. VOLUME CH. VOLUME CH.

EFX

LOW

80Hz

EFX

LOW

80Hz

EFX

LOW

80Hz

EFX

LOW

80Hz

EFX

LOW

80Hz

EFX

LOW

80Hz

EFX

LOW

80Hz

EFX BYPASS

EFX DRIVE

LEVEL

120

NORMAL

INPUT

LEVEL

SET

INPUT

LEVEL

SET

INPUT

LEVEL

SET

INPUT

LEVEL

SET

INPUT

LEVEL

SET

INPUT

LEVEL

SET

INPUT

LEVEL

SET

INPUT

LEVEL

SET

EFX

CLIP

PARAMETERS

100100

REVERBS

DELAYS

CHORUS

FLANGE

DAMPING

DEPTH

PHASER

TIME

RATE

NORMAL NORMAL

CUSTOM 32-BIT PRECISION

DIGITAL STEREO EFFECTS PROCESSING

EFX WIDE

MAIN-STEREO/MONO EQUALIZER

CLIP

EFX FOOT

SWITCH

RIGHT RETURNLEFT RETURN

SEND

L MIXER OUT R MIXER OUT COMPRESSOR

L POWER

AMP IN

R POWER

AMP IN

EFFECTS

(OVERRIDES INTERNAL EFX)

MONITOR

MAINS

TAPE IN

TAPE OUT

LEVEL

MIC

INSERT INSERT INSERT INSERT INSERT

LINELINELINELINE

LINELINE

INSERT

+15

1K50025063 125 16K

LEVEL

2K 4K 8K

MAIN

MASTER

EFX TO

MAIN

+10

MASTER OUTPUT SECTION

LINE

+12dB

POWER

OUT

MONITOR EQUALIZER

15-

15+

-15

+15

15-

15+

-15

+15

1K50025063 125 16K2K 4K 8K

MONITOR

MASTER

EFX TO

MON

+10

+12dB

75Hz RUMBLE

REDUCTION

RIGHT RIGHT

MIC

75Hz RUMBLE

REDUCTION

PHANTOM

POWER CH 1-8

BREAK

(MUTES CH 1-6)

808S

POWER AMP ROUTING

SM. ROOM

MD. PLATE

LG. PLATE

LG. HALL

GATED

REVERSE

CATHEDRAL

MD. HALL

SPRING

PHASER

DELAY 4

CHORUS

DELAY 3

DELAY 1

FLANGE

DELAY 2

OUT

STEREO MAINS

LEFT = MAIN

RIGHT = MONITOR

2 X 600W STEREO

LEVEL

CLIP

LEFT/MONO LEFT/MONO

STEREO

MIC/

LINE

HI-Z

STEREO

MIC/

LINE

HI-Z

+10

+15-15

+12-12

+20dB

HILOW

NORMAL

+15

+10

+15-15

+12-12

+20dB

HILOW

NORMAL

+15

+10

+15-15

+12-12

+20dB

HILOW

NORMAL

+15

+10

+15-15

+12-12

+20dB

HILOW

NORMAL

+15

+10

+15-15

+12-12

+20dB

HILOW

NORMAL

+15

+10

+15-15

+12-12

+20dB

HILOW

NORMAL

+15

+10

+15-15

+12-12

+20dB

HILOW

NORMAL

+15

+10

+15-15

+12-12

+20dB

HILOW

NORMAL

RL RL RL RL RL RL RL RL

+15

Vocal

Mics

Monitor

Amplifier

Auxiliary FOH

Amplifier

Monitor

Speakers

Stereo Processor

Processor

Direct Box

Left FOH Speakers Right FOH Speakers

From

LEFT

SPEAKER

OUT

From

RIGHT

SPEAKER

OUT

POWER AMP ROUTING

Button OUT

This shows how to connect

an auxiliary FOH amplifier,

which allows you to add

additional speakers to your

PA system and increase

the overall power.

Note: If you have a 406M,

408M, or 808M, there is no

stereo output because these

are mono versions. The Main

Mix bus is routed to both

internal amplifiers and there

is just one MIXER LINE OUT in

these models.

From MONITOR LINE OUT

From

MIXER OUT

808S with Auxiliary Amplifier to Reinforce Front of House

EFX

MON

12kHz

MID

2.5kHz

MON

MID

2.5kHz

MON

12kHz

MID

2.5kHz

MON

12kHz

MID

2.5kHz

MON

12kHz

MID

2.5kHz

MON

12kHz

MID

2.5kHz

MON

12kHz

MID

2.5kHz

MON

12kHz

MID

2.5kHz

LOW

80Hz

PAN PAN PAN PAN PAN PAN PAN PAN

VOLUME CH. VOLUME CH. VOLUME CH. VOLUME CH. VOLUME CH. VOLUME CH. VOLUME CH. VOLUME CH.

EFX

LOW

80Hz

EFX

LOW

80Hz

EFX

LOW

80Hz

EFX

LOW

80Hz

EFX

LOW

80Hz

EFX

LOW

80Hz

EFX

LOW

80Hz

EFX BYPASS

EFX DRIVE

LEVEL

120

NORMAL

INPUT

LEVEL

SET

INPUT

LEVEL

SET

INPUT

LEVEL

SET

INPUT

LEVEL

SET

INPUT

LEVEL

SET

INPUT

LEVEL

SET

INPUT

LEVEL

SET

INPUT

LEVEL

SET

EFX

CLIP

PARAMETERS

100100

REVERBS

DELAYS

CHORUS

FLANGE

DAMPING

DEPTH

PHASER

TIME

RATE

NORMAL NORMAL

CUSTOM 32-BIT PRECISION

DIGITAL STEREO EFFECTS PROCESSING

EFX WIDE

MAIN-STEREO/MONO EQUALIZER

CLIP

EFX FOOT

SWITCH

RIGHT RETURNLEFT RETURN

SEND

L MIXER OUT R MIXER OUT COMPRESSOR

L POWER

AMP IN

R POWER

AMP IN

EFFECTS

(OVERRIDES INTERNAL EFX)

MONITOR

MAINS

TAPE IN

TAPE OUT

LEVEL

MIC

INSERT INSERT INSERT INSERT INSERT

LINELINELINELINE

LINELINE

INSERT

+15

1K50025063 125 16K

LEVEL

2K 4K 8K

MAIN

MASTER

EFX TO

MAIN

+10

MASTER OUTPUT SECTION

LINE

+12dB

POWER

OUT

MONITOR EQUALIZER

15-

15+

-15

+15

15-

15+

-15

+15

1K50025063 125 16K2K 4K 8K

MONITOR

MASTER

EFX TO

MON

+10

+12dB

75Hz RUMBLE

REDUCTION

RIGHT RIGHT

MIC

75Hz RUMBLE

REDUCTION

PHANTOM

POWER CH 1-8

BREAK

(MUTES CH 1-6)

808S

POWER AMP ROUTING

SM. ROOM

MD. PLATE

LG. PLATE

LG. HALL

GATED

REVERSE

CATHEDRAL

MD. HALL

SPRING

PHASER

DELAY 4

CHORUS

DELAY 3

DELAY 1

FLANGE

DELAY 2

OUT

STEREO MAINS

LEFT = MAIN

RIGHT = MONITOR

2 X 400W STEREO

PROFESSIONAL POWERED MIXER

LEVEL

CLIP

LEFT/MONO LEFT/MONO

STEREO

MIC/

LINE

HI-Z

STEREO

MIC/

LINE

HI-Z

+10

+15-15

+12-12

+20dB

HILOW

NORMAL

+15

+10

+15-15

+12-12

+20dB

HILOW

NORMAL

+15

+10

+15-15

+12-12

+20dB

HILOW

NORMAL

+15

+10

+15-15

+12-12

+20dB

HILOW

NORMAL

+15

+10

+15-15

+12-12

+20dB

HILOW

NORMAL

+15

+10

+15-15

+12-12

+20dB

HILOW

NORMAL

+15

+10

+15-15

+12-12

+20dB

HILOW

NORMAL

+15

+10

+15-15

+12-12

+20dB

HILOW

NORMAL

RL RL RL RL RL RL RL RL

+15

Vocal

Mics

Monitor

Amplifier

Subwoofer

Amplifier Monitor

Speakers

Processor

Direct Box

Left FOH Speaker Right FOH Speaker

From

LEFT

SPEAKER

OUT

From

RIGHT

SPEAKER

OUT

POWER AMP ROUTING

Button OUT

This shows how to use

subwoofers with the

powered mixer. The MIXER

LINE OUT is routed to an

electronic crossover, which

splits the signal into highs

and lows. The high

frequency (HF) outputs

from the crossover are

connected to the POWER

AMP IN jacks on the

powered mixer. The low

frequency (LF) outputs are

connected to an external

amplifier that powers the

subwooofers.

Note: If you have a 406M, 408M, or 808M, there is no

stereo output because these are mono versions. The Main

Mix bus is routed to both internal amplifiers and there is

just one MIXER LINE OUT in these models. Use a Y-cord to

connect the HF Out from the crossover to both POWER

AMP IN jacks on the powered mixer.

Electronic

Crossover

Left

Out

Right

Out

Right

Out

Left

Out

Subwoofer Subwoofer

From MIXER OUT

808S with Electronic Crossover and Subwoofers

EFX

MON

12kHz

MID

2.5kHz

MON

MID

2.5kHz

MON

12kHz

MID

2.5kHz

MON

12kHz

MID

2.5kHz

MON

12kHz

MID

2.5kHz

MON

12kHz

MID

2.5kHz

MON

12kHz

MID

2.5kHz

MON

12kHz

MID

2.5kHz

LOW

80Hz

PAN PAN PAN PAN PAN PAN PAN PAN

VOLUME CH. VOLUME CH. VOLUME CH. VOLUME CH. VOLUME CH. VOLUME CH. VOLUME CH. VOLUME CH.

EFX

LOW

80Hz

EFX

LOW

80Hz

EFX

LOW

80Hz

EFX

LOW

80Hz

EFX

LOW

80Hz

EFX

LOW

80Hz

EFX

LOW

80Hz

EFX BYPASS

EFX DRIVE

LEVEL

120

NORMAL

INPUT

LEVEL

SET

INPUT

LEVEL

SET

INPUT

LEVEL

SET

INPUT

LEVEL

SET

INPUT

LEVEL

SET

INPUT

LEVEL

SET

INPUT

LEVEL

SET

INPUT

LEVEL

SET

EFX

CLIP

PARAMETERS

100100

REVERBS

DELAYS

CHORUS

FLANGE

DAMPING

DEPTH

PHASER

TIME

RATE

NORMAL NORMAL

CUSTOM 32-BIT PRECISION

DIGITAL STEREO EFFECTS PROCESSING

EFX WIDE

MAIN-STEREO/MONO EQUALIZER

CLIP

EFX FOOT

SWITCH

RIGHT RETURNLEFT RETURN

SEND

L MIXER OUT R MIXER OUT COMPRESSOR

L POWER

AMP IN

R POWER

AMP IN

EFFECTS

(OVERRIDES INTERNAL EFX)

MONITOR

MAINS

TAPE IN

TAPE OUT

LEVEL

MIC

INSERT INSERT INSERT INSERT INSERT

LINELINELINELINE

LINELINE

INSERT

+15

1K50025063 125 16K

LEVEL

2K 4K 8K

MAIN

MASTER

EFX TO

MAIN

+10

MASTER OUTPUT SECTION

LINE

+12dB

POWER

OUT

MONITOR EQUALIZER

15-

15+

-15

+15

15-

15+

-15

+15

1K50025063 125 16K2K 4K 8K

MONITOR

MASTER

EFX TO

MON

+10

+12dB

75Hz RUMBLE

REDUCTION

RIGHT RIGHT

MIC

75Hz RUMBLE

REDUCTION

PHANTOM

POWER CH 1-8

BREAK

(MUTES CH 1-6)

808S

POWER AMP ROUTING

SM. ROOM

MD. PLATE

LG. PLATE

LG. HALL

GATED

REVERSE

CATHEDRAL

MD. HALL

SPRING

PHASER

DELAY 4

CHORUS

DELAY 3

DELAY 1

FLANGE

DELAY 2

OUT

STEREO MAINS

LEFT = MAIN

RIGHT = MONITOR

2 X 400W STEREO

PROFESSIONAL POWERED MIXER

LEVEL

CLIP

LEFT/MONO LEFT/MONO

STEREO

MIC/

LINE

HI-Z

STEREO

MIC/

LINE

HI-Z

+10

+15-15

+12-12

+20dB

HILOW

NORMAL

+15

+10

+15-15

+12-12

+20dB

HILOW

NORMAL

+15

+10

+15-15

+12-12

+20dB

HILOW

NORMAL

+15

+10

+15-15

+12-12

+20dB

HILOW

NORMAL

+15

+10

+15-15

+12-12

+20dB

HILOW

NORMAL

+15

+10

+15-15

+12-12

+20dB

HILOW

NORMAL

+15

+10

+15-15

+12-12

+20dB

HILOW

NORMAL

+15

+10

+15-15

+12-12

+20dB

HILOW

NORMAL

RL RL RL RL RL RL RL RL

+15

Vocal

Mics

Monitor

Amplifier

Monitor

Speakers

Stereo Processor

Processor

Direct Box

Left FOH

Speakers

Submixer

(closely resembling a

Mackie CR1604-VLZ)

Right FOH

Speakers

From

LEFT

SPEAKER

OUT

From

RIGHT

SPEAKER

OUT

POWER AMP ROUTING

Button OUT

Stereo

Aux

Return

Mic

Inputs

Line

Inputs

Mon

Out Mixer

Line

Outs

Drum

Mics

Horn

Mics Monitor Send

If you need more inputs than

those provided by your PPM

Series Powered Mixer, this setup

shows how to use an external

submixer to add additional inputs

into the mix. The MIXER LINE

OUT(s) from the powered mixer

are routed to two mono or a

stereo aux return on the

submixer, where the signal is

mixed with the additional inputs

connected to the submixer. The

final, overall mix is routed back to

the POWER AMP IN jacks on the

powered mixer, which powers the

main FOH speakers.

Route the MONITOR LINE OUT on

the powered mixer to an unused

line input on the submixer. Leave

that channel's volume control

turned down, and set the

channel's monitor send control

to unity gain.

The monitor out on the submixer

is routed to an external power

amplifier, which drives the monitor

speakers.

Note: Since each amplifier is

driving two speakers in parallel,

each speaker must be 4 ohms or

greater.

From MIXER OUT

From MONITOR OUT

From MIXER OUT

From MONITOR OUT

To POWER AMP IN

808S with External Mixer using PPM Amplifiers

EFX

MON

12kHz

MID

2.5kHz

MON

MID

2.5kHz

MON

12kHz

MID

2.5kHz

MON

12kHz

MID

2.5kHz

MON

12kHz

MID

2.5kHz

MON

12kHz

MID

2.5kHz

MON

12kHz

MID

2.5kHz

MON

12kHz

MID

2.5kHz

LOW

80Hz

PAN PAN PAN PAN PAN PAN PAN PAN

VOLUME CH. VOLUME CH. VOLUME CH. VOLUME CH. VOLUME CH. VOLUME CH. VOLUME CH. VOLUME CH.

EFX

LOW

80Hz

EFX

LOW

80Hz

EFX

LOW

80Hz

EFX

LOW

80Hz

EFX

LOW

80Hz

EFX

LOW

80Hz

EFX

LOW

80Hz

EFX BYPASS

EFX DRIVE

LEVEL

120

NORMAL

INPUT

LEVEL

SET

INPUT

LEVEL

SET

INPUT

LEVEL

SET

INPUT

LEVEL

SET

INPUT

LEVEL

SET

INPUT

LEVEL

SET

INPUT

LEVEL

SET

INPUT

LEVEL

SET

EFX

CLIP

PARAMETERS

100100

REVERBS

DELAYS

CHORUS

FLANGE

DAMPING

DEPTH

PHASER

TIME

RATE

NORMAL NORMAL

CUSTOM 32-BIT PRECISION

DIGITAL STEREO EFFECTS PROCESSING

EFX WIDE

MAIN-STEREO/MONO EQUALIZER

CLIP

EFX FOOT

SWITCH

RIGHT RETURNLEFT RETURN

SEND

L MIXER OUT R MIXER OUT COMPRESSOR

L POWER

AMP IN

R POWER

AMP IN

EFFECTS

(OVERRIDES INTERNAL EFX) MONITOR

MAINS

TAPE IN

TAPE OUT

LEVEL

MIC 1MIC 2MIC 3MIC 4MIC 5MIC 6

INSERT INSERT INSERT INSERT INSERT

LINELINELINELINE

LINELINE

INSERT

+15

1K50025063 125 16K

LEVEL

2K 4K 8K

MAIN

MASTER

EFX TO

MAIN

+10

MASTER OUTPUT SECTION

LINE

+12dB

POWER

OUT

MONITOR EQUALIZER

15-

15+

-15

+15

15-

15+

-15

+15

1K50025063 125 16K2K 4K 8K

MONITOR

MASTER

EFX TO

MON

+10

+12dB

75Hz RUMBLE

REDUCTION

RIGHT RIGHT

MIC 7MIC 8

75Hz RUMBLE

REDUCTION

PHANTOM

POWER CH 1-8

BREAK

(MUTES CH 1-6)

808S

POWER AMP ROUTING

SM. ROOM

MD. PLATE

LG. PLATE

LG. HALL

GATED

REVERSE

CATHEDRAL

MD. HALL

SPRING

PHASER

DELAY 4

CHORUS

DELAY 3

DELAY 1

FLANGE

DELAY 2

OUT

STEREO MAINS

LEFT = MAIN

RIGHT = MONITOR

2 X 400W STEREO

PROFESSIONAL POWERED MIXER

LEVEL

CLIP

LEFT/MONO LEFT/MONO

STEREO

MIC/

LINE

HI-Z

STEREO

MIC/

LINE

HI-Z

+10

+15-15

+12-12

+20dB

HILOW

NORMAL

+15

+10

+15-15

+12-12

+20dB

HILOW

NORMAL

+15

+10

+15-15

+12-12

+20dB

HILOW

NORMAL

+15

+10

+15-15

+12-12

+20dB

HILOW

NORMAL

+15

+10

+15-15

+12-12

+20dB

HILOW

NORMAL

+15

+10

+15-15

+12-12

+20dB

HILOW

NORMAL

+15

+10

+15-15

+12-12

+20dB

HILOW

NORMAL

+15

+10

+15-15

+12-12

+20dB

HILOW

NORMAL

RL RL RL RL RL RL RL RL

+15

Vocal

Mics

Monitor

Amplifier

Monitor

Speakers

Stereo Processor

Processor

Direct Box

Left FOH

Speakers

Right FOH

Speakers

From

LEFT

SPEAKER

OUT

From

RIGHT

SPEAKER

OUT

POWER AMP ROUTING

Button OUT

(MAIN/MAIN)

This shows how to connect

another mixer’s output to the

PPM Series POWER AMP IN

connectors.

You might use this to patch a

warm-up band’s mixer into the

PPM Series so they can use the

PPM amplifiers and PA

speakers without having to set

up a separate PA system or

change the PPM mixer settings.

Note: Unplug the warm-up

band's mixer when they're

finished to allow the main band

to come through the FOH

speakers.

Note: Since each amplifier is

driving two speakers in parallel,

each speaker must be 4 ohms

or greater.

Warm-up band's mixer

External Warm-up Band’s Mixer using 808S Amplifiers

FEATURES AND CONTROLS

3-Band EQ

The PPM Series has 3-band equalization at

carefully selected points —

LOW

shelving at

80Hz,

MID

peaking at 2.5kHz, and

shelving

at 12kHz. “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

80Hz and continuing down to the lowest note

you ever heard. “Peaking” means that only a

selected band of frequencies surrounding a

center frequency is affected by the EQ control

— the frequencies around 2.5kHz in this case.

LOW EQ

This control gives you up to 15 dB boost or

cut at 80Hz and below. The circuit is flat (no

boost or cut) at the center detent position.

This frequency represents the punch in bass

drums, bass guitar, fat synth patches, and some

really serious male singers.

MID EQ

Short for “midrange,” this knob provides

12 dB of boost or cut, centered at 2.5kHz, also

flat at the center detent. Midrange EQ is often

thought of as the most dynamic, because the

frequencies that define any particular sound

are almost always found in this range. You can

create many interesting and useful EQ changes

by turning this knob down as well as up.

HI EQ

This control gives you up to 15 dB of boost

or cut at 12kHz and above, and it is also flat at

the detent. Use it to add sizzle to cymbals, and

an overall sense of transparency or edge to key-

boards, vocals, guitar, and bacon frying. Turn it

down a little to reduce sibilance, or to hide

tape hiss.

Moderation during EQ

With EQ, you can also screw things up roy-

ally. We’ve designed a lot of boost and cut into

each equalizer circuit because we know every-

one will occasionally need that. But if you max

the EQs on every channel, you’ll get mix mush.

Equalize subtly and use the left sides of the

knobs (cut), as well as the right (boost).

EFX

MON

12kHz

MID

2.5kHz

LOW

80Hz

PAN

VOLUME CH.

INPUT

LEVEL

SET

MIC

INSERT

LINE

+10

+15-15

+12-12

+20dB

HILOW

NORMAL

+15

Stereo Version

Channel Strip

Channel Strip Description

INPUT LEVEL SET

If you haven’t done so already, please read

the “Level-Setting” procedure on page 6.

The

INPUT LEVEL SET

control adjusts the

input sensitivity of the mic and line inputs (on

channels 7 & 8 it affects only the mic input).

This allows signals from the outside world to be

adjusted to optimal internal operating levels.

To correctly adjust the

INPUT LEVEL SET

control, apply a signal to the channel and turn

up the

INPUT LEVEL SET

control until the LED

next to it just begins to blink. This provides the

best signal-to-noise ratio for the channel.

VOLUME

The rotary

VOLUME

knob controls the

channel’s level…from off to unity gain at the

center detent, on up to +20 dB of additional

gain when turned all the way up. The

VOLUME

control is equivalent to a channel fader.

These are mono controls except on chan-

nels 7 and 8 of the 408S and 808S models,

which use stereo controls.

Unity gain means there is no

change in signal level. In

other words, the signal enter-

ing the control is the same

volume (or in this case, the

same voltage level) as the signal leaving the

control. Once you have adjusted the

INPUT

LEVEL SET

controls on all the channels, you

can set the remaining controls to their unity

(

) positions and your signals will travel

through the mixer at optimal levels. What’s

more, all the labels on our level controls are in

decibels (dB), so you’ll know what you’re doing

level-wise if you choose to change a control’s

settings.

PAN

This control appears on the stereo models

(408S and 808S).

PAN

adjusts the amount of

channel signal sent to the left versus the right

outputs. On the mono channels 1-6 these con-

trols act as true pan pots. On the stereo

channels 7 and 8, the

PAN

knob acts like the

balance control on your home stereo.

EFX Send

This taps the channel’s signal out to either

the internal

EMAC

Digital Stereo Effects

Processor or to an external device via the

EFFECTS SEND

jack for parallel effects pro-

cessing. Each channel’s effects send signal is

controlled by the channel’s

EFX

knob, and the

overall effects send level is controlled by the

EFX DRIVE LEVEL

knob (located in the

EMAC

section).

The effects send signal is post-EQ and post-

VOLUME

, so these controls affect the signal

going to the effects processor, be it internal or

external.

Each

EFX

send control ranges from off

through unity (the center detent position) on

up to +10 dB of extra gain (when turned fully

clockwise). Chances are you’ll never need this

much extra gain, but it’s nice to know it’s there

if you do.

Normally the effects send signal is routed

to the internal

EMAC

Digital Stereo Effects

Processor (more on

EMAC

coming up). However,

if you plug into the

EFFECTS SEND

jack

(located just below the

EMAC

section) you

can send the effects signal to an external

effects device. You can return the signal from

the external effects device by plugging its

output into the

EFFECTS RETURN

jack(s)

just below the

SEND

jack. This disconnects

the

EMAC

from the internal effects bus.

You mix the amount of effects you want

returned to the main mix by adjusting the

EFX

TO MAIN

control located just above the

MAIN MASTER

. You can also add effects to

the monitor mix by adjusting the

EFX TO

MON

control located just above the

MONITOR MASTER

Note: See “Effects Send and Return” on

page 22 to see how to use

EMAC

and an

external effects processor at the same time.

MON Send

This taps the channel’s signal out to an

external amplifier, which powers your moni-

tor speakers, via the

MONITOR LINE OUT

jack. Each channel’s monitor send signal is

controlled by the channel’s

MON

knob, and

the overall monitor send level is controlled by

the

MONITOR MASTER

control.

The monitor send signal is pre-EQ and pre-

VOLUME

, so if you adjust these controls they will

affect only the main mix and not the monitor mix.

Each

MON

send control ranges from off

through unity (the center detent position) on

up to +15 dB of extra gain.

EMAC Section Description

EMAC™ stands for Extended Multiply and

Accumulate, which is a proprietary 32-bit digital

stereo processor developed by our Digital

Engineering Group. It provides 16 preset digital

effects algorithms for you to select. In addition

to the presets, there are two parameter controls

/ you can adjust to change the sound and

make it unique for your particular application.

EFX BYPASS

EFX DRIVE

LEVEL

120

NORMAL

EFX

CLIP

CUSTOM 32-BIT PRECISION

DIGITAL STEREO EFFECTS PROCESSING

EFX WIDE

EFX DRIVE LEVEL

This controls the signal level being sent to

the input of the

EMAC

module (and to the

EFX

SEND

jack). Use the

EFX

controls on the indi-

vidual channels to adjust the amount of each

channel’s signal you want to go to the

EMAC

Leave the

EFX DRIVE LEVEL

set at the

NOR-

MAL

position. If you find that you’re not getting

enough of the effect in the main mix, make

sure that the

EFX TO MAIN

control is turned

up at least to unity (the center detent posi-

tion). It’s okay to turn up the

EFX DRIVE

LEVEL

some more if you need to. Just make

sure the

EFX CLIP

LED never lights more than

occasionally. Read on to find out why.

EFX CLIP

This indicates when the

EMAC

is 6 dB

below clipping. This LED should only light

occasionally. If it blinks frequently, you should

turn down the

EFX DRIVE LEVEL

a little.

Digital clipping is not pleasant to behold.

EFX BYPASS

Pushing in this button causes the

EFX

BYPASS

indicator to light and mutes the

effects signal. It affects both the internal

EMAC

effects and any external effects

processor you may have connected to the

EFFECTS RETURN

jack.

EFX

MON

12kHz

MID

2.5kHz

LOW

80Hz

VOLUME CH.

INPUT

LEVEL

SET

MIC

INSERT

LINE

+10

+15-15

+12-12

+20dB

HILOW

NORMAL

+15

Mono Version

Channel Strip

EFX WIDE

Depending on the effect selected, this

switch adds more width or depth to the effect.

Note that it doesn’t work with the

DELAY

and

PHASER

effects because they are monophonic.

REVERSE

: Standard reverse reverb, simulat-

ing a tail-first effect increasing to the original

note. Decay range adjustable from 35ms to

515ms. No pre-delay.

GATED

: Standard gated reverb where the

reverb tail is cut off sharply after preset decay

length. Decay range adjustable from 35ms to

515ms. No pre-delay.

CATHEDRAL

: Dense, smooth reverb with

very long tail, long pre-delay, and late reflec-

tions. Tails are very warm with some additional

high-end reflections imitating the stone walls

of a cathedral. A very dramatic effect that

works well with wind instruments such as

flute, slow finger picking on acoustic guitar,

and quiet vocal group harmony and choirs. Also

works well with keyboards and drums using

short decay. Decay range adjustable from 2 sec-

onds to 10 seconds. Pre-delay set at 75ms.

LG. HALL

: Dense, smooth reverb with long

tail, long pre-delay, and some early reflections.

Tails are warm with more apparent high end.

Works well with vocals and electric and acous-

tic guitar. Decay range adjustable from 1

second to 5 seconds. Pre-delay set at 75ms.

MD. HALL

: Dense, smooth reverb with nor-

mal tail, normal pre-delay, and increased early

reflections. Tails are warm with more apparent

high end. Works well with vocals and electric

and acoustic guitar. Decay range adjustable

from 750ms to 2.5 seconds. Pre-delay set at

65ms.

LG. PLATE

: Good early reflections and no

pre-delay. Tails are normal and warm with

strong high end for increased presence. Perfect

for vocals and snare. Decay range adjustable

from 1 second to 5 seconds. No pre-delay.

MD. PLATE

: Good early reflections and no

pre-delay. Tails are short and warm with strong

high end for increased presence. Perfect for

tight vocals and snare. Decay range adjustable

from 750ms to 2.5 seconds. No pre-delay.

SM. ROOM

: Reverb featuring very fast and

scattered early reflections with a short pre-

delay. Tails are very short and warm with

normal high-end imitating absorbent wall

materials and audience. Good for tight vocal

effects. Decay range adjustable from 250ms to

1 second. Pre-delay set at 30ms.

SPRING

: Mimics the vintage 60's-style wet

spring reverb effect. Tails are normal with

strong high end and a slight waver imitating

the slow flutter of the mechanical spring sys-

tem. Very good with acoustic guitar. Decay

range adjustable from 1 second to 5 seconds.

No pre-delay.

EFX BYPASS

EFX DRIVE

LEVEL

120

NORMAL

EFX

CLIP

PARAMETERS

100100

REVERBS

DELAYS

CHORUS

FLANGE

DAMPING

DEPTH

PHASER

TIME

RATE

NORMAL NORMAL

CUSTOM 32-BIT PRECISION

DIGITAL STEREO EFFECTS PROCESSING

EFX WIDE

SM. ROOM

MD. PLATE

LG. PLATE

LG. HALL

GATED

REVERSE

CATHEDRAL

MD. HALL

SPRING

PHASER

DELAY 4

CHORUS

DELAY 3

DELAY 1

FLANGE

DELAY 2

Preset Select

Rotate this detented switch to select the

preset effect you want to use.

Preset Effects Descriptions

Reverbs

The reverbs are designed to provide a wide

variety of reverb sounds for vocal and instrument

applications. The

TIME/RATE PARAMETER

controls the length of the tail, with the shortest

tail at the

position and the longest tail at

The

DAMPING/DEPTH PARAMETER

controls the damping, with the darkest tone at

and the brightest tone at

. The

EFX WIDE

switch is very effective at increasing the stereo

image of the reverb effect in the stereo versions

and enhancing reverb density in mono versions.

Delays

There are four delays available. Delay 1 has

one repeat after the original note. Delay 2 has

two repeats, Delay 3 has three, and Delay 4 has

four. The

TIME/RATE PARAMETER

controls the

time between repeats, with the fastest repeats

at the

position and the slowest repeats at

The

DAMPING/DEPTH PARAMETER

controls

the damping, with the darkest tone at

and

the brightest tone at

. For an analog tape

delay sound, use a darker setting so that each

subsequent repeat is darker than the prior one.

For a crisp digital delay sound, use a brighter

setting so the tone retains its high end on each

subsequent repeat. Since the delay effect is not

stereo, it is not affected by the

EFX WIDE

switch.

DELAY 1

: One repeat. Works best for

slapback delay used in country and swing gui-

tar, and for rockabilly and some country vocals.

Delay range adjustable from 5ms to 524ms.

DELAY 2

: Two repeats. Provides a fuller,

more dramatic effect for rock and gospel vocals,

acoustic guitar, and wind instruments such as

flute. Especially effective for some finger-picking

styles. Delay range adjustable from 5ms to 524ms.

DELAY 3

: Three repeats. An excellent delay

for slow, bluesy vocals and melodic flute music.

This delay usually works best when the chan-

nel EFX send is set at less than halfway. Delay

range adjustable from 5ms to 524ms.

DELAY 4

: Four repeats. This is for very dra-

matic delay effects, particularly for enhancing

long vocal notes and dramatic instrumental

note-chopping effects. Be sure to set the chan-

nel EFX send at about halfway. Delay range

adjustable from 5ms to 524ms.

Modulation Effects

These include Chorus, Flange and Phaser,

and are generally used for enhancement of

instrumental music. However, Chorus adds a

dramatic effect to vocals as well. The

EFX WIDE

switch is very effective at dramatically increas-

ing the strength and thickness of a modulation

effect. For example, using the

EFX WIDE

Chorus mimics a multi-voiced chorus effect.

The

TIME/RATE PARAMETER

controls the

effect Rate, which is the speed of the sweeping

effect. Fully counter-clockwise produces the

slowest sweeps and fully clockwise produces

the fastest.

DAMPING/DEPTH PARAMETER

controls the effect depth, which is the strength

of the sweeping effect. Fully counter-clockwise

produces the lightest sweeping effect and fully

clockwise produces the thickest.

CHORUS

: Provides a soft, ethereal sweeping

effect. Perfect for enhancement of electric and

acoustic guitar and bass. Also adds a dramatic

effect to vocals, particularly group harmonies

and choirs. The channel

EFX

send should be set

halfway or higher. Rate adjustable from 0.5Hz to

30Hz. Depth adjustable from 0% to 100%.

FLANGE

: Creates a strong sweeping effect,

particularly effective on rock electric guitar, lead

and rhythm. The channel

EFX

send should be set

halfway or higher. Rate adjustable from 0.5Hz to

20Hz. Depth adjustable from 0% to 100%.

PHASER

: This effect is perfect for enhanc-

ing strummed acoustic guitar or electric guitar

power chords. The

PHASER

effectively dupli-

cates the popular 70's phase shift effect used

for guitar. Rate adjustable from 0.5Hz to 35Hz.

Depth adjustable from 50% to 100%.

Name Parameters Typical Applications

Reverbs Decay/Pre-delay

REVERSE 35ms-515ms/none Special effects on instruments or drums

GATED 35ms-515ms/none Special effects on instruments or drums

CATHEDRAL 2sec-10sec/75ms Wind instruments; acoustic guitar; choir

LG. HALL 1sec-5sec/75ms Vocals; electric and acoustic guitar

MD. HALL 750ms-2.5sec/65ms Vocals; electric and acoustic guitar

LG. PLATE 1sec-5sec/none Vocals; snare

MD. PLATE 750ms-2.5sec/none Tight vocals; snare

SM. ROOM 250ms-1sec/30ms Tight vocals

SPRING 1sec-5sec/none Acoustic guitar

Delays Delay/No. of Repeats

DELAY 1 5ms-524ms/1 Country, swing guitar; rockabilly vocals

DELAY 2 5ms-524ms/2 Rock, gospel vocals; acoustic guitar; wind instruments

DELAY 3 5ms-524ms/3 Slow, bluesy vocals; melodic flute

DELAY 4 5ms-524ms/4 Long vocal notes

Chorus/Flange/Phase Modulation/Depth

CHORUS 0.5Hz-30Hz/0%-100% Electric, acoustic guitars; bass; choir

FLANGE 0.5Hz-20Hz/0%-100% Rock electric guitar

PHASER 0.5Hz-35Hz/50%-100% Strummed acoustic guitar, electric guitar power chords

EMAC SELECTIONS

TIME/RATE PARAMETER

If you have a reverb effect selected, this

control adjusts how long the reverberation

lasts, with 0 being a short reverb time and 10

being the longest.

If you have a delay effect selected, this

adjusts the amount of time between the origi-

nal signal and the delayed signal, with

being

a short delay time and

being the longest

delay time.

If you have a chorus, flange, or phaser effect

selected, this control adjusts the rate or speed

of the modulation of the effect.

DAMPING/DEPTH PARAMETER

If you have a reverb or delay effect selected,

this control adjusts how fast the higher frequen-

cies roll off in the reverberation or delay, with

having no roll off and

having the most roll off.

If you have a chorus, flange, or phaser effect

selected, this control adjusts the depth of the

modulation of the effect.

MAIN EQUALIZER

The

MAIN EQUALIZER

is used to shape

the overall frequency response for the main

speakers. The equalizer is the last thing in the

chain prior to the signal being routed to the

power amplifiers and the

MIXER LINE OUT

How to Adjust the Graphic Equalizers:

Note: These instructions are written on the

top of the PPM Series cabinet, but we’ll repeat

them here because they are so important.

Reducing Feedback (Do monitor first)

1. Set the

MIC

channels to working volume

levels (see “Level Setting” on page 6).

2. Set the Graphic EQ sliders to zero (center).

3. Slowly turn up the

MAIN MASTER

volume until feedback just begins to

occur. BE CAREFUL! Feedback can occur

quickly and become very LOUD, very fast.

4. Cut the appropriate slider until feedback

stops.

Suggestions for Better Sound

1. For better vocal sound, set the

125, 250,

and

16K

sliders to +5.

Note: Make sure the singer is within 3 to

6 inches of the microphone. No amount

of EQ can save a vocal when the singer is

too far away from the microphone.

2. For more presence, set the

and

sliders to +5.

3. To warm up the overall sound, set the

slider to –5.

4. Use the

RUMBLE REDUCTION

switch to

reduce the noise floor.

5. REMEMBER, LESS IS BETTER.

75Hz RUMBLE REDUCTION

There are two of these switches; one for the

monitor output and one for the main output.

Pushing in this switch places a low-cut filter

into the circuit path, rolling off the frequencies

below 75Hz.

Use the

RUMBLE REDUCTION

switch on

the main output to reduce stage rumble (low-

frequency noise from footsteps picked up by

microphones on stage) and microphone-

handling noise. Use the

RUMBLE REDUCTION

switch on the monitor output to reduce the

muddiness caused by the lows feeding back into

the main output through the stage microphones.

Note: This filter is separate from the graphic

equalizer. The main

RUMBLE REDUCTION

switch affects only channels 1-6 and not the

stereo channels 7 & 8,

EFX TO MAIN

, or

TAPE

. The monitor

RUMBLE REDUCTION

switch

does affect the

EFX TO MON

signal.

PARAMETERS

100100

REVERBS

DELAYS

CHORUS

FLANGE

DAMPING

DEPTH

PHASER

TIME

RATE

NORMAL NORMAL

MASTER OUTPUT SECTION Description

POWER LED

This indicator lights up whenever the

POWER

switch is turned on and the PPM Series

is plugged into a live outlet, just to let you

know you’re ready for action.

MONITOR EQUALIZER

The

MONITOR EQUALIZER

is used to

shape the overall frequency response for the

monitor speakers on stage. This is called a

graphic equalizer because the position of the

sliders provides a graphic display of the

frequency response at its output. The equalizer

is the last thing in the signal chain prior to

being routed to the

MONITOR LINE OUT

(and the power amplifier if the

POWER AMP

ROUTING

switch is pushed in).

EFX TO MON

Use this control to add the

EMAC

internal

effects (or external effects, if connected) to the

monitor mix. The effects signal is added to the

monitor signal path just prior to the

RUMBLE

REDUCTION

switch and the

MONITOR

MASTER

control.

The

EFX TO MON

control ranges from off

through unity (the center detent position) on

up to +10 dB of extra gain.

MONITOR MASTER

This controls the overall signal level at the

MONITOR LINE OUT

. The control ranges from

off through unity on up to +12 dB of extra gain.

Turning up the

MONITOR

MASTER

too much can

cause feedback. To reduce

the possibility of feedback,

try to position the micro-

phones so they are pointing away from the

stage monitors. This will minimize the amount

of monitor signal that is picked up by the

microphones.

EFX TO MAIN

Use this control to add the

EMAC

internal

effects (or external effects, if connected) to

the main mix. The effects

signal is added to the main

signal path just after the

RUMBLE REDUCTION

switch

and just prior to the

MAIN

MASTER

control.

The

EFX TO MAIN

control

ranges from off through unity

(the center detent position) on

up to +10 dB of extra gain.

MAIN MASTER

This controls the overall sig-

nal level at the

MIXER LINE

OUT

(s) and at the input to

the power amplifiers. The con-

trol ranges from off through

unity on up to +12 dB of extra

gain.

LEVEL Meters

These 8-segment LED meters

indicate the

signal level at the

MONITOR LINE OUT

and the

MIXER LINE OUT

. To attain the

best signal-to-noise ratio while still maintain-

ing adequate headroom, set the

MONITOR

MASTER

and

MAIN MASTER

controls so the

0 dB indicator on the

LEVEL

meters blinks

frequently. It’s okay for the +5 dB indicator to

blink occasionally, but avoid allowing the

CLIP

indicator to light. Clipping occurs at a +20 dBu

output level.

PHANTOM POWER Switch

Push in this switch to provide phantom

power to the XLR

MIC

input connectors. All of

the XLR mic inputs are capable of providing

phantom power. Phantom power is required

to operate most condenser microphones

(some condenser microphones are battery-

powered). The PPM Series provide +15V DC

phantom powering on pins 2 and 3 of the XLR

connectors.

If you are using condenser microphones, or

any mic that requires phantom power, engage

the

PHANTOM POWER

switch (located just

below the

EMAC

section). If you have dynamic,

ribbon, or tube mics that do not require phan-

tom power, leave the

PHANTOM POWER

switch out. If you are using both condenser and

dynamic mics, don’t worry. Phantom power will

MAIN-STEREO/MONO EQUALIZER

CLIP

1K50025063 125 16K

LEVEL

2K 4K 8K

MAIN

MASTER

EFX TO

MAIN

+10

MASTER OUTPUT SECTION

+12dB

POWER

MONITOR EQUALIZER

15-

15+

-15

+15

15-

15+

-15

+15

1K50025063 125 16K2K 4K 8K

MONITOR

MASTER

EFX TO

MON

+10

+12dB

75Hz RUMBLE

REDUCTION

75Hz RUMBLE

REDUCTION

PHANTOM

POWER CH 1-8

BREAK

(MUTES CH 1-6)

LEVEL

CLIP

Stereo Version Master Output Section

not hurt most dynamic mics. Check the micro-

phone’s user manual if you’re not sure.

Caution: Turn all output

levels down before operat-

ing this switch to avoid the

possibility of a “pop” in

your speakers.

Connecting a line-level input to an XLR in-

put connector with the phantom power

switched on could damage the output of the

source device. We recommend using the 1/4"

jacks for line-level inputs.

PHANTOM

POWER CH 1-8

BREAK

(MUTES CH 1-6)

BREAK Switch

As in “take a break.” Push this switch in dur-

ing your breaks and the mono channels (1-6),

monitor send, and effects send are muted so you

don’t run the danger of something going haywire

during your break, like having your system start

feeding back or having some would-be poet jump

up on stage and start reciting his latest epic.

This switch doesn’t affect the

TAPE IN

the stereo channels (7&8) so you can go ahead

and run your cassette or CD player while you

are on break.

POWER AMP ROUTING

This handy switch provides the flexibility to

use the internal power amplifiers to power

both the main and monitor outputs, or to

power two main speakers with the internal

amplifiers and use a separate power amplifier

to power the monitor speakers.

When the switch is in the OUT position, the

main mix is routed to the inputs of both

amplifiers. For the mono versions (406M,

408M, 808M), the same signal is routed to the

inputs of both amplifiers. You must have another

amplifier to power your monitor speakers.

When the switch is pushed IN, the main mix

is routed to the input of the

MAIN

power amp,

and the monitor mix is routed to the input of

the

MONITOR

power amp. You can still con-

nect up to two speakers to each amplifier

output, since there are two parallel

SPEAKER

OUTPUT

jacks for each amplifier on the back

panel. Just remember to maintain a 2 ohm

load or greater for each amplifier.

Note: On the stereo versions (408S, 808S),

the left and right signals are summed together

just prior to the

MAIN

power amp input when

the

POWER AMP ROUTING

switch is pushed in.

COMPRESSOR

Pushing this switch in activates a circuit at

the input to the power amplifiers that senses

the signal level and reduces the possibility of

driving the amplifier into clipping. Clipping

creates distortion that not only sounds bad, but

can actually damage your loudspeakers. We

recommend that you leave this switch pushed

in (unless you hate your speakers).

TAPE IN LEVEL

You can connect a tape deck or CD player

to the PPM Series and play back prerecorded

music during your breaks. The tape signal is

added to the main signal path just after the

RUMBLE REDUCTION

switch and just prior to

the

MAIN MASTER

control. This is a stereo

control, but for the mono versions (406M, 408M,

808M), the left and right inputs are summed.

EFX FOOT

SWITCH

RIGHT RETURNLEFT RETURN

SEND

L MIXER OUT R MIXER OUT COMPRESSOR

L POWER

AMP IN

R POWER

AMP IN

EFFECTS

(OVERRIDES INTERNAL EFX) MONITOR

MAINS

TAPE IN

TAPE OUT

LEVEL

+15

LINE

OUT

408S

POWER AMP ROUTING

OUT

STEREO MAINS

LEFT = MAIN

RIGHT = MONITOR

2 X 250W STEREO

Stereo Version Connector Section

POWER switch

The

POWER

switch is located on the rear

panel of the mixer, near the linecord socket.

Switch up to turn the mixer on, and switch

down to turn it off.

The

TAPE IN LEVEL

control ranges from off

through unity (the center detent position) on

up to +15 dB of extra gain. Note that this

control only affects the

TAPE IN

level and not

the

TAPE OUT

level (there is no tape out level

control). The

TAPE OUT

level is pre-fader

(actually pre-Master in this case) and is not

affected by the

MAIN MASTER

control.

Caution: When using the

TAPE OUT

connectors for

recording, don’t connect

the output of the tape deck

to the

TAPE IN

connectors.

If you do, MAKE SURE the

TAPE IN LEVEL

control is turned all the way down or you will

create a feedback loop that will suddenly make

you the focus of attention.

POWER

120 VAC 60HZ 320W

MIC 1

INSERT

LINE

RIGHT

MIC 8

LEFT/MONO

STEREO

MIC/

LINE

HI-Z

Stereo Channel Strip

Mono Channel Strip

SHIELD

COLD

HOT

SHIELD

COLD

HOT

SHIELD

COLD

HOT

Balanced XLR Connectors

SLEEVE (SHIELD)

TIPSLEEVE

TIP (HOT)

RING (COLD)

RING

TIP

SLEEVERING

Balanced 1/4" TRS Plug

MAKING THE CONNECTIONS

Front Panel Connections

Connecting Microphones and Line-Level

Signals

Each channel has both an XLR

MIC

input and a 1/4" TRS

LINE

input. In

addition, the two stereo channels on the 408M,

408S, 808M, and 808S each have two 1/4" TRS

line inputs, left and right . These two inputs

are summed together in the 408M and 808M,

and are routed to the left and right buses

respectively in the 408S and 808S. You can plug

a mono signal into the

LEFT

stereo input and

the signal is automatically routed to both the

left and right inputs.

Mackie mixers have 3-pin female XLR con-

nectors on all microphone inputs, so use a

male XLR connector to connect to the mixer’s

mic preamps.

The XLR and 1/4" TRS inputs are balanced

analog inputs. When connecting a balanced

signal using the XLR or 1/4" jacks, be sure

they’re wired — per AES (Audio Engineering

Society) standards — like this:

XLR TRS

Hot (+) Pin 2 Tip

Cold (–) Pin 3 Ring

Shield (Ground) Pin 1 Shield

SLEEVE (SHIELD)

TIP (HOT)

TIPSLEEVE

TIP

SLEEVE

Unbalanced 1/4" TS Plug

The

INSERT

jack can also be used as a di-

rect out from the mic preamps to tape. If you

insert a TS (mono) 1/4" plug halfway into the

INSERT

jack (to the first click), 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 the

channel signal at that point in the circuit with-

out interrupting normal operation.

If you push the 1/4" TS plug in to the second

click, you will open the jack switch and create

a direct out, which does interrupt the signal in

that channel.

Do not overload or short-circuit the signal

you are tapping from the mixer. Doing so will

affect the internal signal.

Direct out with no signal interruption.

Insert only to first “click.”

Channel Insert jack

Direct out with signal interruption.

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

For use as an effects loop.

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

MONO PLUG

STEREO

PLUG

Unbalanced TS (tip-sleeve) lines can be ac-

commodated via the TRS jack. Make sure the

cord terminates with a TS plug (like a guitar

plug), or if it’s a TRS plug (like a headphone

plug), make sure the ring is tied to the shield,

preferably at the source.

You can connect an input signal to both the

MIC

input and the

LINE

input. The signals are

summed together prior to the

INPUT LEVEL

SET

control so they are both affected by it. On

the stereo channels 7 & 8, the inputs are

summed after the

INPUT LEVEL SET

control

and only the

MIC

input is affected by it.

Channel Inserts

The mono channels are equipped with

INSERT

jacks for connecting external processors into

each channel’s signal path. The insert point

comes after the Mic/Line preamp’s

INPUT LEVEL

SET

control and just before the EQ controls.

This is a TRS jack specially configured as a

combination Send/Return connection point. It is

configured with the Tip = Send, Ring = Return,

and Sleeve = Ground. This has become some-

what of a standard in the industry, and many

cable manufacturers make cables especially

for this purpose. With nothing plugged into the

INSERT

jack, the send signal is directly connected

to the return pin via the normalling jack.

“tip”

This plug connects to one of the

mixer’s Channel Insert jacks. “ring”

tip ring

sleeve

SEND to processor

RETURN from processor

(TRS plug)

Tip = Send (output to effects device)

Ring = Return (input from effects device)

Sleeve = Common ground (connect shield to all

three sleeves)

MIC

INSERT

LINE

Mono Channel Strip

EFFECTS SEND and RETURN

EFX FOOT

SWITCH

RIGHT RETURNLEFT RETURN

SEND

EFFECTS

(OVERRIDES INTERNAL EFX)

The

EFFECTS SEND

jack is a 1/4" connector

that produces an unbalanced line-level signal.

This signal is fed from the internal EFX bus,

just after the

EFX DRIVE LEVEL

control.

Use a cable with 1/4" TS plugs to connect the

EFFECTS SEND

jack to the input of an external

effects processor. Use a similar cable (or cables)

to return the external effects processor’s signal

to the

EFFECTS RETURN

jack(s).

The mono versions (406M, 408M, 808M)

have one

EFFECTS RETURN

jack and the stereo

versions (408S, 808S) have two

RETURN

jacks.

These are 1/4" connectors that accept an un-

balanced line-level signal.

The

EFFECTS SEND

and

RETURN

are

normalling jacks, so with nothing plugged into

the

SEND

RETURN

jacks, the internal ef-

fects signal from the

EMAC

is routed to the

EFX TO MON

and

EFX TO MAIN

controls. If

you plug a 1/4" TS plug into the

EFFECTS RE-

TURN

jack(s), the effects signal from the

EMAC

is disconnected from the signal path.

Instead, the external effects signal is routed to

the

EFX TO MON

and

EFX TO MAIN

controls.

Note: If you want to use the internal

EMAC

and an external effects processor at the same

time, you have two options.

Serial effects device: The

EFFECTS SEND

jack is wired the same as the channel

INSERT

jacks, so you can use it to insert a processor in

series with the

EMAC

effects. Refer to the

“Channel Inserts” section to see how to

make this connection.

Parallel effects device: Plug a TS plug half-

way into the

EFFECTS SEND

jack (to the first

click). This allows you to use the

EFFECTS

SEND

jack as a direct out without affecting the

signal going to the

EMAC

. However, you must

use one of the

LINE

inputs (or one of the stereo

channel’s stereo line inputs if it’s a stereo pro-

cessor) to return the signal from the external

effects processor. If you plug into the

EFFECTS

RETURN

jack, the signal from the

EMAC

is dis-

connected from the signal path.

EFX FOOT SWITCH

You can connect a normally-open foot

switch to this connector to duplicate the

function of the

EFX BYPASS

switch. Closing

the switch connection causes the

EFX BYPASS

indicator to light and mutes the effects signal.

This affects both the internal

EMAC

and an

external effects processor (if connected) using

the

EFFECTS SEND

and

RETURN

jacks.

Note: When a foot switch is plugged into the

FOOT SWITCH

jack, the

EFX BYPASS

switch

is disabled.

POWER AMP IN 1 and 2

This is a 1/4" connector that accepts an un-

balanced line-level signal. Whatever signal you

plug into these jacks is routed to the power

amplifier inputs. This provides the ability to in-

sert a processor in the signal path between the

MIXER OUT

and the

POWER AMP IN

EFX FOOT

SWITCH

RIGHT RETURNLEFT RETURN

SEND

L MIXER OUT R MIXER OUT COMPRESSOR

L POWER

AMP IN

R POWER

AMP IN

EFFECTS

(OVERRIDES INTERNAL EFX) MONITOR

MAINS

TAPE IN

TAPE OUT

LEVEL

+15

LINE

OUT

408S

POWER AMP ROUTING

OUT

STEREO MAINS

LEFT = MAIN

RIGHT = MONITOR

2 X 250W STEREO

Stereo Version Connector Section

When a 1/4" plug is inserted in the POWER

AMP IN jacks, the internal connection between

the mixer section and the amplifier section is

cut.

This completely separates the mixer from

the amplifiers, and it allows you to connect an

external equalizer, compressor or effects pro-

cessor in-line between them as shown.

With a plug inserted in the POWER AMP IN

jacks, the amplifiers will only play the external

signals plugged into them. With no plug in-

serted, the mixer section and the amplifier

section are joined and the amplifiers play the

mixer signals as normal.

External equalizer,

compressor, or processor

OUT

L MIXER OUT R MIXER OUT COMPRESSOR

L POWER

AMP IN

R POWER

AMP IN

MONITOR

MAINS

TAPE IN

TAPE OUT

LEVEL

+15

LINE

OUT

408S

OUT

2 X 250W STEREO

If you have an external device in-line as

shown in the diagram above, make sure it does

not increase the signal gain too much, or it may

overload the amplifier section. The PPM

meters only show the signal level coming from

the internal mixer section; they will not show

any changes in gain due to the external device.

You might use these inputs to connect the

outputs from the opening band’s mixing board.

This way you don’t have to set up two sets of

speakers; the other band can plug right into

the PPM Series and use its amplifiers and con-

nected speakers (see application diagram on

page 13).

MIXER LINE OUT

This is a 1/4" connector that produces an

unbalanced line-level signal. This signal is fed

from the internal mixer bus, just after the

MAIN MASTER

control and

MAIN EQUALIZER

and just before the

POWER AMP IN

jacks.

You can use the

MIXER

LINE OUT

s to connect a sec-

ond power amplifier, giving

you the option of adding more

power and more speakers

(see application diagram on

page 10).

MONITOR LINE OUT

This is a 1/4" connector

that produces an unbalanced

line-level signal. This signal is

fed from the internal monitor

bus, just after the

MONITOR MASTER

control

and

MONITOR EQUALIZER

Use this connection to drive an external

monitor amplifier and speakers, or to supple-

ment the PPM Series’ monitor amplifier (when

the

POWER AMP ROUTING

switch is

pushed in) with another amplifier and speakers

(see application diagram on page 8).

TAPE IN and TAPE OUT

These are unbalanced RCA-type connectors

that match those typically used on tape decks

and CD players. Use RCA-to-RCA patch cables

to make these connections.

EFX FOOT

SWITCH

RETURN

SEND

MIXER LINE OUT

POWER

AMP 1 IN

POWER

AMP 2 IN

EFFECTS

(OVERRIDES INTERNAL EFX) MONITOR

MAINS

TAPE IN

TAPE OUT

LEVEL

+15

LINE

OUT

POWER AMP ROUTING

AMP 1

MAIN

MAIN MONITOR

AMP 2

MAIN

COMPRESSOR

OUT

2 X 250 WATTS

408M

Mono Version Connector Section

SPEAKER OUT

OUTPUT POWER: 250 WATTS / CHANNEL

MINIMUM SPEAKER LOAD: 2 OHMS / CHANNEL

SPEAKER OUT

LEFT / MAIN RIGHT / MONITOR

POWER

120 VAC 60HZ 320W

SPEAKER OUT

OUTPUT POWER: 250 WATTS / CHANNEL

MINIMUM SPEAKER LOAD: 2 OHMS / CHANNEL

SPEAKER OUT

POWER AMP 1 / MAIN POWER AMP 2 / MONITOR

Stereo Version Speaker Connectors (408S) Mono Version Speaker Connectors (408M)

The

TAPE IN

signal is routed to the mixer

bus just after the

RUMBLE REDUCTION

switch

and just before the

TAPE IN LEVEL

control,

MAIN MASTER

control, and

MAIN EQUALIZER

The

TAPE OUT

signal is tapped just after the

RUMBLE REDUCTION

switch, and before the

MAIN MASTER

control and

MAIN EQUALIZER

Caution: When using the

TAPE OUT

connectors for

recording, don’t connect

the output of the tape deck

to the

TAPE IN

connectors.

If you do, MAKE SURE the

TAPE IN LEVEL

control is turned all the way down or you will

create a feedback loop that will cause great dis-

tress to you and everyone around you.

Rear Panel Connections

SPEAKER OUT

This is a 1/4" connector that produces an

unbalanced speaker-level signal.

Use 1/4" TS speaker cables to connect the

SPEAKER OUT

s to the inputs of your speakers.

Use at least 18 gauge (18AWG) speaker wire.

Caution: Don’t use standard

guitar cables to make these

connections. Guitar cords

are designed for line-level

signals (millivolts and

milliamps), not speaker-level signals (several

volts and several amps).

There are two

SPEAKER OUT

jacks for each

amplifier. The jacks are wired in parallel so if

you connect two speakers to an amplifier, the

load presented to the amplifier is the parallel

impedance of both speakers. This impedance

must be two ohms or greater.

For parallel connections:

8 ohms + 8 ohms = 4 ohms

4 ohms + 4 ohms = 2 ohms

IEC Socket

This is where you connect the supplied AC

linecord to provide AC power to the PPM Series

powered mixer. Plug the linecord into an AC

socket properly configured for your particular

model.

Note: If you happen to lose the AC linecord,

replacements are easily available at any office/

computer supply store or Radio Shack

(ask

for part number 278-1257).

GENERAL PRECAUTIONS AND CONSIDERATIONS

NEVER bypass the AC

plug’s ground pin. This is

dangerous!

It is recommended that a stiff (robust)

supply of AC power be used because the amp-

lifiers place high momentary current demands

on the AC line. The more power that is available

on the line, the louder the amplifiers will play

and the more peak output power will be

available for cleaner, punchier bass. A suspected

problem of “poor bass performance” is often

caused by a weak AC supply to the amplifiers.

AC Power Distribution

The majority of AC outlets encountered in

homes and clubs (in the U.S.) are served by a

240VAC center-tapped service entrance trans-

former. This provides two phases of AC power

on either side of the center tap, at 120V each.

If lighting is used in a show, it is preferable

to power the lights from one leg of the service,

and power the audio equipment from the other

leg. This will help minimize noise from the

lights coupling into the audio (particularly if

SCRs, or light-dimmer switches, are used).

In order to minimize ground loops, the safety

grounds for all the outlets should be connected

to a common (“star”) grounding point, and the

distance between the outlets and the common

grounding point should be as short as possible.

When setting up for a show, oftentimes you

are plugging into an AC power distribution sys-

tem you know nothing about. You may even be

faced with 2-wire outlets that are missing the

third safety ground pin. It’s a good idea to have

a three-wire AC outlet tester in your toolbox so

you can check the outlets yourself to make

sure they are wired correctly. These testers will

tell you if the polarity of the hot and neutral

wires is reversed and if the safety ground is

disconnected. Don’t use an outlet if it is wired

improperly! This is to protect yourself as well

as your equipment.

If you find that you must plug into a two-wire

outlet, you will need to use a two-wire to three-

wire adapter (cheater plug). These come with a

metal tab that you put underneath the center

screw that holds the AC outlet faceplate in place.

This center screw must be grounded. You can

check it by connecting the adapter to the outlet

and then plugging in your handy-dandy AC

outlet tester.

Thermal Considerations

The PPM Series Powered Mixers contain

two powerful built-in amplifiers. All amplifiers

produce heat, and the more power it produces,

the more heat is produced. It is important to

dissipate the heat away from an amplifier as

quickly as possible. This results in increased

reliability and longevity for the amplifier. That’s

what the massive die-cast aluminum heatsink

on the rear panel is for.

Heat from the output transistors is coupled

to the heatsink, which draws the heat away

from the transistors and out to the heatsink

fins. Cool air is drawn through the fins due to a

process called convection, warming the air and

taking the heat away.

In order for this convection cooling to work

efficiently, it is important to provide adequate

airspace behind the mixer. We recommend

leaving at least six inches of air space behind

the mixer when you set it up.

In the unlikely event of the amplifier overheat-

ing, a thermal switch activates and shuts down

the mixer until it cools off. Double-check the

speaker load on each amplifier and make sure

that the total impedance of each load is 2 ohms or

greater. If the load impedance drops below 2 ohms,

it can cause the amplifier to overheat. If the load

impedance is okay, overheating may be caused by

excessive ambient temperature (the room’s too

hot!). Try using a fan aimed at the heatsink to

move air through the fins faster.

AC Power Considerations

Be sure the PPM Series Powered Mixer is

plugged into an outlet that is able to supply the

correct voltage specified for your model. If the

voltage should drop below 97% of the specified

line voltage, the built-in amplifiers will no

longer be able to supply rated power. (They will

continue to operate down to 75% of the rated

voltage, but won’t reach full power, resulting in

lower headroom.)

Under typical conditions, reproducing music

where musical peaks are just below clipping,

the powered mixers draw the following average

currents:

Average Current

Amplifier Loading 406M, 408M, 408S 808M, 808S

8Ω per side 2.0 A 2.2 A

4Ω per side 3.1 A 3.3 A

2Ω per side 4.8 A 5.0 A

(Above current based on using 120V AC line)

APPENDIX A: Service Info

• Is the channel’s

VOLUME

control and

the

MAIN MASTER

control properly set?

Refer to the “Level Setting Procedure” on

page 6.

• Is there something plugged into the

channel’s

INSERT

jack? Plugging into the

INSERT

jack breaks the signal path for

the channel. Try unplugging any

INSERT

devices. If that fixes the problem, make

sure you’re using a properly wired send/

return cable (see “Making the Connec-

tions” on page 21). Make sure the

volume (gain) controls on the external

processor connected to the

INSERT

jack

are properly set.

• Is there something plugged into the

POWER AMP IN

jacks? Plugging into the

POWER AMP IN

jacks breaks the signal

path between the mixer and the ampli-

fier. However, the signal source you have

plugged into the

POWER AMP IN

jacks

should be heard over the speakers

connected to the

SPEAKER OUT

jacks.

• Do you have any external equalizers,

compressors or processors connected

between the

MIXER OUT

and

POWER

AMP IN

jacks? If so, make sure they are

working correctly.

• Are there fuses in the speaker or in-line

fuses in the speaker wire? Check ’em to

see if they’re blown.

• Are the speakers working properly? If

you have another amplifier that you

know works, plug the speakers into it to

make sure they work.

One side is way louder than the other!

For the 408S and 808S:

• Do the

LEVEL

meters read the same on

both sides? If not, the

PAN

control on

the signal source’s channel strip may be

turned too far to one side. If you’re using

a stereo signal source, it may be deliver-

ing an out-of-balance stereo signal.

• Try swapping sides: Turn off the powered

mixer, swap the speaker cables at the

SPEAKER OUT

jacks, turn the mixer

back on. If the same side is still louder,

the problem is with your speakers or

speaker cabling. If the other side is

louder now, the problem is with the

mixer, the amp, or the signal source.

Warranty Service

If you think your powered mixer has a prob-

lem, please do everything you can to confirm it

before calling for service, including reading

through the following Troubleshooting section.

Of all Mackie products returned for service

(which is hardly any at all), many are coded

“CND” — Could Not Duplicate, which usually

means the problem lay somewhere else in the

system. Here are some things you can check:

Troubleshooting

No power!

• Our favorite question: Is it plugged in?

Make sure the AC outlet is live (check

with a tester or lamp).

• Our next favorite question: Is the

POWER

switch on? If not, try turning it on.

• Is the green

POWER

light on the front

panel illuminated? If not, make sure the

AC outlet is live. If so, refer to “No

sound” below.

• The AC line fuse inside the mixer is

blown. This is not a user-serviceable

part. Refer to “Repair” on page 28 to find

out how to proceed.

No sound!

• Are the

INPUT LEVEL SET

controls

turned all the way down? Follow the

procedures in the “Quick Start” section

on page 6 to verify that all the level and

volume controls are properly adjusted.

• Is the signal source working (and

making union scale)? If it’s a micro-

phone, make sure the mic cable is in

good repair and securely connected at

both ends. If it’s a condenser micro-

phone, make sure the

PHANTOM

POWER

switch is turned on. If it’s an

instrument, again make sure the con-

necting cables are in good repair and

securely connected at both ends. Make

sure the output volume (gain) control

for the instrument is turned up suffi-

ciently to drive the inputs of the mixer.

You should be able to see the

INPUT

LEVEL SET

LED blink when you turn up

the

INPUT LEVEL SET

control.

If you’re monitoring the

TAPE IN

, make

sure the tape deck’s Tape/Source switch

is set to “Tape,” and make sure the

TAPE

IN LEVEL

control on the powered mixer

is turned up to unity (center position).

The bass frequencies diminish when

standing center, but get louder as you

approach one side!

• Check the polarity of the speaker cable

connections. You may have your positive

and negative connections reversed at

one end of one speaker cable.

As soon as the music gets loud, the mixer

shuts down!

• Check the

LEVEL

meters. Be sure that

the

CLIP

LED is not lighting up

frequently or continuously.

• Make sure there is room behind the

powered mixer to provide sufficient

ventilation to the heatsink. If it gets too

hot, it will shut down the show.

• Is the total speaker impedance connected

to each amplifier 2 ohms or greater? If

the impedance is too low, the amplifier

may overheat and shut down.

It hurts when I touch my arm, or my leg, or

even my head!

• You have a broken finger.

Bad sound!

• Is it loud and distorted? Follow the

procedures described in the “Quick

Start” section to verify that the levels are

set properly.

• Is the input connector plugged completely

into the jack? Check the speaker connec-

tions and verify that all connections are

tight and that there are no stray strands of

wire shorting across the speaker terminals.

• Keep practicing.

Noise/Hum

• Turn the channel

VOLUME

knobs down

one by one. If the noise disappears, it’s

either that channel or whatever is

plugged into it. If not, turn down the

EFX

TO MAIN

control. If the noise disappears,

it could be coming from an external

effects device plugged into the

EFFECTS

RETURN

jack(s).

• Make sure all connections to the pow-

ered mixer are good and sound.

• Make sure none of the signal cables are

routed near AC cables, power transform-

ers, or other EMI-inducing devices.

• Is there a light dimmer or other SCR-

based device on the same AC circuit as

the powered mixer? Use an AC line filter

or plug the powered mixer into a differ-

ent AC circuit.

• Is there an external processor or other

electronic device connected to the

powered mixer? Make sure it is plugged

into the same AC circuit as the powered

mixer to reduce the possibility of creat-

ing a ground loop.

• Refer to “Grounding” in Appendix B.

There’s sound in the monitors even though

all the channel MONitor controls are turned

down!

• Make sure the

EFX TO MON

control is

turned down. This control adds the “wet”

effects signal to the monitor output even

when there is no monitor signal present.

Repair

Service for the PPM Series Powered Mixers

is available only from one of our authorized do-

mestic service stations or at the factory, located

in sunny Woodinville, Washington. Service for

Mackie Powered Mixers living outside the

United States can be obtained through local

dealers or distributors.

If your powered mixer needs service, follow

these instructions:

1. Review the preceding troubleshooting

suggestions. Please.

2. Call Tech Support at 1-800-258-6883, 8am

to 5pm PST, to explain the problem and

request an RA (Return Authorization)

number. Have your powered mixer’s serial

number ready. You must have an RA

number before you can obtain service at

the factory or an authorized service center.

3. Keep this owner’s manual. We don’t need it

to repair the powered mixer.

4. Pack the powered mixer in its original

package, including endcaps and box. This

is very important. When you call for the

RA number, please let Tech Support know

if you need new packaging. Mackie is not

responsible for any damage that occurs

due to non-factory packaging.

5. Include a legible note stating your name,

shipping address (no P.O. boxes), daytime

phone number, RA number, and a detailed

description of the problem, including how

we can duplicate it.

Unbalancing a Line

In most studio, stage, and sound reinforce-

ment situations, there is a combination of

balanced and unbalanced inputs and outputs

on the various pieces of equipment. This

usually will not be a problem in making

connections.

• When connecting a balanced output to

an unbalanced input, be sure the signal high

(hot) connections are wired to each other, and

that the balanced signal low (cold) goes to the

ground (earth) connection at the unbalanced

input. In most cases, the balanced ground will

also be connected to the ground at the unbal-

anced input. If there are ground-loop problems,

this connection may be left disconnected at the

balanced end.

• When connecting an unbalanced output

to a balanced input, be sure that the signal

high (hot) connections are wired to each

other. The unbalanced ground (earth) connec-

tion should be wired to the low and the ground

connections of the balanced input. If there are

ground-loop problems, try connecting the un-

balanced ground connection only to the input

low connection, and leaving the input ground

connection disconnected.

• In some cases, you will have to make up

special adapters to interconnect your equip-

ment. For example, you may need a balanced

XLR female connected to an unbalanced 1/4"

6. Write the RA number in BIG PRINT on

top of the box.

7. Ship the powered mixer to us. We suggest

insurance for all forms of cartage. Ship to

this address:

Mackie Designs

SERVICE DEPARTMENT

16140 Wood-Red Rd. NE, Ste. 5

Woodinville, WA 98072

Balanced Lines

Balanced lines offer increased immunity

to external noise (specifically, hum and buzz).

Because a balanced system is able to minimize

noise, it is the preferred interconnect method,

especially in cases where very long lengths of

cable are being used. A long unbalanced cable

carries with it more opportunity for noise to get

into a system — having balanced inputs means

very little noise will enter the system via snakes

and other cables that typically must run a long

length.

A balanced line is a three-wire system where

two wires carry the signal and the third is a

ground wire that shields the inner conductors

from EMI. The two inner conductors carry the

same signal, but with opposite polarity. The

balanced input amplifies only the difference

between the two conductors. But a signal that

is common to both conductors, and in phase, is

rejected (canceled out) at the balanced input.

This includes hum from AC lines or other EMI

induced noise.

An unbalanced line does not have this

noise-rejecting capability because it has only

two conductors. One conductor carries the sig-

nal and the other is a ground wire that shields

the inner conductor. Any hum or EMI noise

that gets through the shield is added to the sig-

nal and amplified at the unbalanced input.

Often the hum can be louder than the signal itself!

APPENDIX B: Some Arcane Mysteries Illuminated

8. We’ll try to fix the mixer within three

business days. Ask Tech Support for

current turn-around times when you call

for your RA number. We normally send

everything back prepaid using UPS Orange

(three-day air). However, if you rush your

powered mixer to us by next-day air, we’ll

treat it in kind by shipping it back the same

way in which it was received. This para-

graph does not necessarily apply to

non-warranty service.

TS phone plug. The balanced-to-unbalanced

connection has been anticipated in the wiring

of Mackie jacks. A 1/4" TS plug inserted into a

1/4" TRS balanced input, for example, auto-

matically unbalances the input and makes all

the right connections. Conversely, a 1/4" TRS

plug inserted into a 1/4" unbalanced input

automatically ties the ring (low or cold) to

ground (earth).

Grounding

Grounding exists in your audio system for

two reasons: product safety and noise reduc-

tion. The third wire on the power cord exists

for product safety. It provides a low-resistance

path back to the electrical service to protect

the users of the product from electrical shock.

Hopefully, the resistance to ground through the

safety ground (third wire) is lower than that

through the user/operator to ground. If you re-

move this connection (by breaking or cutting

the pin off, or by using a ‘ground cheater’), this

alternate ground path ceases to exist, which is

a safety hazard.

The metal chassis of the product, the

ground connections provided by the various

connectors, and the shields within your con-

necting cables provide a low-potential point for

noise signals. The goal is to provide a lower im-

pedance path to ground for noise signals than

through the signal wiring. Doing so helps

minimize hum, buzz, and other extraneous

non-audio signals.

Many “authorities” tell you that shields

should be connected only at one end. Some-

times this can be true, but for most (99%)

audio systems, it is unnecessary. If you do ev-

erything else correctly, you should be able to

connect every component of your audio system

using standard, off-the-shelf connecting cables

that are available at any music store.

Here are some guidelines:

1. Use balanced lines if at all possible. They

provide better immunity to induced noise

and ground loops. Remember that you can

balance a line by inserting in-line a piece of

equipment that has a balanced output.

2. Avoid using three-phase power lines since

they are usually used for air conditioning

and other heavy power equipment. If using

240VAC single phase with center-ground

power, connect all audio equipment to one

side of the AC power, and all lighting and

other equipment to the other side.

3. Be sure all AC outlet safety grounds are

connected to one common point in a star

ground arrangement. This common ground

point should then tie back to earth ground

at the service entrance by one heavy

stranded wire, #2 gauge or larger.

4. Don’t cut the third pin off the power cord.

Carry some ground-lifter adapters and use

them only if you have to plug into an

ancient two-wire outlet.

5. Cables that are too long are less likely to

pick up hum if you uncoil them in their

entirety, and then find a place to stow the

excess. Leaving the excess coiled only helps

the cable pick up hum more efficiently.

6. If you bundle your cables together, don’t

bundle AC wiring and audio wiring to-

gether. Bundle them separately.

7. If your sound system insists on humming,

you may want to teach it the words.

Maximum Input Levels

Mic Input: –20 dBu, Trim @ 0 dB (HI)

+20 dBu, Trim @ –40 dB (LOW)

Line Input: 0 dBu, Trim @ 0 dB (HI)

+40 dBu, Trim @ 40 dB (LOW)

Insert Input: +20 dBu

Stereo Line Input: +20 dBu

Tape Input: +20 dBu

Effects Return: +20 dBu

Power Amp In: +22 dBu

Input Sensitivity

Minimum Input Level to produce +4 dBu @ Main

Mixer Output

Mic Input: –68 dBu

Insert Input: –28 dBu

Line Input: –48 dBu

Stereo Line Input: –28 dBu

Tape Input: –18 dBu

Effects Return: –18 dBu

Maximum Voltage Gain

Mic Input to

Insert Output: 40 dB

Tape Output: 60 dB

Main Mixer Output: 72 dB

Line Input to

Insert Output: 20 dB

Tape Output: 20 dB

Main Mixer Output: 52 dB

Stereo Line Input to

Tape Output: 20 dB

Main Mixer Output: 32 dB

Tape Input to

Tape Output: 10 dB

Main Mixer Output: 22 dB

Effects Return to

Main Mixer Output: 22 dB

Monitor Output: 22 dB

Input Impedance

Mic Input: 3kΩ, balanced

Insert Input: 10kΩ, unbalanced

Line Input: 40kΩ, balanced

Stereo Line Input: 10kΩ, unbalanced

Tape Input: 10kΩ, unbalanced

Effect Return: 10kΩ, unbalanced

Power Amp In: 10kΩ, unbalanced

Output Impedance

Main Mixer Output: 150Ω

Insert Output: 150Ω

Tape Output: 150Ω

Monitor Output: 150Ω

Effects Send: 150Ω

Power Amp Out: 0.032Ω @ 1kHz

Digital Effects

Resolution: 16-bit, 2-channel

Sample Rate: 31.25kHz

Bandwidth: 15.6kHz

VU Meters

Main and Monitor

8 segments: Clip, +5, 0, –5, –10, –15, –20, –30

APPENDIX C: Technical Info

Specifications

PPM Series Powered Mixers

406M, 408M, 408S, 808M, 808S

Mixer Section

Frequency Response

Mic Input to Main Mixer Output (Trim at 0 dB):

+0, –1 dB, 32Hz to 20kHz

+0, –3 dB, 16Hz to 80kHz

Mic Input to Power Amp Output @ rated power output:

+0, –1 dB, 32Hz to 20kHz

+0, –3 dB, 16Hz to 55kHz

Distortion

THD and SMPTE IMD; 20Hz to 20kHz

Mic Input to Main Mixer Output:

< 0.005% @ +4 dBu output

Mic Input to Power Amp Output:

< 0.15%, 250mW to rated power

Common Mode Rejection Ration (CMRR)

60 dB @ 1kHz, Trim @ 0 dB

Noise

20Hz to 20kHz BW (150Ω source impedance)

Equivalent Input Noise (EIN):

–127 dBu

Residual Output Noise:

Main Mixer, Monitor, & Effects outputs

Channel & Master levels off

–95 dBu

Main Mixer Output Noise:

Master @ nominal (–10 dB), all channels off

–92 dBu

Master & 1 input channel @ nominal

(–10 dB & –20 dB), Trim @ 0 dB

–85 dB

Crosstalk

Adjacent Inputs or Input to Output:

–90 dB @ 1kHz

Fader Off

–90 dB @ 1kHz

Break Switch Mute

–80 dB @ 1kHz

Input Level Trim Control Range

0 to –40 dB

Phantom Power

+15V DC

Equalization

Rumble Reduction: 75Hz, –18 dB/octave

Channel EQ:

High ±15 dB @ 12kHz

Mid ±12 dB @ 2.5kHz

Low ±15 dB @ 80Hz

Graphic EQ (9 bands):

Q = 1.414, ISO octave centers

±15 dB @ 63, 125, 250, 500 1k, 2k, 4k, 8k, 16k Hz

Main Mixer Section Rated Output

Main Mixer, Monitor, & Effects: +4 dBu

Maximum Main Mixer Section Output: +20 dBu

Power Amplifier Section

Maximum Power at 1% THD, midband, both

channels driven

406M, 408M, 408S

250 watts per channel into 2Ω

200 watts per channel into 4Ω

125 watts per channel into 8Ω

808M, 808S

600 watts per channel into 2Ω

450 watts per channel into 4Ω

300 watts per channel into 8Ω

Continuous Sine Wave Average Output Power,

both channels driven (rated power)

406M, 408M, 408S

180 watts per channel into 4Ω from 40Hz to 20kHz,

with no more than 0.15% THD

110 watts per channel into 8Ω from 40Hz to 20kHz,

with no more than 0.10% THD

808M, 808S

340 watts per channel into 4Ω from 40Hz to 20kHz,

with no more than 0.15% THD

240 watts per channel into 8Ω from 40Hz to 20kHz,

with no more than 0.10% THD

Power Bandwidth

< 10Hz to 30kHz (+0, –1 dB) @ rated power into 4Ω

Frequency Response

< 10Hz to 30kHz (+0, –1 dB)

< 10Hz to 55kHz (+0, –3 dB)

Distortion

THD, SMPTE IMD: < 0.10% @ 8Ω

< 0.15% @ 4Ω

Signal-to-Noise Ratio

> 105 dB below rated power into 8Ω

Channel Separation

> 75 dB @ 1kHz

Damping Factor

> 250 @ 1kHz

Amp Input Impedance

10kΩ unbalanced, 20kΩ balanced

Input Sensitivity

406M, 408M, 408S

1.35 volts (+4.8 dBu) for rated power into 4 ohms

808M, 808S

1.76 volts (+7.1 dBu) for rated power into 4 ohms

Gain (Amp In to Speaker Out)

26.4 dB (21V/V)

Maximum Input Level

9.75 volts (+22 dBu)

Rise Time

406M, 408M, 408S < 5µs

808M, 808S < 6.2µs

Slew Rate

406M, 408M, 408S > 40V/µs

808M, 808S > 50V/µs

Load Angle

8(±jx) time independent at 8Ω

4(1±jx) time dependent at 4Ω

High Frequency Overload and Latching:

No latch up at any frequency or level.

High Frequency Stability:

Unconditionally stable, driving any reactive or

capacitive load

Turn On Delay:

3 seconds

AC Power Requirements

United States: 120VAC, 60Hz

Europe: 240VAC, 50Hz

Japan: 100VAC, 50/60Hz

Korea: 220VAC, 60Hz

(Capable of operation from 75% to 110% of rated line

voltage)

Physical

Height: 11.7 inches (297mm)

Width: 20.5 inches (521mm)

Overall Depth: 13 inches (330mm)

Weight:

406M, 408M, 408S 32 pounds (14.5 kg)

808M, 808S 36 pounds (16.3 kg)

Disclaimer

Since we are always striving to make our products

better by incorporating new and improved materials,

components, and manufacturing methods, we reserve

the right to change these specifications at any time

without notice.

This product is sold by weight, not by volume.

Contributors and Colophon

This manual was written and laid out by David Franzwa at

Mackie Galactic Headquarters overlooking the beautiful

Sammamish Slough in sunny Woodinville, WA. Input was

provided by the following Mackoids:

Steve Eborall, technical writer; Sara Delahan, Art Director;

Paul Larson, Tech Support Maestro; Rick Bos, Powered Mixer

Product Manager and on-staff tall person; Jeff Gilbert, long-

time Mackoid and technical advisor; CJ Murray, project engineer.

Proofreading provided by the ever-faithful Linn Compton.

Additional tidbits provided by Rick Chinn and Ron Koliha.

Preliminary text was written on a Power Macintosh

8100/

100AV using Microsoft

Word 98. Typesetting was performed

on the same Power Macintosh using Adobe

PageMaker

6.5.

Illustrations were created using Adobe

Illustrator

7.0. Fonts

used include ITC Century Light Condensed, Avenir Demi, and

Tekton. Subheadings were made with Futura Condensed. Font

management provided by Adobe

Type Manager

Deluxe 4.0

and Type Reunion

Deluxe 2.0.

“Mackie,” the “Running Man” figure, “PPM Series,”

“FR Series,” and “EMAC” are trademarks or registered trademarks

of Mackie Designs Inc.

All other brand names mentioned are trademarks or registered

trademarks of their respective holders, and are hereby acknowledged.

Block Diagrams

PPM Series Powered Mixers

Stereo Versions (408S, 808S)

63 125

250 500

1K 2K 4K 8K 16K

DAMPING/DEPTH

TIME/RATE

EFX WIDE

-5

-10

-15

-30

-40

-20dB

MID HI

80 2K5 12K

75Hz

HPF

75Hz

HPF 63 125

250 500

1K 2K 4K 8K 16K

-5

-10

-15

-30

-40

-5

-10

-15

-30

-40

75Hz

HPF 63 125

250 500

1K 2K 4K 8K 16K

PHANTOM

+15V DC

MID HI

80 2K5 12K

MID HI

80 2K5 12K

COMPRESSOR

PHANTOM

TRIM

(INPUT LEVEL SET)

0 to 40dB

PWR AMP

GROUND

CHASSIS

GROUND

PWR AMP

GROUND

CHASSIS

GROUND

RIGHT POWER

AMP IN

MIC/LINE

CH 1-6

3-BAND EQ

+/- 15dB

+VDC

BREAK

(MUTES CH 1-6, EFX,

AND MONITOR)

PHANTOM

EFX

MON

EFX

TO M ONITOR

EFX

TO MAIN

EFX BYPASS

EFX CLIP EFX RETURN L

EFX SEND

LEFT POWER

AMP IN

AMP ROUTING

TAPE IN

TAPE OUT L

STEREO MAINS

MAIN/MONITOR

MONITOR

EFX

PA N

VOLUME

MONITOR

EFX

PA N

TRIM

(INPUT LEVEL SET)

TAPE OUT R

MAIN MASTER

LEVEL

MONITOR LEVEL

STEREO

CH 7-8

INSERT

0 to 40dB

Off to +20dB

Off to +10dB

+/- 15dB

Off to +12dB

Off to +20dB

Off to +10dB

Off to +12dB

Off to +10dB

Off to +12dB

Off to +10dB

EFX RETURN R

RIGHT MIXER

OUT

LEFT MIXER

OUT

MONITOR

LINE OUT

+/- 15db

3-BAND EQ

9-BAND EQ

3-BAND EQ

EFX

FOOT

SWITCH

LEVEL

MACKIE DESIGNS

PPM STEREO

BLOCK DIAGRAM

(212029CJM/DF/SE)

LEFT AMP

LEFT SPEAKER

OUT

RIGHT AMP

RIGHT SPEAKER

OUT

RUMBLE FILTER

TAPE IN

LEVEL

VOLUME

Off to +20dB

LEFT/

MONO

RIGHT

EMAC

DSP

Mono Versions (406M, 408M, 808M)

63 125

250 500

1K 2K 4K 8K 16K

EFX RET L

EFX RET R

EFX WIDE

-5

-10

-15

-30

-40

-20dB

MID HI

80 2K5 12K

75Hz

HPF

-5

-10

-15

-30

-40

75Hz

HPF 63 125

250 500

1K 2K 4K 8K 16K

MID HI

80 2K5 12K

COMPRESSOR

PHANTOM

TRIM

(INPUT LEVEL SET)

0 to 40dB

PHANTOM

+15V DC

PWR AMP

GROUND

CHASSIS

GROUND

LEFT POWER

AMP IN

PWR AMP

GROUND

CHASSIS

GROUND

RIGHT POWER

AMP IN

DAMPING/DEPTH

TIME/RATE

MIC/LINE

CH 1-6

3-BAND EQ

+/- 15dB

+VDC

BREAK

(MUTES CH 1-6, EFX,

AND MONITOR)

PHANTOM

MAIN'

EFX

MON

MAIN

EFX

TO M ONITOR

EFX

TO MAIN

EFX BYPASS

EFX CLIP

EFX RETURN

MIXER

LINE OUT

AMP ROUTING

TAPE IN

TAPE OUT L

MAINS

MAIN/MONITOR

MONITOR

EFX

VOLUME

MONITOR

EFX

TRIM

(INPUT LEVEL SET)

TAPE OUT R MAIN MASTER

LEVEL

MONITOR LEVEL

STEREO

CH 7-8

(Not Available

on the 406M)

INSERT

0 to 40dB

Off to +20dB

Off to +10dB

+/- 15dB

Off to +12dB

Off to +20dB

Off to +10dB

Off to +12dB

Off to +10dB

Off to +12dB

Off to +10dB

MONITOR

LINE OUT

+/- 15db

3-BAND EQ

9-BAND EQ

EFX

FOOT

SWITCH

LEVEL

MACKIE DESIGNS

PPM MONO

BLOCK DIAGRAM

(#21202CJM/DF/SE)

LEFT AMP

LEFT SPEAKER

OUT

RIGHT AMP

RIGHT SPEAKER

OUT

RUMBLE FILTER

TAPE IN

LEVEL

VOLUME

Off to +20dB

LEFT/

MONO

RIGHT

EFX SEND

LEFT SPEAKER

OUT

EMAC

DSP

NOTES

™

Mackie Designs Inc.

16220 Wood-Red Rd. NE • Woodinville, WA 98072 • USA

US & Canada: 800/898-3211

Europe, Asia, Central & South America: 425/487-4333

Middle East & Africa: 31-20-654-4000

Fax: 425/487-4337 • www.mackie.com

E-mail: sales@mackie.com

Some of the

people at our

factory who helped

design, build, sell,

and support your

product.

Some of the

people at our

factory who helped

design, build, sell,

and support your

product.

Mackie 406M Owners Manual PPM Series Owner's

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