Mackie Ppm1008 Users Manual 8 Channel 2x800 W Professional Powered Mixer Owner's

PPM1008 to the manual 71d9077e-61bb-0e14-f5e1-80e5d870a713

2015-02-02

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Page Count: 32

Front Cover
Important Safety Instructions
Read This Page!
Introduction
Contents
Hookup Diagrams
Rear Panel Features
Front Panel Features
Appendix A: Service Information
Appendix B: Connections
Appendix C: Technical Information
Appendix D: Table of Effects Presets
PPM1008 Limited Warranty
Rear Cover

OWNER’S MANUAL

FOOT SWITCH

2 X 800W PROFESSIONAL POWERED MIXER

PPM1008

8-Channel, 2 x 800 W Professional Powered Mixer

PPM1008

1. Read these instructions.

2. Keep these instructions.

3. Heed all warnings.

4. Follow all instructions.

5. Do not use this apparatus near water.

6. Clean only with a dry cloth.

7. Do not block any ventilation openings. Install in accordance with the

manufacturer’s instructions.

8. Do not install near any heat sources such as radiators, heat registers,

stoves, or other apparatus (including ampliﬁ ers) that produce heat.

9. Do not defeat the safety purpose of the polarized or grounding-type

plug. A polarized plug has two blades with one wider than the other.

A grounding-type plug has two blades and a third grounding prong.

The wide blade or the third prong are provided for your safety. If the

provided plug does not ﬁ t into your outlet, consult an electrician for

replacement of the obsolete outlet.

10.

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

risk of ﬁ re or electric shock.

11.

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

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

apparatus.

12.

Only use attachments/accessories speciﬁ ed by the manufacturer.

13.

Use only with a cart,

stand, tripod, bracket,

or table speciﬁ ed by the

manufacturer, or sold

with the apparatus.

When a cart is used,

use caution when mov-

ing the cart/apparatus

combination to avoid

injury from tip-over.

14.

Unplug this apparatus during lightning storms or when unused for long

periods of time.

15.

Refer all servicing to qualiﬁ ed service personnel. Servicing is required

when the apparatus has been damaged in any way, such as power-

supply cord or plug is damaged, liquid has been spilled or objects have

fallen into the apparatus, the apparatus has been exposed to rain or

moisture, does not operate normally, or has been dropped.

16.

This apparatus shall not be exposed to dripping or splashing, and no

object ﬁ lled with liquids, such as vases or beer glasses, shall be placed

on the apparatus.

17.

This apparatus has been designed with Class-I construction and must

be connected to a mains socket outlet with a protective earthing con-

nection (the third grounding prong).

18.

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

mains power switch. This switch is located on the rear panel and

should remain readily accessible to the user.

19.

The MAINS plug or an appliance coupler is used as the disconnect

device, so the disconnect device shall remain readily operable.

20. NOTE: This equipment has been tested and found to comply with

the limits for a Class B digital device, pursuant to part 15 of the FCC

Rules. These limits are designed to provide reasonable protection

against harmful interference in a residential installation. This equip-

ment generates, uses, and can radiate radio frequency energy and, if

not installed and used in accordance with the instructions, may cause

harmful interference to radio communications. However, there is no

guarantee that interference will not occur in a particular installation. If

this equipment does cause harmful interference to radio or television

reception, which can be determined by turning the equipment off and

on, the user is encouraged to try to correct the interference by one or

more of the following measures:

• Reorient or relocate the receiving antenna.

• Increase the separation between the equipment and the

receiver.

• Connect the equipment into an outlet on a circuit different from

that to which the receiver is connected.

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

help.

CAUTION: Changes or modiﬁ cations to this device not expressly

approved by LOUD Technologies Inc. could void the user's authority to

operate the equipment under FCC rules.

21.

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

applicable)

limits for radio noise emissions from digital apparatus as

set out in the radio interference regulations of the Canadian Department

of Com mu ni ca tions.

ATTENTION — Le présent appareil numérique n’émet pas de bruits

radioélectriques dépassant las limites applicables aux appareils numériques de

class A/de class B (selon le cas) prescrites dans le réglement sur le brouillage

radioélectrique édicté par les ministere des com mu ni ca tions du Canada.

22.

Exposure to extremely high noise levels may cause permanent hearing

loss. Individuals vary considerably in susceptibility to noise-induced

hearing loss, but nearly everyone will lose some hearing if exposed to

sufﬁ ciently intense noise for a period of time. The U.S. Government’s

Occupational Safety and Health Administration (OSHA) has speciﬁ ed

the permissible noise level exposures shown in the following chart.

According to OSHA, any exposure in excess of these permissible limits

could result in some hearing loss. To ensure against potentially danger-

ous exposure to high sound pressure levels, it is recommended that all

persons exposed to equipment capable of producing high sound pres-

sure levels use hearing protectors while the equipment is in operation.

Ear plugs or protectors in the ear canals or over the ears must be worn

when operating the equipment in order to prevent permanent hearing

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

Important Safety Instructions

PORTABLE CART WARNING

Carts and stands - The

Component should be used

only with a cart or stand

that is recommended by

the manufacturer.

A Component and cart

combination should be

moved with care. Quick

stops, excessive force, and

uneven surfaces may cause

the Component and cart

combination to overturn.

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

expose this apparatus to rain or moisture.

Duration,

per day in

hours

Sound Level

dBA, Slow

Response

Typical Example

8 90 Duo in small club

692

4 95 Subway Train

397

2 100 Very loud classical music

1.5 102

1 105 Dave screaming at Steve about

deadlines

0.5 110

0.25 or less 115 Loudest parts at a rock concert

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.

Owner’s Manual

Part No. SW0685 Rev. A

Episode 3: The Mackie marketing department landing party arrives on

Aldebaran 3 to investigate a distress signal, with hilarious results.

Ready, steady, go!

1. Turn the channel level, mon 1, and FX/mon 2

controls fully down.

2. Turn down the compressor controls (ch. 1–4).

3. Set all the EQ controls to the center, including

the graphic EQ sliders.

4. Turn down the main level and monitor 1 level

controls.

5. For each channel, press the gain switch in (low

gain) if you are using a line-level source. Press

it out (high gain) if you are using a microphone

or other low-level source.

6. For condenser mics, 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.

7. Play something into an input at real-world lev-

els, and turn up the channel level to U (unity).

8. In normal playing, the channel's OL LED should

only light occasionally. If it stays on for a large

portion of your performance, check that the

gain switch is set correctly.

9. Slowly turn up the main level control until you

hear the signal in your speakers.

10. Repeat steps 5 to 8 for the remaining channels.

11. If needed, apply some EQ wisely.

12. Adjust the levels to get the best mix. Keep the

level controls fully down on unused channels.

Other Notes

• Only connect the powered mixer's speaker-level

outputs to passive loudspeakers.

• When shutting down, turn off any external

ampliﬁ ers or powered loudspeakers ﬁ rst. When

powering up, turn on any external ampliﬁ ers or

powered loudspeakers last.

• Save the shipping box!

Read This Page!

We realize that you must be keen to try

out your new powered mixer, but please

read the safety instructions on page 2,

and this page ﬁ rst.

Setup

The PPM1008 powered mixer is designed to be easy to

operate, and to be set up quickly.

Place the powered mixer in a position where it is easy

to reach the controls. All the controls and input con-

nection points are located on the front panel so you can

make quick adjustments and connections on stage.

Make sure there is at least 6 inches of airspace behind

the powered mixer for ventilation. There are two fans

inside the cabinet to cool the power ampliﬁ er section.

Use the powered mixers in a nice clean and dry environ-

ment, free from dryer lint and dust bunnies.

Connections

1. Be sure the rear-panel power switch is off

before making any connections.

2. Push the linecord securely into the IEC connec-

tor on the rear panel, and plug it into a 3-prong

AC outlet that is properly conﬁ gured for the

voltage of your powered mixer.

3. 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 (key-

board, or guitar preamp) to a line-level input

using a TS or a TRS 1/4" plug.

4. You can connect a guitar directly to inputs 5 or

6 without need for a DI box, if you press the hi-z

switch on these channels.

5. The insert jacks can be used to connect an

external effects or dynamics processor into the

signal chain. See page 13 for more details.

6. Plug the speakers (4 ohms or greater) into the

speaker output jacks on the rear panel. If you

plug two speakers in one side, each speaker

must be 8 ohms or greater to maintain a 4-ohm

minimum load on the ampliﬁ er. Use at least

18 gauge speaker cable with 1/4" TS plugs or

Speakon® plugs. For now, set the rear panel

power amp mode switch to stereo mains.

Don’t use guitar cords for speaker cables!

They’re not designed to handle speaker-level

signals and could overheat.

Please write your serial number here for future

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

return authorization, make dad proud, etc.)

Purchased at:

Date of purchase:

PPM1008

Introduction

It is possible that only one person will read this

manual all the way through. Hello mom. Here's another

manual from your boy.

Thank you for choosing a Mackie professional pow-

ered mixer. These powerful mixers are designed to meet

the needs of almost any small to medium-sized club,

meeting room, sanctuary, or outdoor gathering.

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 the best of conditions,

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

design of our powered mixers.

Reliability is paramount to sound reinforcement.

That’s why our engineers have subjected our powered

mixers to the most rigorous and ﬁ endish tests imagin-

able to ﬁ ne-tune the design and extend its limits beyond

those of ordinary mixers or ampliﬁ ers.

Features

• Two internal power ampliﬁ ers each rated at

800 watts peak at 4 ohms

• Three selectable ampliﬁ er modes (stereo main,

mono-main/monitor 1, or mon 1/mon 2)

• 8 channels (6 mono, 2 stereo)

• Mic inputs on all channels

• Line-level inputs (6 mono, 2 stereo)

• RCA inputs on stereo channels

• Insert jacks on mono channels

• Channels 5 and 6 allow direct connection of

guitars and basses without a DI box

• 3-band EQ with sweepable mid-range frequency

on mono channels

• 4-band EQ on stereo channels

• Monitor 1 send

• Main mix stereo line outputs

• Main mix mono sub out

• Ampliﬁ er line-level inputs allow the connection

of external mixers if more channels are needed

• Footswitch connection for FX mute/unmute

• FX/monitor 2 send (selectable pre/post)

• +48v Phantom power can be applied to all mics

• Built-in compressors on the ﬁ rst 4 mono inputs

(dedicated in-line compression)

• 24 built-in Running Man 32-bit effects with

input gain, tap delay, and footswitch mute/un-

mute

• Independent 9-band graphic EQs with constant-

Q ﬁ lters on main and monitor outputs

• Tape/CD stereo RCA outputs

• 12-segment stereo output meters on main mix,

and mono meter on monitor 1

• Break switch mutes all mono channels

• Speakon and 1/4" power amp outputs

• Precision passive switch for enhanced clar-

ity and LF response with key Mackie passive

speakers

• Polycarbonate sides with built-in metal handles

• Modern and splendidly-stylish powered rabbit

hutch design

How To Use This Manual

The ﬁ rst pages after the table of contents are the

hookup diagrams. These show typical setups for fun

times with your powered mixer.

Next is a detailed tour of the entire mixer. The de-

scriptions are divided into sections, just as your mixer is

organized into distinct zones:

• Rear panel: The AC input, power switch, speak-

er-level outputs and ampliﬁ er mode switch

• Patchbay: The lower front section, where you

connect microphones and guitars etc.

• Channel Strips: The channel strips where you

adjust and control each channel

• Master Section: The section on the right, with

graphic EQs and main level controls

• Stereo Effects Processor

Throughout these sections you’ll ﬁ nd illustrations

with each feature numbered and described in nearby

paragraphs.

This icon marks infor mation that is critically

important or unique to the mixer. For your own

good, read them and remember them.

This icon will lead you to some explanations of

features and practical tips. Go ahead and skip

these if you need to leave the room in a hurry.

Appendix A: Service information.

Appendix B: Connectors.

Appendix C: Technical information.

Appendix D: Table of Effects Presets

The thickness of the manual makes it ideal for ﬁ tting

under wobbly table legs. Mackie's technical writers also

wear them on their heads, as they make an excellent

shield from Venusian mind-probes.

Owner’s Manual

Need help with your new mixer?

• Visit www.mackie.com and click

Support to ﬁ nd: FAQs, manuals,

addendums, and user forums.

• Email us at: techmail@mackie.com.

• Telephone 1-800-898-3211 to speak

with one of our splendid technical

support chaps, (Monday through

Friday, from 7 a.m. to 5 p.m. PST).

Contents

IMPORTANT SAFETY INSTRUCTIONS ........................ 2

READ THIS PAGE! .................................................... 3

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

HOOKUP DIAGRAMS...............................................6

REAR PANEL FEATURES ......................................... 10

1. POWER CONNECTION .............................10

2. POWER SWITCH ..................................... 10

3. SPEAKER-LEVEL OUTPUTS ....................... 10

4. POWER AMP MODE SWITCH ..................11

5. VENTILATION AND REAR PANEL .............. 11

6. HANDLES ............................................... 11

FRONT PANEL FEATURES ....................................... 12

PATCHBAY

7. MIC INPUTS ...........................................12

8. MONO LINE INPUTS (CH. 1 TO 4) ............ 13

9. LINE/INSTRUMENT INPUTS (CH. 5, 6) ..... 13

10. STEREO LINE INPUTS (CH. 7 AND 8) ........ 13

11. RCA INPUTS (CH. 7 AND 8) ....................13

12. INSERT (CH. 1 TO 6) ............................... 13

13. TAPE OUTPUTS ...................................... 13

14. BREAK SWITCH AND LED ....................... 13

15. FX/MON 2 SEND OUTPUT ..................... 14

16. FX FOOTSWITCH .................................... 15

17. MON 1 SEND ........................................ 15

18. MAIN SUB ............................................. 15

19. MAIN OUTPUTS ....................................15

20. POWER AMP INPUTS ............................ 15

CHANNEL CONTROLS

21. MON 1 .................................................. 17

22. FX/MON 2 ............................................ 17

23. HIGH EQ ................................................17

24. MID EQ LEVEL (CH. 1 TO 6) ..................... 17

25. MID EQ FREQUENCY (CH. 1 TO 6) ........... 17

26. HIGH MID EQ LEVEL (CH. 7 AND 8) ......... 17

27. LOW MID EQ LEVEL (CH. 7 AND 8) .......... 17

28. ICE CREAM DISPENSER ........................... 17

29. LOW EQ ................................................. 18

30. OVERLOAD (OL) LED ............................... 18

31. CHANNEL LEVEL ..................................... 18

32. GAIN SWITCH ........................................ 18

33. COMPRESSOR ........................................ 19

34. HI-Z SWITCH ......................................... 19

35. POWER LED ...........................................20

MASTER CONTROLS

36. MAIN MASTER GRAPHIC EQ ................... 20

37. FX TO MAIN ........................................... 20

38. MAIN LEVEL ........................................... 20

39. 100 HZ RUMBLE REDUCTION SWITCH ..... 21

40. MAIN MIX METERS ................................21

41. MONITOR 1 MASTER GRAPHIC EQ .......... 21

42. FX TO MON 1 ........................................ 21

43. MONITOR 1 LEVEL .................................21

44. 100 HZ RUMBLE REDUCTION SWITCH ..... 21

45. MONITOR 1 METER ................................ 21

46. PHANTOM SWITCH ................................ 22

47. PRECISION PASSIVE EQ .......................... 22

48. POWER AMP LIMITER LEDS ..................... 22

STEREO EFFECTS PROCESSOR

49. FX/MON 2 SEND MASTER ...................... 22

50. SIG/OL LED ........................................... 22

51. FX SEND (POST)/MON 2 SEND (PRE) ...... 23

52. PRESET DISPLAY ....................................23

53. PRESET SELECTOR, TAP DELAY AND LED ...23

54. INTERNAL FX MUTE ................................23

APPENDIX A: SERVICE INFORMATION .................... 24

APPENDIX B: CONNECTIONS..................................25

APPENDIX C: TECHNICAL INFORMATION ................ 27

APPENDIX D: TABLE OF EFFECTS PRESETS ............... 30

PPM1008 LIMITED WARRANTY ............................. 31

PPM1008

Hookup Diagrams

Club System

This diagram shows microphones attached to channels 1 and 2, electric guitars connected directly to

channels 5 and 6 (with hi-z switch pressed in), and a keyboard attached to channel 7's stereo inputs. A

portable recorder is attached to the stereo tape outputs to record the performance.

Mackie SRM450v2 powered monitors are connected to the monitor 1 send, and play as stage moni-

tors. The mon 1 controls of each channel allow you to set up a stage monitor mix that is independent of

the main mix.

Mackie S225 passive speakers are connected to the speaker-level power output of the powered mixer,

and they play the main stereo mix to your audience. SWA1801z powered subwoofers are connected to

the main mix sub out, to reinforce the low end in your system.

SWA1801z Powered Subwoofers

(plays main mix below 100 Hz)

Microphones

press HI-Z

button

Keyboards

S225 Passive Speakers

(plays stereo main mix)

SRM450 v2 Powered Stage Monitors

(plays mon 1 output)

Portable Recorder

Rear Panel

Front Panel Power Amp Mode

switch set to

Stereo Mains

Adjust

Vocal

Compression

press HI-Z

button

Owner’s Manual

House of Worship System

This diagram shows microphones attached to the mic inputs of channels 1 to 4, an electric guitar con-

nected directly to channel 5 (with hi-z switch pressed in), an acoustic guitar mic connected to channel 6

mic in, a keyboard attached to channel 7's stereo inputs, and a drum machine to channel 8.

A Mackie SRM150 powered monitor is connected to the monitor 1 send, and acts as a personal stage

monitor to the keyboard player. The mon 1 knobs of each channel allow you to set up a monitor mix that

is independent of the main mix.

The power amp mode switch is set to play the mono main mix on ch. A, and monitor 1 mix on ch. B.

Mackie S215 passive speakers are connected to the channel A speaker-level power output of the pow-

ered mixer, and they play the main mono mix to your audience.

S218s subwoofers are powered by a Mackie FRS2800 ampliﬁ er connected to the main mix sub out, to

reinforce the low end in your main mix.

C300z passive stage monitors are connected to the channel B speaker-level power output of the pow-

ered mixer. These play the stage monitor mix 1 to your performers.

Microphones

press HI-Z

button

Keyboards

Drum

Machine

S215 Passive Speakers

House System

(plays mono main mix)

C300z Passive Stage Monitors

(plays mon 1 output)

FRS2800

Amplifier

dual-mono

mode

Rear Panel

Front Panel Power Amp Mode

switch set to

Mains/Mon 1

Adjust

Vocal

Compression

SRM150 Powered Monitor

(plays mon 1 output) S218s Passive Subwoofers

(plays main mix below 100 Hz)

Acoustic Guitar

and Mic

PPM1008

DJ System

This diagram shows a wireless microphone receiver connected to the channel 1 line input, a graphic

EQ connected to channel 1's insert jack (to help control feedback in the wireless mic), a microphone con-

nected to channel 2, and an iPod docking station attached to channel 8's RCA inputs.

A Mackie d.2 Pro DJ production console is connected to two turntables, and its RCA output connects to

the powered mixer's channel 7 stereo RCA inputs. Use the d.2 Pro's advanced DJ controls to get the best

performance from your records. Use the powered mixer to play the d.2 Pro output, and control the mics

and iPod.

The power amp mode switch is set to play the stereo main mix in the Mackie S225 passive speakers,

connected to the speaker-level power outputs.

Mackie SA1521z powered speakers and SWA2801z powered subwoofers are connected to the line-

level main mix outputs, and also play the stereo main mix to your audience.

Microphones

Wireless

Microphone

Rear Panel

Front Panel Power Amp Mode

switch set to

Stereo Mains

S225 Passive Speakers

(plays stereo main mix)

LINE

MIC

PGM 2

MAIN OUT MIC

LLLLLR

PHONO CD

SEND R

BOOTH FX

GND

LINE

PHONO

RETURN

L(MONO) RR

LIVE

RECORD

~100-240 VAC 50-60Hz 20W

PGM 1

LINE

PHONO GND

PHONO CD

Wireless Mic

Receiver

Graphic EQ

Turntables with phono-level output

Mackie d.2 Pro

DJ Production Console

iPodTM Docking Station

SWA2801z

Powered Subwoofer

(left main mix)

SWA2801z

Powered Subwoofer

(right main mix)

SA1521z

Powered

Speaker

SA1521z

Powered

Speaker

Owner’s Manual

Large Band System

This diagram shows microphones attached to the mic inputs of channels 1 to 4, electric guitars con-

nected directly to ch. 5 and 6 (with hi-z switches pressed in), a guitar processor connected to ch.6 insert,

a keyboard attached to channel 7's stereo inputs, and an electronic drum kit attached to channel 8. Add

vocal compression as required, by tweaking the compression knobs on channels 1 to 4.

The power amp mode switch is set to play the monitor 1 mix on channel A, and monitor 2 mix on

channel B. Note: Press in the front panel FX send/mon 2 send switch, or monitor 2 will not play.

Mackie SA1532z powered speakers and SWA2801z powered subwoofers are connected to the line-

level main mix outputs, and play the stereo main mix to your audience.

C200z passive stage monitors are connected to the channel B speaker-level power output of the pow-

ered mixer. These play the stage monitor mix 2 to your performers. C300z passive stage monitors are

connected to the channel A speaker-level power output, and play stage monitor mix 1.

Microphones

press HI-Z

buttons

Guitar Processor

(connected to INSERT)

Send

Return

Keyboards

C300z Passive Stage Monitors

(plays mon 1 output)

SA1532z

Powered

Speaker

SA1532z

Powered

Speaker

C200z Passive Stage Monitors

(plays mon 2 output)

Rear Panel

Front Panel Power Amp Mode

switch set to

Mon 1/Mon 2

Adjust

Vocal

Compression

Electronic Drum Kit SWA2801z

Powered Subwoofer

(plays left main mix)

SWA2801z

Powered Subwoofer

(plays right main mix)

PPM1008

OUTPUT POWER: @ 4 OHMS, 800 WATTS PEAK PER CH

MINIMUM LOAD: 4 OHMS PER CHANNEL

2 X 800W PROFESSIONAL POWERED MIXER

Rear Panel Features

1. POWER CONNECTION

This jack accepts the supplied 3-prong IEC AC power

cord.

Before you plug the AC power cord into the

powered mixer, make sure that the voltage of

your unit is the same voltage as your local AC

mains supply. Use only the power cord supplied. Also,

disconnecting the plug’s ground pin is dangerous. Please

don’t do it.

2. POWER SWITCH

Press the top of this rocker switch inwards to turn on

the mixer. The front panel power LED [35] will glow

with happiness, or at least it will if you have the mixer

plugged into a suitable live AC mains supply.

Press the bottom of this switch to turn off the mixer,

whenever you feel that this would be a safe thing to do.

Half-way through a heavy metal guitar solo might not be

such a good time, unless you can run fast.

As a general guide, you should turn on your

mixer ﬁ rst, before any external power ampli-

ﬁ ers or powered speakers, and turn it off last.

This will reduce the possibilities of any turn-

on, or turn-off thumps in your speakers.

3. SPEAKER-LEVEL OUTPUTS

These output connections provide speaker-level

output power from the internal power ampliﬁ ers to your

passive speakers. The power output of the PPM1008 is

500 watts rms per channel into 4 ohms.

Only passive loudspeakers should be con-

nected to these speaker-level outputs.

The outputs can be selected with the amp mode

switch [4] to be either the stereo main mix, mono main

mix/monitor 1, or monitor 1/monitor 2.

Two common types of connector are provided for your

convenience: Speakons and 1/4" TS.

• Speakon outputs are wired Pin 1+ positive

(hot) and Pin 1– negative (cold).

Mono Speakon Connection

3 66

COLD

HOT 1+

1–

2–

Owner’s Manual

• 1/4" TS outputs are wired Tip positive, and

Sleeve negative.

1/4" TS Connection

These two types of outputs are wired in parallel, and

it is possible to use both types at once.

The minimum impedance that the powered

mixers can handle is 4 ohms per channel, and

we recommend that you do not go below this.

If you are using both outputs per channel, make sure

each loudspeaker is 8 ohms impedance or greater.

4. POWER AMP MODE SWITCH

This three-position switch lets

you choose which signal paths

from the mixer section are sent

to the internal power ampliﬁ ers.

This allows considerable ﬂ ex-

ibility in the use of the powered mixer. For example, if

you already have powered main loudspeakers, you could

use the PPM1008 power ampliﬁ ers to run passive stage

monitors.

Stereo Mains

The output from channel A is the left side of the main

mix, and the output from channel B is the right side of

the main mix. Choose this position to play a straight

stereo show.

Mains/Monitor 1

Channel A is the mono main mix, and channel B is the

monitor 1 mix. In this setup, you could run a mono PA

system on one channel, and a passive stage monitor

system on the other.

Monitor 1/Monitor 2

Channel A is the monitor 1 mix, and channel B is the

monitor 2 mix. In this setup, the internal power am-

pliﬁ ers are powering two independent passive stage

monitor systems.

Make sure that the front panel FX send/mon

2 send switch [51] is pressed in (mon 2) , or

there will be no monitor 2 signal to the inter-

nal power ampliﬁ er channel B.

If anything is plugged into the front panel

power amp inputs [20], then this switch has

no effect. The internal power ampliﬁ er will

play whatever signals are coming into the

power amp inputs.

5. VENTILATION and REAR PANEL

Ventilation holes in the rear panel and the bottom

panel allow the internal fans to ﬂ ow breezy and minty-

fresh cooling air over the internal power ampliﬁ ers. Do

not obstruct these holes, or the ampliﬁ ers may overheat

and shut down.

Do not remove the feet, as these keep the

powered mixer off the ground for ventilation.

Do not place the powered mixer on a carpeted

or similar soft and fuzzy surface that may obstruct the

ventilation holes in the bottom panel.

6. HANDLES

These metal handles are delightfully modern in

styling and good looks, and truly represent the perfect

accessory to accent your busy work schedule. Use the

handles to carefully lift and move the powered mixer.

Better yet, have someone else lift it for you. They will

be remarkably pleased with its light weight, and high

power, ideal for all sorts of road trips.

SLEEVE

TIP

SLEEVE

TIP

SLEEVE

PPM1008

Front Panel Features

7. MIC INPUTS

We use phantom-powered, balanced microphone

inputs just like the big studio mega-consoles, for exactly

the same reason: This kind of circuit is excellent at

rejecting hum and noise. You can plug in almost any

kind of mic that has a standard XLR-type male mic con-

nector.

Professional ribbon, dynamic, and condenser mics all

sound excellent through these inputs. The mic inputs

will handle any kind of mic level you can toss at them,

without overloading.

Microphone-level signals are passed through the

mixer's splendid microphone preampliﬁ ers to become

line-level signals. Because more gain is required to

boost the microphone level signals, make sure the gain

switch [32] is in the up position when you are using

microphones.

Channels 1 to 4 have the extra beneﬁ t of built-in sig-

nal in-line compressors [33]. These can be adjusted to

add just the right amount of compression to your vocals

and help prevent distortion and the effects of tonsillitis.

Patchbay section

This is where you plug in things such as: microphones,

line-level instruments, guitars, and effects, a recorder,

PA system, powered monitors, powered subwoofer etc.

(The speaker-level outputs from the internal power

ampliﬁ ers are on the rear panel.) Check out the hookup

diagrams for some connection ideas. See Appendix B

(page 25) for further details and some rather lovely

drawings of the connectors you can use with your mixer.

FOOT SWITCH

2 X 800W PROFESSIONAL POWERED MIXER

8 9 10

Owner’s Manual

12. INSERT (CH. 1 to 6)

These unbalanced 1/4" jacks on channels 1 to 6 are for

connecting serial effects processors such as compres-

sors, equalizers, de-essers, or ﬁ lters. The insert point

is after the gain switch [32] and compressor circuits

(on channels 1 – 4), but before the channel’s EQ and

level [31] controls. The channel signal can go out of

the insert jack to an external device, be processed (or

whatever) and come back in on the same insert jack.

To do this requires a special insert cable that must be

wired thusly:

Tip = send (output to effects device)

Ring = return (input from effects device)

Sleeve = common ground

Insert jacks can be used as channel direct outputs;

post-gain, and pre-EQ. See the connector section on

page 26 (ﬁ gure G) showing three ways to use insert con-

nections.

13. TAPE OUTPUTS

These stereo unbalanced RCA outputs allow you

to record the main stereo mix onto a tape deck, hard

disk recorder, automatic CD burner, or a computer, for

example. This allows you to make a recording for poster-

ity/archive/legal purposes whenever the band gets back

together again.

The tape output is the stereo main mix, not affected

by the main level [38], or the main graphic EQ [36].

14. BREAK SWITCH and LED

This important "take-a-break" switch quickly mutes

all the microphones and the mono channel line-level

inputs when the band is between sets. This will prevent

protestors or rogue karaoke singers from storming the

stage at the interval. The monitor 1 and FX/monitor 2

outputs, and the drive signal to the internal effects are

also muted. The LED will come on, as a reminder that

the break switch is engaged. Check this LED ﬁ rst, if you

are having trouble with no sound in your system.

You can still play the stereo channel line inputs

[10] and RCA inputs [11] in the main stereo mix. For

example, you could play a soothing CD to restore order

before the police arrive.

PHANTOM POWER

Most modern professional condenser mics are

equipped for phantom power, which lets the mixer

send low-current DC voltage to the mic’s electronics

through the same wires that carry audio. (Semi-pro

condenser mics often have batteries to accomplish the

same thing.) “Phantom” owes its name to an ability to

be “unseen” by dynamic mics (Shure SM57/SM58, for

instance), which don’t need external power and aren’t

affected by it anyway.

The mixer's phantom power is globally controlled

by the phantom [46] switch on the front panel. (The

phantom power for all channels is turned on and off

together.)

Never plug single-ended (unbalanced) micro-

phones, or ribbon mics into the mic input

jacks if phantom power is on.

Do not plug instrument outputs into the mic

XLR input jacks with phantom power on,

unless you know for certain it is safe to do so.

8. MONO LINE INPUTS (CH. 1 to 4)

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

power) with the mic preamps, and can be driven by bal-

anced or unbalanced sources.

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

Tip-Ring-Sleeve (TRS) plug.

To connect unbalanced lines to these inputs, use a

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

9. LINE/INSTRUMENT INPUTS (CH. 5 and 6)

The line-level inputs for channels 5 and 6 can also

accept instrument-level signals if the hi-z switches

[34] are pressed in. This allows you to connect guitars

directly to channels 5 and 6, without the need for a DI

box. The input impedance is optimized for direct con-

nection, and high-frequency ﬁ delity is assured.

10. STEREO LINE INPUTS (CH. 7 and 8)

Channel 7 and 8 have stereo line inputs. If you

just have a mono source, plug it into the left input of

channel 7 or 8 (labeled left/mono), and the signal will

appear (as if by magic) equally on the left and right of

the main mix.

11. RCA INPUTS (CH. 7 and 8)

Channel 7 and 8 also have RCA line inputs, suitable

for connecting the line-level, unbalanced output from

CD players, tape decks, iPod docks etc. They are not

suitable for direct connection of phono-level outputs

from turntables, as a phono preamp is required.

“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)

PPM1008

15. FX/MON 2 SEND OUTPUT

This 1/4" TRS line-level output can be used to feed an

external effects processor (FX) or another set of stage

monitors (mon 2). The output here is a copy of what

goes into the internal FX processor, being the careful

mix of all channels whose FX/mon 2 control [22] is

turned more than minimum.

The processed output of the internal FX does

not come out of here, but is added internally

to the main mix or monitor 1 mix.

The overall output level can be adjusted with the

FX/mon 2 send control [49], and it can be either post

or pre channel level, depending on the setting of the FX

send /mon 2 send switch [51] as follows:

MONITOR 2 SEND or FX SEND?

To run one set of stage monitors, use the monitor 1

system because it has its own graphic EQ [41], master

level [43], and meter [45]. To run another set of moni-

tors, set the FX send/mon 2 send switch to mon 2.

Stage monitors allow the talented musicians in your

band to hear themselves clearly on stage, and this can

often be a good thing. The monitor output can be care-

fully adjusted in level using the channel FX/mon 2 con-

trols [22], and not change if the channel levels or main

mix levels are adjusted. This is known as "pre-fader."

If they want "more me, and less Keith," you can turn

up their channel's FX/mon 2 control, and turn down

Keith's. (If you were using monitor 1 to feed the stage

monitor, then you would adjust the mon 1 control [21]

on each channel.)

To feed an external effects processor, such as a nice

sound effect, or delay, the feed should be "post-fader."

In this way, any changes to the channel level will also

affect the level going to the external processor. The

processed output from the effects processor is usu-

ally returned to a spare channel, and you can carefully

mix the original unprocessed channel (dry) and the

processed channel (wet). Altering the original channel

level increases both the wet and dry signals and keeps

them at the same delicate ratio. (For example, the re-

verb remains at the same level relative to the original).

SRM450v2

Powered Stage Monitor

From mon 1 or mon 2

line-level output

To channel 5 or 6

instrument inputs

FOOT SWITCH

Stereo effects processor

Using the output to feed a stereo effects processor. In this

example, the stereo outputs go to ch. 7 stereo inputs.

Switch out

FX Send (Post)

POST

SRM450v2 Powered Stage Monitors

(plays mon 2 output)

Using the output to feed a pair of powered stage monitors.

Switch in

Mon 2 Send (Pre)

PRE

15 17 19

16 18 20

Owner’s Manual

EFFECTS: SERIAL OR PARALLEL?

“Serial” means that the entire channel signal

leaves the mixer (insert [12] send), is routed

through the effects device, and returns to the

mixer (insert return). Examples: compressor,

limiter, graphic equalizer. Line-level sources can also be

patched through a serial effects device before connec-

tion to the mixer.

“Parallel” means that a portion of the signal in the

mixer is tapped off to the device, processed, and re-

turned to a spare channel of the mixer to be mixed with

the original “dry” signal. This way, multiple channels

can all make use of the same effects device. Examples:

reverb, digital delay. The internal effects are parallel,

as all channels can make use of it, and the processed

output is added to the main mix.

16. FX FOOTSWITCH

This 1/4" TRS connector is where you can connect a

footswitch. This will allow you to easily mute or un-mute

the internal effects, while stamping your foot and look-

ing like you were mad about something. Any one-button

on/off footswitch will work.

If the internal effects have already been muted with

the front panel mute switch [54] then the footswitch

has no effect, but you can still stamp your foot and pout

if that helps any. Cultivate that bad-boy image.

17. MON 1 SEND

This 1/4" TRS connector allows you to send the moni-

tor 1 line-level output to stage monitors. These could

either be passive stage monitors powered by an external

ampliﬁ er, or powered stage monitors with their own

ampliﬁ er built in.

The monitor signal is the sum (mix) of all the chan-

nels whose mon 1 control [21] is set to more than

minimum. The overall output level can be adjusted with

the mon 1 master level [43] and its EQ tweaked with

the monitor graphic EQ [41].

The monitor 1 output is not affected by the main

master level [38], or the channel level controls [31].

This allows you to set up the monitor mix and level just

right, and not have it change every time a channel level

or the main mix level is adjusted. This is the main aim

of a monitor mix: independence from the main mix.

18. MAIN SUB

This 1/4" TRS connector supplies a copy of the mono

main mix below 100 Hz. This is usually patched to the

inputs of an external power ampliﬁ er running a passive

subwoofer, or directly to a powered subwoofer. Whatever

adjustments you make to the main mix, will affect this

output below 100 Hz.

(The main mix still plays the full frequency range,

this sub output is just a copy of the range below 100 Hz

for external subwoofers.)

19. MAIN OUTPUTS

These 1/4" TRS outputs supply the stereo main mix at

line-level. You can connect these outputs to the line-lev-

el inputs of external power ampliﬁ ers running passive

loudspeakers, or to the inputs of powered loudspeakers

(or not use them at all, if you don't have the external

gear).

These outputs play the same signal as the rear-panel

speaker-level outputs [3] (when set to stereo mains),

only at line-level.

These outputs can also be used to feed an external

stereo effects processor or other device, and have the

processed output of that device feed the power amp

inputs [20]. This places the device in-line and it will

affect the main mix.

Another super idea is to use an external

active crossover. This splits the line-level main

output into two or three frequency bands. The

high-frequency output of the crossover could

be connected to the power amp inputs [20], so the

internal ampliﬁ ers will power your top-frequency-range

loudspeakers. The active crossover's low-frequency out-

puts could connect directly to powered subwoofers. In

this way, you can take some of the strain off your pow-

ered mixer's internal ampliﬁ ers, and have the powered

subwoofers crank out the bass.

20. POWER AMP INPUTS

These unbalanced 1/4" TS inputs allow you to connect

line-level signals directly to the input of the internal

power ampliﬁ ers.

The ampliﬁ ers will only play what you put in, and only

the precision passive EQ switch [47] and limiters [48]

will affect the output. The power amp mode switch [4]

has no effect, and the meters will not show the levels.

Plugging anything in here, does not affect any of the

line-level outputs.

You could patch a device between the main outputs

[19] and these inputs, in which case, the controls and

meters will work except for the power amp mode switch.

These inputs are also useful when you need more

channels then the PPM1008 provides. You could con-

nect the line-level outputs from another mixer, and use

it to control the mix and levels playing in loudspeakers

attached to the powered mixer.

The external mixer or device will control the

volume, so turn it down at ﬁ rst, or the pow-

ered mixer may come on at full volume.

PPM1008

Channel Controls

The eight vertical channel strips look very similar,

with only a few differences between them. Each chan-

nel works independently, and just controls the signals

plugged into the inputs directly below it.

Mono Channels 1 to 6

• Channels 1 to 6 are mono channels, and their

controls affect either the mono mic input or the

mono line-level input.

• Channels 1 to 4 have a built-in signal in-line-

compressor circuit with adjustable threshold.

• Channels 5 and 6 have a hi-z switch [34] so you

can connect guitars directly.

• The mono 3-band EQ has shelving high, low,

and peaking mid EQ with sweepable frequency.

• The mono signals are split equally to the left

and right of the main mix.

Stereo Channels 7 to 8

• Channels 7 and 8 are stereo channels, and their

controls affect either the mono mic input, ste-

reo line-level input, or stereo RCA inputs. (The

mono mic input of each stereo channel is split

equally to left and right).

• The stereo channel 4-band EQ has shelving

high, shelving low, peaking lo-mid, and hi-mid.

“U” like Unity gain

Mackie mixers have a “U” symbol on almost every level

control. It stands for “unity gain,” meaning no change in

signal level. The labels on the controls are measured in

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

wise if you choose to change a control setting.

Signal Flow

The block diagram on page 29 shows the signal ﬂ ow,

but here is a short description of the ﬂ ow through the

channel strip section:

The mic inputs and mono line inputs each feed a

preampliﬁ er whose gain is set by the gain switch [32].

The stereo channel line inputs and RCA inputs do not go

through a gain-selectable preamp.

The signal then passes through the compressor circuit

(ch. 1 to 4 only), then through the channel EQ, and the

channel level [31].

The mon 1 control [21] taps the signal off just before

(pre) the channel level.

The FX/mon 2 control [22] taps the signal off before

(pre) and after (post) the channel level. The FX send/

mon 2 send switch [51] lets you choose which is used.

Post is used for FX, and pre is for monitor 2.

33 34

Owner’s Manual

21. MON 1

This control allows you set up a nice monitor mix,

independent of the main mix or the monitor 2 mix.

Adjust these controls on each channel until your band is

happy with the stage monitor mix. The controls are off

when turned fully down, deliver unity gain at the center

detent, and can provide up to 15 dB of gain turned fully

up. Adjustments to the channel level or main mix level

will not affect the monitor output, but channel EQ and

gain [32] will.

One of the powered mixer's internal ampliﬁ ers can

power passive stage monitors if you set the power amp

mode switch [4] on the rear panel. Mon 1 send [17] is a

line-level output if you want to connect external power

ampliﬁ ers and passive stage monitors, or powered stage

monitors.

22. FX/MON 2

These controls allow you to send a sample of each

channel's signal to the internal FX processor, and to the

FX/mon 2 line-level output [15] to run external proces-

sors, or a second set of stage monitors.

Carefully adjust each control to set up the FX or moni-

tor 2 mix. The controls are off when turned fully down,

deliver unity gain at the center detent, and can provide

up to 15 dB of gain turned fully up.

The dual nature of this knob (FX or mon 2) is deter-

mined by the setting of the FX send /mon 2 send switch

[51]. More FX/mon 2 details are shown on page 14 and

page 23 (item 51).

CHANNEL EQUALIZATION (EQ)

The PPM1008 mono channels have 3-band equaliza-

tion: low shelving, mid peaking with adjustable frequen-

cy, and high shelving. The stereo channels have 4-band

EQ: low shelving, low-mid and high-mid peaking, and

high shelving. It’s probably all the EQ you’ll ever need!

Shelving means that the circuitry boosts or cuts all

frequencies past the speciﬁ ed frequency. For example,

the low EQ boosts bass frequencies below 80 Hz and

continues down to the lowest note you never heard.

Peaking means that certain frequencies form a “hill”

around the center frequency.

With too much EQ, you can really upset

things. We’ve designed a lot of boost and cut

into each equalizer circuit because we know

that everyone will occasionally need that. But

if you max the EQ on every channel, you’ll get mix mush.

Equalize subtly and use the left sides of the knobs

(cut), as well as the right (boost). If you ﬁ nd yourself

repeatedly using full boost or cut, consider altering the

sound source, such as placing a mic differently, trying a

different kind of mic, changing the strings, or gargling.

23. HIGH EQ

The high EQ provides up to 15

dB of boost or cut above 12 kHz,

and it is also ﬂ at at the detent.

Use it to add sizzle to cymbals,

an overall sense of transpar-

ency, or an edge to keyboards,

vocals, guitar and bacon frying. Turn it down a little to

reduce sibilance or to mask tape hiss.

24. MID EQ LEVEL (Ch. 1 to 6)

The mid knob sets the

amount of boost or cut, up to

15 dB, and is effectively by-

passed at the center detent.

The frequency at which the cut

or boost occurs is set by the

frequency control [25].

25. MID EQ FREQUENCY (Ch. 1 to 6)

This knob sets the center

frequency of the mid EQ control

[24]. This is sweepable from

100 Hz to 8 kHz.

Once this is set, the mid EQ

level can be adjusted with the

mid EQ level control [24].

Most of the root and lower harmonics that deﬁ ne

a sound are located in the 100 Hz–8 kHz frequency

range, and you can create drastic changes with these

two knobs. Many engineers use mid EQ to cut midrange

frequencies, not boost them. One popular trick is to set

the mid fully up, turn the frequency knob until you ﬁ nd

a point where it sounds just terrible, then back the mid

down into the cut range, causing those terrible frequen-

cies to disappear. Sounds silly, but it works. Sometimes.

26. HIGH MID EQ LEVEL (Ch. 7 and 8)

The high mid EQ provides up to 15 dB of boost or cut

at 2.5 kHz, and it is also ﬂ at at the detent. This control

is only available on stereo channels 7 and 8.

27. LOW MID EQ LEVEL (Ch. 7 and 8)

The low mid EQ provides up to 15 dB of boost or cut

at 400 Hz, and it is also ﬂ at at the detent. This control is

only available on stereo channels 7 and 8.

28. ICE CREAM DISPENSER

This control is not there. It was going to be, but after

much discussion among the engineers, it was decided

not to add it after all. It would have been good though.

100

10k

20k

–15

–10

–5

+10

+15

100

10k

20k

–15

–10

–5

+10

+15

100

10k

20k

–15

–10

–5

+10

+15

PPM1008

32. GAIN SWITCH

Press this in (low) if you are connecting a line-level

input source to channels 1 to 6.

Press this out (high) if you are connecting a micro-

phone-level signal to channels 1 to 8, or a instrument-

level signal to channels 5 and 6 only (hi-z switch in).

Note that the gain switch has no effect on the line-

level inputs and RCA inputs of channels 7 or 8.

This is the ﬁ rst control that the input signals meet. It

allows you to choose the level depending on the type of

input source you have connected. If it is set incorrectly,

then the input signals may overload the mixer, caus-

ing distortion, or it may come in too low, and be lost in

noise.

The gain switch allows you to make the initial level

adjustment, appropriate for the connected device (mic

or line-level, for example). The channel level controls

[31] are more for ﬁ ne-tuning, to balance the channels

appropriately for the song.

29. LOW EQ

The low EQ provides up to 15

dB of boost or cut below 80 Hz.

The circuit is ﬂ at (no boost or

cut) at the center detent posi-

tion. This frequency represents

the punch in bass drums, bass

guitar, fat synth patches, and some really serious male

singers who eat raw beef for breakfast.

30. OVERLOAD (OL) LED

This LED will come on when the channel’s input

signal is too high. This should be avoided, as distortion

will occur.

If the LED is coming on regularly, check that the gain

switch [32] is set correctly for your input device: Set

it to low if you are using a line-level input, or high if

you are using a microphone, or instrument-level input

(channel 5 and 6 only).

31. CHANNEL LEVEL

This adjusts the level of each channel onto the main

mix. The “U” mark indicates unity gain, meaning no

increase or decrease of signal level. All the way up

provides an additional 20 dB, should you need to boost

a section of the band. If you ﬁ nd that the overall level

is too quiet or too loud with the level near unity, you’ll

want to conﬁ rm the gain switch is set correctly.

100

10k

20k

–15

–10

–5

+10

+15

33 34

Gain switch

position MIC (XLR)

Inputs LINE (TRS)

Inputs

IN (LOW) Gain = 25 dB Gain = 0 dB

OUT (HIGH) Gain = 45 dB Gain = 20 dB

Owner’s Manual

33. COMPRESSOR

Channels 1 to 4 have an in-line compressor circuit

with a variable threshold. This is very useful for com-

pression of vocals, for example.

When the incoming signals exceed the threshold level

set by this knob, the signal level is automatically com-

pressed. This reduces the dynamic range, and reduces

the chance of distortion due to overloading the input

signals.

Dynamic range is the difference in level be-

tween the quietest part of your song and the

loudest part. Using a compressor, you are able

to squeeze the dynamic range, resulting in

an overall steadier, more constant volume level for the

signal. It helps sources such as vocals "sit" properly in

the mix, and it is very useful for live sound as well.

The compression ratio is ﬁ xed at around 6:1, with

a soft knee response. The threshold can be adjusted

clockwise from off (no compression) to 0 dBu (max).

As an example, suppose the threshold is set to maxi-

mum. An incoming signal reaches the threshold of 0

dBu. As it increases beyond the threshold, it becomes

compressed at a ratio of 6:1. This means that even if the

input further increases by 6 dB, the actual output only

increases by 1 dB. This compresses the output signal, so

there is more protection to your system from distortion

and overload due to poor microphone technique (say

it ain't so) and general pops, bangs and heavy metal

screaming. The soft knee means that the compression

slowly ramps up to 6:1 from the threshold. It does not

jump abruptly to 6:1, as this would be hard knee com-

pression, and hard on the ears too.

The following graph shows the input signal

level going into the compressor, versus the

output level coming out of it. It is the typical

graph to see when compressors are discussed,

and is just the kind of thing our engineers like to talk

about during the company Christmas party.

If the compressor is off, then the input = output. For

example an input signal level of +5 dBu results in an

output level of +5 dBu. The diagonal line from lower left

to upper right represents x = y, that is, input = output.

At the maximum compression, the threshold is set at

0 dBu, and the input to output relationship is repre-

sented by the lower blue curve. If the input is –5 dBu

(that is, below the threshold), the output is –5. As the

input reaches 0 dBu, the output is a bit less than 0 dBu.

If the input is +5 dBu, the output is about +2 dBu. If

the input reaches +10 dBu, then the output is +3 dBu.

Notice the shapely curve of the soft knee between the

diagonal slope of x = y and the compressor slope of 6:1

(the compression ratio).

+20

-10

-5

+10

+15

+20-10 -5 +0

SLOPE 6:1

SOFT KNEE

SLOPE 1:1

+5 +10 +15

INPUT SIGNAL STRENGTH dBu

OUTPUT SIGNAL STRENGTH dBu

The other blue curves represent in-between positions

of the compressor knob, with higher thresholds before

compression begins.

Separate compressors often have controls such as

compression ratio, threshold, soft knee/hard knee, at-

tack time, and release time. These last two affect how

quickly the compressor kicks in when the input exceeds

the threshold, and how quickly it is released after it

drops below the threshold. In this powered mixer com-

pressor, these parameters are specially chosen to give

you the best overall performance.

Adjust the threshold carefully, so your dynamic range

is still lovely, without distortion or overload during the

performance. Run through a few practice songs and

adjust the compression as required.

34. HI-Z SWITCH

Channels 5 and 6 are the only place to plug

in guitars and basses directly to the powered

mixer. These switches must be pressed in ﬁ rst.

If you connect a line-level device, such as a keyboard

or drum machine, make sure these switches are out.

(They only affect the 1/4" line inputs of channels 5 or 6,

not the XLR mic inputs.)

To use guitars or other instruments on other chan-

nels, you will need to use an external DI box ﬁ rst. With-

out the DI box, (or if these switches are not pressed in)

guitars will sound dull and muddy.

PPM1008

Master Controls

35. POWER LED

This LED comes on when the powered mixer is

plugged into the correct-voltage AC mains supply, and

the rear panel power switch [2] is on.

If the LED does not turn on, make sure the AC power

is live, both ends of the power cord are correctly in-

serted, your electricity bill has been paid, and the lights

in town are still on.

36. MAIN MASTER GRAPHIC EQ

This 9-band graphic equalizer adjusts the main mix

output. It affects the line-level outputs [19], as well as

the main speaker-level outputs if the internal ampliﬁ ers

are playing the main mix.

Each slider allows you to adjust the level of its

frequency band, with up to 15 dB of boost or cut, and

no change in level at the center (0 dB) position. The

frequency bands are: 63, 125, 250, 500, 1k, 2k, 4k, 8k

and 16 kHz.

The EQ section comes after the main level [38], and

just before the main meters [40]. Therefore, as you ad-

just the EQ, you can keep an eye on the meters in case

you over-do it and take the levels into overload.

As with the channel EQ, just take it easy.

There is a large amount of adjustment, and if

you are not careful, you can upset the delicate

balance of nature. Although it may not seem

cool to turn down controls, with EQ it is often

your best option. Turn down the offending

frequency range, rather than boost the wanted

range. Having many sliders will allow you to

reduce the level of some frequency bands where

feedback occurs.

With this constant-Q graphic EQ, the

bandwidth (and Q) of a frequency

band doesn't vary with the amount of

boost or cut. The adjustment of one

slider has minimal effect on adjacent bands

for all settings of the slider levels. (There's

always some effect on adjacent bands to avoid

too much variation or ripple between bands,

but the constant-Q design keeps this fairly

constant for all settings.) The position of the

sliders gives a good indication of the frequency

response across the audio band. Non-constant

types of EQ (on other mixers) give a wider

bandwidth for lower levels of boost or cut, and

narrows as the level goes up or down. For ex-

ample, if you're boosting 500 Hz and 2 kHz slightly, the

1 kHz band will also be boosted, even though the 1 kHz

slider is in the ﬂ at position.

37. FX TO MAIN

This knob lets you adjust the level of the internal

effects being added to the main mix. (It is a stereo con-

trol, as the output from the internal effects processor is

stereo and is added to the left and right main mix.)

Adjust the FX level being added, compared to the

other channels playing in the main mix.

At the fully-down position, no effects are added, the

center U mark is unity gain, and 10 dB of effects gain is

available at the fully clockwise position.

38. MAIN LEVEL

This knob controls the overall level of the main mix,

and affects the main meters [40], main line-level out-

puts [19], main sub out [18], and the main speaker-lev-

el outputs if the internal ampliﬁ ers are playing the main

mix. The level adjustment occurs before the EQ [36].

This gives you ultimate control over your audience.

Adjust it carefully, with your good eye on the meters to

prevent overloading, and your good ear to the levels to

make sure your audience is happy.

2 X 800W PROFESSIONAL POWERED MIXER

38 39

43 44

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51 54 48

Owner’s Manual

The control does not affect the monitor 1 output [17],

monitor 2 output [15], or the internal power amp if it

is playing a monitor. (For stage monitor work, it is good

that the main mix level does not affect the monitor out-

puts, so they can be set up nicely and stay that way.)

The main mix signals are off with the level fully down,

the “U” marking is unity gain, and fully up provides 12

dB of additional gain. This additional gain will typically

never be needed, but once again, it’s nice to know it’s

there. The level control is stereo, as it affects both the

left and right of the main mix equally. This is the control

to turn down at the end of the song when you want “The

Great Fade-Out.”

39. 100 Hz RUMBLE REDUCTION SWITCH

This switch is used to reduce the level of the frequen-

cy range below 100 Hz. It operates on the mono channel

1 to 6 mix, not the stereo channel mix.

Use this to reduce the amount of low frequency

problems such as mic handling, stage rumble, bangs and

thumps in your main mix.

This switch is the audio-electronic equiva-

lent of taking anti-gas medication. It relieves

low-end rumble, and the whole room sounds

better.

40. MAIN MIX METERS

Developed from a harmless ex-NASA hamster

hypnotizer*, these stereo meters show the level of the

left and right main mix, after it has passed through the

main level [38] and graphic EQ [36]. The top LEDs are

marked OL (overload), and you should adjust the levels

to avoid these coming on too often, if at all.

Please remember: Audio meter displays are just tools

to help assure you that your levels are “in the ballpark.”

You don’t have to stare at them (unless you want to).

*Tests have shown that it is possible to send hamsters

safely to Mars and back under deep hypnosis.

41. MONITOR 1 MASTER GRAPHIC EQ

This 9-band, constant-Q, graphic equalizer adjusts the

monitor 1 mix output. It affects the line-level monitor 1

outputs [17], and the monitor 1 speaker-level output if

the internal ampliﬁ er is playing the monitor 1 mix.

Each slider allows you to adjust the level of its

frequency band, with up to 15 dB of boost or cut, and

no change in level at the center (0 dB) position. The

frequency bands are: 63, 125, 250, 500, 1k, 2k, 4k, 8k and

16 kHz.

The EQ section comes after the monitor 1 level [43],

and just before the monitor 1 meter [45]. Therefore, as

you adjust the EQ, you can keep an eye on the meter in

case you over-do it and take the levels into overload. As

with the channel EQ, just take it easy.

Having many sliders will help you reduce the level of

frequency bands in the stage monitors that cause feed-

back from nearby microphones.

42. FX TO MON 1

This knob lets you adjust how much of the internal

effects is added to the mono monitor 1 mix. (The output

from the internal effects processor is stereo, summed to

mono and added to the mono monitor 1 mix.)

Adjust the FX level being added, compared to the

other channels playing in the monitor 1 mix.

At the fully-down position, no effects are added, the

center U mark is unity gain, and there is 10 dB of effects

gain at the fully clockwise position.

43. MONITOR 1 LEVEL

This knob controls the level of the monitor 1 mix, and

affects the monitor 1 meter [45], mon 1 line-level out-

puts [17], and the monitor 1 speaker-level output if the

internal ampliﬁ er is playing the monitor 1 mix. The level

adjustment occurs before the monitor 1 EQ [41].

This gives you ultimate control over your monitor 1

stage monitors. Adjust it carefully, with your good eye

on the meter [45] to check against overloading, and

to make sure your band are happy with the levels. The

control does not affect the main mix level.

The monitor 1 mix signals are off with the level fully

down, the “U” marking is unity gain, and fully up pro-

vides 12 dB of additional gain.

44. 100 Hz RUMBLE REDUCTION SWITCH

This switch is used to reduce the level of the frequen-

cy range below 100 Hz, playing in the monitor 1 mix. It

only affects the monitor 1 mix, and does not affect any

effects being added from the internal FX processor.

Use this to reduce the amount of low frequency

problems such as mic handling, stage rumble, bangs and

thumps, that might affect the stage monitors.

45. MONITOR 1 METER

This meter shows you the level of the monitor 1 mix,

after it has passed through the monitor 1 level [43] and

graphic EQ [41].

The top LED is marked OL (overload), and you should

adjust the levels to avoid this coming on too often, if at all.

PPM1008

46. PHANTOM SWITCH

Press in this switch to add phantom power to all the

XLR microphone inputs of the mixer. This lets the mixer

send low-current DC voltage to the mic’s electronics

through the same wires that carry audio. The LED will

turn on as a reminder that phantom power is engaged.

Most modern professional condenser mics are

equipped for phantom power. Semi-pro condenser mics

often have batteries to accomplish the same thing.

“Phantom” owes its name to an ability to be “unseen”

by dynamic mics (Shure SM57/SM58, for instance),

which don’t need external power and aren’t affected by

it anyway.

Never plug single-ended (unbalanced) micro-

phones, or ribbon mics into the mic input

jacks if phantom power is on.

Do not plug instrument outputs into the mic

input jacks with phantom power on, unless

you know for certain it is safe to do so.

47. PRECISION PASSIVE EQ

If you are using Mackie passive speakers such as

the C200, C300z, S408, S215, and S225, then press this

switch for enhanced clarity and low-frequency response.

If you are not using Mackie speakers, then press it

anyway and listen for an improvement. The passive EQ

circuit is added just before the internal power ampli-

ﬁ ers, so only loudspeakers connected to the

rear panel speaker-level outputs [3] will be

affected.

48. POWER AMP LIMITER LEDs

These independent LEDs turn on when

power ampliﬁ er channel A or B is being over-

loaded internally and its internal automatic

limiter (which is always in the signal path) is

actively working. The LED will pulse in time

with how much the limiter is being used in

the signal path.

If the limiter LEDs come on and

stay on for more than a second or

two, it means the power supply has

overheated and the limiter is holding the amp

signal down to 1/4 power until the power sup-

ply cools down enough to release the limiter.

If this happens, check there is good ventila-

tion around the mixer, and that you are not

cranking it too much. Also make sure that

your speakers are OK, and are not less than 4

ohms impedance.

Stereo Effects Processor

The Mackie Running-Man 32-bit internal effects pro-

cessor is a mono-in, stereo-out effects processor, with 24

presets. It is fed by adjusting the FX/mon 2 control [22]

on each channel.

The output from the processor can be added to the

main mix or monitor 1 mix by adjusting the FX to main

[37] and FX to mon 1 [42] controls.

Every time you select preset 15, someone in downtown

Woodinville, WA, orders a double cheese burger and

fries. Nobody knows why.

49. FX/MON 2 SEND MASTER

Use this knob to control the level of the signals going

into the internal effects processor. Adjust it carefully,

with your inner magical eye on the adjacent SIG/OL

LED [50] to prevent overloading the effects processor.

This knob also affects the level going out of the FX/

mon 2 output [15], and the internal power ampliﬁ er if it

is playing monitor 2.

50. SIG/OL LED

This dual-LED illuminates in green when the signal

level reaching the effects processor is in a good operat-

ing range (SIG). It illuminates in red when the effects

processor is being overloaded with too strong a signal

(OL). Turn down the level [49] if it is.

2 X 800W PROFESSIONAL POWERED MIXER

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51 54 48

Owner’s Manual

The signals going into the processor are affected by

the channel FX/mon 2 controls [22], and the channel

level controls [31] (if the FX send/mon 2 send switch

[51] is out (post)). Check the LED if you alter these

controls.

51. FX SEND (POST)/MON 2 SEND (PRE)

This switch lets you choose which signal path is used

to feed the internal effects processor (and the FX/mon 2

output [15]) as follows:

FX SEND (POST)

Choose this (out) position when you want to use the

internal effects processor, or if you want to set up an

external processor.

The FX/mon 2 control [22] on each channel samples

the channel signals after (post) the channel level

controls [31]. Any changes to the channel level will also

affect the level feeding the internal effects.

You can also set up an external effects processor by:

1. Muting the internal effects processor.

2. Connecting the FX/mon 2 output to an external

processor.

3. Returning the processed signal back to a free

mono or stereo channel line input.

MON 2 SEND (PRE)

In this position (in), the FX/mon 2 control on each

channel samples the channel signals before (pre) the

channel level controls.

This is ideal for using the FX/mon 2 output to feed a

stage monitor 2 setup, or to use the internal power amp

to power it (power amp mode switch [4] in the mon

1/mon 2 position).

You might want to mute the internal effects processor

with the FX mute switch [54].

For more details, please see page 14, or the

rather lovely block diagram on page 29.

52. PRESET DISPLAY

This display shows the number of the currently

selected effects preset, as shown in the list of presets

silkscreened to the left of the display. Rotate the preset

selector knob to choose a preset.

The new preset will be loaded approximately 1/4 of

a second after you stop turning the knob, and will be

stored into the FX memory after about one second.

When the powered mixer is turned on, the FX section

will load up the last-used preset.

53. PRESET SELECTOR, TAP DELAY and LED

Rotate this endless control to select one of the 24

preset effects. When you stop the rotation, that preset

will be loaded and become operational. The current pre-

set number is shown in the display [52]. The different

presets are shown in this table and marked on the panel

silkscreen. Further details of each preset are shown in

Appendix D on page 30.

The knob also offers a tap delay function for presets

17 to 24. This works as follows:

1. Use the knob to select a preset from 17 to 24.

2. Press the knob in at least two times.

The DSP processor will calculate the time delay

between the last two pushes, and it will assign

this time interval to the echoes of the current

digital delay. The minimum tap delay is 50 ms

and the maximum is 500 ms. If taps are faster

than 50 ms, they will be set to 50 ms. If taps

are between 500 ms and 1 second, they will be

set to 500 ms. If taps are greater than 1 sec-

ond apart, they will be ignored. Try again a bit

faster.

3. The LED will ﬂ ash in time with the new tap

delay time.

54. INTERNAL FX MUTE

When engaged, the internal effects processor is muted

at its output, and the adjacent LED will come on. The

footswitch connection [16] becomes disabled, and you

will not be able to use the footswitch to mute or unmute

the effects.

If this switch is not engaged, then the internal effects

can be muted or unmuted with the footswitch.

Congratulations! You’ve just read about all the fea-

tures of your powered mixer. Time for a cold one.

1 Plate Reverb 13 Chorus

2 Vocal Plate 14 Chorus + Reverb

3 Warm Room 15 Doubler

4 Bright Room 16 Tape Slap

5 Warm Lounge 17 Delay 1 Brt 350ms

6 Small Stage 18 Delay 1 Wrm 300ms

7 Warm Theater 19 Delay 2 Brt 250ms

8 Bright Stage 20 Delay 2 Wrm 200ms

9 Warm Hall 21 Delay 3 Brt 175ms

10 Concert Hall 22 Delay 3 Wrm 150ms

11 Cathedral 23 Chorus + Dly 300ms

12 Gated Reverb 24 Reverb + Dly 200ms

PPM1008

Appendix A: Service Information

If you think your powered mixer has a problem, please

check out the following troubleshooting tips and do your

best to conﬁ rm the problem. Visit the Support section of

our website (www.mackie.com) where you will ﬁ nd lots

of useful information such as FAQs, documentation and

user forums. You may ﬁ nd the answer to the problem

without having to send your mixer away.

Troubleshooting

Bad Channel

• Is the EQ set up nicely?

• Is the gain switch set correctly?

• Is the level up enough?

• Is the channel OL led on?

• Is there too much compression on channels

1-4?

• Are the hi-z instrument switches set OK for

guitars connected to channels 5 and 6?

• Try unplugging any insert devices from the

insert jacks.

• Try the same source signal in another channel,

set up exactly like the suspect channel.

• Is phantom power required for your micro-

phones?

Bad Output

• Is the main master level control turned up?

• Are the graphic EQs set to reasonable levels?

• Is the FX level going to the main mix, too high?

• If it’s one of the main speaker-level outputs,

try unplugging its companion. For example, if

it’s the 1/4" left main output, unplug the left

Speakon output. If the problem goes away, it’s

not the powered mixer.

• If a left speaker is presumed dead, connect it

to the right output instead. If the problem stays

with the same speaker, check the speaker wir-

ing, or any speaker fuses.

• Unplug anything from the main line-level

outputs, or other line-level outputs, such as the

sub out, FX/mon 2 send, or mon 1 send, just in

case one of your external pieces has a problem.

• If the power amp limiter lights come on often,

you may be overdriving the ampliﬁ ers. Check

the loudspeaker average load impedance is not

less than 4 ohms. Check the speaker wiring.

Noise

• Turn the channel levels down, one by one. If

the sound disappears, it’s either that channel or

whatever is plugged into it, so unplug whatever

that is. If the noise disappears, it’s from your

whatever.

Power

• The power LED should come on if the powered

mixer is connected to a suitable live AC mains

outlet, and the power switch is on. Check the

power cord is securely plugged in.

Repair

For warranty repair or replacement, please refer to

the warranty information on page 31.

Non-warranty repair for Mackie products is available

at a factory-authorized service center. To locate your

nearest service center, visit www.mackie.com, click

“Support” and select “Locate a Service Center.” Service

for Mackie products living outside the United States can

be obtained through local dealers or distributors.

If you do not have access to our website, you can call

our Tech Support department at 1-800-898-3211, Mon-

day-Friday, 7 am to 5 pm Paciﬁ c Time, to explain the

problem. Tech Support will tell you where the nearest

factory-authorized service center is located in your area.

Owner’s Manual

“XLR” Connectors

Mackie mixers use 3-pin female “XLR” connectors on

all microphone inputs, with pin 1 wired to the grounded

(earthed) shield, pin 2 wired to the “high” (”hot” or

positive polarity) side of the audio signal and pin 3

wired to the “low” (“cold” or negative polarity) side of

the signal. See Figure A. This is all totally above board

and in full accord with the hallowed standards dictated

by the AES (Audio Engineering Society).

Use a male “XLR”-type connector, usually found on the

nether end of what is called a “mic cable,” to connect to

a female XLR jack.

1⁄4" TRS Phone Plugs and Jacks

“TRS” stands for Tip-Ring-Sleeve, the three

connections available on a “stereo” 1⁄4" or “balanced”

phone jack or plug. See Figure B.

TRS jacks and plugs are used in several different ap-

plications:

• Balanced mono circuits. When wired as a bal-

anced connector, a 1⁄4" TRS jack or plug is con-

nected tip to signal high (hot), ring to signal

low (cold), and sleeve to ground (earth).

• Stereo Headphones, and rarely, stereo micro-

phones and stereo line connections.

When wired for stereo, a 1⁄4" TRS jack or plug

is connected tip to left, ring to right and sleeve

to ground (earth). Mackie mixers do not

directly accept 1-plug-type stereo micro phones.

Appendix B: Connections

They must be separated into a left cord and a

right cord, which are plugged into the two mic

preamps.

You can cook up your own adapter for a stereo

microphone adapter. “Y” two cables out of a

female 1⁄4" TRS jack to two male XLR plugs,

one for the Right signal and one for the Left.

• Unbalanced Send/Return circuits. When wired

as send/return “Y” connector, a 1⁄4" TRS jack

or plug is connected tip to signal send (output

from mixer), ring to signal return (input back

into mixer), and sleeve to ground (earth).

1⁄4" TS Phone Plugs and Jacks

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

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

TS jacks and plugs are used in many different

applications, always unbalanced. The tip is connected to

the audio signal and the sleeve to ground (earth). Some

examples:

• Unbalanced microphones

• Electric guitars and electronic instruments

• Unbalanced line-level connections

• Speaker connections

Don’t use guitar cords for speaker cables!

They’re not designed to handle speaker-level

signals and could overheat.

RCA Plugs and Jacks

RCA-type plugs (also known as phono plugs) and

jacks are often used in home stereo and video equip-

ment and in many other applications (Figure D). They

are unbalanced and electrically identical to a 1⁄4" TS

phone plug or jack. Connect the signal to the center

post and the ground (earth) or shield to the surround-

ing “basket.”

SLEEVE

TIP

TIPSLEEVE

TIP

SLEEVE

Figure C: TS Plug

SHIELD

COLD

HOT

SHIELD

COLD

HOT

SHIELD

COLD

HOT

Figure A: XLR Connectors

SLEEVE

TIPSLEEVE

TIP

RING

TIP

SLEEVERING

Figure B: 1⁄4" TRS Plugs

SLEEVETIPSLEEVE

Figure D: RCA Plug

PPM1008

Loudspeaker Cable

Use loudspeaker cables with a minimum conductor

size for the length you need as listed in these tables.

This will minimize

power losses to less

than 0.5 dB. The cable

lengths listed are “up

to” lengths. For in-

between lengths, use

the next larger con-

ductor gauge. Using

larger than the rec-

ommended conductor

size is always permis-

sible. Using smaller

than recommended

conductor size will

result in higher power

losses.

The recommended conductor gauges are listed for

AWG (American Wire Gauge) and Metric WG (Metric

Wire Gauge). Note that smaller AWG numbers = larger

conductors and smaller Metric WG numbers = smaller

conductors. The Metric WG is equal to ten times the

nominal conductor diameter in millimeters.

Longer Lengths

For cable lengths over 200 feet / 60 m at 8 ohms, and

over 100 feet / 30 m at 4 ohms, the conductor sizes need-

ed for less than 0.5 dB power losses are rarely practical

for physical and cost reasons. As a practical compromise

for these situations the recommended conductor gauge

is 10 AWG or 25 metric.

Speakons

When using the Speakon outputs to connect your loud-

speakers, wire the Speakon connectors as shown below:

TRS Send/Receive Insert Jacks

Mackie’s single-jack inserts are the three- conductor,

TRS-type 1⁄4" phone. They are unbalanced, but have

both the mixer output (send) and the mixer input

(return) signals in one connector. See Figure F.

The sleeve is the common ground (earth) for both

signals. The send from the mixer to the external unit is

carried on the tip, and the return from the unit to the

mixer is on the ring.

Using the Send-only on an Insert Jack

If you insert a TS (mono) 1⁄4" plug only partially (to

the ﬁ rst click) into a Mackie insert jack, the plug will

not activate the jack switch and will not open the insert

loop in the circuit (thereby allowing the channel signal

to continue on its merry way through the mixer).

This allows you to tap out the channel signal without

interrupting normal operation.

If you push the 1⁄4" TS plug in to the second click, you

will open the jack switch and create a direct out, which

does interrupt the signal in that channel. See Figure G.

NOTE: Do not overload or short-circuit the signal you

are tapping from the mixer. That will affect the internal

signal.

“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)

Figure F

Direct out with no signal interruption to master.

Insert only to first “click.”

Channel Insert jack

Direct out with signal interruption to master.

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

For use as an effects loop.

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

MONO PLUG

STEREO

PLUG

Figure G

Figure E

COLD

HOT 1+

1–

2–

Minimum AWG 4 ohm 8 ohm

18 10 ft 25 ft

16 25 50

14 25 75

12 50 125

10 100 200

Min Metric WG 4 ohm 8 ohm

12 3 m 8 m

14 8 15

16 8 25

20 15 40

25 30 60

Owner’s Manual

Appendix C: Technical Information

Speciﬁ cations

Distortion (THD + N)

(1 kHz, 30 kHz bandwidth)

Mic mono: <0.007% high gain

<0.005% low gain

Line mono: <0.005% low gain

Line stereo <0.01% at main out

Main mix output noise

(1 kHz, 30 kHz bandwidth)

Main mix level down, all channel levels down: –95 dBu

Main mix level 0 dB, all channel levels down: –86 dBu

Main mix level 0 dB, all channel levels 0 dB: –77 dBu

Frequency Response

(+0 dB/–3 dB)

Mic mono input: < 10 Hz–80 kHz

Line mono inputs: < 10 Hz–40 kHz

Line stereo inputs: < 10 Hz–75 kHz

Equivalent Input Noise (EIN)

Mic input (20 Hz – 20 kHz)

150 Ω termination: –128 dBu

Gain

Mic mono input: 45 dB high gain

25 dB low gain

Line mono inputs: 20 dB high gain

0 dB low gain

Line stereo inputs: 0 dB

Maximum Levels

Mic mono input: –25 dBu high gain

–5 dBu low gain

Line mono inputs: +21 dBu low gain

+1 dBu high gain

Line stereo inputs: +21 dBu

Preamp main and monitor outputs: +21 dBu

Impedances

Mic mono input, balanced: 3.6 kΩ balanced

Line mono input, balanced: 20 kΩ balanced

Line mono input, Ch 5, 6 Hi-Z: 500 kΩ unbalanced

Main and monitor preamp outputs: 240 Ω balanced

120 Ω unbalanced

Channel EQ

High Shelving (all channels) ±15 dB @ 12 kHz

Mid Mono Channels:

Mid Peaking, sweepable ±15 dB

Mid sweep range: 100 Hz to 8 kHz

Mid Stereo Channels:

Hi Mid Peaking: ±15 dB @ 2.5 kHz

Lo Mid Peaking: ±15 dB @ 400 kHz

Low Shelving (all channels) ±15 dB @ 80 Hz

9-Band Graphic EQ

Main and Monitor 1: ±15 dB @

63, 125, 250, 500, 1k,

2k, 4k, 8k and 16 kHz

Connections

Mic input: XLR balanced

Line mono input: 1/4" TRS balanced

Line stereo input: 1/4" TRS unbalanced

Preamp main outputs: 1/4" TRS balanced

Monitor outputs: 1/4" TRS balanced

Inserts: 1/4" TRS unbalanced

Loudspeaker outputs: 1/4" TS and Neutrik

Speakon

Loudspeaker outputs

(Both channels loaded and driven at 1 kHz.)

Peak output power @ 4 Ω: 2 x 800 W peak

Average output power @ 4 Ω: 2 x 400 W rms, 1% THD

2 x 500 W rms, 3% THD

Average output power @ 8 Ω: 2 x 250 W rms, 1% THD

2 x 300 W rms, 3% THD

Recommended load impedance: 4 – 8 Ω per side

Running Man Effects

Type: 32-bit internal processor,

mono in, stereo out

Effects presets: 24 Mackie-designed

presets

Power Consumption

120 VAC, 50/60 Hz,

680 watts

Dimensions (H x W x D)

12.3" x 19.3" x 11.4"

(314 mm x 490 x 290)

Weight

24.5 lb (11.1 kg)

Top Speed

13 knots

LOUD Technologies Inc. is always striving to improve our prod-

ucts by incorporating new and improved materials, components,

and manufacturing methods. Therefore, we reserve the right to

change these speciﬁ cations at any time without notice.

“Mackie,” and the “Running Man” are registered trademarks of

LOUD Technologies Inc. All other brand names mentioned are

trademarks or registered trademarks of their respective hold-

ers, and are hereby acknowledged.

Please check our website in case there are any corrections and

updates to this manual: www.mackie.com.

PPM1008

Dimensions

12.3 in/ 314mm

19.3 in/ 490 mm 11.4 in/ 290 mm

WEIGHT

24.5 lb

11.1 kg

Correct disposal of this product. This symbol indicates that this product should not be disposed of with your household waste, according to the WEEE Directive (2002/96/EC) and your national law. This product

should be handed over to an authorized collection site for recycling waste electrical and electronic equipment (EEE). Improper handling of this type of waste could have a possible negative impact on the environment and

human health due to potentially hazardous substances that are generally associated with EEE. At the same time, your cooperation in the correct disposal of this product will contribute to the effective usage of natural

resources. For more information about where you can drop off your waste equipment for recycling, please contact your local city ofﬁ ce, waste authority, or your household waste disposal service.

Owner’s Manual

Block Diagram

West Ham

Plaistow

Upton Park

East Ham

Upney

Dagenham Heathway

Dagenham East

Elm Park

Hornchurch

Upminster Bridge

Upminster

Becontree

Barking

48V

Mics

Mon 2 (pre)

Efx (post)

Main level

Stereo

Channels

7-8

Mono

Channels

Mic

Line

Insert

Gain

Channel Level

Mon

Main Out

Out

Mics

Mon 1

3-Band EQ

4-Band EQ

Mon

Mic: +25 ~ +45dB

Line: 0 ~ +20dB

Note: all switches are shown in their default (out) position

The train now leaving platform 3 is the 10:30 to Upton Park

LO MID

80 100~8K 12K

Comp

Efx

Global phantom power

phtm

Efx

100Hz

Low Pass Main Sub Out

Efx sum

Mon 1

HI-Z

LINE

Hi-Z

(Channel

5-6 only)

-or-

1 Meg

Mics

Mon 2 (pre)

Efx (post)

Mon 1

Mic

Gain

Mic:+25~+45dB

phtm

Sig

select/tap

tap

delay

EFX

display

bypass

Efx to Main

footswitch

Efx to Mon

LO MID MID

80 400 2.5K 12K

LO MID MID

80 400 2.5K 12K

100Hz

Break

Tape out

Mon1 level

Mon1 Out

Amp A in

Amp B in

Precision

Passive EQ

Amp Mode

Limiter Power Amps

FX/ Mon2

out

Post/Pre

level

9-band

Graphic EQ

9-band

Graphic EQ

100Hz

Break

Thermal

power limit

PPM1008

Appendix D: Table of Effects Presets

No. Title Description Example of its use

01 Plate Reverb This preset emulates vintage mechanical reverberation

that was generated with a metal plate. Its sound is char-

acterized by lots of early reﬂ ections and no pre-delay.

Perfect for thickening percussive instruments, such

as a snare drum, or tight vocal arrangements.

02 Vocal Plate This vintage plate emulation is warmer than your

standard plate, with a long reverberant tail, lots of fast

reﬂ ections and a very short pre-delay.

Particularly suited for vocal signals, but can also

be used for extra-thick drum tracks.

03 Warm Room This preset is characterized by lots of fast early reﬂ ections

with a short pre-delay to simulate the sound of a small,

wood paneled room.

Useful for adding a tight and controlled

ambient effect to vocals and acoustic instruments.

04 Bright Room This room has a bright tone with lots of scattered reﬂ ec-

tions to simulate harder, more reﬂ ective surfaces. Useful on vocals that require a brighter reverb to

cut through the mix, or for giving acoustic instru-

ments a livelier vibe.

05 Warm Lounge This preset features a medium sized room sound, with

just enough enhancement of the lower mids to produce a

warm tone.

Useful for vocals on songs that require a larger,

more “wet” sound, or for giving dimension to

bright horns without adding harshness.

06 Small Stage This preset simulates the sound of a small concert stage,

with a medium reverb time and reverberant space. Useful for vocals or guitars in fast paced, high-

energy songs that call for a “live” sounding

reverberation.

07 Warm Theater This reverb has a warm bodied tone and medium long

reverb time to simulate the live acoustics of a theater

space.

Perfect for vocals, drums, acoustic and electric

guitars, keyboards, and more.

08 Bright Stage This preset emulates the sound of a large performance

stage, characterized by medium long reverb time and

pre-delay, plus a touch of sizzle.

Great for adding life and dimension to drums and

other acoustic instruments, and for that big live

vocal sound.

09 Warm Hall This reverb simulates the sound of a spacious, yet cozy,

heavily draped and carpeted concert hall with an espe-

cially warm tone.

Perfect for adding natural concert hall ambience

to close-mic’ed orchestral instruments.

10 Concert Hall This hall reverb is characterized by its large, spacious

sound, long pre-delay, and vibrant tone. Adds life to acoustic instruments and vocals from

solos to full-on symphonies and choirs.

11 Cathedral This reverb emulates the extremely long tails, dense dif-

fusion and long pre-delays and reﬂ ections that would be

found in a very large, stone walled house of worship.

Gives amazing depth to choirs, wind instruments,

organs, and soft acoustic guitars.

12 Gated Reverb This preset incorporates an age-old trick whereby an

extremely dense reverb is processed through a fast gate

for an interesting, albeit artiﬁ cial, sound.

Most often used to fatten snare drums and toms

without clutter.

13 Chorus This preset provides a soft, ethereal sweeping effect that

is useful for thickening and for making a particular sound

pop out of the mix.

Perfect for enhancement of electric and acoustic

guitar and bass, or to add a dramatic effect to

vocals, particularly group harmonies and choirs.

14 Chorus + Reverb This preset perfectly combines the chorus effect above

with a large, roomy reverb. This lets you both thicken your sound with the

chorus effect while adding warmth and spacious-

ness thanks to the smooth reverb.

15 Doubler This effect simulates the sound of a vocal or instrument

being recorded twice (double tracked) on a multi-track

recorder.

Provides a vibe that is similar to chorus without

the subtle swirl.

16 Tape Slap This effect provides a single, relatively rapid delay of the

original signal, with the added warmth that vintage tape-

based echo units provided.

Often used on vocals for a 1950’s era feel, or on

guitars for a surf-type tone. Often used by people

whose favorite number is 16.

DLY 1 Bright (350ms)

DLY 1 Warm (300ms)

DLY 2 Bright (250ms)

DLY 2 Warm (200ms)

DLY 3 Bright (175ms)

DLY 3 Warm (150ms)

These 6 delay presets provide one (delay 1), three (delay

2), or six (delay 3) repeats of the original signal. The

default delay time for each preset is shown in mS - the

smaller the time, the faster the delay. Delay times can

easily be customized to suit the moment by tapping the

knob [53] more than once.

These work best with full, up-beat music like rock

where the delay needs to cut through the mix.

Warm delays get progressively softer and warmer

in tone with each repetition and work great with

slow, mellow music. Bright delays have repeats

that are consistent in tone with the original sound.

23 Chorus + DLY (300ms) This effect combines the thickening effect of the chorus

with the echoes of the 3-repeat delay effect.

Delay times can easily be customized to suit the moment

by using the Tap feature.

Useful on a clean electric guitar that needs a

mildly swirling, ethereal tone.

24 Reverb + DLY (200ms) This effect combines the Warm Theater reverb effect with

the echoes of the 3-repeat delay effect.

Delay times can easily be customized to suit the moment

by using the Tap feature.

Perfect for thickening vocals while adding dimen-

sions, it can also be used as a spacey effect on

electric guitars.

For presets 17 to 24, the delay can be entered by tapping the preset selector knob [53] more than once.

Owner’s Manual

PPM1008 Limited Warranty

A. LOUD Technologies Inc. warrants all materials,

workmanship and proper operation of this product for a period

of three years from the original date of purchase. You may

purchase an additional 24-month Extended Warranty (for a

total of 60 months of coverage). Visit our website and follow

the “Product Registration” links for details (www.mackie.com).

If any defects are found in the materials or workmanship or

if the product fails to function properly during the applicable

warranty period, LOUD Technologies, at its option, will

repair or replace the product. This warranty applies only to

equipment sold and delivered within the U.S. and Canada

by LOUD Technologies Inc. or its authorized dealers.

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

or you may mail in the product registration card included with

this manual.

C. Unauthorized service, repairs, or modiﬁ cation of Mackie

products will void this warranty. To obtain repairs or

replacement under warranty, you must have a copy of your

sales receipt from the authorized Mackie dealer where you

purchased the product. It is necessary to establish purchase

date and determine whether your Mackie product is within

the warranty period.

D. To obtain warranty repair or replacement:

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

AM to 5 PM Monday through Friday (Paciﬁ c Time) to get

authorization for repair or replacement. Alternately, go

to the Mackie website, click “Support” (www.mackie.

com/support), and follow the instructions for reporting

a warranty issue and submitting a request for an advance

replacement.

2. Advance Replacement: Mackie will ship a replacement

unit to you along with an invoice for the suggested retail

price of the replacement unit. You must return the defective

unit immediately to cancel the invoice. If you do not return

the defective unit within 30 days, you must pay the full

amount stated in the invoice to satisfy your debt.

3. Repair: When you call Mackie Technical Support, explain

the problem and obtain a Service Request Number. Have

your Mackie product’s serial number ready. You must have

a Service Request Number before you can obtain factory-

authorized service.

• Pack the product in its original shipping carton. Also

include a note explaining exactly how to duplicate the

problem, a copy of the sales receipt with price and date

showing, your daytime phone number and return street

address (no P.O. boxes or route numbers, please!), and

the Service Request Number. If we cannot duplicate the

problem or establish the starting date of your Limited

Warranty, we may, at our option, charge for service time

and parts.

• Ship the product in its original shipping carton, freight

prepaid to the authorized service center. Write the Service

Request Number in BIG PRINT on top of the box. The

address of your closest authorized service center will be

given to you by Technical Support, or it may be obtained

from our website. Once it’s repaired, the authorized service

center will ship it back by ground shipping, pre-paid (if it

qualiﬁ ed as a warranty repair).

Note: Under the terms of the warranty, you must ship or drop-

off the unit to an authorized service center. The return ground

shipment is covered for those units deemed by us to be under

warranty.

Note:

You must have a sales receipt from an authorized Mackie

dealer for your unit to be considered for warranty repair.

IMPORTANT: Make sure that the Service Request

Number is plainly written on the shipping carton. No

receipt, no warranty service.

E. LOUD Technologies reserves the right to inspect

any products that may be the subject of any warranty

claims before repair or replacement is carried out. LOUD

Technologies may, at our option, require proof of the original

date of purchase in the form of a dated copy of the original

dealer’s invoice or sales receipt. Final determination of

warranty coverage lies solely with LOUD Technologies.

F. Any products returned to one of the LOUD Technologies

factory-authorized service centers, and deemed eligible

for repair or replacement under the terms of this warranty

will be repaired or replaced. LOUD Technologies and its

authorized service centers may use refurbished parts for

repair or replacement of any product. Products returned

to LOUD Technologies that do not meet the terms of this

Warranty will not be repaired unless payment is received

for labor, materials, return freight, and insurance. Products

repaired under warranty will be returned freight prepaid by

LOUD Technologies to any location within the boundaries of

the USA or Canada.

G. LOUD Technologies warrants all repairs performed

for 90 days or for the remainder of the warranty period.

This warranty does not extend to damage resulting from

improper installation, misuse, neglect or abuse, or to

exterior appearance. This warranty is recognized only if

the inspection seals and serial number on the unit have not

been defaced or removed.

H. LOUD Technologies assumes no responsibility for the

timeliness of repairs performed by an authorized service

center.

I. This warranty is extended to the original purchaser.

This warranty may be transferred to anyone who may

subsequently purchase this product within the applicable

warranty period for a nominal fee (extended warranties

are not transferable). A copy of the original sales receipt is

required to obtain warranty repairs or replacement.

J. This is your sole warranty. LOUD Technologies does

not authorize any third party, including any dealer or

sales representative, to assume any liability on behalf of

LOUD Technologies or to make any warranty for LOUD

Technologies Inc.

K. THE WARRANTY GIVEN ON THIS PAGE IS THE SOLE

WARRANTY GIVEN BY LOUD TECHNOLOGIES INC.

AND IS IN LIEU OF ALL OTHER WARRANTIES, EXPRESS

AND IMPLIED, INCLUDING THE WARRANTIES OF

MERCHANTABILITY AND FITNESS FOR A PARTICULAR

PURPOSE. THE WARRANTY GIVEN ON THIS PAGE

SHALL BE STRICTLY LIMITED IN DURATION TO THREE

YEARS FROM THE DATE OF ORIGINAL PURCHASE

FROM AN AUTHORIZED MACKIE DEALER. UPON

EXPIRATION OF THE APPLICABLE WARRANTY PERIOD,

LOUD TECHNOLOGIES INC. SHALL HAVE NO FURTHER

WARRANTY OBLIGATION OF ANY KIND. LOUD

TECHNOLOGIES INC. SHALL NOT BE LIABLE FOR ANY

INCIDENTAL, SPECIAL, OR CONSEQUENTIAL DAMAGES

THAT MAY RESULT FROM ANY DEFECT IN THE MACKIE

PRODUCT OR ANY WARRANTY CLAIM. Some states do

not allow exclusion or limitation of incidental, special,

or consequential damages or a limitation on how long

warranties last, so some of the above limitations and

exclusions may not apply to you. This warranty provides

speciﬁ c legal rights and you may have other rights which

vary from state to state.

Please keep your sales receipt in a safe place.

16220 Wood-Red Road NE • Woodinville, WA 98072 • USA

United States and Canada: 800.898.3211

Europe, Asia, Central and South America: 425.487.4333

Middle East and Africa: 31.20.654.4000

Fax: 425.487.4337 • www.mackie.com

E-mail: sales@mackie.com

Mackie Ppm1008 Users Manual 8 Channel 2x800 W Professional Powered Mixer Owner's

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