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ProFX16 and ProFX22
Professional Mic/Line Mixers with FX and USB I/O
OWNER’S MANUAL
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BAL /UNBAL
BALANCED BALANCED
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IN OUT
FOOTSWITCH
BAL /UNBAL BAL /UNBAL
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BAL /UNBAL BAL /UNBAL TAPE
MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC
MON SEND FX SEND
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PHONES
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15/16 17/18 19/20 21/22 MAIN OUT
BAL /UNBAL BAL /UNBAL BAL
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Important Safety Instructions 1. Read these instructions. 20. NOTE: This equipment has been tested and found to comply with the 2. Keep these instructions. limits for a Class B digital device, pursuant to part 15 of the FCC Rules. These limits are designed to provide reasonable protection against 3. Heed all warnings. harmful interference in a residential installation. This 4. Follow all instructions. equipment generates, uses, and can radiate radio frequency energy 5. Do not use this app
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Read This Page! You probably want to try out your new 3. Be sure that the volume of the input is the mixer right away. Before you do, please same as it would be during normal use, or you read the safety instructions on page 2, may have to readjust the gain in the middle of a then read this page, and the rest later. set. You can listen with headphones if you carefully turn up the channel fader and headphones level a little. Zero the Mixer 4. The mono channel gain affects the mic and the
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Introduction Awesomely unheard of features Powerful on-board FX engine and four USB Recording and Playback individual compressors The ProFX Series Mixers featur e a 2x2 USB r ecording and playback function. This means two signals may be In pursuit of the ultimate Mackie “do-it-all” live recorded simultaneously and a stereo mix returned to sound mixer, we threw in the kitchen sink and packed the mixer for playback. this bad boy with a full set of processors allowing you to travel “rack
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Features How To Use This Manual • Professional 4•Bus live sound mixer with The first pages after the table of contents are the onboard effects and USB I/O hookup diagrams. These show typical setups for your ProFX16 or ProFX22. • Low-noise, high-headroom Mackie mic pr eamps with +50 dB gain range Next is a detailed tour of the entir e mixer. The • Dedicated inline compr ession for critical inputs descriptions are divided into sections, just as your mixer ™ is organized into distinct
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Contents IMPORTANT SAFETY INSTRUCTIONS ........................ 2 STEREO GRAPHIC EQ, MAIN METERS & MORE ..... 20 QUICK START .......................................................... 3 35. 48V PHANTOM POWER Switch ............... 20 INTRODUCTION ...................................................... 4 36. POWER LED ........................................... 20 FEATURES ............................................................... 5 37. STEREO GRAPHIC EQ .............................. 20 TA
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N N N N N N N N N N I I I I I I I I I I A A A A A A A A A A G G G G G G G G G G Hookup Diagrams Footswitch iPod Microphones Docking Station Drums BAL /UNBAL BALANCED BALANCED L Headphones 1 FOOTSWITCH IN OUT BAL /UNBAL BAL /UNBAL R 2 TAPE BAL /UNBAL BAL /UNBAL MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC MON SEND FX SEND L R PHONES 1 2 3 4 5 6 7 8 9/10 11/12 13/14 15/16 MAIN OUT BAL /UNBAL BAL /UNBAL BAL /UNBAL BAL /UNBAL BAL /UNBAL BAL /UNBAL BAL /UNBAL BAL /UNBAL BAL /UNBAL BAL /UNBAL BAL /UNBAL
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N N N N N N N N N N I I I I I I I I I I A A A A A A A A A A G G G G G G G G G G Bass Guitar Condenser microphones Headphones Electric for vocals Guitar Amplifier Modeler Headphone Amp Mono Effects BAL /UNBAL BALANCED BALANCED L 1 FOOTSWITCH IN OUT BAL /UNBAL BAL /UNBAL R 2 TAPE BAL /UNBAL BAL /UNBAL MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC MON SEND FX SEND L R PHONES 1 2 3 4 5 6 7 8 9/10 11/12 13/14 15/16 MAIN OUT BAL /UNBAL BAL /UNBAL BAL /UNBAL BAL /UNBAL BAL /UNBAL BAL /UNBAL BAL /UNBAL BAL /
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ProFX Features – Rear Panel 4 PROFESSIONAL MIC/LINE MIXER WITH FX POWER USB WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE 1 2 AVIS: RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL. 4 3 SERIAL NUMBER REVISION THIS DEVICE COMPLIES WITH PART 15 OF THE FCC RULES FOR THE U.S. AND ICES-003, FOR CANADA. OPERATION IS SUBJECT TO THE FOLLOWING TWO CONDITION
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Round Two Rejects USB output FROM the mixer - recording, etc: In the USB OUT section you may select either the main mix (disengaged) or subgroups 1-2 (engaged) from the conveniently titled USB OUT switch [49]. The USB tap points for the subgroups are pre-fader and signals will show up on the DAW dependent upon how they are panned on the channels. In other words, if subgroups 1 and 2 are used to sub- Smashing Guitar Man mix drums and those drums have a stereo image (e.g. overheads and to
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N N N I I I A A A G G G BAL /UNBAL 1 ProFX Features FOOTSWITCH 5 BAL /UNBAL BAL /UNBAL Front Panel - Connections 2 and Channel Strip MIC MIC MIC MON SEND FX SEND The vertical channel strips look very similar, and XX X X XX / XX XX / XX XX / XX have only a few differences between them. Each BAL /UNBAL BAL /UNBAL BAL /UNBAL BAL /UNBAL BAL /UNBAL channel works independently, and just controls the L L L 6 (MONO) (MONO) (MONO) signals plugged into the inputs directly above them. LINE IN L LI
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N N N I I I A A A G G G BAL /UNBAL Phantom power may be selected by engaging the 1 mixer's phantom [35] switch. FOOTSWITCH Never plug single-ended (unbalanced) 5 BAL /UNBAL BAL /UNBAL microphones, or ribbon mics into the mic 2 input jacks if phantom power is on. Do not MIC MIC MIC plug instrument outputs into the mic XLR input jacks MON SEND FX SEND with phantom power on, unless you are certain it is safe XX X X XX / XX XX / XX XX / XX to do so. BAL /UNBAL BAL /UNBAL BAL /UNBAL BAL
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This 20 dB of attenuation can be very handy when you 8. INSERT are inserting a hot signal, or when you want to add EQ These unbalanced 1/4" jacks ar e for connecting gain, or both. Without this “virtual pad,” ther e is more serial effects processors such as compr essors, chance of channel clipping. equalizers, de-essers, or filters. The insert point is after the gain control [9] and low cut filter [10], 10. LOW CUT Switch but before the channel’s EQ [11-15] and level [23]. Th
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N N N I I I A A A G G G BAL /UNBAL 11. HI EQ 1 +15 The hi EQ provides up to +10 FOOTSWITCH 15 dB of boost or cut above 5 +5 BAL /UNBAL BAL /UNBAL 12 kHz, and it is also flat (no 0 2 boost or cut) at the detent. –5 MIC MIC MIC Use it to add sizzle to cymbals, –10 MON SEND FX SEND –15 an overall sense of 20Hz 100Hz 1kHz 10kHz 20kHz XX X X XX / XX XX / XX XX / XX transparency, or an edge to keyboards, vocals, guitar and BAL /UNBAL BAL /UNBAL BAL /UNBAL BAL /UNBAL BAL /UNBAL bacon frying. Tu
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The pan [18], mute [20] and channel fader [23] do 19. OL LED not affect the monitor output, but the other channel This LED indicates the channel’s signal level after the controls will. The aux mon is pre-fader. gain [9] and EQ controls [11-15], but just before the channel’s level [23]. So even if the level is turned down, The overall output level may be adjusted with the aux you can see if the channel is being overloaded. master mon knobs [42] and monitor 1's EQ tweaked with the graphic
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N N N I I I A A A G G G BAL /UNBAL 22. PFL SOLO Switch 1 When a channel's solo switch is engaged, any existing FOOTSWITCH selection is replaced by the solo signal, appearing at the 5 BAL /UNBAL BAL /UNBAL control room outputs [31], phones [33] and at the left 2 meter [40]. The audible solo levels are then controlled MIC MIC MIC by the control room knob [53]. The solo levels MON SEND FX SEND appearing on the meters are not controlled by the XX X X XX / XX XX / XX XX / XX control room kn
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25. COMPRESSOR +20 Each of the last four mono channels of the ProFX mixer has an in-line compressor circuit with a variable +15 threshold. This is very useful for compression of vocals, and snare drums, for example, so you might consider connecting your vocal and drum mics to these channels, +10 rather than one of the other channels. +5 When the incoming signal exceeds the threshold level set by this knob, the signal level is automatically compressed. This reduces the dynamic range and
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BAL /UNBAL BALANCED BALANCED L 1 28 FOOTSWITCH IN OUT 30 34 26 BAL /UNBAL BAL /UNBAL R 2 27 TAPE BAL /UNBAL BAL /UNBAL MON SEND FX SEND L R 30 33 PHONES XX / XX XX / XX MAIN OUT BAL /UNBAL BAL /UNBAL BAL /UNBAL BAL /UNBAL BAL /UNBAL BAL /UNBAL L L L L 1 3 (MONO) (MONO) (MONO) LINE IN 13 LINE IN 15 29 31 32 R R R R 2 4 LINE IN 14 LINE IN 16 AUX RETURN CR OUT SUB OUT Additional Inputs & Outputs 26. MON SEND 27. FX SEND Stage monitors allow the talented musicians in the This 1/4" TRS line-level o
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28. FX FOOTSWITCH 32. SUB OUT 1-4 This 1/4" TRS connector is wher e to connect your These four 1/4" jacks ar e usually patched to the favorite footswitch. This allows you to easily mute or inputs of a multitrack deck or to secondary amplifiers un-mute the internal effects at will. Any one-button in a complex installation. on/off footswitch will work. 33. PHONES If the internal effects have already been muted with the internal FX mute switch [48], then the footswitch This 1/4" TRS connecto
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PHANTOM POWER 4 PROFESSIONAL MIC/LINE MIXER WITH FX 48V 35 36 STEREO GRAPHIC EQ MAIN METERS 15 15 0dB = 0dBu 37 40 10 10 OL 15 5 5 10 0 0 6 5 5 3 0 10 10 2 15 15 4 7 125 250 500 1K 2K 4K 8K 10 20 MAIN MIX EQ IN MON 1 BYPASS 38 39 30 L R LEVEL SET RUDE SOLO 41 36. POWER LED Stereo Graphic EQ, Main This green LED will illuminate when the mixer is Meters & more! turned on, as a reminder of how on it really is. If it is not on, then it is off, and the mixer becomes a rather nice weight for keep
