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Manafacture: Mackie File size: 7.86 mb File name: Language of manual:

“ring” tip ring sleeve SEND to processor RETURN from processor (TRS plug) 12. MON SEND Stage monitors allow the talented musicians to hear themselves clearly on stage, and this can often be a good thing. The monitor mix may be carefully adjusted in level using the aux mon controls [25]. These tap a portion of each channel's signal to provide a 1/4" TRS output here to feed external stage monitors. These could either be passive stage monitors powered by an external amplifier, or powered stage monitors with their own amplifier built in. The monitor signal is the sum (mix) of all the channels whose aux mon control is set to more than minimum. If they want “more me, and less Keith,” you should turn up their channel's aux mon control, and turn down Keith's. The overall output level may be adjusted with the monitor fader [46] and its EQ tweaked with the graphic EQ [36] if the main mix/mon switch [37] is pressed in. Alternatively, an external graphic EQ may be added between this output and the powered monitors. This allows you to adjust the EQ and minimize the chance of feedback from nearby microphones. The monitor output is not affected by the main fader [47] or the channel faders [30]. This allows you to set up the monitor mix and level just right, and not have it change when a channel fader or the main mix fader is adjusted. This is known as “pre-fader.” 13. FX SEND This 1/4" TRS line-level output may be used to feed an external effects processor (FX), such as a nice sound effect or delay unit. The output from this jack is an exact copy of what goes into the internal FX processor, being the careful mix of all channels whose aux FX control [26] is turned to more than minimum. (The processed output of the internal FX does not come out of this output, but is added internally to the main mix or monitor mix.) The overall output level may be adjusted with the FX master knob [51]. (This knob also effects the level going into the internal FX.) The output is “post-fader,” so any changes to the channel faders [30] will also affect the level going to the external processor. The processed output from the effects processor is usually returned to the stereo returns [11] or a spare channel where you may carefully mix the original unprocessed channel (dry) and the processed channel (wet). Altering the original channel fader increases both the wet and dry signals and keeps them at the same delicate ratio. (For example, the reverb remains at the same level relative to the original.) 14. 1/4" MAIN OUTS These outputs feed the main mix out into the waiting world. Amplifiers may be fed this way or through the XLR main outputs [3]. To use these outputs to drive balanced inputs, connect 1.4" TRS (Tip–Ring–Sleeve) phone plugs like this: Tip = + (hot) Ring = –(cold) Sleeve = Ground To use these outputs to drive unbalanced inputs, connect 1.4" TS (Tip-Sleeve) phone plugs like this: Tip = + (hot) Sleeve = Ground 15. FX FOOTSWITCH This 1/4" TRS connector is where to connect a footswitch. This will allow you to easily mute or un-mute the internal effects, while stamping your foot and looking like you were mad about something. Any latching one-button on/off footswitch will work. If the internal effects have already been muted with the internal FX mute switch [50], then the footswitch has no effect, but you can still stamp your foot and pout if that helps any. Cultivate that bad-boy image. 16. PHONES This 1.4" TRS stereo jack will drive any standard headphone 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 [47], or the graphic EQ [36]. Warning: When we say the headphone output is loud, we’re not kidding. It can cause permanent ear damage. Even intermediate levels may be painfully loud with some earphones. Be careful! Always turn the phones level control [41] all the way down before connecting headphones, adding new sources, or making any other changes. Keep it down until you’ve put the phones on. Then turn it up slowly. 16 ProFX8 and ProFX12 ProFX8 and ProFX12 17. TAPE INPUT These stereo unbalanced RCA inputs are designed to work with semi-pro as well as pro player/recorders. They may also be connected to any standard source with an unbalanced line-level output, such as a CD or DVD player, iPod, and so on. Connect the source’s line-level outputs here using good quality hi-fi (RCA) cables. These may be used with a tape or CD player to feed music to a PA system between sets when the break switch [34] is engaged. The level coming into the mixer may be adjusted with the tape level knob [35]. For example, press the break switch to mute all channels at once, then play the tape or CD player and bring up its level slowly. 18. TAPE OUTPUT These stereo unbalanced RCA outputs allow you to record the main stereo mix onto a tape deck, hard disk recorder, automatic CD burner, computer, etc. This allows you...

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