Mackie ProFX8 User Manual To The 8ef85fa6 8e1f 47c2 892d D064df8edfa6

User Manual: Mackie ProFX8 to the manual

Open the PDF directly: View PDF .
Page Count: 36

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: USB interface
ProFX8 and ProFX12 Limited Warranty
Rear Cover

ProFX8 and ProFX12

OWNER’S MANUAL

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

MAIN

RIGHT

(BALANCED)

MAIN

LEFT

USB

(BALANCED)

8K4K2K1K500250125

TAPE

ST RETURN MAIN OUT PHONES

FOOTSWITCH

PHONES

TAPE

OUT

(UNBALANCED)

STEREO GRAPHIC EQ

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

FX SEND

MID

2.5kHz

MID

2.5kHz

MID

2.5kHz

MID

2.5kHz

MID

2.5kHz

80Hz

LOW

+15-15

LINE IN 4

INSERT

LOW CUT

100 Hz

GAIN

U+50

-20dB +30dB

12kHz

MID

2.5kHz

80Hz

LOW

+15-15

12kHz

MID

2.5kHz

80Hz

LOW

+15-15

12kHz

MID

2.5kHz

80Hz

LOW

+15-15

12kHz

PAN

AUX

+15

MON

+15

PAN

AUX

+15

MON

+15

PAN

AUX

+15

MON

+15

PAN

AUX

+15

MON

+15

80Hz

LOW

+15-15

LOW CUT

100 Hz

12kHz

PAN

AUX

+15

MON

+15

80Hz

LOW

+15-15

BAL /

UNBAL

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

LINE IN 7

LINE IN 8

BAL /

UNBAL LINE IN 9

LOW CUT

100 Hz

GAIN

7/85/6

12kHz

PAN

AUX

+15

MON

+15

80Hz

LOW

+15-15

U+50

GAIN

U+50

9/10

12kHz

LEVEL

SET

LEVEL

SET

LEVEL

SET

LOW CUT

100 Hz

GAIN

U+50

-20dB +30dB

LEVEL

SET

LEVEL

SET

LEVEL

SET

LOW CUT

100 Hz

GAIN

U+50

-20dB +30dB

LOW CUT

100 Hz

GAIN

U+50

-20dB +30dB

PAN

AUX

+15

MON

+15

GAIN

MIC MIC MIC MIC MIC MIC

80Hz

LOW

+15-15

+20-20

GAIN

+20-20

11/12 ST RTN FX RTN

EQEQEQEQ EQ EQ EQ EQ

12kHz

PAN

AUX

+15

MON

+15

FX TO MON

FX MASTER

+15

(MONO)

LINE IN 5

LINE IN 6

BAL /

UNBAL

LINE IN 10

BAL /

UNBAL

LINE IN 11

LINE IN 12

BAL /

UNBAL

BAL /

UNBAL

BAL /

UNBAL

MON SEND

BAL /

UNBAL

BAL /

UNBAL

PRESETS

FX PRESETS

01 BRIGHT ROOM

02 WARM LOUNGE

03 SMALL STAGE

04 WARM THEATER

05 WARM HALL

06 CONCERT HALL

13 DELAY 1 (300ms)

14 DELAY 2 (380ms)

15 DELAY 3 (480ms)

16 REVERB + DLY (250ms)

07 PLATE REVERB

08 CATHEDRAL

09 CHORUS

10 CHORUS + REV

11 DOUBLER

12 TAPE SLAP

MON MAIN

LINE IN 3

INSERT

BAL /

UNBAL

LINE IN 2

INSERT

BAL /

UNBAL

BAL /

UNBAL

LINE/HI-Z IN 1

INSERT

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

POWER

0dB=0dBu

MAIN

METERS

BREAK

(MUTES ALL CHANNELS)

PHANTOM

POWER

+20

TAPE LEVEL

+20

USB THRU

LINE

HI-Z

MAX

OL OL OL OL OL OL OL OL OL

MAIN MIX

MON

EQ IN

BYPASS

PROFESSIONAL MIC/LINE MIXER WITH FX

FUSE: T1.6AL AC250V

~100-240V 50/60 Hz 25W

INPUT LEVEL

USB

MUTE

MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE

48V

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

CANADA. OPERATION IS SUBJECT TO THE FOLLOWING TWO CONDITIONS: (1) THIS

DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE, AND (2) THIS DEVICE MUST

ACCEPT ANY INTERFERENCE RECEIVED, INCLUDING INTERFERENCE THAT MAY

CAUSE UNDESIRED OPERATION.

MANUFACTURING DATE

SERIAL NUMBER

WARNING:

TO REDUCE THE RISK OF FIRE OR ELECTRIC

SHOCK, DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR

MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE

PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.

AVIS:

RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR

ProFX8 and ProFX12

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 manufac-

turer, or sold with

the apparatus. When

a cart is used, use

caution when moving

the cart/apparatus

combination to avoid

injury from tip-over.

14.

Unplug this apparatus during lightning storms or when unused for long

periods of time.

15.

Refer all servicing to 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.

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.

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

Owner’s Manual

Part No. SW0713 Rev. A

No electrons were harmed during the production of this PDF.

2. For mono channels, adjust the gain control so

the level set LED just comes on occasionally

during the loudest parts of your performance.

The mono channel gain affects the mic and the

line inputs. The hybrid channel gain affects the

mic input only, not the stereo line inputs.

The stereo channel gain adjusts the stereo line

inputs. Adjust as desired, and check the OL

LED does not come on during the loudest pas-

sages.

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

Instant Mixing

To get sound out of the speakers and into a

waiting world, turn up the channel’s fader to the

U (unity gain) position,

and slowly bring up the

main fader

to a comfortable listening level.

2. Sing and play. You’re a star! Bring in the other

channels, and adjust their faders to make a

nice mix and generally have fun.

USB

The USB connection allows you to play 2 channels of

audio from your computer, and to record the main mix

to your computer. See Appendix D on page 32 for details

of getting started with the USB.

Notes

For optimum sonic performance, the channel faders

and main fader should be set near the “U” (unity gain)

markings.

Turn down all faders before making connections to

and from your ProFX mixer.

When you shut down your system, turn off your ampli-

ﬁ ers or powered speakers ﬁ rst. When powering up, turn

them on last. This will prevent the possibility of turn-on

and turn-off thumps heard in your speakers.

Save the shipping box! You may need it someday.

Read This Page!

You probably want to try out your new

mixer right away. Before you do, please

read the safety instructions on page 2,

then read this page, and the rest later.

Zero the Mixer

1. Turn down all knobs except the channel EQ and

pan knobs, and set all the faders fully down.

2. Set all channel EQ knobs, pan knobs, and the

graphic EQ sliders at their center detent.

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

4. Whistle a popular show tune.

Connections

If you already know how you want to connect the

mixer, go ahead and connect the inputs and outputs

the way you want them. If you just want to get sound

through the mixer, follow these steps:

Plug signal sources into the mixer, such as:

• Microphones plugged into the mic inputs.

Engage phantom power if your mics need

it. Check the mic's user manual to be sure.

• Line-level sources such as keyboards, drum

machines, or CD players plugged into the

line-level inputs.

• A guitar plugged into channel 1, with the

line/hi-z switch pressed in.

. Connect cords from the main outs to your pow-

ered speakers or ampliﬁ er.

3. Plug in the mixer’s power cord to a live AC

outlet and turn on the mixer.

4. If you have powered speakers, turn them on.

Otherwise, hook up your passive speakers to

your amp with speaker cables, and turn it on.

Adjust your powered speaker or ampliﬁ er level

controls to however the

manufacturer recom-

mends. (This is usually all the way up.)

Set the Gain

1. Play something into an input. This could be an

instrument, you singing or speaking, or a line

level source such as a keyboard or CD player.

Be sure that the volume of the input is the

same as it would be during normal use, or you

may have to readjust the gain in the middle of a

set. You can listen with headphones if you care-

fully turn up the channel fader and headphones

level a little.

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:

ProFX8 and ProFX12

Introduction

Thank you for choosing a Mackie professional ProFX

mixer. It is equipped with our rather lovely microphone

preamps, an internal FX processor, and a USB port for

playing and recording 2 channels of audio using a com-

puter. The ProFX8 has 8 channels and the ProFX12 has

12 channels. Apart from this difference, the mixers are

identical and this manual covers both models.

At Mackie, we know what it takes to be roadworthy.

After all, our mixers have traveled all over the world,

often under the worst of conditions, and we’ve applied

what we’ve learned to the mechanical design of our

ProFX mixers.

Reliability is paramount to sound reinforcement.

That’s why our engineers have subjected our mixers to

the most rigorous and ﬁ endish tests imaginable to ﬁ ne-

tune the design, and extend its limits beyond those of

ordinary mixers.

Features

• The ProFX8 mixer has 8 channels (2 mono, 2

hybrid, 1 stereo)

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

hybrid, 2 stereo)

• Mono channels have a mic input and a mono

line-level input, with a gain control and level

set LED for adjustment of mic and line gain

• Hybrid channels have a mic input and stereo

line-level inputs, with a gain control and level

set LED for adjustment of mic gain

• Stereo channels have stereo line-level inputs,

with a gain control to adjust the line gain

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

• Tape/CD stereo RCA inputs and outputs

• 1/4" TRS insert jacks on mono channels

• Channel 1 hi-z switch allows direct connection

of a guitar or bass without a DI box

• Low cut switch on mono and hybrid channels

• 3-band EQ on each channel

• Aux monitor control on each channel

• Aux FX control on each channel

• Each channel has a pan control, mute switch,

overload (OL) LED, and fader

• Stereo return has mute, OL LED and fader

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

• 1/4" TRS stereo return

• 1/4" TRS FX send and monitor send

• 1/4" TRS stereo headphones output

• Headphones level control

• Tape input level control

• 16 built-in Running Man effects with input

level, OL LED, preset display, FX to monitor

level, and footswitchable mute/unmute

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

monitor mix, or bypassed

• 12-segment stereo output meters on main mix

• Break switch mutes all channels except tape

input and USB input

• Faders for stereo return, FX return, monitor

and main

• USB connection allows 2-channel computer

recording and 2-channel computer playback

• USB thru switch and input level

How To Use This Manual

The ﬁ rst pages after the table of contents are the

hookup diagrams. These show typical setups for fun

times with your ProFX8 or ProFX12 mixer.

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

scriptions are divided into sections, just as your mixer is

organized into distinct zones:

• Rear Panel: The AC input, power switch, XLR

line-level outputs and USB I/O

• Connection Section: The upper section, where

you connect microphones and guitars etc.

• Channel Controls: The channel strips where

you adjust and control each channel

• Master Controls: The section on the right, with

graphic EQ and main level controls

• Stereo Effect Processor

Throughout these sections you’ll ﬁ nd illustrations

with each feature numbered and described in the

nearby paragraphs.

This icon marks infor mation that is critically

important or unique to the mixer. For your own

good, read them and remember them.

This icon will lead you to some explanations of

features and practical tips. Go ahead and skip

these if you really need to go.

Appendix A: Service information.

Appendix B: Connectors.

Appendix C: Technical information.

Appendix D: USB information.

Owner’s Manual

Contents

Need help with your new mixer?

• Visit www.mackie.com and click Support to ﬁ nd:

FAQs (Frequently Asked Questions), manuals, addendums, and

user forums.

• Email us at: techmail@mackie.com.

• Telephone 1-800-898-3211 to speak with one of our splendid

technical support representatives, (Monday through Friday,

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

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

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

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

CONTENTS ............................................................. 5

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

REAR PANEL FEATURES .........................................12

1. POWER CONNECTION .............................12

2. FUSE ......................................................12

3. POWER SWITCH ..................................... 12

4. XLR MAIN OUTS ................................... 12

5. USB PORT ............................................. 12

FRONT PANEL FEATURES ....................................... 13

CONNECTION SECTION ....................................... 13

6. MIC INPUTS ........................................... 13

7. LINE/HI-Z SWITCH .................................13

8. LINE/HI-Z INPUT (CHANNEL 1 ONLY) ......13

9. MONO LINE INPUTS ............................... 14

10. STEREO LINE INPUTS .............................. 14

11. CHANNEL INSERT ................................... 14

12. STEREO RETURN ....................................14

13. MON SEND ............................................ 15

14. FX SEND ................................................ 15

15. 1⁄4" MAIN OUTS .................................... 15

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

17. PHONES ................................................15

18. TAPE INPUT ........................................... 16

19. TAPE OUTPUTS ...................................... 16

CHANNEL CONTROLS ......................................... 17

20. GAIN ....................................................18

21. LEVEL SET LED ........................................ 18

22. LOW CUT ............................................... 18

23. HI EQ .....................................................19

24. MID EQ .................................................. 19

25. LOW EQ ................................................. 19

26. AUX MON ...............................................19

27. AUX FX ................................................... 20

28. PAN ........................................................20

29. OL LED .................................................... 20

30. MUTE .................................................... 20

31. CHANNEL FADER .....................................20

MASTER CONTROLS ........................................... 21

32. PHANTOM POWER SWITCH ..................... 21

33. POWER LED ............................................. 21

34. METERS ................................................. 21

35. BREAK SWITCH ..................................... 22

36. TAPE LEVEL ...........................................22

37. STEREO GRAPHIC EQ ............................... 22

38. MAIN MIX/MON .....................................22

39. EQ IN/BYPASS ........................................ 22

40. USB INPUT LEVEL .................................... 22

41. USB THRU.............................................. 23

42. PHONES LEVEL ....................................... 23

43. OL LED (FOR STEREO RETURNS) ..............23

44. MUTE (FOR STEREO RETURNS) ................23

45. STEREO RETURN FADER .......................... 23

46. FX RETURN FADER ................................. 23

47. MONITOR FADER ................................... 23

48. MAIN FADER .......................................... 23

STEREO EFFECTS PROCESSOR .............................24

49. PRESET DISPLAY ...................................... 24

50. PRESET SELECTOR .................................... 24

51. INTERNAL FX MUTE ................................. 24

52. FX MASTER ............................................. 24

53. OL LED ................................................... 24

54. FX TO MON ........................................... 24

APPENDIX A: SERVICE INFORMATION .................... 26

APPENDIX B: CONNECTIONS..................................27

APPENDIX C: TECHNICAL INFORMATION ................ 29

APPENDIX D: USB INTERFACE ................................32

PROFX8 AND PROFX12 LIMITED WARRANTY ........ 35

ProFX8 and ProFX12

Band System ProFX12

MAIN

RIGHT

(BALANCED)

MAIN

LEFT

USB

(BALANCED)

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

POWER

ON PROFESSIONAL MIC/LINE MIXER WITH FX

FUSE: T1.6AL AC250V

~100- 240V 50/60 Hz 25W

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

CANADA. OPERATION IS SUBJECT TO THE FOLLOWING TWO CONDITIONS: (1) THIS

DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE, AND (2) THIS DEVICE MUST

ACCEPT ANY INTERFERENCE RECEIVED, INCLUDING INTERFERENCE THAT MAY

CAUSE UNDESIRED OPERATION.

MANUFACTURING DATE

SERIAL NUMBER

WARNING:

TO REDUCE THE RISK OF FIRE OR ELECTRIC

SHOCK, DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR

MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE

PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.

AVIS:

RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR

8K4K2K1K500250125

TAP E

ST RETURN MAIN OUT PHONES

FOOTSWITCH

PHONES

TAP E

OUT

(UNBALANCED)

STEREO GRAPHIC EQ

FX SEND

MID

2.5kHz

MID

2.5kHz

MID

2.5kHz

MID

2.5kHz

MID

2.5kHz

80Hz

LOW

+15-15

LINE IN 4

INSERT

LOW CUT

100 Hz

GAIN

U+50

-20dB +30dB

12kHz

MID

2.5kHz

80Hz

LOW

+15-15

12kHz

MID

2.5kHz

80Hz

LOW

+15-15

12kHz

MID

2.5kHz

80Hz

LOW

+15-15

12kHz

PAN

AUX

+15

MON

+15

PAN

AUX

+15

MON

+15

PAN

AUX

+15

MON

+15

PAN

AUX

+15

MON

+15

80Hz

LOW

+15-15

LOW CUT

100 Hz

12kHz

PAN

AUX

+15

MON

+15

80Hz

LOW

+15-15

BAL /

UNBAL

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

LINE IN 7

LINE IN 8

BAL /

UNBAL LINE IN 9

LOW CUT

100 Hz

GAIN

7/85/6

12kHz

PAN

AUX

+15

MON

+15

80Hz

LOW

+15-15

U+50

GAIN

U+50

9/10

12kHz

LEVEL

SET

LEVEL

SET

LEVEL

SET

LOW CUT

100 Hz

GAIN

U+50

-20dB +30dB

LEVEL

SET

LEVEL

SET

LEVEL

SET

LOW CUT

100 Hz

GAIN

U+50

-20dB +30dB

LOW CUT

100 Hz

GAIN

U+50

-20dB +30dB

PAN

AUX

+15

MON

+15

GAIN

MIC MIC MIC MIC MIC MIC

80Hz

LOW

+15-15

+20-20

GAIN

+20-20

11/12 ST RTN FX RTN

EQEQEQEQ EQ EQ EQ EQ

12kHz

PAN

AUX

+15

MON

+15

FX TO MON

FX MASTER

+15

(MONO)

LINE IN 5

LINE IN 6

BAL /

UNBAL

LINE IN 10

BAL /

UNBAL

LINE IN 11

LINE IN 12

BAL /

UNBAL

BAL /

UNBAL

BAL /

UNBAL

MON SEND

BAL /

UNBAL

BAL /

UNBAL

PRESETS

FX PRESETS

01 BRIGHT ROOM

02 WARM LOUNGE

03 SMALL STAGE

04 WARM THEATER

05 WARM HALL

06 CONCERT HALL

13 DELAY 1 (300ms)

14 DELAY 2 (380ms)

15 DELAY 3 (480ms)

16 REVERB + DLY (250ms)

07 PLATE REVERB

08 CATHEDRAL

09 CHORUS

10 CHORUS + REV

11 DOUBLER

12 TAPE SLAP

MON MAIN

LINE IN 3

INSERT

BAL /

UNBAL

LINE IN 2

INSERT

BAL /

UNBAL

BAL /

UNBAL

LINE/HI-Z IN 1

INSERT

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

0dB=0dBu

MAIN

METERS

BREAK

(MUTES ALL CHANNELS)

PHANTOM

POWER

+20

TAPE LEVEL

+20

USB THRU

LINE

HI-Z

MAX

OL OL OL OL OL OL OL OL OL

MAIN MIX

MON

EQ IN

BYPASS

PROFESSIONAL MIC/LINE MIXER WITH FX

INPUT LEVEL

USB

MUTE

MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE

48V

Mono Effects

press HI-Z

button

Microphones

Acoustic

Guitar with

pickup

Headphones

SRM450v2 Powered Speakers

SRM450v2 Powered Monitors

Footswitch

iPod

Docking Station

Laptop Computer

with Tracktion

for recording

Effects Processor

Mono in, Stereo out

Keyboard

Drum

Machine

Bass

Guitar

Electric

Guitar

Monitor EQ

HOOKUP DIAGRAMS

This diagram shows a guitar connected directly to channel 1 (with the hi-z switch pressed in), micro-

phones attached to channels 2, 3, and 4, guitar effects processors connected to the left line-level input of

channel 5/6, and 7/8, a keyboard attached to channel 9/10's line-level inputs, and a drum machine

connected to channel 11/12. An iPod docking station is attached to the stereo tape inputs. An effects

processor receives a mono input from the FX send, and its stereo outputs connect to the stereo return

inputs.

Mackie SRM450v2 powered speakers are connected to the left and right main output. Two of these

speakers are also set up as stage monitors, and connect to the mixer's monitor output via a graphic EQ.

The aux mon controls of each channel allow you to create a stage monitor mix that is independent of the

main mix. Use the external graphic EQ to adjust the stage monitor EQ as desired. Headphones are used

for monitoring, and a footswitch allows you to mute/unmute the internal effects as desired.

A laptop connects to the USB port, and allows the 2-channel main mix of the performance to be re-

corded using Tracktion software. Two channels of audio can also play from your computer to the main

mix.

Owner’s Manual

House of Worship System ProFX12

MAIN

RIGHT

(BALANCED)

MAIN

LEFT

USB

(BALANCED)

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

POWER

ON PROFESSIONAL MIC/LINE MIXER WITH FX

FUSE: T1.6AL AC250V

~100- 240V 50/60 Hz 25W

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

CANADA. OPERATION IS SUBJECT TO THE FOLLOWING TWO CONDITIONS: (1) THIS

DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE, AND (2) THIS DEVICE MUST

ACCEPT ANY INTERFERENCE RECEIVED, INCLUDING INTERFERENCE THAT MAY

CAUSE UNDESIRED OPERATION.

MANUFACTURING DATE

SERIAL NUMBER

WARNING:

TO REDUCE THE RISK OF FIRE OR ELECTRIC

SHOCK, DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR

MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE

PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.

AVIS:

RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR

8K4K2K1K500250125

TAP E

ST RETURN MAIN OUT PHONES

FOOTSWITCH

PHONES

TAP E

OUT

(UNBALANCED)

STEREO GRAPHIC EQ

FX SEND

MID

2.5kHz

MID

2.5kHz

MID

2.5kHz

MID

2.5kHz

MID

2.5kHz

80Hz

LOW

+15-15

LINE IN 4

INSERT

LOW CUT

100 Hz

GAIN

U+50

-20dB +30dB

12kHz

MID

2.5kHz

80Hz

LOW

+15-15

12kHz

MID

2.5kHz

80Hz

LOW

+15-15

12kHz

MID

2.5kHz

80Hz

LOW

+15-15

12kHz

PAN

AUX

+15

MON

+15

PAN

AUX

+15

MON

+15

PAN

AUX

+15

MON

+15

PAN

AUX

+15

MON

+15

80Hz

LOW

+15-15

LOW CUT

100 Hz

12kHz

PAN

AUX

+15

MON

+15

80Hz

LOW

+15-15

BAL /

UNBAL

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

LINE IN 7

LINE IN 8

BAL /

UNBAL LINE IN 9

LOW CUT

100 Hz

GAIN

7/85/6

12kHz

PAN

AUX

+15

MON

+15

80Hz

LOW

+15-15

U+50

GAIN

U+50

9/10

12kHz

LEVEL

SET

LEVEL

SET

LEVEL

SET

LOW CUT

100 Hz

GAIN

U+50

-20dB +30dB

LEVEL

SET

LEVEL

SET

LEVEL

SET

LOW CUT

100 Hz

GAIN

U+50

-20dB +30dB

LOW CUT

100 Hz

GAIN

U+50

-20dB +30dB

PAN

AUX

+15

MON

+15

GAIN

MIC MIC MIC MIC MIC MIC

80Hz

LOW

+15-15

+20-20

GAIN

+20-20

11/12 ST RTN FX RTN

EQEQEQEQ EQ EQ EQ EQ

12kHz

PAN

AUX

+15

MON

+15

FX TO MON

FX MASTER

+15

(MONO)

LINE IN 5

LINE IN 6

BAL /

UNBAL

LINE IN 10

BAL /

UNBAL

LINE IN 11

LINE IN 12

BAL /

UNBAL

BAL /

UNBAL

BAL /

UNBAL

MON SEND

BAL /

UNBAL

BAL /

UNBAL

PRESETS

FX PRESETS

01 BRIGHT ROOM

02 WARM LOUNGE

03 SMALL STAGE

04 WARM THEATER

05 WARM HALL

06 CONCERT HALL

13 DELAY 1 (300ms)

14 DELAY 2 (380ms)

15 DELAY 3 (480ms)

16 REVERB + DLY (250ms)

07 PLATE REVERB

08 CATHEDRAL

09 CHORUS

10 CHORUS + REV

11 DOUBLER

12 TAPE SLAP

MON MAIN

LINE IN 3

INSERT

BAL /

UNBAL

LINE IN 2

INSERT

BAL /

UNBAL

BAL /

UNBAL

LINE/HI-Z IN 1

INSERT

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

0dB=0dBu

MAIN

METERS

BREAK

(MUTES ALL CHANNELS)

PHANTOM

POWER

+20

TAPE LEVEL

+20

USB THRU

LINE

HI-Z

MAX

OL OL OL OL OL OL OL OL OL

MAIN MIX

MON

EQ IN

BYPASS

PROFESSIONAL MIC/LINE MIXER WITH FX

INPUT LEVEL

USB

MUTE

MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE

48V

Mono Effects

Microphones

Lavalier

Clip-on Mic

Headphones

SRM450v2 Powered Monitors

Laptop

with Tracktion

recording

the service

SR1521z Powered S

eakers

Effects Processor

Mono in, Stereo out

Dual Compressors

Compressor/Limiter

Acoustic Guitar

and Mic

iPod

Docking Station

Monitor EQ

Assistive Listening

System

Keyboard

Electric

Guitar

This diagram shows various microphones attached to channels 1 to 4, a guitar mic on channel 5/6, a

guitar effects processor connected to the left line-level input of channel 7/8, and a keyboard attached to

channel 9/10's line-level inputs. An iPod docking station is attached to the stereo tape inputs. An effects

processor receives a mono input from the FX send, and its stereo outputs connect to the stereo return

inputs. An assistive listening system is connected to the line-level main output. Dual compressors are con-

nected to the inserts of channels 1 to 4, allowing vocal compression.

Mackie SR1521z powered speakers are connected to the left and right main output, via a compressor/

limiter. Two SRM450v2 powered speakers are set up as stage monitors, and connect to the mixer's moni-

tor output via a graphic EQ. The aux mon controls of each channel allow you to create a stage monitor

mix that is independent of the main mix. Use the external graphic EQ to adjust the stage monitor EQ as

desired. Headphones are used for monitoring.

A laptop connects to the USB port, and allows the 2-channel main mix of the service to be recorded us-

ing Tracktion software. Two channels of audio can also play from your computer to the main mix.

ProFX8 and ProFX12

DJ System ProFX8

MAIN

RIGHT

(BALANCED)

MAIN

LEFT

USB

(BALANCED)

POWER

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

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

CANADA. OPERATION IS SUBJECT TO THE FOLLOWING TWO CONDITIONS: (1) THIS

DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE, AND (2) THIS DEVICE MUST

ACCEPT ANY INTERFERENCE RECEIVED, INCLUDING INTERFERENCE THAT MAY

CAUSE UNDESIRED OPERATION.

MANUFACTURING DATE

SERIAL NUMBER

WARNING :

TO REDUCE THE RISK OF FIRE OR ELECTRIC

SHOCK, DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR

MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE

PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.

AVIS:

RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR

FUSE: T1.6AL AC250V

~100- 240V 50/60 Hz 20W

PROFESSIONAL MIC/LINE MIXER WITH FX

13 DELAY 1 (300ms)

14 DELAY 2 (380ms)

15 DELAY 3 (480ms)

16 REVERB + DLY (250ms)

8K4K2K1K

500250125

TAPE

ST RETURN MAIN OUT PHONES

FOOTSWITCH

PHONES

TAPE

OUT

(UNBALANCED)

0dB=0dBu

MAIN

METERS

BREAK

(MUTES ALL CHANNELS)

PHANTOM

POWER

STEREO GRAPHIC EQ

FX SEND

MID

2.5kHz

MID

2.5kHz

MID

2.5kHz

MID

2.5kHz

MID

2.5kHz

80Hz

LOW

+15-15

INSERT

LOW CUT

100 Hz

GAIN

U+50

-20dB +30dB

12kHz

PAN

AUX

+15

MON

+15

80Hz

LOW

+15-15

LOW CUT

100 Hz

GAIN

U+50

-20dB +30dB

12kHz

PAN

AUX

+15

MON

+15

80Hz

LOW

+15-15

LINE IN 2 LINE/HI-Z IN 1

INSERT

BAL /

UNBAL

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

LINE IN 3

LINE IN 4

BAL /

UNBAL LINE IN 5

LOW CUT

100 Hz

GAIN

3/4

12kHz

PAN

AUX

+15

MON

+15

80Hz

LOW

+15-15

LOW CUT

100Hz

GAIN

U+50

5/6

12kHz

LEVEL

SET

LEVEL

SET

LEVEL

SET

LEVEL

SET

PAN

AUX

+15

MON

+15

GAIN

MIC MIC MIC MIC

80Hz

LOW

+15-15

+20-20

7/8 ST RTN FX RTN

12kHz

PAN

AUX

+15

MON

+15

FX TO MON

FX MASTER

+15

LINE IN 6

BAL /

UNBAL

LINE IN 7

LINE IN 8

BAL /

UNBAL

BAL /

UNBAL

BAL /

UNBAL

MON SEND

BAL /

UNBAL

BAL /

UNBAL

MUTE

PRESETS

FX PRESETS

OL OL OL OL OL

INPUT LEVEL

USB

+20

TAPE LEVEL

+20

MON MAIN

1 2 3/4 5/6 7/8

USB THRU

LINE

HI-Z

MAIN MIX

MON

EQ IN

BYPASS

01 BRIGHT ROOM

02 WARM LOUNGE

03 SMALL STAGE

04 WARM THEATER

05 WARM HALL

06 CONCERT HALL

07 PLATE REVERB

08 CATHEDRAL

09 CHORUS

10 CHORUS + REV

11 DOUBLER

12 TAPE SLAP

MAX

PROFESSIONAL MIC/LINE MIXER WITH FX

LINE

HI-Z

MUTE MUTE MUTE MUTE MUTE MUTE

48V

Headphones

Effects Processor

Reverb

Compressor

CD Player

Laptop running Tracktion

and DJ software

SR1530z Powered S

eakers

SRM450v2 Powered Monitors

Microphones

iPod

Docking Station

CD Turntable

This diagram shows two microphones attached to channels 1 and 2, a CD player connected to the line-

level inputs of channel 3/4, a CD turntable connected to the line-level inputs of channel 7/8. An iPod

docking station is attached to the stereo tape inputs. An effects processor receives a mono input from the

FX send, and its stereo outputs connect to the stereo return inputs. A reverb and compressor are con-

nected to the insert of channel 1 allowing vocal compression and a touch of reverb.

Mackie SR1530z powered speakers are connected to the left and right main output. Two SRM450v2

powered speakers are set up as stage monitors, and connect to the mixer's monitor output. The aux mon

controls of each channel allow you to create a stage monitor mix that is independent of the main mix.

Switch the internal graphic EQ to adjust the stage monitor EQ if desired. Headphones are used for moni-

toring.

A laptop connects to the USB port, and allows 2-channel output of DJ software to play in your main

mix. It also can be used to record your set on the computer for posterity.

Owner’s Manual

Karaoke System ProFX8

MAIN

RIGHT

(BALANCED)

MAIN

LEFT

USB

(BALANCED)

POWER

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

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

CANADA. OPERATION IS SUBJECT TO THE FOLLOWING TWO CONDITIONS: (1) THIS

DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE, AND (2) THIS DEVICE MUST

ACCEPT ANY INTERFERENCE RECEIVED, INCLUDING INTERFERENCE THAT MAY

CAUSE UNDESIRED OPERATION.

MANUFACTURING DATE

SERIAL NUMBER

WARNING :

TO REDUCE THE RISK OF FIRE OR ELECTRIC

SHOCK, DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR

MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE

PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.

AVIS :

RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR

FUSE: T1.6AL AC250V

~100- 240V 50/60 Hz 20W

PROFESSIONAL MIC/LINE MIXER WITH FX

13 DELAY 1 (300ms)

14 DELAY 2 (380ms)

15 DELAY 3 (480ms)

16 REVERB + DLY (250ms)

8K4K2K1K

500250125

TAPE

ST RETURN MAIN OUT PHONES

FOOTSWITCH

PHONES

TAPE

OUT

(UNBALANCED)

0dB=0dBu

MAIN

METERS

BREAK

(MUTES ALL CHANNELS)

PHANTOM

POWER

STEREO GRAPHIC EQ

FX SEND

MID

2.5kHz

MID

2.5kHz

MID

2.5kHz

MID

2.5kHz

MID

2.5kHz

80Hz

LOW

+15-15

INSERT

LOW CUT

100 Hz

GAIN

U+50

-20dB +30dB

12kHz

PAN

AUX

+15

MON

+15

80Hz

LOW

+15-15

LOW CUT

100 Hz

GAIN

U+50

-20dB +30dB

12kHz

PAN

AUX

+15

MON

+15

80Hz

LOW

+15-15

LINE IN 2 LINE/HI-Z IN 1

INSERT

BAL /

UNBAL

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

LINE IN 3

LINE IN 4

BAL /

UNBAL LINE IN 5

LOW CUT

100 Hz

GAIN

3/4

12kHz

PAN

AUX

+15

MON

+15

80Hz

LOW

+15-15

LOW CUT

100Hz

GAIN

U+50

5/6

12kHz

LEVEL

SET

LEVEL

SET

LEVEL

SET

LEVEL

SET

PAN

AUX

+15

MON

+15

GAIN

MIC MIC MIC MIC

80Hz

LOW

+15-15

+20-20

7/8 ST RTN FX RTN

12kHz

PAN

AUX

+15

MON

+15

FX TO MON

FX MASTER

+15

LINE IN 6

BAL /

UNBAL

LINE IN 7

LINE IN 8

BAL /

UNBAL

BAL /

UNBAL

BAL /

UNBAL

MON SEND

BAL /

UNBAL

BAL /

UNBAL

MUTE

PRESETS

FX PRESETS

OL OL OL OL OL

INPUT LEVEL

USB

+20

TAPE LEVEL

+20

MON MAIN

1 2 3/4 5/6 7/8

USB THRU

LINE

HI-Z

MAIN MIX

MON

EQ IN

BYPASS

01 BRIGHT ROOM

02 WARM LOUNGE

03 SMALL STAGE

04 WARM THEATER

05 WARM HALL

06 CONCERT HALL

07 PLATE REVERB

08 CATHEDRAL

09 CHORUS

10 CHORUS + REV

11 DOUBLER

12 TAPE SLAP

MAX

PROFESSIONAL MIC/LINE MIXER WITH FX

LINE

HI-Z

MUTE MUTE MUTE MUTE MUTE MUTE

48V

SRM350v2 Powered Monitors

Microphones

Headphones

Effects Processor

CD+G Player

TV monitor

Video

Laptop Computer

with Karaoke Softwar

SWA1501

Powered

Subwoofer

SRM450v2

Powered

Speaker

Dual Compressor

This diagram shows microphones attached to channels 1 to 4, and a CD+G player connected to the

line-level inputs of channel 7/8. An effects processor receives a mono input from the FX send, and its

stereo outputs connect to the stereo return inputs. A dual compressor is connected to the insert of channel

1, and 2, allowing vocal compression.

Mackie SRM450v2 powered speakers and SWA1501 powered subwoofers are connected to the left

and right main output. Two SRM450v2 powered speakers are set up as stage monitors, and connect to

the mixer's monitor output. The aux mon controls of each channel allow you to create a stage monitor

mix that is independent of the main mix. Headphones are used for monitoring.

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

the main mix.

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

ProFX8 and ProFX12

Home Studio System ProFX8

MAIN

RIGHT

(BALANCED)

MAIN

LEFT

USB

(BALANCED)

POWER

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

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

CANADA. OPERATION IS SUBJECT TO THE FOLLOWING TWO CONDITIONS: (1) THIS

DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE, AND (2) THIS DEVICE MUST

ACCEPT ANY INTERFERENCE RECEIVED, INCLUDING INTERFERENCE THAT MAY

CAUSE UNDESIRED OPERATION.

MANUFACTURING DATE

SERIAL NUMBER

WARNING:

TO REDUCE THE RISK OF FIRE OR ELECTRIC

SHOCK, DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR

MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE

PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.

AVIS :

RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR

FUSE: T1.6AL AC250V

~100- 240V 50/60 Hz 20W

PROFESSIONAL MIC/LINE MIXER WITH FX

13 DELAY 1 (300ms)

14 DELAY 2 (380ms)

15 DELAY 3 (480ms)

16 REVERB + DLY (250ms)

8K4K2K1K

500250125

TAPE

ST RETURN MAIN OUT PHONES

FOOTSWITCH

PHONES

TAPE

OUT

(UNBALANCED)

0dB=0dBu

MAIN

METERS

BREAK

(MUTES ALL CHANNELS)

PHANTOM

POWER

STEREO GRAPHIC EQ

FX SEND

MID

2.5kHz

MID

2.5kHz

MID

2.5kHz

MID

2.5kHz

MID

2.5kHz

80Hz

LOW

+15-15

INSERT

LOW CUT

100 Hz

GAIN

U+50

-20dB +30dB

12kHz

PAN

AUX

+15

MON

+15

80Hz

LOW

+15-15

LOW CUT

100 Hz

GAIN

U+50

-20dB +30dB

12kHz

PAN

AUX

+15

MON

+15

80Hz

LOW

+15-15

LINE IN 2 LINE/HI-Z IN 1

INSERT

BAL /

UNBAL

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

LINE IN 3

LINE IN 4

BAL /

UNBAL LINE IN 5

LOW CUT

100 Hz

GAIN

3/4

12kHz

PAN

AUX

+15

MON

+15

80Hz

LOW

+15-15

LOW CUT

100Hz

GAIN

U+50

5/6

12kHz

LEVEL

SET

LEVEL

SET

LEVEL

SET

LEVEL

SET

PAN

AUX

+15

MON

+15

GAIN

MIC MIC MIC MIC

80Hz

LOW

+15-15

+20-20

7/8 ST RTN FX RTN

12kHz

PAN

AUX

+15

MON

+15

FX TO MON

FX MASTER

+15

LINE IN 6

BAL /

UNBAL

LINE IN 7

LINE IN 8

BAL /

UNBAL

BAL /

UNBAL

BAL /

UNBAL

MON SEND

BAL /

UNBAL

BAL /

UNBAL

MUTE

PRESETS

FX PRESETS

OL OL OL OL OL

INPUT LEVEL

USB

+20

TAPE LEVEL

+20

MON MAIN

1 2 3/4 5/6 7/8

USB THRU

LINE

HI-Z

MAIN MIX

MON

EQ IN

BYPASS

01 BRIGHT ROOM

02 WARM LOUNGE

03 SMALL STAGE

04 WARM THEATER

05 WARM HALL

06 CONCERT HALL

07 PLATE REVERB

08 CATHEDRAL

09 CHORUS

10 CHORUS + REV

11 DOUBLER

12 TAPE SLAP

MAX

PROFESSIONAL MIC/LINE MIXER WITH FX

LINE

HI-Z

MUTE MUTE MUTE MUTE MUTE MUTE

48V

Desktop

Mac or PC

using Tracktion

Condenser

microphone

for vocals Amplifier

Modeler

Electric

Guitar

Headphones

Headphone Amp

Electronic Drum Kit

Keyboard

MR8 Powered Reference Monitors

press HI-Z

button

Acoustic

Guitar with

pickup

This diagram shows an acoustic guitar connected directly to channel 1 (with hi-z switch pressed in), a

condenser microphone attached to channel 2 mic input, a guitar ampliﬁ er modeler connected to the line-

level inputs of channel 3/4, an electronic drum kit connected to channel 5/6, and a keyboard attached

to channel 7/8.

Mackie MR8 powered reference monitors are connected to the left and right main output, for careful

and accurate monitoring of your performances.

A desktop computer connects to the USB port, and allows the 2-channel main mix to be recorded and

2 channels to be played back using Tracktion software.

Owner’s Manual

Podcast System ProFX8

MAIN

RIGHT

(BALANCED)

MAIN

LEFT

USB

(BALANCED)

POWER

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

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

CANADA. OPERATION IS SUBJECT TO THE FOLLOWING TWO CONDITIONS: (1) THIS

DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE, AND (2) THIS DEVICE MUST

ACCEPT ANY INTERFERENCE RECEIVED, INCLUDING INTERFERENCE THAT MAY

CAUSE UNDESIRED OPERATION.

MANUFACTURING DATE

SERIAL NUMBER

WARNING:

TO REDUCE THE RISK OF FIRE OR ELECTRIC

SHOCK, DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR

MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE

PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.

AVIS:

RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR

FUSE: T1.6AL AC250V

~100- 240V 50/60 Hz 20W

PROFESSIONAL MIC/LINE MIXER WITH FX

13 DELAY 1 (300ms)

14 DELAY 2 (380ms)

15 DELAY 3 (480ms)

16 REVERB + DLY (250ms)

8K4K2K1K

500250125

TAPE

ST RETURN MAIN OUT PHONES

FOOTSWITCH

PHONES

TAPE

OUT

(UNBALANCED)

0dB=0dBu

MAIN

METERS

BREAK

(MUTES ALL CHANNELS)

PHANTOM

POWER

STEREO GRAPHIC EQ

FX SEND

MID

2.5kHz

MID

2.5kHz

MID

2.5kHz

MID

2.5kHz

MID

2.5kHz

80Hz

LOW

+15-15

INSERT

LOW CUT

100 Hz

GAIN

U+50

-20dB +30dB

12kHz

PAN

AUX

+15

MON

+15

80Hz

LOW

+15-15

LOW CUT

100 Hz

GAIN

U+50

-20dB +30dB

12kHz

PAN

AUX

+15

MON

+15

80Hz

LOW

+15-15

LINE IN 2 LINE/HI-Z IN 1

INSERT

BAL /

UNBAL

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

LINE IN 3

LINE IN 4

BAL /

UNBAL LINE IN 5

LOW CUT

100 Hz

GAIN

3/4

12kHz

PAN

AUX

+15

MON

+15

80Hz

LOW

+15-15

LOW CUT

100Hz

GAIN

U+50

5/6

12kHz

LEVEL

SET

LEVEL

SET

LEVEL

SET

LEVEL

SET

PAN

AUX

+15

MON

+15

GAIN

MIC MIC MIC MIC

80Hz

LOW

+15-15

+20-20

7/8 ST RTN FX RTN

12kHz

PAN

AUX

+15

MON

+15

FX TO MON

FX MASTER

+15

LINE IN 6

BAL /

UNBAL

LINE IN 7

LINE IN 8

BAL /

UNBAL

BAL /

UNBAL

BAL /

UNBAL

MON SEND

BAL /

UNBAL

BAL /

UNBAL

MUTE

PRESETS

FX PRESETS

OL OL OL OL OL

INPUT LEVEL

USB

+20

TAPE LEVEL

+20

MON MAIN

1 2 3/4 5/6 7/8

USB THRU

LINE

HI-Z

MAIN MIX

MON

EQ IN

BYPASS

01 BRIGHT ROOM

02 WARM LOUNGE

03 SMALL STAGE

04 WARM THEATER

05 WARM HALL

06 CONCERT HALL

07 PLATE REVERB

08 CATHEDRAL

09 CHORUS

10 CHORUS + REV

11 DOUBLER

12 TAPE SLAP

MAX

PROFESSIONAL MIC/LINE MIXER WITH FX

LINE

HI-Z

MUTE MUTE MUTE MUTE MUTE MUTE

48V

Microphones

Headphones

Laptop Computer

with Tracktion

Keyboard workstation

Effects/ Sampler

MR5 Powered Reference Monitors

CD Turntable

This diagram shows microphones attached to channel 1 and 2 mic inputs, a keyboard workstation

attached to channel 3/4's line-level inputs, and a CD turntable connected to channel 5/6's line-level

inputs. An effects/sampler receives a mono input from the FX send, and its stereo outputs connect to the

stereo return inputs.

Mackie MR5 powered reference monitors are connected to the left and right main output, for careful

and accurate monitoring of your work.

A desktop computer connects to the USB port, and allows the 2-channel main mix to be recorded and

2 channels played back using Tracktion software.

ProFX8 and ProFX12

Rear Panel Features

1. POWER CONNECTION

This is a standard 3-prong IEC AC power connector.

Securely connect the supplied detachable linecord in

here, and plug the other end into an AC outlet. The

mixer has a universal power supply that can accept any

AC voltage ranging from 100 VAC to 240 VAC. No need

for voltage select switches or step-up or step-down

transformers, it will work virtually anywhere in the

world. It is less susceptible to voltage sags or spikes

than conventional power supplies, and provides greater

electromagnetic isolation and better protection against

AC line noise.

2. FUSE

The ProFX mixer is fused for your (and its own)

protection. If you suspect a blown fuse, disconnect the

power cord, pull this fuse drawer out and replace the

fuse with exactly the same type and rating.

If two fuses blow in a row, something is very

wrong, and you must stop using the mixer.

Please call our toll-free number 1-800-898-

3211 from within the U.S. (or call the distributor in your

country) and ﬁ nd out what to do.

3. POWER SWITCH

Press the top of this rocker switch to turn on the

mixer. The front panel power LED [33] will glow with

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

plugged into a suitable live AC mains supply.

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

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

As a general guide, you should turn on your

mixer ﬁ rst, before any external power ampli-

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

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

off thumps in your speakers.

MAIN

RIGHT

(BALANCED)

MAIN

LEFT

USB

(BALANCED)

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

POWER

ON PROFESSIONAL MIC/LINE MIXER WITH FX

FUSE: T1.6AL AC250V

~100-240V 50/60 Hz 25W

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

CANADA. OPERATION IS SUBJECT TO THE FOLLOWING TWO CONDITIONS: (1) THIS

DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE, AND (2) THIS DEVICE MUST

ACCEPT ANY INTERFERENCE RECEIVED, INCLUDING INTERFERENCE THAT MAY

CAUSE UNDESIRED OPERATION.

MANUFACTURING DATE

SERIAL NUMBER

WARNING:

TO REDUCE THE RISK OF FIRE OR ELECTRIC

SHOCK, DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR

MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE

PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.

AVIS:

RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR

4. XLR MAIN OUTS

These XLR connectors provide stereo line-level sig-

nals from the main mix. Connect these to the balanced

inputs of the powered speakers, or the power ampliﬁ er

powering your main speakers.

The main mix is the sum of all active channels cur-

rently playing, including any 2-channel USB input from

your computer. How much of a channel that is heard

in the main mix, is determined by that channel’s fader

[31].

The XLR outputs are 6 dB higher output than

the 1/4" TRS main outputs [15]. Balanced

connections offer better immunity to external

noise (speciﬁ cally, hum and buzz) than unbalanced

connections. Because of this, it is the preferred inter-

connect method, especially where very long lengths of

cable are being used.

5. USB PORT

The USB serial I/O interface allows you to transfer

digital audio to and from your computer.

The interface provides two audio outputs to your

computer:

• Main mix output, left and right. These output

signals are independent of any adjustments

made to the main fader [48] and graphic EQ

[37]. This allows you to easily record your live

performance directly to your laptop.

• The USB thru switch [41] allows you to also

include the output from your computer in your

recording. See page 23 for more details of this

switch.

The USB interface also lets you use your computer to

playback two channels into the mixer:

• Left and right signals from your computer are

added to the main mix. The USB input level

control [40] allows you to adjust the level of

the incoming audio from your computer being

added to the main mix.

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

also check out the block diagram on page 31.

4 5

Owner’s Manual

Front Panel Features

Connection Section

This is where you plug things in: microphones, line-

level instruments and effects, headphones, and the

ultimate destination for your sound: PA system, stage

monitors, effects processors, CD player/recorder, etc.

See Appendix B for further details and drawings of

the connectors you can use with the ProFX mixer.

6. MIC INPUTS

We use phantom-powered, balanced microphone

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

the same reason: This kind of circuit is excellent at re-

jecting hum and noise. You can plug in almost any kind

of mic that has a standard XLR male mic connector.

Professional ribbon, dynamic, and condenser mics will

all sound excellent through these inputs. The ProFX

mixer’s mic inputs will handle any kind of mic level

you can toss at them, without overloading. Be sure to

perform the gain-setting procedure on page 3.

PHANTOM POWER

Most modern professional condenser mics require

phantom power, which lets the mixer send low-cur-

rent DC voltage to the mic’s electronics through the

same wires that carry audio. (Semi-pro condenser mics

often have batteries to accomplish the same thing.)

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

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

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

it anyway.

The ProFX mixer’s phantom power is globally

controlled by the phantom power switch [32]. (This

means that phantom power for all the mic inputs is

turned on and off together.)

Never plug single-ended (unbalanced) micro-

phones, or ribbon microphones into the mic

input jacks if phantom power is on. Do not

plug instrument outputs into the mic input jacks with

phantom power on unless you know for certain it is safe

to do so.

7. LINE/HI-Z SWITCH

To connect a guitar directly to the mixer without us-

ing a DI Box, press this switch in ﬁ rst, then connect the

output from your guitar to channel 1's 1⁄4" TRS input

[8]. The input impedance is then optimized for direct

connection, and high-frequency ﬁ delity is assured.

In the out position, channel 1's 1⁄4" TRS input be-

comes a line input just like the other mono line inputs

[9].

To use guitars or other instruments on other chan-

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

Without the DI box, (or if this switch is not pressed in)

guitars may sound dull and muddy.

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

This 1/4" jack shares circuitry (but not phantom

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

anced or unbalanced sources.

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

Tip-Ring-Sleeve (TRS) plug.

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

mono (TS) phone plug or instrument cable.

This line-level input can also accept instrument-level

signals if the hi-z switch [7] is pressed in. This allows

you to connect guitars directly into channel 1 without

the need for a DI box.

TAPE

ST RETURN MAIN OUT PHONES

FOOTSWITCH

TAP E

OUT

(UNBALANCED)

FX SEND

LINE IN 4

INSERT

BAL /

UNBAL

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

LINE IN 7

LINE IN 8

BAL /

UNBAL LINE IN 9

MIC MIC MIC MIC MIC MIC

(MONO)

LINE IN 5

LINE IN 6

BAL /

UNBAL

LINE IN 10

BAL /

UNBAL

LINE IN 11

LINE IN 12

BAL /

UNBAL

BAL /

UNBAL

BAL /

UNBAL

MON SEND

BAL /

UNBAL

BAL /

UNBAL

LINE IN 3

INSERT

BAL /

UNBAL

LINE IN 2

INSERT

BAL /

UNBAL

BAL /

UNBAL

LINE/HI-Z IN 1

INSERT

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

LINE

HI-Z

PROFESSIONAL MIC/LINE MIXER WITH FX

9 9 9 10 10 10

11 11 11 10

ProFX8 and ProFX12

The insert point is after the gain control [20], level

set LED [21], and low cut switch [22], but before the

channel EQ [23-25] and fader [31]. The channel signal

can go out of the insert jack to an external device, be

processed (or whatever) and come back in on the same

insert jack. To do this requires a special insert cable

that must be wired thusly:

Tip = send (output to effects device)

Ring = return (input from effects device)

Sleeve = common ground

Insert jacks can be used as channel direct outputs;

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

page 28 (ﬁ gure F) showing three ways to use insert con-

nections.

12. STEREO RETURN

This is where you connect the outputs of your parallel

effects devices (or extra audio sources). The circuits

will handle stereo or mono, balanced or unbalanced sig-

nals. They can be used with just about any pro or semi-

pro effects device or line-level source on the market.

The signals coming into these inputs can be adjusted

using the stereo return [45] fader before passing onto

the main mix bus (see page 23). Signals coming in here

can also be quickly muted with the mute switch [44],

and the OL LED [43] will show you if your incoming

signal is too high.

Stereo Device: If you have a stereo parallel effects

device (two cords), use stereo return left and right.

Mono Device: If you have an effects device with a

mono output (one cord), plug that into the stereo

return left/mono, and leave the right unplugged. The

signal will be sent to both sides, magically appearing in

the center as a mono signal.

9. MONO LINE INPUTS

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.

If you have a stereo source, and the stereo

and hybrid channels are in use, you can use

two mono channels. Traditionally, an odd-

numbered channel receives the left signal. For

example, you could feed the ProFX mixer a stereo signal

by inserting the device’s left output plug into the chan-

nel 1 jack (pan fully left), and its right output plug into

the channel 2 jack (pan fully right).

10. STEREO LINE INPUTS

These 1/4" jacks can be driven by stereo or mono,

balanced or unbalanced sources. They can be used with

just about any professional or semi-pro instrument, ef-

fect or tape player.

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

Tip-Ring-Sleeve (TRS) plug.

To connect unbalanced lines to these inputs, use a

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

If you just have a mono source, plug it into the left

input (labeled mono), and the signal will appear (as if

by magic) equally on the left and right of the main mix.

11. CHANNEL INSERT

These unbalanced 1/4" jacks are for connecting serial

effects processors such as compressors, equalizers, de-

essers, or ﬁ lters.

We’ve included inserts for just the mono channels. If

you want to use this kind of processing on other chan-

nels, simply patch through the processor before you plug

into the ProFX mixer.

TAPE

ST RETURN MAIN OUT PHONES

FOOTSWITCH

TAP E

OUT

(UNBALANCED)

FX SEND

LINE IN 4

INSERT

BAL /

UNBAL

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

LINE IN 7

LINE IN 8

BAL /

UNBAL LINE IN 9

MIC MIC MIC MIC MIC MIC

(MONO)

LINE IN 5

LINE IN 6

BAL /

UNBAL

LINE IN 10

BAL /

UNBAL

LINE IN 11

LINE IN 12

BAL /

UNBAL

BAL /

UNBAL

BAL /

UNBAL

MON SEND

BAL /

UNBAL

BAL /

UNBAL

LINE IN 3

INSERT

BAL /

UNBAL

LINE IN 2

INSERT

BAL /

UNBAL

BAL /

UNBAL

LINE/HI-Z IN 1

INSERT

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

LINE

HI-Z

PROFESSIONAL MIC/LINE MIXER WITH FX

9 9 9 10 10 10

11 11 11 10 12 13 15 16

6 6 6 6 6 18 19

“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)

Owner’s Manual

13. MON SEND

Stage monitors allow the talented musicians in your

band to hear themselves clearly on stage, and this can

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

fully adjusted in level using the aux mon controls [26].

These tap a portion of each channel's signal to provide

a 1/4" TRS output here to feed external stage monitors.

These could either be passive stage monitors powered

by an external ampliﬁ er, or powered stage monitors with

their own ampliﬁ er built in.

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

nels whose aux mon control is set to more than mini-

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

turn up their channel's aux mon control, and turn down

Keith's.

The overall output level can be adjusted with the

monitor fader [47] and its EQ tweaked with the graphic

EQ [37] if the main mix/mon switch [38] is pressed in.

Alternatively, you could add an external graphic EQ be-

tween this output and your powered monitors. This will

allow you to adjust the EQ, and minimize the chance of

feedback from nearby microphones.

The monitor output is not affected by the main fader

[48], or the channel faders [31]. This allows you to set

up the monitor mix and level just right, and not have it

change when a channel fader or the main mix fader is

adjusted. This is known as "pre-fader."

14. FX SEND

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

external effects processor (FX), such as a nice sound ef-

fect, or delay unit. The output from this jack is an exact

copy of what goes into the internal FX processor, being

the careful mix of all channels whose aux FX control

[14] is turned more than minimum.

(The processed output of the internal FX does not

come out of this output, but is added internally to the

main mix or monitor mix.)

The overall output level can be adjusted with the FX

master knob [52]. (This knob also effects the level go-

ing into the internal FX.)

The output is "post-fader," so any changes to the chan-

nel faders [31] will also affect the level going to the

external processor.

The processed output from the effects processor is

usually returned to the stereo returns [12] or a spare

channel, and you can carefully mix the original unpro-

cessed channel (dry) and the processed channel (wet).

Altering the original channel fader increases both the

wet and dry signals and keeps them at the same delicate

ratio. (For example, the reverb remains at the same

level relative to the original.)

15. 1⁄4" MAIN OUTS

These outputs feed the main mix out into the waiting

world. You can feed your ampliﬁ ers this way, or through

the XLR main outputs [4].

To use these outputs to drive balanced inputs, con-

nect 1⁄4" TRS (Tip–Ring–Sleeve) phone plugs like this:

Tip = + (hot)

Ring = –(cold)

Sleeve = Ground

To use these outputs to drive unbalanced inputs, con-

nect 1⁄4" TS (Tip-Sleeve) phone plugs like this:

Tip = + (hot)

Sleeve = Ground

16. FX FOOTSWITCH

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

your favorite footswitch. This will allow you to easily

mute or un-mute the internal effects, while stamping

your foot and looking like you were mad about some-

thing. Any one-button on/off footswitch will work.

If the internal effects have already been muted with

the internal FX mute switch [51] then the footswitch

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

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

17. PHONES

This 1/4" TRS stereo jack will drive any standard head-

phone to very loud levels. The wiring follows standard

conventions:

Tip = Left channel

Ring = Right channel

Sleeve = Common ground

The headphones output is the stereo main mix, not

affected by the main fader [48], or the graphic EQ [37].

Warning: when we say the headphone out-

put is loud, we’re not kidding. It can cause

permanent ear damage. Even intermediate

levels may be painfully loud with some earphones. Be

careful! Always turn the phones level control [42] all

the way down before connecting headphones, adding

new sources, or making any other changes. Keep it down

until you’ve put the phones on. Then turn it up slowly.

ProFX8 and ProFX12

18. TAPE INPUT

These stereo unbalanced RCA inputs are designed to

work with semipro as well as pro player/recorders. You

can also connect any standard source with an unbal-

anced line-level output, such as a CD or DVD player,

iPod dock, and so on.

Connect your source’s line-level outputs here, using

good quality hi-ﬁ (RCA) cables.

You can use these with a tape or CD player to feed

music to a PA system between sets, when the break

switch [35] is engaged. The level coming into the mixer

can be adjusted with the tape level knob [36]. For ex-

ample, you could press the break switch to mute all the

other channels at once, then play your tape or CD player

and bring up its level slowly.

19. TAPE OUTPUTS

These stereo unbalanced RCA outputs allow you to

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

recorder, automatic CD burner, or a computer, etc. This

allows you to make a recording for posterity/archive/

legal purposes whenever the band gets back together

again.

The tape output is the stereo main mix, not affected

by the main fader [48], or the graphic EQ [37].

TAPE

ST RETURN MAIN OUT PHONES

FOOTSWITCH

TAP E

OUT

(UNBALANCED)

FX SEND

LINE IN 4

INSERT

BAL /

UNBAL

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

LINE IN 7

LINE IN 8

BAL /

UNBAL LINE IN 9

MIC MIC MIC MIC MIC MIC

(MONO)

LINE IN 5

LINE IN 6

BAL /

UNBAL

LINE IN 10

BAL /

UNBAL

LINE IN 11

LINE IN 12

BAL /

UNBAL

BAL /

UNBAL

BAL /

UNBAL

MON SEND

BAL /

UNBAL

BAL /

UNBAL

LINE IN 3

INSERT

BAL /

UNBAL

LINE IN 2

INSERT

BAL /

UNBAL

BAL /

UNBAL

LINE/HI-Z IN 1

INSERT

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

LINE

HI-Z

PROFESSIONAL MIC/LINE MIXER WITH FX

18 19

Owner’s Manual

Channel Controls

The vertical channel strips look very similar, with only

a few differences between them. Each channel works

independently, and just controls the signals plugged into

the inputs directly above it. There are three different

ﬂ avors of channel strip: Mono, Hybrid, and Stereo.

Mono Channels (1–4 on ProFX12)

(1, 2 on ProFX8)

• The mono channel controls affect both the

mono mic input and the mono line-level input.

• The gain knob adjusts both mic and line inputs.

• Each mono channel has an insert jack and low

cut switch.

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

a guitar directly.

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

and peaking mid EQ.

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

(3/4, 5/6 on ProFX8)

• Except for gain and low cut, these controls

affect the mono mic input and the stereo line-

level input.

• The gain knob adjusts the mic input only. (The

stereo line inputs are ﬁ xed at unity gain.)

• The low cut switch only affects the mic input.

• The mono mic input is split equally to the left

and right.

• The hybrid channel EQ is a 3-band design just

like the mono channel EQ.

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

(7/8 on ProFX8)

• These controls affect the stereo line-level

inputs.

• The gain knob adjusts the left and right line

inputs equally. There is no level set LED or low

cut switch.

• The stereo channel EQ is a 3-band design just

like the mono channel EQ.

“U” LIKE UNITY GAIN

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

control. This “U” stands for “unity gain,” meaning no

change in signal level (0 dB gain). Once you have ad-

justed the input signal with the gain control, you can set

every control at “U” and your signals will travel through

the mixer at optimal levels. What’s more, all the labels

on our level controls are measured in decibels (dB), so

you’ll know what you’re doing level-wise if you choose to

change a control’s settings.

TAPE

OUT

(UNBALANCED)

MID

2.5kHz

MID

2.5kHz

MID

2.5kHz

MID

2.5kHz

MID

2.5kHz

80Hz

LOW

+15-15

LINE IN 4

INSERT

LOW CUT

100 Hz

GAIN

U+50

-20dB +30dB

12kHz

MID

2.5kHz

80Hz

LOW

+15-15

12kHz

MID

2.5kHz

80Hz

LOW

+15-15

12kHz

MID

2.5kHz

80Hz

LOW

+15-15

12kHz

PAN

AUX

+15

MON

+15

PAN

AUX

+15

MON

+15

PAN

AUX

+15

MON

+15

PAN

AUX

+15

MON

+15

80Hz

LOW

+15-15

LOW CUT

100 Hz

12kHz

PAN

AUX

+15

MON

+15

80Hz

LOW

+15-15

BAL /

UNBAL

(MONO) (MONO) (MONO)

LINE IN 7

LINE IN 8

BAL /

UNBAL LINE IN 9

LOW CUT

100 Hz

GAIN

7/85/6

12kHz

PAN

AUX

+15

MON

+15

80Hz

LOW

+15-15

U+50

GAIN

U+50

9/10

12kHz

LEVEL

SET

LEVEL

SET

LEVEL

SET

LOW CUT

100 Hz

GAIN

U+50

-20dB +30dB

LEVEL

SET

LEVEL

SET

LEVEL

SET

LOW CUT

100 Hz

GAIN

U+50

-20dB +30dB

LOW CUT

100 Hz

GAIN

U+50

-20dB +30dB

PAN

AUX

+15

MON

+15

GAIN

MIC MIC MIC MIC MIC MIC

80Hz

LOW

+15-15

+20-20

GAIN

+20-20

11/12

EQEQEQEQ EQ EQ EQ EQ

12kHz

PAN

AUX

+15

MON

+15

(MONO)

LINE IN 5

LINE IN 6

BAL /

UNBAL

LINE IN 10

BAL /

UNBAL

LINE IN 11

LINE IN 12

BAL /

UNBAL

LINE IN 3

INSERT

BAL /

UNBAL

LINE IN 2

INSERT

BAL /

UNBAL

BAL /

UNBAL

LINE/HI-Z IN 1

INSERT

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

LINE

HI-Z

OL OL OL OL OL OL OL OL

MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE

TAPE

(UNBAL

MID

2.5kHz

MID

2.5kHz

MID

2.5kHz

MID

2.5kHz

MID

2.5kHz

80Hz

LOW

+15-15

INSERT

LOW CUT

100 Hz

GAIN

U+50

-20dB +30dB

12kHz

PAN

AUX

+15

MON

+15

80Hz

LOW

+15-15

LOW CUT

100 Hz

GAIN

U+50

-20dB +30dB

12kHz

PAN

AUX

+15

MON

+15

80Hz

LOW

+15-15

LINE IN 2 LINE/HI-Z IN 1

INSERT

BAL /

UNBAL

(MONO) (MONO) (MONO)

LINE IN 3

LINE IN 4

BAL /

UNBAL LINE IN 5

LOW CUT

100 Hz

GAIN

3/4

12kHz

PAN

AUX

+15

MON

+15

80Hz

LOW

+15-15

LOW CUT

100Hz

GAIN

U+50

5/6

12kHz

LEVEL

SET

LEVEL

SET

LEVEL

SET

LEVEL

SET

PAN

AUX

+15

MON

+15

GAIN

MIC MIC MIC MIC

80Hz

LOW

+15-15

+20-20

7/8

12kHz

PAN

AUX

+15

MON

+15

LINE IN 6

BAL /

UNBAL

LINE IN 7

LINE IN 8

BAL /

UNBAL

OL OL OL OL

1 2 3/4 5/6 7/8

LINE

HI-Z

LINE

HI-Z

MUTE MUTE MUTE MUTE MUTE

MONO HYBRID STEREO

ProFX12

ProFX8

ProFX8 and ProFX12

For hybrid channels (mic input and

stereo line input), the gain control just

affects the microphone input.

For stereo channels (no mic input) the

gain control just affects the line-level

inputs, with 20 dB of gain, and 20 dB of

attenuation. There is no level set LED.

21. LEVEL SET LED

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

the channel preampliﬁ er gain just right for each source.

If you hear distortion on one or more of your channels,

check the level set LEDs are not on continuously, and

turn down the gain if they are.

22. LOW CUT

Each channel with a mic input has a low cut switch

that cuts the bass frequencies below 100 Hz, at a rate

of 18 dB per octave. All mic inputs are affected, and the

line inputs of the mono channels.

We recommend that you use low cut on every micro-

phone application except kick drum, bass guitar, and

bassy synth patches. These aside, there isn’t much down

there that you want to hear, and ﬁ ltering it out makes

the low stuff you do want much more crisp and tasty.

Not only that, low cut can help reduce the possibility

of feedback in live situations and help to conserve the

ampliﬁ er power.

20. GAIN

If you haven’t already, please read the gain-setting

procedure on page 3. The gain adjustment allows all

your various source signals from the outside world to be

adjusted to the same optimal internal operating levels.

Setting the gain correctly will ensure that the pre-

ampliﬁ er’s gain is not too high, where distortion could

occur, and not too low, where your quieter, exquisitely-

delicate passages might be lost in background noise.

For mono channels (mic input with a

mono line input), the gain knob adjusts

the input sensitivity of the mic and line

inputs.

Adjust the gain control so the level set LEDs [21]

come on occasionally during the louder moments of your

playing or singing, and go off when you stop.

If the signal comes through the mic XLR jack, there

will be 0 dB of gain (U for unity) with the knob fully

down, ramping to 50 dB of gain fully up.

Through the 1⁄4" mono input, there is 20 dB of

attenuation fully down and 30 dB of gain fully up,

with a “U” (unity gain) mark at 12:00. This 20 dB of

attenuation can be very handy when you are inserting

a very hot signal, need to add a lot of EQ boost, or both.

Without this “virtual pad,” this scenario might lead to

channel clipping.

MID

2.5kHz

MID

2.5kHz

MID

2.5kHz

MID

2.5kHz

MID

2.5kHz

80Hz

LOW

+15-15

LOW CUT

100 Hz

GAIN

U+50

-20dB +30dB

12kHz

MID

2.5kHz

80Hz

LOW

+15-15

12kHz

MID

2.5kHz

80Hz

LOW

+15-15

12kHz

MID

2.5kHz

80Hz

LOW

+15-15

12kHz

PAN

AUX

+15

MON

+15

PAN

AUX

+15

MON

+15

PAN

AUX

+15

MON

+15

PAN

AUX

+15

MON

+15

80Hz

LOW

+15-15

LOW CUT

100 Hz

12kHz

PAN

AUX

+15

MON

+15

80Hz

LOW

+15-15

LOW CUT

100 Hz

GAIN

7/85/6

12kHz

PAN

AUX

+15

MON

+15

80Hz

LOW

+15-15

U+50

GAIN

U+50

9/10

12kHz

LEVEL

SET

LEVEL

SET

LEVEL

SET

LOW CUT

100 Hz

GAIN

U+50

-20dB +30dB

LEVEL

SET

LEVEL

SET

LEVEL

SET

LOW CUT

100 Hz

GAIN

U+50

-20dB +30dB

LOW CUT

100 Hz

GAIN

U+50

-20dB +30dB

PAN

AUX

+15

MON

+15

GAIN

80Hz

LOW

+15-15

+20-20

GAIN

+20-20

11/12

EQEQEQEQ EQ EQ EQ EQ

12kHz

PAN

AUX

+15

MON

+15

321

OL OL OL OL OL OL OL OL

MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE

20 21

29 30

GAIN

+20-20

GAIN

U+50

LEVEL

SET

LEVEL

SET

GAIN

U+50

-20dB +30dB

Owner’s Manual

Another way to consider low cut’s function is that it

actually adds ﬂ exibility during live performances. With

the addition of low cut, you can safely use low EQ on

vocals. Many times, bass shelving EQ can really ben-

eﬁ t voices. Trouble is, adding low EQ also boosts stage

rumble, mic handling clunks and breath pops. Low cut

removes all these problems so you can add low EQ with-

out losing a woofer out the window.

3-BAND EQ

The ProFX mixer has 3-band equalization at carefully

selected points — low shelving at 80 Hz, mid peaking at

2.5 kHz, and high shelving at 12 kHz. “Shelving” means

that the circuitry boosts or cuts all frequencies past the

speciﬁ ed frequency. For example, rotating the low EQ

knob 15 dB to the right boosts bass starting at 80 Hz and

continuing down to the lowest note you never heard.

“Peaking” means that certain frequencies form a “hill”

around the center frequency — 2.5 kHz in the case of

the mid EQ.

The following graphs of frequency vs. signal level show

the approximate overall effect of EQ adjustment on the

frequency range.

23. HI EQ

This control gives you

up to 15 dB boost or cut

above 12 kHz, and it is ﬂ at

(no boost or cut) at the

detent. Use it to add sizzle

to cymbals, and an overall

sense of transparency, or

edge to keyboards, vocals,

guitar and bacon frying. Turn

it down a little to reduce sibilance, or to hide tape hiss.

24. MID EQ

Short for “midrange,”

this knob provides 15 dB

of boost or cut, centered at

2.5 kHz, also ﬂ at at the cen-

ter detent. Midrange EQ

is often thought of as the

most dynamic, because the

frequencies that deﬁ ne any

particular sound are almost always found in this range.

You can create many interesting and useful EQ changes

by turning this knob down as well as up.

25. LOW EQ

This control gives you up

to 15 dB boost or cut below

80 Hz. The circuit is ﬂ at at

the center detent position.

This frequency represents

the punch in bass drums,

bass guitar, fat synth

patches, and some really

serious male singers.

Used in conjunction with

the low cut [22] switch,

you can boost the low EQ

without injecting a ton of

subsonic debris into the

mix.

MODERATION DURING EQ

With EQ, you can also upset things royally. We’ve de-

signed a lot of boost and cut into each equalizer circuit,

because we know everyone will occasionally need that.

But if you max the EQs on every channel, you’ll get mix

mush. Equalize subtly and use the left sides of the knobs

(cut), as well as the right (boost). Very few gold-record-

album engineers ever use more than about 3 dB of EQ.

If you need more than that, there’s usually a better way

to get it, such as placing a mic differently (or using a

different kind of mic entirely).

26. AUX MON

These knobs tap a portion of each channel's signal

to set up a nice monitor mix feeding stage monitors,

independent of the main mix. Adjust these controls on

each channel until your band is happy with the stage

monitor mix.

The aux mon feed from hybrid and stereo channels is

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

The controls are off when turned fully down, deliver

unity gain at the center detent, and can provide up to 15

dB of gain turned fully up.

The channel fader [31], pan [28], or mute [30] do

not affect the monitor output, but the other channel

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

The monitor signal from the monitor output jack [13]

is the sum (mix) of all the channels whose aux mon

control is set to more than minimum. The overall output

level can be adjusted with the monitor fader [47] and

its EQ tweaked with the graphic EQ [37] if the main

mix/mon switch [38] is pressed in. Internal FX can also

be added to the monitor mix with the FX to mon knob

[54].

20Hz 100Hz 1kHz 10kHz 20kHz

–15

–10

–5

+10

+15

Mid EQ

20Hz 100Hz 1kHz 10kHz 20kHz

–15

–10

–5

+10

+15

100

10k

20k

–15

–10

–5

+10

+15

Low EQ with Low Cut

Low EQ

100

10k

20k

–15

–10

–5

+10

+15

High EQ

ProFX8 and ProFX12

27. AUX FX

These knobs tap a portion of each channel's signal to

set up a nice FX mix feeding the internal FX processor,

and to feed external processors via the FX output [14].

The aux FX feed from hybrid and stereo channels is a

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

The controls are off when turned fully down, deliver

unity gain at the center detent, and can provide up to 15

dB of gain turned fully up.

The channel fader [31], mute [30] and other channel

controls affect the FX output, but pan [28] does not.

The aux FX is post-fader.

The FX signal reaching the internal FX processor

and the FX send output jack, is the sum (mix) of all

the channels whose aux FX control is set to more than

minimum. The overall FX send level can be adjusted

with the FX master knob [52].

The FX signal from the internal FX processor is added

to the main mix using the FX return fader [46], and can

be added to the monitors with the FX to mon knob [54].

28. PAN

These knobs adjust the amount of channel signal sent

to the left versus the right outputs. On mono channels

these controls act as pan pots. On hybrid and stereo

channels, they work like the balance control on a home

stereo. They do not affect the aux mon or FX mixes.

29. OL LED

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

and this may cause distortion due to overloading.

The OL LED comes before the channel fader [31] in

the signal path, so the fader has no effect in your efforts

to turn off the OL LED.

Overloading may occur if the gain [20] is set too high,

so check that the level set LED [21] is not turning on

frequently. Turn down the gain if it is.

Overloading can also occur if the channel EQ [23-25]

is set too high. Check that the EQ settings are moderate.

Use the low cut switches [22] if the overloading is due

to lower unwanted bass thumps and bangs.

30. MUTE

Press this switch in to mute the channel in the main

mix. The aux mon output of the channel is not muted,

but the FX output to the internal FX processor and FX

send jack [14] is.

31. CHANNEL FADER

These faders control the channel’s level, from off, to

unity gain, on up to 10 dB of additional gain. The mono

channels have mono faders, and the hybrid and stereo

channels use stereo faders.

With the gain control [20] set correctly, the faders

should be set around unity gain (U).

MID

2.5kHz

MID

2.5kHz

MID

2.5kHz

MID

2.5kHz

MID

2.5kHz

80Hz

LOW

+15-15

LOW CUT

100 Hz

GAIN

U+50

-20dB +30dB

12kHz

MID

2.5kHz

80Hz

LOW

+15-15

12kHz

MID

2.5kHz

80Hz

LOW

+15-15

12kHz

MID

2.5kHz

80Hz

LOW

+15-15

12kHz

PAN

AUX

+15

MON

+15

PAN

AUX

+15

MON

+15

PAN

AUX

+15

MON

+15

PAN

AUX

+15

MON

+15

80Hz

LOW

+15-15

LOW CUT

100 Hz

12kHz

PAN

AUX

+15

MON

+15

80Hz

LOW

+15-15

LOW CUT

100 Hz

GAIN

7/85/6

12kHz

PAN

AUX

+15

MON

+15

80Hz

LOW

+15-15

U+50

GAIN

U+50

9/10

12kHz

LEVEL

SET

LEVEL

SET

LEVEL

SET

LOW CUT

100 Hz

GAIN

U+50

-20dB +30dB

LEVEL

SET

LEVEL

SET

LEVEL

SET

LOW CUT

100 Hz

GAIN

U+50

-20dB +30dB

LOW CUT

100 Hz

GAIN

U+50

-20dB +30dB

PAN

AUX

+15

MON

+15

GAIN

80Hz

LOW

+15-15

+20-20

GAIN

+20-20

11/12

EQEQEQEQ EQ EQ EQ EQ

12kHz

PAN

AUX

+15

MON

+15

321

OL OL OL OL OL OL OL OL

MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE

20 21

29 30

Owner’s Manual

Master Controls

32. PHANTOM POWER SWITCH

If your microphones need phantom power, press in

this switch to add phantom power to all the XLR mi-

crophone inputs of the mixer. This lets the mixer send

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

the same wires that carry audio. The LED will turn on as

a reminder that phantom power is engaged.

Most modern professional condenser mics require

phantom power. Semi-pro condenser mics often have

batteries to accomplish the same thing. “Phantom” owes

its name to an ability to be “unseen” by dynamic mics

(Shure SM57/SM58, for instance), which don’t need

external power and aren’t affected by it anyway.

Never plug single-ended (unbalanced) micro-

phones, or ribbon microphones into the mic

input jacks if phantom power is on. Do not

plug instrument outputs into the mic input jacks with

phantom power on, unless you know for certain it is safe

to do so.

33. POWER LED

This LED comes on when the mixer is plugged into

the AC mains supply, and the rear panel power switch

[3] is on.

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

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

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

in town are on.

If you suspect the fuse is blown, disconnect

the power cord before removing and inspect-

ing the fuse located below the AC input.

34. METERS

These meters have 2 columns of 12 LEDs each, with

dB markings from –30 to +15, and OL (overload at +20

dBu). They indicate the stereo signal strength of the

main mix after the main fader [48].

Typically, you want to see these meters bouncing

between the “0” and the “+3” LEDs. It is okay if the OL

LEDs light occasionally, but if they light frequently or

continuously, turn down the main fader until they blink

occasionally or not at all.

Remember, audio meters are just tools to help assure

you that your levels are “in the ballpark.” You don’t have

to stare at them (unless you want to).

8K4K2K1K500250125

PHONES

STEREO GRAPHIC EQ

ST RTN FX RTN

+15

FX TO MON

FX MASTER

+15

PRESETS

FX PRESETS

01 BRIGHT ROOM

02 WARM LOUNGE

03 SMALL STAGE

04 WARM THEATER

05 WARM HALL

06 CONCERT HALL

13 DELAY 1 (300ms)

14 DELAY 2 (380ms)

15 DELAY 3 (480ms)

16 REVERB + DLY (250ms)

07 PLATE REVERB

08 CATHEDRAL

09 CHORUS

10 CHORUS + REV

11 DOUBLER

12 TAPE SLAP

MON MAIN

0dB=0dBu

MAIN

METERS

BREAK

(MUTES ALL CHANNELS)

PHANTOM

POWER

+20

TAPE LEVEL

+20

USB THRU

MAX

MAIN MIX

MON

EQ IN

BYPASS

INPUT LEVEL

USB

MUTE

48V

38 39

36425452

45 46 47 48

43 44

ProFX8 and ProFX12

35. BREAK SWITCH

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

all the microphones and line-level inputs when the band

is between sets. This will prevent protestors or rogue

karaoke singers from storming the stage at the interval.

The monitor send [13] and FX send [14] are not af-

fected. Check this switch ﬁ rst, if you are having trouble

with no sound in your system.

You can still play the stereo RCA tape inputs [18] in

the main stereo mix, and play audio coming in from your

computer via the USB inputs. For example, you could

play a soothing CD while the band is off stage.

36. TAPE LEVEL

This allows you to control the input level of signals

entering the tape inputs. It is conveniently close to the

break switch [35] so you can quickly mute all channels

and then bring up your background music when the

band is taking a break.

37. STEREO GRAPHIC EQ

This 7-band graphic equalizer adjusts the main mix

output. It affects the line-level outputs [4, 15], but not

the tape outputs [19], headphones [17], or the USB

output [5]. This EQ can be used for the monitor mix in-

stead of the main mix, if the main mix/mon switch [38]

is engaged. It can also be quickly bypassed using the EQ

in/bypass switch [39].

Each slider allows you to adjust the level of its

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

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

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

The EQ section comes before the main fader [48],

and meters [34]. As with the channel EQ, just take it

easy. There is a large amount of adjustment, and if you

are not careful, you can upset the delicate balance of

nature. Although it may not seem cool to actually turn

down controls, with EQ it is often your best option. Turn

down the offending frequency range, rather than boost

the wanted range. You can use it to reduce the level of

some frequency bands where feedback occurs.

38. MAIN MIX/MON

This switch allows you to choose if the stereo graphic

EQ [37] is used for the stereo left and right main mix,

or if it is used for the monitors. For example, there

maybe times when the graphic EQ can be used wisely

in the monitor mix to reduce feedback in the monitors

from nearby microphones.

39. EQ IN/BYPASS

This switch allows you to quickly engage or disen-

gage the stereo graphic EQ. This can be used for quick

checks of your EQ settings, or to shorten the signal path

if you do not need to use the EQ.

40. USB INPUT LEVEL

This control lets you adjust the signal level of the two

channels coming in from your computer, via the USB

port, relative to the mix of the other channels. Adjust

it carefully to achieve the desired mix with the other

channels.

The USB input from your audio software such as

Tracktion, could be individual instrument tracks, a mix

of tracks, or processed tracks.

8K4K2K1K500250125

PHONES

STEREO GRAPHIC EQ

ST RTN FX RTN

+15

FX TO MON

FX MASTER

+15

PRESETS

FX PRESETS

01 BRIGHT ROOM

02 WARM LOUNGE

03 SMALL STAGE

04 WARM THEATER

05 WARM HALL

06 CONCERT HALL

13 DELAY 1 (300ms)

14 DELAY 2 (380ms)

15 DELAY 3 (480ms)

16 REVERB + DLY (250ms)

07 PLATE REVERB

08 CATHEDRAL

09 CHORUS

10 CHORUS + REV

11 DOUBLER

12 TAPE SLAP

MON MAIN

0dB=0dBu

MAIN

METERS

BREAK

(MUTES ALL CHANNELS)

PHANTOM

POWER

+20

TAPE LEVEL

+20

USB THRU

MAX

MAIN MIX

MON

EQ IN

BYPASS

INPUT LEVEL

USB

MUTE

48V

38 39

36425452

45 46 47 48

43 44

Owner’s Manual

41. USB THRU

In addition to a mix of the other channels, the USB

output to your computer can contain any input from

your computer, if this switch is down. (This switch only

affects the output to your computer, not the headphones

or main mix.)

• If disengaged (out), the USB output to your

computer will just be the main mix. This is a

good position for overdubbing, as any playback

from your computer can be played in your main

speakers and headphones, while you play along

with a guitar and record only the guitar via

USB. This is also good for live recording, as a

safeguard against feedback. Here, the USB level

knob should also be down.

• If pressed in, the USB output to your computer

will be the main mix, including any audio

coming in from your computer. This is a good

position to record live performances where

playback of audio from the computer is also

part of the performance.

42. PHONES LEVEL

This controls the volume of the headphones output

from off to maximum gain.

Warning: The headphone ampliﬁ er is de-

signed to drive any standard headphones to a

very loud level. It can cause permanent hear-

ing damage. Even intermediate levels may be painfully

loud with some headphones. Be careful! Always start

with the phones level control turned all the way down

before connecting headphones or making any connec-

tions. Keep it down until you’ve put on the headphones,

and turn it down ﬁ rst whenever you play a new source or

instrument.

43. OL LED (for stereo return)

This LED will light if the signal coming into the stereo

return inputs [12] is too high, and this may cause dis-

tortion due to overloading.

The OL LED comes before the stereo return fader

[45], so the fader has no effect in your efforts to turn off

the OL LED.

Check your external processor or other device, and

turn down its level until the OL LED does not come on.

44. MUTE (for stereo returns)

Press this switch in to mute the signals coming into

the stereo return inputs [12].

45. STEREO RETURN FADER

Use this fader to lovingly adjust the level of any audio

coming into the stereo return inputs [12] from your

external processors or other equipment. The audio is

added to the main mix, and it can also be muted with

the stereo return mute switch [44].

Typically, this fader can just live at the unity U mark,

and the external device’s output control set at whatever

they call unity gain (check the manual of the effects

unit, CD player, drum machine, or whatever). If that

turns out to be too loud or too quiet, adjust the external

device’s outputs, not the mixer. That way, the mixer’s

faders are easy to relocate at the unity U mark. The

range is off to +10 dB.

46. FX RETURN FADER

Use this fader to gently adjust the level of the stereo

output from the internal FX processor being added to

the main mix. The range is off to +10 dB with unity at U.

47. MONITOR FADER

This fader controls the overall level of the monitor

send signal sent out to your stage monitors.

Adjust it carefully, and check that your band are

happy with the levels. The fader does not affect the

main mix level.

The monitor send signals are off with the fader fully

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

vides 10 dB of additional gain.

48. MAIN FADER

This fader controls the level of the main mix, and

affects the meters [34], and main line-level outputs

[4, 15]. The level adjustment occurs after the stereo

graphic EQ [37] in the signal path.

This gives you ultimate control over your audience.

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

check against overloading, and your good ear on the

levels to make sure your audience is happy.

The control does not affect the monitor send [13],

tape output [19], headphones [17], or USB output [5].

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

the “U” marking is unity gain, and fully up provides 10

dB of additional gain. This additional gain will typically

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

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

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

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

Great Fade-Out.”

ProFX8 and ProFX12

Stereo Effects Processor

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

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

16 presets. It is fed by adjusting the aux FX control [27]

on each channel. The FX master knob [52] adjusts the

overall level entering the FX processor, and the OL LED

[53] shows if the level is too high.

The output from the processor can be added to the

main mix by adjusting the FX return fader [46]. Its

output can also be added to the monitor mix by adjust-

ing the FX to mon [54] knob.

49. PRESET DISPLAY

This display shows the number of the currently

selected effects preset, as shown in the list of presets

silkscreened to the left of the display.

50. PRESET SELECTOR

Rotate this knob to increase or decrease the number

of the preset. It will ﬂ ash in the display [49] until you

press this selector inwards to select the preset.

Scrolling back to the current preset or selecting a new

one will stop the ﬂ ashing.

The available presets are shown in the table on the

next page, and are marked on the panel silkscreen.

(Only one preset can be selected at a time.)

51. INTERNAL FX MUTE and LED

When engaged, the internal effects processor is

muted. Its output will not appear in the main mix or

monitors, and the adjacent LED will come on. The

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 your footswitch.

52. FX MASTER

Use this knob to control the level of the signals going

into the internal effects processor. Adjust it carefully,

with your inner magical eye on the adjacent OL LED

[53] to prevent overloading the effects processor.

Fully down is off, 12 o'clock is unity gain, and fully up

is 15 dB of gain.

It also affects the level going out of the FX send out-

put [14].

53. OL LED

This LED illuminates when the effects processor is

being overloaded with too strong a signal (OL). Turn

down the FX master [52] if it is.

The signals going into the processor are affected by

the channel aux FX controls [27], and the channel fad-

ers [31]. Check the LED if you alter these controls.

54. FX TO MON

This knob allows you to add the output of the internal

FX processor to the stage monitor mix. Fully down is off,

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

8K4K2K1K500250125

PHONES

STEREO GRAPHIC EQ

+15

FX TO MON

FX MASTER

+15

PRESETS

FX PRESETS

01 BRIGHT ROOM

02 WARM LOUNGE

03 SMALL STAGE

04 WARM THEATER

05 WARM HALL

06 CONCERT HALL

13 DELAY 1 (300ms)

14 DELAY 2 (380ms)

15 DELAY 3 (480ms)

16 REVERB + DLY (250ms)

07 PLATE REVERB

08 CATHEDRAL

09 CHORUS

10 CHORUS + REV

11 DOUBLER

12 TAPE SLAP

0dB=0dBu

MAIN

METERS

BREAK

(MUTES ALL CHANNELS)

PHANTOM

POWER

+20

TAPE LEVEL

+20

USB THRU

MAX

MAIN MIX

MON

EQ IN

BYPASS

INPUT LEVEL

USB

MUTE

48V

5452

Owner’s Manual

No. Title Description Example of its use

1 BRIGHT ROOM This room has a bright tone with lots of scattered

reﬂ ections to simulate harder, more reﬂ ective

surfaces.

Useful on vocals that require a brighter re-

verb to cut through the mix, or for giving

acoustic instruments a livelier vibe.

2 WARM LOUNGE This preset features a medium sized room/lounge

sound, with just enough enhancement of the lower

mids to produce a warm tone.

Useful for vocals on songs that require

a larger, more “wet” sound, or for giving

dimension to bright horns without adding

harshness.

3 SMALL STAGE This preset simulates the sound of a small concert

stage, with a medium reverb time and reverberant

space.

Useful for vocals or guitars in fast paced,

high-energy songs that call for a “live”

sounding reverberation.

4 WARM THEATER This reverb has a warm bodied tone and medium

long reverb time to simulate the live acoustics of a

theater space.

Perfect for vocals, drums, acoustic and

electric guitars, keyboards, and more.

5 WARM HALL This reverb simulates the sound of a spacious,

yet cozy, heavily draped and carpeted concert hall

with an especially warm tone.

Perfect for adding natural concert hall

ambience to close-mic’ed orchestral

instruments.

6 CONCERT HALL This hall reverb is characterized by its large, spa-

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

vocals from solos to full-on symphonies

and choirs.

7 PLATE REVERB This preset emulates vintage mechanical rever-

beration that was generated with a metal plate.

Its sound is characterized by lots of early reﬂ ec-

tions and no pre-delay.

Perfect for thickening percussive instru-

ments, such as a snare drum, or tight

vocal arrangements.

8 CATHEDRAL This reverb emulates the extremely long tails,

dense diffusion and long pre-delays and reﬂ ec-

tions that would be found in a very large, stone

walled house of worship.

Gives amazing depth to choirs, wind

instruments, organs, and soft acoustic

guitars.

9 CHORUS This preset provides a soft, ethereal sweeping

effect that is useful for thickening and for making

a particular sound pop out of the mix.

Perfect for enhancement of electric and

acoustic guitar and bass, or to add a dra-

matic effect to vocals, particularly group

harmonies and choirs.

10 CHORUS + REV This preset perfectly combines the chorus effect

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

with the chorus effect while adding

warmth and spaciousness thanks to the

smooth reverb.

11 DOUBLER This effect simulates the sound of a vocal or

instrument being recorded twice (double tracked)

on a multi-track recorder. (50MS)

Provides a vibe that is similar to chorus

without the subtle swirl.

12 TAPE SLAP This effect provides a single, relatively rapid delay

of the original signal, with the added warmth that

vintage tape-based echo units provided. (180 MS)

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

or on guitars for a surf-type tone. Often

used by people whose favorite number is

12.

DELAY 1 (300MS)

DELAY 2 (380MS)

DELAY 3 (480 MS)

These delay presets provide around three repeats

of the original signal. The default delay time for

each preset is shown in ms - the smaller the time,

the faster the delay.

These work best with full, up-beat music

like rock where the delay needs to cut

through the mix.

16 REVERB + DLY

(250MS) This effect combines the warm theater reverb ef-

fect with the echoes of the 3-repeat delay effect. Perfect for thickening vocals while adding

dimension, it can also be used as a spacey

effect on electric guitars.

TABLE OF INTERNAL EFFECTS

ProFX8 and ProFX12

Appendix A: Service Information

If you think your ProFX mixer has a problem, please

check out the following troubleshooting tips and do your

best to 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

• Has the gain been set correctly?

• Is the mute switch on?

• Is the fader turned up?

• Is the channel OL LED on?

• Is the channel EQ set moderately?

• Try unplugging any insert devices.

• Try the same source signal in another channel,

set up exactly like the suspect channel.

Bad Output

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

• Are any OL LEDS on in the channels, main

meters or internal FX?

• If it’s one of the main outs, try unplugging all

the others. For example, if it’s the 1⁄4" left main

out, unplug the RCA and XLR left outputs. If

the problem goes away, its not the mixer.

• If it’s a stereo pair, try switching them around.

For example, if a left output is presumed dead,

switch the left and right cords, at the mixer

end. If the problem switches sides, it’s not the

mixer.

Noise

• Turn the channel gain and faders down, one

by one. If the sound disappears, it’s either that

channel or whatever is plugged into it, so un-

plug whatever that is. If the noise disappears,

it’s from your whatever.

Power

• Unplug the power cord and check the fuse

located in a fuse tray just below the AC power

connector.

Repair

For warranty repair or replacement, refer to the war-

ranty information on page 35.

Non-warranty repair for Mackie products is available

at a factory-authorized service center. To locate your

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

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

for Mackie products living outside the United States can

be obtained through local dealers or distributors.

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

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

and in full accord with the hallowed standards dictated

by the AES (Audio Engineering Society).

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

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

a female XLR jack.

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:

• 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.

They must be separated into a left cord and a

right cord, which are plugged into the two mic

preamps.

Appendix B: Connections

• 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).

• 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

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 (see Figure C). Connect the signal to

the center post and the ground (earth) or shield to the

surrounding “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

ProFX8 and ProFX12

Mackie Stereo Inputs and Returns: Mono,

Stereo, Whatever

Stereo line inputs and stereo returns are a ﬁ ne

example of the Mackie philosophy (which we just made

up) of Maximum Flexibility with Minimum Headache.

The inputs and returns will automatically be mono or

stereo, depending upon how you use the jacks. Here’s

how it works:

A mono signal should be patched into the input or re-

turn jack labeled left (mono). The signal will be routed

to both the left and right sides of the return circuit, and

will show up in the center of the stereo pair of buses it’s

assigned to, or it can be “panned” with the pan control.

A stereo signal, having two plugs, should be patched

into the left (mono) and the right input or return jacks.

A jack switch in the right jack will disable the mono

function, and the signals will show up in stereo.

A mono signal connected to the right jack will show

up in the right bus only. You probably will only want to

use this sophisticated effect for special occasions.

TRS Send/Receive Insert Jacks

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

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

both the mixer output (send) and the mixer input

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

The sleeve is the common ground (earth) for both

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

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

mixer is on the ring.

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 or bus signal

without interrupting normal operation.

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

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

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

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

are tapping from the mixer. That will affect the internal

signal.

“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 E

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 F

Owner’s Manual

Appendix C: Technical Information

Speciﬁ cations

Noise

20 Hz – 20 kHz, 150 Ohm Source Impedance

Equivalent Input Noise

(Mic in to Insert Send out, max gain) -127 dBu

Residual Output Noise

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

-95 dBu

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

-90 dBu

(All outputs, master levels unity, one channel level unity)

-85 dBu

Distortion

20 Hz – 20 kHz

THD+N, SMPTE IMD

(Mic input to Main output) <0.05% @ +4 dBu output

Common Mode Rejection Ratio

1 kHz

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

Frequency Response

20 Hz – 30 kHz

(Mic input to any output, gain at unity) +0 dB/-1 dB

Crosstalk

20 Hz – 20 kHz

Adjacent Inputs -90 dB @ 1 kHz

Inputs to Outputs -90 dB @ 1 kHz

Fader Off -90 dB @ 1 kHz

Mute Switch/Break Switch Mute -90 dB @ 1 kHz

Maximum Levels

All Inputs +22 dBu

Main Mix XLR +28 dBu

All other outputs +22 dBu

Impedances

Mic in 3 kilohms

Channel Insert return 10 kilohms

Ch 1 Instrument Input 1 Megaohm

All other inputs 20 kilohms

Tape out 1.1 kilohms

Phones out 25 ohms

All other outputs 120 ohms

Maximum Voltage Gain (EQ Flat)

Mic Input Channel to

Insert Output 50 dB

Tape Output 60 dB

USB Output 60 dB

¼ Inch Main Output 70 dB

XLR Main Output 76 dB

Monitor Send 75 dB

FX Send 90 dB

Mono Line Input Channel to

Insert Output 30 dB

Tape Output 40 dB

USB Output 40 dB

XLR Main Output 56 dB

Monitor Send 55 dB

FX Send 70 dB

Stereo Line Input Channel to

Tape Output 30 dB

USB Output 30 dB

XLR Main Output 46 dB

Monitor Send 45 dB

FX Send 60 dB

Tape Input to

Tape Output 20 dB

USB Output 20 dB

XLR Main Output 36 dB

USB Input to

Tape Output 20 dB

USB Output 20 dB

XLR Main Output 36 dB

Stereo Return to

Tape Output 10 dB

USB Output 10 dB

XLR Main Output 26 dB

Effects Return to

Tape Output 10 dB

USB Output 10 dB

XLR Main Output 26 dB

Monitor Send 25 dB

Channel EQ

Low Cut 100 Hz, -18 dB/Octave

High Shelving ±15 dB @ 12 kHz

Mid Peaking ±15 dB @ 2.5 kHz

Low Shelving ±15 dB @ 80 Hz

Digital Effects

I/O Mono Input/Stereo Output

Number of Presets 16 Mackie-designed presets

Channel Level Set LED

0 dBu (normal operating level)

Channel OL LED

-1 dB before channel clipping

Measured post EQ, pre fader

ProFX8 and ProFX12

Dimensions

Meters

Main L/R Mix

Two columns of 12 segments each:

OL (+20 dBu), +15, +10, +6, +3, 0 (0 dBu), -2, -4, -7, -10, -20,

and -30

7 Band Graphic EQ

Frequency Centers 125, 250, 500, 1k, 2k, 4k, 8k

Gain ±15 dB

Assignable to Main or Monitor

Bypassable

USB

Format USB 1.1

I/O Stereo Input/Stereo Output

A/D/A 16 Bit, 44.1 kHz/48 kHz

Phantom Power

48 VDC to all Mic channels at once

AC Power Requirements

Voltage Range 100-240 VAC, 50-60 Hz

Power Consumption: 20 Watts (ProFX8)

25 Watts (ProFX12)

Power Connector 3 Pin IEC

Dimensions (H x W x D)

ProFX8 14.05" x 11.41" x 3.58"

(357 mm x 290 mm x 91 mm)

ProFX12 14.05" x 14.6" x 3.58"

(357 mm x 370 mm x 91 mm)

Weight

ProFX8 7.1 lb (3.2 kg)

ProFX12 9.0 lb (4.1 kg)

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.

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

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

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

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

14.05 in/ 357mm

WEIGHT

9.0 lb

4.1 kg

WEIGHT

7.1 lb

3.2 kg

14.6 in/ 370 mm

3.58 in/

91 mm

14.05 in/ 357mm

11.41 in/ 290 mm

3.58 in/

91 mm

Owner’s Manual

Block Diagram

RMain

Phones

Level

Main Fader

Insert

HPF Fader

Pan Left

Right

FX level

Phones

L sum

R sum

Mon (pre)Mon (pre)

3-Band EQ

FX (post)FX (post)

Internal FX

Stereo Return

Main

Fader

100 Hz

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

Mute

Main out

48V

Mono

Channels

2-2 ProFX8

2-4 ProFX12

Mic +

Mic: 0 ~ +50dB

Line: -20 ~ +30dB

Hybrid

Channels

3-6 ProFX8

5-8 ProFX12

3-Band EQ Fader

Pan

to/from

7-Band

GEQ

Line

Gain

OL (Flicker)

Monitor send

Mon Fader

Preset select

Preset

Display

footswitch

FX Mute

active

FX to Main L/R Fader

Global 48v

Switch/LED

to/from

7-Band EQ

Tape Out

Left

Mon

Low Cut In

Mic

Gain

HPF

100 Hz

Mic Gain:

0 ~ +50dB

Stereo

Channels

7-8 ProFX8

9-12 ProFX12

USB

Out

FX send

FX Bypass

Logic

Out L

Out R

FX to Mon

80 2.5K 12K

HIMID

80 2.5K 12K

HIMID

Phantom Power

(To All Mics)

Phantom Power

Phantom

Power

Mute

OL (Flicker)

80 2.5K 12K

HIMID

Line Gain:

-20 ~ +20 dB

OL (Flicker)

Break

switch

Low Cut In

Level Set

Level Set Level

USB Thru

Bypass

switch

7-band Stereo

GEQ Bypass

EQ In

EQ assign

switch

Mon

Mains

Main R

Main L

Mon

Main R

Main L

Mon

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

Right

Main

Meters

USB Input

Tape Input

Level

Mono

Channel

1 ProFX8

1 ProFX12

Mic +

Mic: 0 ~ +50dB

Line: -20 ~ +30dB

Line /

Hi-Z

Gain

Phantom

Power

Line /

Hi-Z

ProFX8 and ProFX12

Appendix D: USB interface

System Requirements

These are the minimum requirements for your com-

puter system to use the mixer's USB interface.

For the PC:

• Windows XP (service pack 2)

• Pentium 4 or Athlon XP processor

• 256 MB RAM

For the Mac:

• OS X (10.4.11 or higher)

• G4 processor

• 256 MB RAM

The internal USB interface will allow the left and

right main mix to be recorded on a Mac or PC computer.

It also allows two channels of audio from the computer

to be added to the main mix.

Plug and Play

No drivers or software installation is required. The

ProFX mixer's USB interface connects directly to the

USB port of your computer.

USB stream from computer

The following table shows the outputs from your com-

puter to the mixer’s USB interface:

The 2-channel digital stream from the computer

enters the mixer through the USB connector and is

converted to analog audio.

The audio level can be adjusted using the USB input

control [40].

Beware of a possible feedback loop, if you are

feeding the main mix back into the mixer.

USB stream to computer

In addition to a mix of channels, the USB output to

your computer can contain audio from your computer, if

the USB thru switch [41] is engaged.

The mains and headphone outputs are not af-

fected by the switch, and always provide a full

mix of channels and any 2-channel audio from

your computer.

The analog audio from the mixer is converted to digi-

tal signals by the USB interface’s A/D converters.

The following table shows the outputs to your com-

puter from the mixer’s USB interface:

Here are two examples of using the USB thru switch:

Studio Overdub – Tracktion playback is coming into

the mixer on USB inputs, and routing through

the mains/phones for you to hear. A guitar

plugged into channel 1 is being recorded via the

USB output, while you listen and play along to

the Tracktion playback. The USB thru switch is

out, so the output to be recorded on the com-

puter contains all playing channels except the

playback from the computer.

Live Performance – Computer playback software

like Ableton Live is being mixed to the mains

with other stereo sources such as synths, sam-

plers, turntables, and CD-DJ players. The USB

thru switch is engaged, so everything will be

fed to the computer for recording the entire set

with Ableton Live.

To From

Computer input 1 Left mix of channels including

any audio from computer

(thru switch in)

Left mix of channels without

audio from computer

(thru switch out)

Computer input 2 Right mix of channels including

any audio from computer

(thru switch in)

Right mix of channels without

audio from computer

(thru switch out)

From To

Computer output 1 Main mix L

Computer output 2 Main mix R

Owner’s Manual

Monitoring

When recording to computer software with a ProFX

mixer, use direct hardware monitoring:

• Listen to the track you are recording directly off

of your mixer, while also listening to previously-

recorded tracks on your DAW software, as they

are fed back into the mixer.

The procedure is as follows:

• Arm the track you wish to record onto, on your

DAW software, such as Tracktion.

• On the track you have just armed, disable input

monitoring (see top of next page), so that

while recording, you do not hear the return

of that track coming from the computer. This

will ensure you do not mix the direct track you

are monitoring, with the duplicate of the track

on the DAW as it is being recorded. You do not

want to hear the direct and DAW track of the

same source simultaneously, as the DAW ver-

sion might be slightly delayed, and the combi-

nation of the two will produce a ﬁ ltered sound.

• Make sure that the DAW’s input meters show

a healthy level, and if it needs to be increased

or decreased, adjust the signal’s channel fader

[31], not the gain knob [20].

• Press record on the DAW and record the track.

Overdubbing

To overdub additional tracks while listening to previ-

ously recorded ones, follow these steps:

• Press Play. The previously recorded track will

now play out of the DAW’s main L-R mix into

the USB input of the mixer.

• Set the level of the USB input level knob [40]

to a level where you can hear the previously

recorded track comfortably.

• Arm a new track in the DAW software, be sure it

has input monitoring disabled (see top of next

page), and record the new track on your DAW.

• While recording the new track, you will hear

the previously recorded tracks coming into

the mixer’s USB input, while you simultane-

ously hear the current track you are recording

directly through the mixer hardware.

• Repeat these steps until you have built up all

the tracks of your recording.

The mixer's built-in USB connection allows overdub

style recording to a Mac or PC digital audio workstation

(DAW) through the USB cable.

Here are some steps showing how to record a ﬁ rst

track, and then record additional tracks while monitor-

ing ones that have already been recorded.

1. Connect to the mixer, the sound source you

wish to record to your audio software, for ex-

ample:

• A microphone for a voice or instrument.

• A line-level source such as an electronic

keyboard.

• An instrument connected directly to the

instrument input 1 (with the hi-z switch

[7] pressed in).

2. Make sure the USB thru switch [41] is not

pressed in. This will ensure that during each

recording pass, the audio software only receives

the track-in-progress as an audio signal, and

not the pre-existing mix from the computer as

well.

3. Set the gain knob [20] at the top of the channel

you are using, to an appropriate level for the

source being recorded, using the level set LED

[21] as a guide. Once the gain has been set, set

the channel fader [31] to unity (U).

The signals going out to your computer are not

affected by the main fader [48] or the head-

phones knob [42].

4. If you are recording an acoustic source through

a microphone, monitor it through headphones,

not through speakers. This will prevent sound

from the speakers from leaking into the micro-

phone. If working in this fashion, turn down

the main fader, and instead turn up the phones

knob for safe listening levels in the head-

phones.

Recording with USB

ProFX8 and ProFX12

In Tracktion, to disable input monitoring for the track

you are recording onto, select the input to the track (it

will be highlighted in red) and disable the end-to-end

function.

You’ll hear existing tracks playing back via the USB

in, and you’ll be monitoring the track you are recording

through the mixer’s headphones or main out. When you

play back the recording, you’ll hear the track you’ve just

overdubbed without unmuting anything.

Other DAWs may show this as a speaker next to the

track record arm button.

Other tips

• If recording with a microphone, turn down the

main fader [48] while recording, and listen

through the headphones instead.

• If recording “direct” sources such as an electric

guitar, you can listen with speakers, as there

is no microphone present to worry about the

speaker’s sound leaking in.

A word about latency

Latency describes the amount of time it takes the

input signal to pass through the system, and reach

the output. When recording a guitar and monitoring

through software, it is the amount of time it takes from

the moment you strike your guitar string, to the mo-

ment you hear it in your headphones. You are used to

this latency being very close to zero; when you play your

guitar through a guitar amp, you hear the signal imme-

diately. So when you are recording and monitoring via

software, you want this latency (delay time) to be as low

as possible.

We would like to set the latency as low as possible, but

the smaller it is, the harder the computer will have to

work. If the latency is very small, the computer needs to

work very hard to quickly transfer the audio in and out.

It may not even be able to keep up, especially if there

are lots of tracks, lots of automation and/or lots of plug-

ins in your work. If this happens, your audio may stop or

“drop out.” Drop outs may also occur if you have a slower

computer or not enough memory.

When recording using the overdub method, it is

important to set the mixer’s latency to it’s lowest oper-

able setting. This means going into the audio interface

property page of your recording program and setting the

latency property to the lowest setting the device and

your system will accept without any drop-outs, distor-

tion or CPU overburdening.

The buffer is an area of computer memory that your

DAW uses to hold audio as it works. The smaller the

buffer, the faster audio gets in and out of your com-

puter, and the lower the latency. The size of the buffer

is measured in samples. The more samples, the higher

the latency time value. This time value varies by sample

rate.

Higher latency settings are ﬁ ne and even necessary

when in live record mode. The same is true for mix-

down mode, especially when you start adding lots of

plug-ins.

The latency will never be zero, but generally we can

lower it enough so its effect cannot be heard.

end-to-end disabled

Tracktion Screen

Owner’s Manual

ProFX8 and ProFX12 Limited Warranty

A. LOUD Technologies Inc. warrants all materials,

workmanship and proper operation of this product for a period

of one year from the original date of purchase. You may

purchase an additional 24-month Extended Warranty (for a

total of 36 months of coverage). Visit our website and follow

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

If any defects are found in the materials or workmanship or

if the product fails to function properly during the applicable

warranty period, LOUD Technologies, at its option, will repair

or replace the product. This warranty applies only to

equipment sold and delivered within the U.S. and

Canada by LOUD Technologies Inc. or its authorized

dealers.

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

or you may mail in the product registration card included with

this manual.

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

products will void this warranty. To obtain repairs or

replacement under warranty, you must have a copy of your

sales receipt from the authorized Mackie dealer where you

purchased the product. It is necessary to establish purchase

date and determine whether your Mackie product is within

the warranty period.

D. To obtain warranty repair or replacement:

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

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

authorization for repair or replacement. Alternately, go

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

com/support), and follow the instructions for reporting

a warranty issue and submitting a request for an advance

replacement.

2. Advance Replacement: Mackie will ship a

replacement unit to you along with an invoice for the

suggested retail price of the replacement unit. You must

return the defective unit immediately to cancel the invoice.

If you do not return the defective unit within 30 days, you

must pay the full amount stated in the invoice to satisfy

your debt.

3. Repair: When you call Mackie Technical Support,

explain the problem and obtain a Service Request Number.

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

have a Service Request Number before you can obtain

factory-authorized service.

• Pack the product in its original shipping carton. Also

include a note explaining exactly how to duplicate the

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

showing, your daytime phone number and return street

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

the Service Request Number. If we cannot duplicate the

problem or establish the starting date of your Limited

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

and parts.

• Ship the product in its original shipping carton, freight

prepaid to the authorized service center. Write the Service

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

address of your closest authorized service center will be

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

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

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

qualiﬁ ed as a warranty repair).

Note: Under the terms of the warranty, you must ship or 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 ONE YEAR

FROM THE DATE OF ORIGINAL PURCHASE FROM AN

AUTHORIZED MACKIE DEALER. UPON EXPIRATION

OF THE APPLICABLE WARRANTY PERIOD, LOUD

TECHNOLOGIES INC. SHALL HAVE NO FURTHER

WARRANTY OBLIGATION OF ANY KIND. LOUD

TECHNOLOGIES INC. SHALL NOT BE LIABLE FOR ANY

INCIDENTAL, SPECIAL, OR CONSEQUENTIAL DAMAGES

THAT MAY RESULT FROM ANY DEFECT IN THE MACKIE

PRODUCT OR ANY WARRANTY CLAIM. Some states do

not allow exclusion or limitation of incidental, special,

or consequential damages or a limitation on how long

warranties last, so some of the above limitations and

exclusions may not apply to you. This warranty provides

speciﬁ c legal rights and you may have other rights which

vary from state to state.

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 ProFX8 User Manual To The 8ef85fa6 8e1f 47c2 892d D064df8edfa6

Navigation menu

Versions of this User Manual:

Views

Navigation