Profx8 and Profx12: Professional Mic/Line Mixers With FX and Usb I/O

ProFX8 and ProFX12
Professional Mic/Line Mixers with FX and USB I/O

OWNER’S MANUAL
POWER 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
ON PROFESSIONAL MIC/LINE MIXER WITH FX PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.
AVIS: RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR
SERIAL NUMBER MANUFACTURING DATE
MAIN MAIN
RIGHT LEFT
(BALANCED) (BALANCED)
USB
MIC MIC MIC MIC MIC MIC (UNBALANCED)
L L
TAPE TAPE
IN OUT
R R
PROFESSIONAL MIC/LINE MIXER WITH FX
LINE
HI-Z 1 2 3 4 5/6 7/8 9/10 11/12
(MONO) (MONO) (MONO) (MONO) (MONO)
BAL / BAL / BAL / BAL / BAL /
UNBAL UNBAL UNBAL UNBAL L L L L L UNBAL L
BAL / BAL / BAL / BAL / BAL / BAL /

LINE/HI-Z IN 1 LINE IN 2 LINE IN 3 LINE IN 4 LINE IN 5 LINE IN 7 LINE IN 9 LINE IN 11
UNBAL UNBAL UNBAL UNBAL UNBAL MON SEND UNBAL FOOTSWITCH
BAL /
R R R R R UNBAL R
INSERT INSERT INSERT INSERT LINE IN 6 LINE IN 8 LINE IN 10 LINE IN 12 ST RETURN FX SEND MAIN OUT PHONES
U U U U
STEREO GRAPHIC EQ
C GAIN C GAIN U U
M
IC GAIN
M
IC GAIN
M
IC GAIN
M
IC GAIN MI MI
LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL
SET SET SET SET SET SET 15 15
48V
10 10
U +50 U +50 U +50 U +50 U +50 U +50 -20 +20 -20 +20 PHANTOM
-20dB +30dB -20dB +30dB -20dB +30dB -20dB +30dB 5 5 POWER
GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN
LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT 0 0
100 Hz 100 Hz 100 Hz 100 Hz 100 Hz 100 Hz
5 5
POWER
U EQ U EQ U EQ U EQ U EQ U EQ U EQ U EQ 10 10
HI HI HI HI HI HI HI HI 15 15 MAIN
12kHz 12kHz 12kHz 12kHz 12kHz 12kHz 12kHz 12kHz METERS
125 250 500 1K 2K 4K 8K 0dB=0dBu
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15
U U U U U U U U OL
MAIN MIX EQ IN 15
MID MID MID MID MID MID MID MID MON BYPASS
10
2.5kHz 2.5kHz 2.5kHz 2.5kHz 2.5kHz 2.5kHz 2.5kHz 2.5kHz
6
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15
U U U U U U U U 3
USB 0
LOW LOW LOW LOW LOW LOW LOW LOW FX PRESETS 2
80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz
01 BRIGHT ROOM
4
02 WARM LOUNGE
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 U 7
03 SMALL STAGE
04 WARM THEATER 10
U AUX U AUX U AUX U AUX U AUX U AUX U AUX U AUX 05 WARM HALL
06 CONCERT HALL 20
07 PLATE REVERB 30
MON MON MON MON MON MON MON MON +10
08 CATHEDRAL OO
09 CHORUS INPUT LEVEL L R
OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 10 CHORUS + REV
PRESETS
U U U U U U U U 11 DOUBLER
12 TAPE SLAP
13 DELAY 1 (300ms) MUTE
FX FX FX FX FX FX FX FX 14 DELAY 2 (380ms)
15 DELAY 3 (480ms)
OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 16 REVERB + DLY (250ms) USB THRU BREAK
(MUTES ALL CHANNELS)
PAN PAN PAN PAN PAN PAN PAN PAN U U U
OL
L R L R L R L R L R L R L R L R OO +15 OO +15 OO MAX OO +20

FX MASTER FX TO MON PHONES TAPE LEVEL
MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MON MAIN
OL OL OL OL OL OL OL OL OL
1 2 3 4 5/6 7/8 9/10 11/12 ST RTN FX RTN

dB dB dB dB dB dB dB dB dB dB dB dB
10 10 10 10 10 10 10 10 10 10 10 10
5 5 5 5 5 5 5 5 5 5 5 5
U U U U U U U U U U U U
5 5 5 5 5 5 5 5 5 5 5 5
10 10 10 10 10 10 10 10 10 10 10 10
20 20 20 20 20 20 20 20 20 20 20 20
30 30 30 30 30 30 30 30 30 30 30 30
40 40 40 40 40 40 40 40 40 40 40 40
50 50 50 50 50 50 50 50 50 50 50 50
60 60 60 60 60 60 60 60 60 60 60 60
OO OO OO OO OO OO OO OO OO OO OO OO
Important Safety Instructions
ProFX8 and ProFX12
1. Read these instructions. 19. The MAINS plug or an appliance coupler is used as the disconnect
2. Keep these instructions. device, so the disconnect device shall remain readily operable.
3. Heed all warnings. 20. NOTE: This equipment has been tested and found to comply with
4. Follow all instructions. the limits for a Class B digital device, pursuant to part 15 of the FCC
5. Do not use this apparatus near water. Rules. These limits are designed to provide reasonable protection
6. Clean only with a dry cloth. against harmful interference in a residential installation. This equip-
7. Do not block any ventilation openings. Install in accordance with the ment generates, uses, and can radiate radio frequency energy and, if
manufacturer’s instructions. not installed and used in accordance with the instructions, may cause
8. Do not install near any heat sources such as radiators, heat registers, harmful interference to radio communications. However, there is no
stoves, or other apparatus (including amplifiers) that produce heat. guarantee that interference will not occur in a particular installation. If
9. Do not defeat the safety purpose of the polarized or grounding-type this equipment does cause harmful interference to radio or television
plug. A polarized plug has two blades with one wider than the other. reception, which can be determined by turning the equipment off and
A grounding-type plug has two blades and a third grounding prong. on, the user is encouraged to try to correct the interference by one or
The wide blade or the third prong are provided for your safety. If the more of the following measures:
provided plug does not fit into your outlet, consult an electrician for • Reorient or relocate the receiving antenna.
replacement of the obsolete outlet. • Increase the separation between the equipment and the
10. Do not overload wall outlets and extension cords as this can result in a receiver.
risk of fire or electric shock. • Connect the equipment into an outlet on a circuit different from
11. Protect the power cord from being walked on or pinched particularly at that to which the receiver is connected.
plugs, convenience receptacles, and the point where they exit from the • Consult the dealer or an experienced radio/TV technician for
apparatus. help.
12. Only use attachments/accessories specified by the manufacturer. CAUTION: Changes or modifications to this device not expressly
13. Use only with a cart, PORTABLE CART WARNING approved by LOUD Technologies Inc. could void the user's authority to
stand, tripod, bracket, operate the equipment under FCC rules.
Carts and stands - The
or table specified Component should be used 21. This apparatus does not exceed the Class A/Class B (whichever is
by the manufac-
only with a cart or stand
that is recommended by
applicable) limits for radio noise emissions from digital apparatus as
turer, or sold with the manufacturer.
A Component and cart
set out in the radio interference regulations of the Canadian Department
the apparatus. When combination should be of Communications.
moved with care. Quick
a cart is used, use stops, excessive force, and ATTENTION — Le présent appareil numérique n’émet pas de bruits
uneven surfaces may cause
caution when moving the Component and cart radioélectriques dépassant las limites applicables aux appareils
the cart/apparatus
combination to overturn.
numériques de class A/de class B (selon le cas) prescrites dans le
combination to avoid réglement sur le brouillage radioélectrique édicté par les ministere des
injury from tip-over. communications du Canada.
14. Unplug this apparatus during lightning storms or when unused for long 22. Exposure to extremely high noise levels may cause permanent hearing
periods of time. loss. Individuals vary considerably in susceptibility to noise-induced
15. Refer all servicing to qualified service personnel. Servicing is required hearing loss, but nearly everyone will lose some hearing if exposed to
when the apparatus has been damaged in any way, such as power- sufficiently intense noise for a period of time. The U.S. Government’s
supply cord or plug is damaged, liquid has been spilled or objects have Occupational Safety and Health Administration (OSHA) has specified
fallen into the apparatus, the apparatus has been exposed to rain or the permissible noise level exposures shown in the following chart.
moisture, does not operate normally, or has been dropped. According to OSHA, any exposure in excess of these permissible limits
16. This apparatus shall not be exposed to dripping or splashing, and no could result in some hearing loss. To ensure against potentially danger-
object filled with liquids, such as vases or beer glasses, shall be placed ous exposure to high sound pressure levels, it is recommended that all
on the apparatus. persons exposed to equipment capable of producing high sound pres-
17. This apparatus has been designed with Class-I construction and must sure levels use hearing protectors while the equipment is in operation.
be connected to a mains socket outlet with a protective earthing con- Ear plugs or protectors in the ear canals or over the ears must be worn
nection (the third grounding prong). when operating the equipment in order to prevent permanent hearing
18. This apparatus has been equipped with an all-pole, rocker-style AC loss if exposure is in excess of the limits set forth here:
mains power switch. This switch is located on the rear panel and
should remain readily accessible to the user. Duration, Sound Level Typical Example
per day in dBA, Slow
CAUTION AVIS hours Response
RISK OF ELECTRIC SHOCK. DO NOT OPEN
RISQUE DE CHOC ELECTRIQUE. NE PAS OUVRIR 8 90 Duo in small club
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK DO NOT REMOVE COVER (OR BACK)
NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL
6 92
ATTENTION: POUR EVITER LES RISQUES DE CHOC ELECTRIQUE, NE PAS ENLEVER LE COUVERCLE.
AUCUN ENTRETIEN DE PIECES INTERIEURES PAR L'USAGER. 4 95 Subway Train
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
3 97
2 100 Very loud classical music
The lightning flash with arrowhead symbol within an equilateral triangle is
intended to alert the user to the presence of uninsulated "dangerous 1.5 102
voltage" within the product's enclosure, that may be of sufficient magnitude
to constitute a risk of electric shock to persons. 1 105 Greg screaming at Troy about
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
deadlines
"voltage dangereux" non isolé d'ampleur suffisante pour constituer un risque
d'éléctrocution.
0.5 110
The exclamation point within an equilateral triangle is intended to alert the 0.25 or less 115 Loudest parts at a rock concert
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 WARNING — To reduce the risk of fire or electric shock, do not
expose this apparatus to rain or moisture.
fonctionnement et l'entretien (service) dans le livret d'instruction
accompagnant l'appareil.
2 ProFX8 and ProFX12

Read This Page!
2. For mono channels, adjust the gain control so
Owner’s Manual
the level set LED just comes on occasionally
during the loudest parts of your performance.
You probably want to try out your new The mono channel gain affects the mic and the
mixer right away. Before you do, please line inputs. The hybrid channel gain affects the
read the safety instructions on page 2, mic input only, not the stereo line inputs.
then read this page, and the rest later.
The stereo channel gain adjusts the stereo line
inputs. Adjust as desired, and check the OL
Zero the Mixer LED does not come on during the loudest pas-
sages.
1. Turn down all knobs except the channel EQ and
pan knobs, and set all the faders fully down. 3. Repeat steps 1 to 2 for your other channels.
2. Set all channel EQ knobs, pan knobs, and the
graphic EQ sliders at their center detent. Instant Mixing
3. Set all buttons to the "out" position. 1. To get sound out of the speakers and into a
4. Whistle a popular show tune. 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.
Connections
2. Sing and play. You’re a star! Bring in the other
If you already know how you want to connect the channels, and adjust their faders to make a
mixer, go ahead and connect the inputs and outputs nice mix and generally have fun.
the way you want them. If you just want to get sound
through the mixer, follow these steps: USB
1. Plug signal sources into the mixer, such as: The USB connection allows you to play 2 channels of
• Microphones plugged into the mic inputs. audio from your computer, and to record the main mix
Engage phantom power if your mics need to your computer. See Appendix D on page 32 for details
it. Check the mic's user manual to be sure. of getting started with the USB.
• Line-level sources such as keyboards, drum
machines, or CD players plugged into the Notes
line-level inputs.
For optimum sonic performance, the channel faders
• A guitar plugged into channel 1, with the
and main fader should be set near the “U” (unity gain)
line/hi-z switch pressed in.
markings.
2. Connect cords from the main outs to your pow-
ered speakers or amplifier. Turn down all faders before making connections to
and from your ProFX mixer.
3. Plug in the mixer’s power cord to a live AC
outlet and turn on the mixer. When you shut down your system, turn off your ampli-
4. If you have powered speakers, turn them on. fiers or powered speakers first. When powering up, turn
Otherwise, hook up your passive speakers to them on last. This will prevent the possibility of turn-on
your amp with speaker cables, and turn it on. and turn-off thumps heard in your speakers.
Adjust your powered speaker or amplifier level Save the shipping box! You may need it someday.
controls to however the manufacturer recom-
mends. (This is usually all the way up.)
Please write your serial number here for future
reference (i.e., insurance claims, tech support,
Set the Gain return authorization, make dad proud, etc.)
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. Purchased at:
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- Date of purchase:
fully turn up the channel fader and headphones
level a little.
Part No. SW0713 Rev. C

©2009 LOUD Technologies Inc. All Rights Reserved. Owner’s Manual 3
No electrons were harmed during the production of this PDF.
Introduction
ProFX8 and ProFX12
Thank you for choosing a Mackie professional ProFX • Headphones level control
mixer. It is equipped with our rather lovely microphone • Tape input level control
preamps, an internal FX processor, and a USB port for
• 16 built-in Running Man effects with input
playing and recording 2 channels of audio using a com-
level, OL LED, preset display, FX to monitor
puter. The ProFX8 has 8 channels and the ProFX12 has
level, and footswitchable mute/unmute
12 channels. Apart from this difference, the mixers are
identical and this manual covers both models. • 7-band graphic EQ can be used for main mix, or
monitor mix, or bypassed
At Mackie, we know what it takes to be roadworthy.
• 12-segment stereo output meters on main mix
After all, our mixers have traveled all over the world,
often under the worst of conditions, and we’ve applied • Break switch mutes all channels except tape
what we’ve learned to the mechanical design of our input and USB input
ProFX mixers. • Faders for stereo return, FX return, monitor
and main
Reliability is paramount to sound reinforcement.
That’s why our engineers have subjected our mixers to • USB connection allows 2-channel computer
the most rigorous and fiendish tests imaginable to fine- recording and 2-channel computer playback
tune the design, and extend its limits beyond those of • USB thru switch and input level
ordinary mixers.
How To Use This Manual
Features
The first pages after the table of contents are the
• The ProFX8 mixer has 8 channels (2 mono, 2 hookup diagrams. These show typical setups for fun
hybrid, 1 stereo) times with your ProFX8 or ProFX12 mixer.
• The ProFX12 mixer has 12 channels (4 mono, 2 Next is a detailed tour of the entire mixer. The de-
hybrid, 2 stereo) scriptions are divided into sections, just as your mixer is
• Mono channels have a mic input and a mono organized into distinct zones:
line-level input, with a gain control and level • Rear Panel: The AC input, power switch, XLR
set LED for adjustment of mic and line gain line-level outputs and USB I/O
• Hybrid channels have a mic input and stereo • Connection Section: The upper section, where
line-level inputs, with a gain control and level you connect microphones and guitars etc.
set LED for adjustment of mic gain
• Channel Controls: The channel strips where
• Stereo channels have stereo line-level inputs, you adjust and control each channel
with a gain control to adjust the line gain
• Master Controls: The section on the right, with
• +48V phantom power can be applied to all mics graphic EQ and main level controls
• Tape/CD stereo RCA inputs and outputs • Stereo Effect Processor
• 1/4" TRS insert jacks on mono channels Throughout these sections you’ll find illustrations
• Channel 1 hi-z switch allows direct connection with each feature numbered and described in the
of a guitar or bass without a DI box nearby paragraphs.
• Low cut switch on mono and hybrid channels This icon marks information that is critically
• 3-band EQ on each channel important or unique to the mixer. For your own
• Aux monitor control on each channel good, read them and remember them.
• Aux FX control on each channel This icon will lead you to some explanations of
• Each channel has a pan control, mute switch, features and practical tips. Go ahead and skip
overload (OL) LED, and fader these if you really need to go.
• Stereo return has mute, OL LED and fader Appendix A: Service information.
• XLR and 1/4" TRS main stereo line outputs Appendix B: Connectors.
• 1/4" TRS stereo return Appendix C: Technical information.
• 1/4" TRS FX send and monitor send Appendix D: USB information.
• 1/4" TRS stereo headphones output
Contents
Owner’s Manual
IMPORTANT SAFETY INSTRUCTIONS......................... 2 28. PAN......................................................... 20
READ THIS PAGE!..................................................... 3 29. OL LED..................................................... 20
INTRODUCTION....................................................... 4 30. MUTE..................................................... 20
CONTENTS . ............................................................ 5 31. CHANNEL FADER...................................... 20
HOOKUP DIAGRAMS............................................... 6 MASTER CONTROLS............................................ 21
REAR PANEL FEATURES.......................................... 12 32. PHANTOM POWER SWITCH...................... 21
1. POWER CONNECTION.............................. 12 33. POWER LED.............................................. 21
2. FUSE....................................................... 12 34. METERS.................................................. 21
3. POWER SWITCH...................................... 12 35. BREAK SWITCH ...................................... 22
4. XLR MAIN OUTS .................................... 12 36. TAPE LEVEL ............................................ 22
5. USB PORT . ............................................ 12 37. STEREO GRAPHIC EQ................................ 22
FRONT PANEL FEATURES........................................ 13 38. MAIN MIX/MON...................................... 22
CONNECTION SECTION........................................ 13 39. EQ IN/BYPASS......................................... 22
6. MIC INPUTS............................................ 13 40. USB INPUT LEVEL..................................... 22
7. LINE/HI-Z SWITCH.................................. 13 41. USB THRU.............................................. 23
8. LINE/HI-Z INPUT (CHANNEL 1 ONLY)....... 13 42. PHONES LEVEL........................................ 23
9. MONO LINE INPUTS................................ 14 43. OL LED (FOR STEREO RETURNS)............... 23
10. STEREO LINE INPUTS............................... 14 44. MUTE (FOR STEREO RETURNS)................. 23
11. CHANNEL INSERT.................................... 14 45. STEREO RETURN FADER........................... 23
12. STEREO RETURN..................................... 14 46. FX RETURN FADER.................................. 23
13. MON SEND............................................. 15 47. MONITOR FADER.................................... 23
14. FX SEND................................................. 15 48. MAIN FADER........................................... 23
15. 1⁄4" MAIN OUTS..................................... 15 STEREO EFFECTS PROCESSOR.............................. 24
16. FX FOOTSWITCH..................................... 15 49. PRESET DISPLAY....................................... 24
17. PHONES................................................. 15 50. PRESET SELECTOR..................................... 24
18. TAPE INPUT............................................ 16 51. INTERNAL FX MUTE.................................. 24
19. TAPE OUTPUTS ...................................... 16 52. FX MASTER.............................................. 24
CHANNEL CONTROLS.......................................... 17 53. OL LED.................................................... 24
20. GAIN ..................................................... 18 54. FX TO MON............................................ 24
21. LEVEL SET LED......................................... 18 APPENDIX A: SERVICE INFORMATION..................... 26
22. LOW CUT................................................ 18 APPENDIX B: CONNECTIONS.................................. 27
23. HI EQ...................................................... 19 APPENDIX C: TECHNICAL INFORMATION................. 29
24. MID EQ................................................... 19 APPENDIX D: USB INTERFACE................................. 32
25. LOW EQ.................................................. 19 PROFX8 AND PROFX12 LIMITED WARRANTY......... 35
26. AUX MON................................................ 19
27. AUX FX.................................................... 20
Need help with your new mixer?

• Visit www.mackie.com and click Support to find:
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,
normal business hours, PST).
Owner’s Manual 5
HOOKUP DIAGRAMS
ProFX8 and ProFX12
Electric Bass
Guitar Guitar
Acoustic Microphones
Guitar with
pickup
iPod
Docking Station
Mono Effects
Footswitch Headphones
press HI-Z
button
L L POWER WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC

TAPE TAPE ON PROFESSIONAL MIC/LINE MIXER WITH FX PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.
IN OUT AVIS: RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR
R R
MAIN MAIN
PROFESSIONAL MIC/LINE MIXER WITH FX RIGHT LEFT
LINE
HI-Z 1 2 3 4 5/6 7/8 9/10 11/12 USB
BAL / BAL / BAL / BAL / BAL / ~100-240V 50/60 Hz 25W
UNBAL UNBAL UNBAL UNBAL L L L L L UNBAL L FUSE: T1.6AL AC250V

BAL /
R R R R R UNBAL R
U U U U
STEREO GRAPHIC EQ
C GAIN C GAIN U U
MI
C GAIN
M
IC GAIN
MI
C GAIN
M
IC GAIN MI MI
48V
10 10
U +50 U +50 U +50 U +50 U +50 U +50 -20 +20 -20 +20 PHANTOM
100 Hz 100 Hz 100 Hz 100 Hz 100 Hz 100 Hz
5 5
POWER
125 250 500 1K 2K 4K 8K 0dB=0dBu
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15
U U U U U U U U OL
MAIN MIX EQ IN 15
10
6
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15
U U U U U U U U 3
USB 0
Laptop Computer
01 BRIGHT ROOM
4
02 WARM LOUNGE
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 U 7
03 SMALL STAGE
with Tracktion
04 WARM THEATER 10
06 CONCERT HALL 20
07 PLATE REVERB 30
08 CATHEDRAL OO
Effects Processor for recording

PRESETS
12 TAPE SLAP
Mono in, Stereo out

15 DELAY 3 (480ms)
Drum
OL
Machine L R L R L R L R L R L R L R L R OO
FX MASTER
+15 OO
FX TO MON
+15 OO
PHONES
MAX OO
TAPE LEVEL
+20
1 2 3 4 5/6 7/8 9/10 11/12 ST RTN FX RTN

10 10 10 10 10 10 10 10 10 10 10 10
Monitor EQ
5 5 5 5 5 5 5 5 5 5 5 5
5 5 5 5 5 5 5 5 5 5 5 5
10 10 10 10 10 10 10 10 10 10 10 10
20 20 20 20 20 20 20 20 20 20 20 20
30 30 30 30 30 30 30 30 30 30 30 30
40 40 40 40 40 40 40 40 40 40 40 40
50 50 50 50 50 50 50 50 50 50 50 50
60 60 60 60 60 60 60 60 60 60 60 60
SRM450v2 Powered Monitors SRM450v2 Powered Speakers
Keyboard
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.
Band System ProFX12

Owner’s Manual
Acoustic Guitar
and Mic
Electric
Guitar
Lavalier Microphones
Clip-on Mic
iPod
Docking Station Assistive Listening
System
Headphones
Mono Effects

TAPE TAPE ON PROFESSIONAL MIC/LINE MIXER WITH FX PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.
IN OUT AVIS: RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR
R R
MAIN MAIN
LINE
HI-Z 1 2 3 4 5/6 7/8 9/10 11/12 USB
BAL / BAL / BAL / BAL / BAL / ~100-240V 50/60 Hz 25W
UNBAL UNBAL UNBAL UNBAL L L L L L UNBAL L FUSE: T1.6AL AC250V

BAL /
R R R R R UNBAL R
U U U U
STEREO GRAPHIC EQ
C GAIN C GAIN U U
MI
C GAIN
M
IC GAIN
MI
C GAIN
M
IC GAIN MI MI
48V
10 10
U +50 U +50 U +50 U +50 U +50 U +50 -20 +20 -20 +20 PHANTOM
Laptop
100 Hz 100 Hz 100 Hz 100 Hz 100 Hz 100 Hz
5 5
POWER
HI
12kHz
HI
12kHz
HI
12kHz
HI
12kHz
HI
12kHz
HI
12kHz
HI
12kHz
HI
12kHz
15
125 250 500 1K 2K 4K 8K

15 MAIN
METERS
0dB=0dBu with Tracktion
recording
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15
U U U U U U U U OL
MAIN MIX EQ IN 15
10
the service
6
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15
U U U U U U U U 3
USB 0
01 BRIGHT ROOM
4
02 WARM LOUNGE
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 U 7
03 SMALL STAGE
04 WARM THEATER 10
06 CONCERT HALL 20
Compressor/Limiter
07 PLATE REVERB 30
08 CATHEDRAL OO
Effects Processor
PRESETS
12 TAPE SLAP
Mono in, Stereo out

15 DELAY 3 (480ms)
Dual Compressors
OL

Monitor EQ
1 2 3 4 5/6 7/8 9/10 11/12 ST RTN FX RTN

10 10 10 10 10 10 10 10 10 10 10 10
5 5 5 5 5 5 5 5 5 5 5 5
5 5 5 5 5 5 5 5 5 5 5 5
10 10 10 10 10 10 10 10 10 10 10 10
20 20 20 20 20 20 20 20 20 20 20 20
30 30 30 30 30 30 30 30 30 30 30 30
40 40 40 40 40 40 40 40 40 40 40 40
50 50 50 50 50 50 50 50 50 50 50 50
60 60 60 60 60 60 60 60 60 60 60 60
SRM450v2 Powered Monitors

SR1521z Powered Speakers
Keyboard
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.
House of Worship System ProFX12
Owner’s Manual 7
Microphones
ProFX8 and ProFX12
iPod
CD Player Docking Station
Headphones
MIC MIC MIC MIC (UNBALANCED)

TAPE TAPE ON
PROFESSIONAL MIC/LINE MIXER WITH FX MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE
PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.
IN OUT
R R SERIAL NUMBER MANUFACTURING DATE
MAIN MAIN
LINE
HI-Z 1 2 3/4 5/6 7/8
USB
(MONO) (MONO) (MONO) (MONO)
BAL / BAL /
UNBAL L L L L UNBAL L

LINE/HI-Z IN 1 LINE IN 2 LINE IN 3 LINE IN 5 LINE IN 7
UNBAL UNBAL UNBAL UNBAL MON SEND UNBAL FOOTSWITCH
BAL /
R R R R UNBAL R
INSERT INSERT LINE IN 4 LINE IN 6 LINE IN 8 ST RETURN FX SEND MAIN OUT PHONES
U U
STEREO GRAPHIC EQ
C GAIN C GAIN U
MI
C GAIN
MI
C GAIN MI MI
LEVEL LEVEL LEVEL LEVEL
SET SET SET SET 15 15
48V
10 10
U +50 U +50 U +50 U +50 -20 +20 PHANTOM
-20dB +30dB -20dB +30dB 5 5 POWER
GAIN GAIN GAIN GAIN GAIN
LOW CUT LOW CUT LOW CUT LOW CUT 0 0
100 Hz 100 Hz 100 Hz 100Hz
5 5
POWER
U EQ U EQ U EQ U EQ U EQ 10 10
HI HI HI HI HI 15 15 MAIN
12kHz 12kHz 12kHz 12kHz 12kHz
125 250 500 1K 2K 4K 8K
METERS
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 0dB=0dBu
U U U U U
OL
MAIN MIX EQ IN
MON BYPASS 15
MID MID MID MID MID
2.5kHz 2.5kHz 2.5kHz 2.5kHz 2.5kHz 10
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 6
U U U U U 3
USB 0
LOW LOW LOW LOW LOW FX PRESETS
80Hz 80Hz 80Hz 80Hz 80Hz 2
Laptop running Tracktion

01 BRIGHT ROOM
02 WARM LOUNGE 4
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 U
03 SMALL STAGE 7
04 WARM THEATER
U AUX U AUX U AUX U AUX U AUX 05 WARM HALL 10
and DJ software
06 CONCERT HALL 20
07 PLATE REVERB
MON MON MON MON MON +10 30
08 CATHEDRAL OO
OO +15 OO +15 OO +15 OO +15 OO +15 10 CHORUS + REV
PRESETS
U U U U U 11 DOUBLER
12 TAPE SLAP
FX FX FX FX FX 14 DELAY 2 (380ms)
15 DELAY 3 (480ms)
OO +15 OO +15 OO +15 OO +15 OO +15 16 REVERB + DLY (250ms) USB THRU BREAK
PAN PAN PAN PAN PAN U U U
OL
L R L R L R L R L R OO +15 OO +15 OO MAX OO +20

OL
MUTE
OL
MUTE
OL
MUTE
OL
MUTE
OL
MUTE
OL
MUTE MON MAIN
1 2 3/4 5/6 7/8 ST RTN FX RTN
dB dB dB dB dB dB dB dB
10 10 10 10 10 10 10 10
5 5 5 5 5 5 5 5 5
CD Turntable
U U U U U U U U U
5 5 5 5 5 5 5 5 5
10 10 10 10 10 10 10 10 10
20 20 20 20 20 20 20 20 20
30 30 30 30 30 30 30 30 30
40 40 40 40 40 40 40 40 40
50 50 50 50 50 50 50 50 50
60 60 60 60 60 60 60 60 60
OO OO OO OO OO OO OO OO OO
Effects Processor
Reverb
Compressor
SR1530z Powered Speakers
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.
DJ System ProFX8

Microphones
Owner’s Manual
TV monitor
CD+G Player Video
Headphones

TAPE TAPE ON
IN OUT
MAIN MAIN
LINE
HI-Z 1 2 3/4 5/6 7/8
USB
BAL / BAL /

BAL /
R R R R UNBAL R
U U
STEREO GRAPHIC EQ
C GAIN C GAIN U
MI
C GAIN
MI
C GAIN MI MI
48V
10 10
U +50 U +50 U +50 U +50 -20 +20 PHANTOM
-20dB +30dB -20dB +30dB 5 5 POWER
100 Hz 100 Hz 100 Hz 100Hz
5 5
POWER
125 250 500 1K 2K 4K 8K
METERS
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 0dB=0dBu
U U U U U
OL
MAIN MIX EQ IN
MON BYPASS 15
MID MID MID MID MID
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 6
U U U U U 3
USB 0
80Hz 80Hz 80Hz 80Hz 80Hz 2
01 BRIGHT ROOM
4
Laptop Computer
02 WARM LOUNGE
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 U
03 SMALL STAGE 7
04 WARM THEATER
06 CONCERT HALL 20
with Karaoke Software

07 PLATE REVERB
08 CATHEDRAL OO
PRESETS
12 TAPE SLAP
15 DELAY 3 (480ms)
OL
Effects Processor SRM450v2

MON MAIN
Powered
MUTE MUTE MUTE MUTE MUTE MUTE
OL OL OL OL OL OL
1 2 3/4 5/6 7/8 ST RTN FX RTN
Speaker
dB dB dB dB dB dB dB dB dB
10 10 10 10 10 10 10 10 10
5 5 5 5 5 5 5 5 5
Dual Compressor
U
5
U
5
U
5
U
5
U
5
U
5
U
5
U
5
U
10 10 10 10 10 10 10 10 10
20 20 20 20 20 20 20 20 20
30 30 30 30 30 30 30 30 30
40 40 40 40 40 40 40 40 40
50 50 50 50 50 50 50 50 50
60 60 60 60 60 60 60 60 60
SWA1501
Powered
Subwoofer
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.
Karaoke System ProFX8
Owner’s Manual 9
ProFX8 and ProFX12
Acoustic Electric
Guitar with Guitar
pickup
Condenser
microphone Headphones
for vocals
Amplifier
Modeler
Headphone Amp
press HI-Z
button

TAPE TAPE ON
IN OUT
MAIN MAIN
LINE
HI-Z 1 2 3/4 5/6 7/8
USB
BAL / BAL /

BAL /
R R R R UNBAL R
U U
STEREO GRAPHIC EQ
C GAIN C GAIN U
MI
C GAIN
MI
C GAIN MI MI
48V
10 10
U +50 U +50 U +50 U +50 -20 +20 PHANTOM
-20dB +30dB -20dB +30dB 5 5 POWER
100 Hz 100 Hz 100 Hz 100Hz
5 5
POWER
125 250 500 1K 2K 4K 8K
METERS
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 0dB=0dBu
U U U U U
OL
MAIN MIX EQ IN
MON BYPASS 15
MID MID MID MID MID
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 6
U U U U U 3
USB 0
80Hz 80Hz 80Hz 80Hz 80Hz 2
01 BRIGHT ROOM
02 WARM LOUNGE 4
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 U
03 SMALL STAGE 7
04 WARM THEATER
06 CONCERT HALL 20
07 PLATE REVERB
08 CATHEDRAL OO
PRESETS
12 TAPE SLAP
15 DELAY 3 (480ms)
Keyboard
OL

OL
MUTE
OL
MUTE
OL
MUTE
OL
MUTE
OL
MUTE
OL
MUTE MON MAIN
1 2 3/4 5/6 7/8 ST RTN FX RTN
10 10 10 10 10 10 10 10 10
5 5 5 5 5 5 5 5 5
U U U U U U U U U
5 5 5 5 5 5 5 5 5
10 10 10 10 10 10 10 10 10
20 20 20 20 20 20 20 20 20
Electronic Drum Kit

30 30 30 30 30 30 30 30 30
40 40 40 40 40 40 40 40 40
Desktop
50 50 50 50 50 50 50 50 50
MR8 Powered Reference Monitors

60 60 60 60 60 60 60 60 60
Mac or PC
using Tracktion
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 amplifier 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.
Home Studio System ProFX8

Microphones
Owner’s Manual
Headphones

TAPE TAPE ON
IN OUT
MAIN MAIN
LINE
HI-Z 1 2 3/4 5/6 7/8
USB
BAL / BAL /

BAL /
R R R R UNBAL R
U U
STEREO GRAPHIC EQ
C GAIN C GAIN U
MI
C GAIN
MI
C GAIN MI MI
48V
10 10
U +50 U +50 U +50 U +50 -20 +20 PHANTOM
-20dB +30dB -20dB +30dB 5 5 POWER
100 Hz 100 Hz 100 Hz 100Hz
5 5
POWER
125 250 500 1K 2K 4K 8K
METERS
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 0dB=0dBu
U U U U U
OL
MAIN MIX EQ IN
MON BYPASS 15
MID MID MID MID MID
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 6
U U U U U 3
USB 0
80Hz 80Hz 80Hz 80Hz 80Hz 2
01 BRIGHT ROOM
02 WARM LOUNGE 4
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 U
03 SMALL STAGE 7
04 WARM THEATER
06 CONCERT HALL 20
07 PLATE REVERB
08 CATHEDRAL OO
+15 +15 +15 +15 +15
Laptop Computer
OO OO OO OO OO 10 CHORUS + REV
PRESETS
12 TAPE SLAP
with Tracktion
15 DELAY 3 (480ms)
OL

OL
MUTE
OL
MUTE
OL
MUTE
OL
MUTE
OL
MUTE
OL
MUTE MON MAIN
1 2 3/4 5/6 7/8 ST RTN FX RTN
10 10 10 10 10 10 10 10 10
U
5
U
CD Turntable 5
U
5
U
5
U U
5 5
U
Effects/ Sampler
5
U
5
5 5 5 5 5 5 5 5 5
10 10 10 10 10 10 10 10 10
20 20 20 20 20 20 20 20 20
30 30 30 30 30 30 30 30 30
40 40 40 40 40 40 40 40 40
50 50 50 50 50 50 50 50 50
60 60 60 60 60 60 60 60 60
MR5 Powered Reference Monitors
Keyboard workstation
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.
Podcast System ProFX8
Owner’s Manual 11
Rear Panel Features
ProFX8 and ProFX12
POWER WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC
1 3
ON PROFESSIONAL MIC/LINE MIXER WITH FX PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.
MAIN MAIN
RIGHT LEFT
2
USB
4 5
1. POWER CONNECTION 4. XLR MAIN OUTS

This is a MIC
standardMIC3-prongMICIEC ACMIC
power connector.
MIC MIC
These XLR connectors provide stereo line-level sig-
(UNBALANCED)
Securely connect the supplied detachable linecord in TAPE

nals from the
L L
main mix. Connect these to the balanced
TAPE
here, and plug the other end into an AC outlet. The

IN
inputs
R of theR powered speakers, or the power amplifier
OUT
mixer has a universal

1 power
2
LINE
HI-Z
supply
3 that4can accept
5/6 any7/8
powering
9/10
your
11/12
main speakers. PROFESSIONAL MIC/LINE MIXER WITH FX
AC voltage ranging from 100 VAC to 240 VAC. No need (MONO) (MONO) (MONO) (MONO) (MONO)
BAL / BAL / BAL / BAL /
L L The main mix is the sum of all active channels cur-
L L L
BAL /
L
for voltage select switches or step-up or step-down
UNBAL UNBAL UNBAL UNBAL UNBAL

BAL /
LINE IN 7
BAL /
rently playing, including any 2-channel USB input from
LINE IN 9
BAL /
LINE IN 11
BAL / BAL /
MON SEND
BAL /
FOOTSWITCH
transformers, it will work virtually anywhere in the
UNBAL UNBAL UNBAL UNBAL UNBAL UNBAL
your computer. How much of a channel that is heard BAL /
world. It is less susceptible to voltage sags or spikes

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

than conventional power supplies, and provides greater
[31]. STEREO GRAPHIC EQ

electromagnetic isolation and better protection against
M
U
IC GAIN
LEVEL
SET
M
U
IC GAIN
LEVEL
SET
M
U
IC GAIN
LEVEL
SET
M
U
IC GAIN
LEVEL
SET
MI
C GAIN
LEVEL
SET
MI
C GAIN
LEVEL
SET
U U
15 15
AC line noise. The XLR outputs are 6 dB higher output than

48V
10 10
U +50 U +50 U +50 U +50 U +50 U +50 -20 +20 -20 +20 PHANTOM
the 1/4" TRS main outputs [15]. Balanced

100 Hz 100 Hz 100 Hz 100 Hz 100 Hz 100 Hz
5 5
2. FUSE U EQ U EQ U EQ U EQ U EQ U EQ EQ
U
connections
EQ offer better immunityMAIN
U
to external
10
15
10
15
POWER
noise (specifically, hum and buzz) than unbalanced

HI HI HI HI HI HI HI HI
12kHz 12kHz 12kHz 12kHz 12kHz 12kHz 12kHz METERS
12kHz
The ProFX mixer is fused for your (and its own)

125 250 500 1K 2K 4K 8K 0dB=0dBu
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15
connections. Because of this, it is the preferred inter-

U U U U U U U U OL
MAIN MIX EQ IN 15
protection. If you suspect a blown fuse, disconnect the

10
connect method, especially where very long lengths of

6
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15
power cord, pull this fuse drawer out and replace the
U U U U U U U U 3
USB 0
LOW
80Hz
LOW
80Hz
LOW
80Hz
LOW
80Hz
LOW
80Hz
LOW
80Hz
cable are being used.
LOW
80Hz
LOW
80Hz FX PRESETS 2
fuse with exactly the same type and rating.

01 BRIGHT ROOM
4
02 WARM LOUNGE
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 U 7
03 SMALL STAGE
04 WARM THEATER 10
06 CONCERT HALL 20
If two fuses blow in a row, something is very 5. USB PORT

07 PLATE REVERB 30
08 CATHEDRAL OO
L R 09 CHORUS INPUT LEVEL
PRESETS
wrong, and you must stop using the mixer.

12 TAPE SLAP
FX
The USB serial I/O interface allows you to transfer
FX FX FX FX FX FX FX
13 DELAY 1 (300ms)
14 DELAY 2 (380ms)
MUTE
Please call our toll-free number 1-800-898-

15 DELAY 3 (480ms)
+15 +15 +15 +15 +15 +15 +15 +15 16 REVERB + DLY (250ms) USB THRU BREAK
digital
PAN audioPAN
to and from your computer.
OO OO OO OO OO OO OO OO
PAN PAN PAN PAN PAN PAN U U U
3211 from within the U.S. (or call the distributor in your OL
country) and find out what to do.

L R L R
The interface provides two audio outputs to your
L R L R L R L R L R L R OO
FX MASTER
+15 OO
FX TO MON
+15 OO
PHONES
MAX OO
TAPE LEVEL
+20
MUTE
OL
MUTE MUTE MUTE MUTE
OL
MUTE computer:
MUTE MUTE
OL
MUTE MON MAIN
OL OL OL OL OL OL
3. POWER SWITCH
1
dB
10
dB
10
2
dB
10
3
dB
10
4
dB
10
5/6
dB
10
7/8
dB
10
9/10
dB
10
11/12
• Main mix output, left and right. These output
dB
10
ST RTN
dB
10
FX RTN
dB
10
dB
10
Press the top of this rocker switch to turn on the

5 5 5 5 5 5 5
signals are independent of any adjustments
5 5 5 5 5
mixer. The front panel power LED [33] will glow with made to the main fader [48] and graphic EQ
5 5 5 5 5 5 5 5 5 5 5 5
happiness, or at least it will if you have the mixer

10 10 10 10 10 10 10 [37]. This allows you to easily record your live
10 10 10 10 10
plugged into a suitable live AC mains supply.

20 20 20 20 20 20 20
performance directly to your laptop.
20 20 20 20 20
30 30 30 30 30 30 30 30 30 30 30 30
Press the bottom of this switch to turn off the mixer,

40
50
40
50
40
50
40
50
40
50
40
50
40
50
• The USB thru switch [41] allows you to also
40
50
40
50
40
50
40
50
40
50
include the output from your computer in your

60 60 60 60 60 60 60 60 60 60 60 60
whenever you feel that this would be a safe thing to do.

recording. See page 23 for more details of this

As a general guide, you should turn on your switch.
mixer first, before any external power ampli-
fiers or powered speakers, and turn it off last. The USB interface also lets you use your computer to
This will reduce the possibility of any turn-on or turn- playback two channels into the mixer:
off thumps in your speakers. • 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.
12 See Appendix D on page 32 for more USB details, and
ProFX8 and ProFX12 also check out the block diagram on page 31.
Front Panel Features
Owner’s Manual
6
L
TAPE TAPE
IN OUT
R R
7
LINE
HI-Z 1 2 3 4 5/6 7/8 9/10 11/12
8 9 9 9
10 10 10 10
BAL /
11 11 11 11
R R R R R UNBAL R
U U U U
STEREO GRAPHIC EQ
C GAIN C GAIN U U
Connection Section
M
IC GAIN
M
IC GAIN
M
IC GAIN
M
IC GAIN MI MI
48V
10 10
U +50 U +50 U +50 U +50 U +50 U +50 -20 +20 -20 +20 PHANTOM
This is where you plug things in: microphones, line- 7. LINE/HI-Z SWITCH
100 Hz 100 Hz 100 Hz 100 Hz 100 Hz 100 Hz
5 5
POWER
EQ EQ
U EQ EQ EQ U U U U U EQ EQ U EQ U 10 10
level instruments and effects, headphones, and the MAIN

To connect a guitar directly to the mixer without us-
HI HI HI HI HI HI HI HI 15 15
ultimate destination for your sound: PA system, stage
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15
125 250 500 1K 2K 4K 8K 0dB=0dBu
U U U U U U
ing a DI Box, press this switch in first, then connect the
U U OL
monitors, effects processors, CD player/recorder, etc. MAIN MIX

MON
EQ IN
BYPASS
15
output from your guitar to channel 1's 1⁄4" TRS input

MID MID MID MID MID MID MID MID 10
6
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15
[8]. The input impedance is then optimized

USB for direct
3
See Appendix B for further details and drawings of

U U U U U U U U
0
LOW LOW LOW LOW LOW LOW LOW
FX PRESETS LOW 2
connection, and high-frequency fidelity is assured.

the connectors you can use with the ProFX mixer.

01 BRIGHT ROOM
4
02 WARM LOUNGE
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 U 7
03 SMALL STAGE
04 WARM THEATER 10
In the out position, channel 1's 1⁄4" TRS inputLbe- R

06 CONCERT HALL 20
07 PLATE REVERB 30
6. MIC INPUTS
08 CATHEDRAL OO
09 CHORUS
comes a line input just like the other mono line inputs
OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO
INPUT LEVEL
+15 10 CHORUS + REV
PRESETS
12 TAPE SLAP
We use phantom-powered, balanced microphone

FX FX FX FX FX FX
[9]. FX
USB THRU
FX
BREAK
13 DELAY 1 (300ms)
14 DELAY 2 (380ms)
15 DELAY 3 (480ms)
MUTE
16 REVERB + DLY (250ms)
inputs just
PAN like the
PANbig studio
PAN mega-consoles, for e xactlyPAN
OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 (MUTES ALL CHANNELS)
PAN PAN
To PAN
use guitars
PAN
or other instruments on other chan-
U U U
the same reason: This kind of circuit isexcellent at re-

OL
nels, you will need to use an external DI box first.

jecting hum and noise. You can plug in almost any kind
Without the DI box, (or if this switch is not pressed in)
of mic MUTE
that has aMUTE
standardMUTE
XLR male mic connector.
MUTE MUTE MUTE MUTE MUTE MON MAIN
guitars may sound dull and muddy.
MUTE
1 2 3 4 5/6 7/8 9/10 11/12 ST RTN FX RTN

Professional ribbon, dynamic, and condenser mics will
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
all sound excellent through these inputs. The ProFX

5 5 8. LINE/HI-Z INPUT (Channel 1 only)
5 5 5 5 5 5 5 5 5 5
mixer’s mic inputs will handle any kind of mic level

This 1/4" jack shares circuitry (but not phantom
you can toss at them, without overloading. Be sure to

5 5 5 5 5 5 5 5 5 5 5 5
power) with the mic preamp, and can be driven by bal-

perform the gain-setting procedure on page 3.
10 10 10 10 10 10 10 10 10 10 10 10
20 20 anced or unbalanced sources.

20 20 20 20 20 20 20 20 20 20
30 30 30 30 30 30 30 30 30 30 30 30
PHANTOM POWER
40
50
40
50
40
50
40
50
40
50
40
50
40
50
To connect a balanced line to this input, use a 1⁄4"
40
50
40
50
40
50
40
50
40
50
60 60 60 60 60 60
Tip-Ring-Sleeve (TRS) plug.
60 60 60 60 60 60
Most modern professional condenser mics require

phantom power, which lets the mixer send low-cur- To connect an unbalanced line to this input, use a 1⁄4"
rent DC voltage to the mic’s electronics through the mono (TS) phone plug or instrument cable.
same wires that carry audio. (Semi-pro condenser mics
often have batteries to accomplish the same thing.) This line-level input can also accept instrument-level
“Phantom” owes its name to an ability to be “unseen” signals if the hi-z switch [7] is pressed in. This allows
by dynamic mics (Shure SM57/SM58, for instance), you to connect guitars directly into channel 1 without
which don’t need external power and aren’t affected by the need for a DI box.
it anyway.
The ProFX mixer’s phantom power is globally
c ontrolled 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. Owner’s Manual 13
18 19
ProFX8 and ProFX12
6 6 6 6 6 6
L
TAPE TAPE
IN OUT
R R
7
LINE
HI-Z 1 2 3 4 5/6 7/8 9/10 11/12
16
8 9 9 9 13
10 10 10 10 12 15
11 11 11 11
R R R R R
14 BAL /
UNBAL R
17
U U U U
STEREO GRAPHIC EQ
C GAIN C GAIN U U
M
IC GAIN
M
IC GAIN
M
IC GAIN
M
IC GAIN MI MI
48V
9. MONO LINE INPUTS The insert point is after the gain control [20], level
10 10
U +50 U +50 U +50 U +50 U +50 U +50 -20 +20 -20 +20 PHANTOM
LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT
set LED [21], and low cut switch [22], but before the 0 0
These EQ
1/4" jacksEQshare circuitry (but not phantom
100 Hz 100 Hz 100 Hz 100 Hz 100 Hz 100 Hz
5 5
channel
EQ EQ [23-25] and fader [31]. The channel MAIN
signal
POWER
U EQ EQ EQ U EQ U U U U U EQ U 10 10
power) with the mic preamps, and can be driven by bal- 15 15
can go out of the insert jack to an external device, be

HI HI HI HI HI HI HI HI
12kHz 12kHz 12kHz 12kHz 12kHz 12kHz 12kHz METERS
12kHz
anced or unbalanced sources.

-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15
125 250 500 1K 2K 4K 8K 0dB=0dBu
U
MID
U
MID
U
MID
U
MID
U
MID
U
MID
processed (or whatever) and come back in on the same
U
MID
U
MID
MAIN MIX
MON
EQ IN
BYPASS
OL
15
To connect balanced lines to these inputs, use a 1⁄4" insert jack. To do this requires a special insert cable
10
6
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15
U U U U U U U U 3
Tip-Ring-Sleeve (TRS) plug. LOW

80Hz
LOW
80Hz
LOW
80Hz
LOW
80Hz
LOW
80Hz
LOW
80Hz
that must be wired thusly:
LOW
FX PRESETS
80Hz
USB
LOW
80Hz
0
2
01 BRIGHT ROOM
4
02 WARM LOUNGE
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 U
To connect unbalanced lines

AUX to these
AUX inputs, use a Tip
AUX = sendAUX
(output to effects device)
03 SMALL STAGE 7
04 WARM THEATER 10
AUX AUX U AUX U U U U U AUX U U 05 WARM HALL
06 CONCERT HALL 20
1⁄4" mono (TS) phone plug or instrument cable.

MON MON MON MON MON MON
Ring = return (input from effects device)
MON MON 07 PLATE REVERB
08 CATHEDRAL
09 CHORUS
INPUT LEVEL
OO +10
L
30
R
PRESETS
If you have a stereo source, and the stereo

FX FX FX FX FX FX
Sleeve = common ground
FX FX
12 TAPE SLAP
13 DELAY 1 (300ms)
14 DELAY 2 (380ms)
MUTE
and hybrid channels are in use, you can use

15 DELAY 3 (480ms)
PAN PAN PAN PAN PAN PAN PAN PAN U U
SEND to processor U
two mono channels. Traditionally, an odd- tip

ring
sleeve (TRS plug)
OL “tip”
numbered channel receives the left signal. For

L R L R L R L R L R L R L R L R OO
FX MASTER
+15 OO
FX TO MON
+15 OO
PHONES
MAX OO
TAPE LEVEL
+20
example,
MUTE
you could
MUTE
feed the
MUTE
ProFXMUTE
mixer a stereo
MUTE
signal
MUTE This plug connects
MUTE MUTE to one of the
MUTE MON MAIN
“ring”
by inserting
1
OL
the device’s
2
left 3
output plug
4
OL
into the
5/6
chan- 7/8
OL OL OL OL OL
9/10
mixer’s OL
Channel Insert jacks.
OL
11/12 ST RTN FX RTN

RETURN from processor
nel 1 jack (pan fully left), and its right output plug into
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
the channel 2 jack (pan fully right).

5 5 5 5 5 5 5
Insert jacks can be used as channel direct outputs;
5 5 5 5 5
U U U U U U U
post-gain, and pre-EQ. See the connector section on
U U U U U
10. STEREO LINE INPUTS

5
10
5
10
5
10
5
10
5
10
5
10
5
page 28 (figure F) showing three ways to use insert con-
10
5
10
5
10
5
10
5
10
5
10
These 1/4" jacks can be driven by stereo or mono,

20 20 20 20 20 20
nections.
20 20 20 20 20 20
balanced or unbalanced sources. They can be used with

30 30 30 30 30 30 30 30 30 30 30 30
just about any professional or semi-pro instrument, ef-

40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
12. STEREO RETURN
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
fect or tape player.

This is where you connect the outputs of your parallel

To connect balanced lines to these inputs, use a 1⁄4" effects devices (or extra audio sources). The circuits
Tip-Ring-Sleeve (TRS) plug. will handle stereo or mono, balanced or unbalanced sig-
nals. They can be used with just about any pro or semi-
To connect unbalanced lines to these inputs, use a pro effects device or line-level source on the market.
1⁄4" mono (TS) phone plug or instrument cable. The signals coming into these inputs can be adjusted
using the stereo return [45] fader before passing onto
If you just have a mono source, plug it into the left
the main mix bus (see page 23). Signals coming in here
input (labeled mono), and the signal will appear (as if
can also be quickly muted with the mute switch [44],
by magic) equally on the left and right of the main mix.
and the OL LED [43] will show you if your incoming
signal is too high.
11. CHANNEL INSERT
Stereo Device: If you have a stereo parallel effects
These unbalanced 1/4" jacks are for connecting serial
device (two cords), use stereo return left and right.
effects processors such as compressors, equalizers, de-
essers, or filters. Mono Device: If you have an effects device with a
mono output (one cord), plug that into the stereo
We’ve included inserts for just the mono channels. If
return left/mono, and leave the right unplugged. The
you want to use this kind of processing on other chan-
signal will be sent to both sides, magically appearing in
nels, simply patch through the processor before you plug
the center as a mono signal.
into the ProFX mixer.

13. MON SEND 15. 1⁄4" MAIN OUTS
Owner’s Manual
Stage monitors allow the talented musicians in your These outputs feed the main mix out into the waiting
band to hear themselves clearly on stage, and this can world. You can feed your amplifiers this way, or through
often be a good thing. The monitor mix can be care- the XLR main outputs [4].
fully adjusted in level using the aux mon controls [26].
To use these outputs to drive balanced inputs, con-
These tap a portion of each channel's signal to provide
nect 1⁄4" TRS (Tip–Ring–Sleeve) phone plugs like this:
a 1/4" TRS output here to feed external stage monitors.
These could either be passive stage monitors powered Tip = + (hot)
by an external amplifier, or powered stage monitors with Ring = –(cold)
their own amplifier built in.
Sleeve = Ground
The monitor signal is the sum (mix) of all the chan- To use these outputs to drive unbalanced inputs, con-
nels whose aux mon control is set to more than mini- nect 1⁄4" TS (Tip-Sleeve) phone plugs like this:
mum. If they want "more me, and less Keith," you can
turn up their channel's aux mon control, and turn down Tip = + (hot)
Keith's. Sleeve = Ground
The overall output level can be adjusted with the
monitor fader [47] and its EQ tweaked with the graphic
16. FX FOOTSWITCH
EQ [37] if the main mix/mon switch [38] is pressed in. This 1/4" TRS connector is where you can connect
Alternatively, you could add an external graphic EQ be- your favorite footswitch. This will allow you to easily
tween this output and your powered monitors. This will mute or un-mute the internal effects, while stamping
allow you to adjust the EQ, and minimize the chance of your foot and looking like you were mad about some-
feedback from nearby microphones. thing. Any one-button on/off footswitch will work.
The monitor output is not affected by the main fader If the internal effects have already been muted with
[48], or the channel faders [31]. This allows you to set the internal FX mute switch [51] then the footswitch
up the monitor mix and level just right, and not have it has no effect, but you can still stamp your foot and pout
change when a channel fader or the main mix fader is if that helps any. Cultivate that bad-boy image.
adjusted. This is known as "pre-fader."
17. PHONES
14. FX SEND This 1/4" TRS stereo jack will drive any standard head-
This 1/4" TRS line-level output can be used to feed an phone to very loud levels. The wiring follows standard
external effects processor (FX), such as a nice sound ef- conventions:
fect, or delay unit. The output from this jack is an exact
Tip = Left channel
copy of what goes into the internal FX processor, being
the careful mix of all channels whose aux FX control Ring = Right channel
[14] is turned more than minimum. Sleeve = Common ground
(The processed output of the internal FX does not The headphones output is the stereo main mix, not
come out of this output, but is added internally to the affected by the main fader [48], or the graphic EQ [37].
main mix or monitor mix.) Warning: when we say the headphone out-
The overall output level can be adjusted with the FX put is loud, we’re not kidding. It can cause
master knob [52]. (This knob also effects the level go- permanent ear damage. Even intermediate
ing into the internal FX.) levels may be painfully loud with some earphones. Be
careful! Always turn the phones level control [42] all
The output is "post-fader," so any changes to the chan- the way down before connecting headphones, adding
nel faders [31] will also affect the level going to the new sources, or making any other changes. Keep it down
external processor. until you’ve put the phones on. Then turn it up slowly.
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.)
Owner’s Manual 15
18 19
ProFX8 and ProFX12
L L
TAPE TAPE
IN OUT
R R
LINE
HI-Z 1 2 3 4 5/6 7/8 9/10 11/12

BAL /
R R R R R UNBAL R
U U U U
STEREO GRAPHIC EQ
C GAIN C GAIN U U
M
IC GAIN
M
IC GAIN
M
IC GAIN
M
IC GAIN MI MI
18. TAPE INPUT

48V
10 10
U +50 U +50 U +50 U +50 U +50 U +50 -20 +20 -20 +20 PHANTOM
These stereo unbalanced RCA inputs are designed to
100 Hz 100 Hz 100 Hz 100 Hz 100 Hz 100 Hz
5 5
work with
EQ semiproEQas well as
EQpro player/recorders. You
POWER
U EQ U EQ U U U U EQ U EQ U EQ 10 10
can also connect any standard source with an unbal-
-15 +15
12kHz
-15 +15
12kHz
-15 +15
12kHz
-15 +15
12kHz
-15 +15
12kHz
-15 +15
12kHz
-15 +15
12kHz
-15 +15
12kHz
125 250 500 1K 2K 4K 8K
METERS
0dB=0dBu
anced line-level output, such as a CD or DVD player,

U U U U U U U U OL
MAIN MIX EQ IN 15
iPod dock, and so on.

10
6
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15
U U U U U U U U 3
USB 0
Connect your source’s line-level outputs here, using

01 BRIGHT ROOM
4
02 WARM LOUNGE
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 U
good quality hi-fi AUX

(RCA) cables.
03 SMALL STAGE 7
04 WARM THEATER 10
AUX U AUX AUX AUX
U U U U U AUX U AUX U AUX 05 WARM HALL
06 CONCERT HALL 20
07 PLATE REVERB 30
08 CATHEDRAL OO
You can use these with a tape or CD player to feed

OO
U
+15 OO
U
+15 OO
U
+15 OO
U
+15 OO
U
+15 OO
U
+15 OO
U
+15 OO
U
+15
09 CHORUS
10 CHORUS + REV
11 DOUBLER
PRESETS
INPUT LEVEL L R
music to a PA system between sets, when the break

FX FX FX FX FX FX FX FX
12 TAPE SLAP
13 DELAY 1 (300ms)
14 DELAY 2 (380ms)
MUTE
switch [35] is engaged. The level coming into the mixer

15 DELAY 3 (480ms)
can be adjusted with the tape level knob [36]. For ex- OL
ample, you could press the break switch to mute all the
L R L R L R L R L R L R L R L R OO
FX MASTER
+15 OO
FX TO MON
+15 OO
PHONES
MAX OO
TAPE LEVEL
+20
other channels
MUTE
at once, then
MUTE MUTE
play your
MUTE
tape or CD player
MUTE MUTE MUTE MUTE MUTE MON MAIN
and bring1up its level
OL
2
slowly. 3
OL
4 5/6 7/8
OL OL OL OL OL
9/10
OL
11/12
OL
ST RTN FX RTN
10 10 10 10 10 10 10 10 10 10 10 10
19. TAPE OUTPUTS

5 5 5 5 5 5 5 5 5 5 5 5
These stereo unbalanced RCA outputs allow you to

5 5 5 5 5 5 5 5 5 5 5 5
record the main stereo mix onto a tape deck, hard disk
10 10 10 10 10 10 10 10 10 10 10 10
recorder, automatic CD burner, or a computer, etc. This

20 20 20 20 20 20 20 20 20 20 20 20
allows you to make a recording for posterity/archive/

30 30 30 30 30 30 30 30 30 30 30 30
legal purposes whenever the band gets back together

40 40 40 40 40 40 40 40 40 40 40 40
50 50 50 50 50 50 50 50 50 50 50 50
60 60 60 60 60 60 60 60 60 60 60 60
again.
The tape output is the stereo main mix, not affected

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

ProFX12 Channel Controls
Owner’s Manual
The vertical channel strips look very similar, with only

L
TAPE TAPE
IN OUT
R R
a few differences between them. Each channel works
1 2 3 4 5/6 7/8 9/10 11/12

independently, and just controls the signals plugged into
LINE
HI-Z
the inputs directly above it. There are three different


flavors of channel strip: Mono, Hybrid, and Stereo.

BAL /
R R R R R UNBAL R
M
U
IC GAIN
M
U
IC GAIN
M
IC GAIN
U
M
U
IC GAIN MI
C GAIN
MI
C GAIN U U Mono Channels (1–4 on ProFX12)
STEREO GRAPHIC EQ
(1, 2 on ProFX8)
48V
10 10
U +50 U +50 U +50 U +50 U +50 U +50 -20 +20 -20 +20 PHANTOM
0 0
• The mono channel controls affect both the

LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT
100 Hz 100 Hz 100 Hz 100 Hz 100 Hz 100 Hz
5 5
POWER
-15 +15
HI
12kHz
-15 +15
HI
12kHz
-15 +15
HI
12kHz
-15 +15
HI
12kHz
-15 +15
HI
12kHz
-15 +15
HI
12kHz
-15 +15
HI
12kHz
-15 +15
HI
12kHz
15
125 250 500

mono mic input and the mono line-level input.
1K 2K 4K 8K
15 MAIN
METERS
0dB=0dBu
U U U U U U U U OL
• The gain knob adjusts both mic and line inputs.

MAIN MIX EQ IN 15
10
6
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15
U U U U U U U U 3
• Each mono channel has an insert jack and low

USB 0
01 BRIGHT ROOM
4
02 WARM LOUNGE
cut switch.
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 U 7
03 SMALL STAGE
04 WARM THEATER 10
06 CONCERT HALL 20
07 PLATE REVERB 30
08 CATHEDRAL OO
• Channel 1 has a hi-z switch so you can connect

PRESETS
12 TAPE SLAP
13 DELAY 1 (300ms)
a guitar directly.
MUTE
15 DELAY 3 (480ms)
• The 3-band EQ has shelving high, shelving low,

OL
L R L R L R L R L R L R L R L R OO +15 OO +15 MAX OO +20
and MON
peaking mid EQ.
OO
MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MAIN
1 2 3 4 5/6 7/8 9/10 11/12 ST RTN FX RTN

Hybrid Channels (5/6, 7/8 on ProFX12)
10 10 10 10 10 10 10 10 10 10 10 10
(3/4, 5/6 on ProFX8)

5 5 POWER 5 5 5 5 5 5 WARNING:
5 TO REDUCE THE RISK OF FIRE OR ELECTRIC
5 5 5
ON PARTS INSIDE.U
REFER SERVICING TO QUALIFIED PERSONNEL.
U U U U U U U U U U U
5 5 5 5 5 5 5 SERIAL NUMBER
5 MANUFACTURING
5 DATE 5 5 5
• Except for gain and low cut, these controls

MAIN MAIN
RIGHT LEFT
10 10 10 (BALANCED) 10 10
(BALANCED) 10 10 10 10 10 10 10
affect the mono mic input and the stereo line-

THIS DEVICE COMPLIES20
WITH PART 15 OF THE FCC20
RULES AND THE ICES-00320
FOR
20 20 20 20 20 20 USB 20 CANADA. OPERATION IS SUBJECT TO THE FOLLOWING TWO CONDITIONS: (1) THIS
20 20
DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE, AND (2) THIS DEVICE MUST
ACCEPT ANY INTERFERENCE RECEIVED, INCLUDING INTERFERENCE THAT MAY
30 30 30 30 30 30 30 CAUSE 30
UNDESIRED OPERATION. 30 30 30 30
~100-240V 50/60 Hz 20W
level input.
FUSE: T1.6AL AC250V
40 40 40 40 40 40 40 40 40 40 40 40
50 50 50 50 50 50 50 50 50 50 50 50
60 60 60 60 60 60 60 60 60 60 60 60
DESIGNED BY MACKOIDS IN WOODINVILLE, WA, USA • MANUFACTURED IN CHINA
• The gain knob adjusts the mic input only. (The

FABRIQUE EN CHINE • COPYRIGHT ©2008 • "MACKIE" AND THE RUNNING MAN FIGURE
ARE TRADEMARKS OF LOUD TECHNOLOGIES, INC. • PATENT PENDING.
MONO HYBRID STEREO

stereo line inputs are fixed at unity gain.)
ProFX8 • The low cut switch only affects the mic input.
L L • The mono mic input is split equally to the left

TAPE
IN
R R
TAPE
OUT and right.
LINE
HI-Z 1 2 3/4 5/6 7/8
• The hybrid channel EQ is a 3-band design just
BAL /
UNBAL
(MONO)
L
(MONO)
L
(MONO)
L
(MONO)
L
BAL /
UNBAL L
like the mono channel EQ.
R R R R
BAL /
UNBAL R Stereo Channels (9/10, 11/12 on ProFX12)
INSERT INSERT LINE IN 4 LINE IN 6 LINE IN 8 ST RETURN FX SEND MAIN OUT
PHONES (7/8 on ProFX8)
STEREO GRAPHIC EQ
• These controls affect the stereo line-level
U U
C GAIN C GAIN U
M
IC GAIN
M
IC GAIN MI MI
48V
inputs.
10 10
U +50 U +50 U +50 U +50 -20 +20 PHANTOM
-20dB +30dB -20dB +30dB 5 5 POWER
• The gain knob adjusts the left and right line

100 Hz 100 Hz 100 Hz 100Hz
5 5
POWER
inputs equally. There is no level set LED or low

125 250 500 1K 2K 4K 8K
METERS
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 0dB=0dBu
cut switch.
U U U U U
OL
MAIN MIX EQ IN
MON BYPASS 15
MID MID MID MID MID
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 6
• The stereo channel EQ is a 3-band design just

U U U U U 3
USB 0
80Hz 80Hz 80Hz 80Hz 80Hz 2
like the mono channel EQ.

01 BRIGHT ROOM
02 WARM LOUNGE 4
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 U
03 SMALL STAGE 7
04 WARM THEATER
06 CONCERT HALL 20
07 PLATE REVERB
MON MON MON MON MON OO +20 30
08 CATHEDRAL
“U” LIKE UNITY GAIN

OO +15 OO +15 OO +15 OO +15 OO +15
09 CHORUS
10 CHORUS + REV
INPUT LEVEL L R
PRESETS
12 TAPE SLAP
15 DELAY 3 (480ms)
USB THRU BREAK
Mackie mixers have a “U” symbol on almost every level

OO +15 OO +15 OO +15 OO +15 OO +15 16 REVERB + DLY (250ms)
OL
L R L R L R L R L R OO +15 OO +15 OO
PHONES
MAX
control. This “U” stands for “unity gain,” meaning no
OO
TAPE LEVEL
+20
FX MASTER FX TO MON
MUTE MUTE MUTE MUTE MUTE MUTE MON

change
MAIN
in signal level (0 dB gain). Once you have ad-
justed the input signal with the gain control, you can set
OL OL OL OL OL OL
1 2 3/4 5/6 7/8 ST RTN FX RTN

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

10 10 10 10 10 10 10 10 10
5 5 5 5 5 5 5 5 5
U U U U U U U U the mixer at optimal levels. What’s more, all the labels

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

5 5 5 5 5 5 5 5 5
10 10 10 10 10 10 10 10 10
20 20 20 20 20 20 20 20
you’ll know what you’re doing level-wise if you choose to
20
change a control’s settings.

30 30 30 30 30 30 30 30 30
40 40 40 40 40 40 40 40 40
50 50 50 50 50 50 50 50 50
17
60 60 60 60 60 60 60 60 60
Owner’s Manual
MONO HYBRID STEREO

MON SEND FOOTSWITCH
SHOCK, DO NOT EXPOSE
USB WITH MOISTURE. DO NOT REM
ON PROFESSIONAL MIC/LINE
R MIXER R FX R R R
BAL /
UNBAL R PARTS INSIDE. REFER SE
AVIS: RISQUE DE CH
ProFX8 and ProFX12 MAIN

RIGHT
INSERT
U
21 INSERT
MAIN
LEFT
U
INSERT
U
INSERT
U
LINE IN 6 LINE IN 8 LINE IN 10 LINE IN 12 ST RETURN FXSERIAL
STEREO GRAPHIC EQ
MAIN OUT
SEND NUMBER MANUFA
PHONES
20
C GAIN C GAIN U U
IC GAIN IC GAIN IC GAIN IC GAIN MI MI
(BALANCED) M LEVEL
SET (BALANCED)
M LEVEL
SET
M LEVEL
SET
M LEVEL
SET
LEVEL
SET
LEVEL
SET 15 15
48V
10 10
U
-20dB
+50
+30dB
U
-20dB
+50
+30dB
U
-20dB
+50
+30dB
U
-20dB
+50
USB
+30dB
U +50 U +50 -20 +20 -20 +20
5 5
PHANTOM
22
POWER
POWER
100 Hz 100 Hz 100 Hz 100 Hz 100 Hz 100 Hz
5 5
ON
EQ EQ EQ EQ EQ EQ PROFESSIONAL
EQ MIC/LINE
EQ MIXER WITH FX POWER
23
U U U U U U U U 10 10
125 250 500 1K 2K 4K 8K 0dB=0dBu
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15
U U U U U U U U
MAIN MAIN
24
OL
MAIN MIX EQ IN 15
MID MID RIGHT
MID MID LEFT
MID MID MID MID MON BYPASS
10
2.5kHz 2.5kHz (BALANCED)
2.5kHz 2.5kHz (BALANCED)
2.5kHz 2.5kHz 2.5kHz 2.5kHz
6
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15
U U U U U U U U 3
25 USB USB 0
01 BRIGHT ROOM
4
02 WARM LOUNGE
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 U 7
03 SMALL STAGE
04 WARM THEATER 10
U AUX U AUX U AUX U AUX U AUX U AUX U AUX U AUX
26
05 WARM HALL
06 CONCERT HALL 20
07 PLATE REVERB 30
08 CATHEDRAL OO
PRESETS
MIC MIC MIC U U
MIC U
MIC U U
MIC U U
(UNBALANCED) U 11 DOUBLER
27
12 TAPE SLAP
15 DELAY 3 (480ms)
PAN PAN PAN PAN PAN PAN L PAN PAN LU U

U
28
OL
TAPE TAPE
L R L R L R L R L R L R INL R L R OUT
+15
OO
FX MASTER
OO
FX TO MON
+15 OO
PHONES
MAX OO
TAPE LEVEL
+20
29
MIC MIC MIC MIC MIC (UNBALANCED)R R
MON MAIN
MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE
330
PROFESSIONAL MIC/LINE MIXER WITH
1 2 3 4 5/6
L 7/8 9/10 11/12 ST RTN FX RTN
L
LINE
HI-Z 1 2 dB
10
dB
10
dB
10
4 dB
10
5/6 dB
10
TAPE
dB
10
7/8 dB
10
9/10
TAPE
dB
10
11/12 dB
10
dB
10
dB
10
dB
10
5 5 5 5 5 5 5 5 5 5 5 5
(MONO) IN (MONO) OUT
(MONO) (MONO) (MONO)
BAL /
UNBAL
BAL /
UNBAL
BAL /
UNBAL
BAL /
UNBAL L R L R L L L
BA
UN
31 4
5 5 5 5 5 5 5 5 5 5 5 5
10 10 10 10 10 10 10 10
PROFESSIONAL
10
MIC/LINE
10
MIXER WITH
10
FX 10
LINE MIC LINE MIC LINEMIC MIC LINEMIC LINEMIC 11(UNBALANCED)

LINE/HI-Z IN 1
2 IN 2
3 IN 320
30
20
30
IN 4
5/6 20
30
LINE
20
IN 5 UNBAL20
30
7/8 30
9/10
IN 720 UNBAL
30
20
30
11/12
IN 9 UNBAL
20
30
LINE IN
20 UNBAL 20
30 30
20
30
UNBAL MON
20
30
SEND
40 40
(MONO)
40 40
(MONO)
40 40
(MONO)
40
(MONO)
40
L
40
(MONO)
40 L40 40 BA
BAL / BAL /
50
BAL /
50 50 50 R 50 50 R 50 50 R 50 R 50 50 R/
BAL 50 UN
UNBAL UNBAL
60
OO UNBAL
60
OO
60
OO L 60
OO L 60
OO
60
OO L 60
OO
60
OO L TAPE 60
OO L 60
OO
TAPE
60
UNBAL
OO
60
OO
IN OUT
INSERT INSERT INSERT INSERT BAL / LINE IN 6 BAL / LINE IN 8 BAL / LINE IN 10 BAL / LINE IN
R 12 BAL / ST RETURN
R FX SENDBA
LINE IN 2 LINE IN 3 LINE IN 4 LINE IN 5 LINE IN 7 LINE IN 9 LINE IN 11
UNBAL UNBAL UNBAL UNBAL UNBAL MON SEND UN
20. GAIN STEREO GRAPH

PROFESSIONA
M
U
IC GAIN
LEVEL
1 already, please
U LINE
If you haven’t
M
IC GAHI-Z
IN
LEVEL
2 read the gain-setting
R3
M
U
IC GAIN
LEVEL M
IC GAIN
U
LEVEL
MI
C GAIN R
LEVEL
4 MI
C GAIN 5/6
R
LEVEL
7/8R U 9/10R 11/12
For hybrid channels (mic input and
U
BAL /
UNBAL
SET SET SET SET SET SET

(MONO) 15
procedure on pageINSERT
3. The BAL gain adjustment allows all BAL /
(MONO) (MONO) (MONO) (MO
INSERT INSERT BAL / / LINE IN 6 BAL / LINE IN 8 LINE IN 10 stereo
LINE IN 12line input), the gain control
ST RETURN just
10 FX SEND MAIN OUT
U
20dB
+50
+30dB your U
-20dB various
+50
+30dB source
UNBAL U
-20dB signals
+50
+30dB from
UNBAL U
-20dBthe outside
+50 UNBAL
+30dB world
U
to beUNBAL
+50 U +50 L -20 +20 L
affects the microphone input.5
-20 +20 L L
adjusted to the same optimal internal operatingLINE levels. BAL / BAL / STEREO
BAL / 0 GRAPHIC
BAL / EQ B
For stereo channels (noUNBAL mic input) the
LOW
U CUT LOW
U CUT
LINE/HI-Z IN 1 LOW
UINCUT
LINE 2 LOW
LINE INCUT
3 LOWINCUT
4 LOWIN
LINE CUT
5 UNBAL LINE IN 7 LINE IN 9
LINE IN 11 UNBAL
GAIN
C 100 GAIN
C 100 U U UNBAL UN
IC 100
GAINHz IC100
GAINHz IC 100
GAINHz
MI
Hz
MI
Hz 100 Hz
M LEVEL M LEVEL M LEVEL LEVEL LEVEL 5
SettingSET theSET gain correctly SETwill ensure that SET the pre- SET
gainU control just
15
affects the line-level
U UEQ EQ U EQ U EQ U EQ U EQ EQ U EQ 10
U +50 HI
amplifier’s
U +50
gain
HI
is Unot+50too high,
HI
where
U +50
distortion
HI U
could
+50 HI -20 +20
R
HI inputs,
-20 +20 with
R
HI 20 dB of gain,
10 R
HI and
15 20 dB of
R
occur, and not too low, where your quieter, exquisitely-

20dB +30dB +30dB +30dB
12kHz -20dB 12kHz -20dB
GAIN GAIN
INSERT
GAIN
INSERT
12kHz
GAIN
INSERT
12kHz
GAIN
INSERT
12kHz
GAIN
LINE IN 6
12kHz
attenuation.
GAIN
LINE IN 8
12kHz
There
5
is no level set
LINE IN 10
12kHz
LED.
125IN 12 250
LINE 500 ST RETURN
1K
delicate 100 Hzpassages might 100 Hz be lost in background noise.
-15LOW
+15
CUT -15LOW+15
CUT -15LOW+15
CUT -15LOW+15
CUT -15LOW
+15
CUT -15 +15 -15 +15 0 -15 +15
100 Hz
U U U U100 Hz 100 Hz
U U U U
5
21. CUGLEVEL SET LEDCUGAI EQ
MAIN MIX
S
U EQ
MID
2.5kHz
UU
IC GAIN
ForICUUGmono
EQ
MID
2.5kHz AIN
EQ
MIDchannels
2.5kHz
UU (mic
IC GAIN
MIDinput with
EQ
2.5kHz
UU
IC GAIN
a2.5kHz
EQ
MID
MI AIN EQ
MID
2.5kHz MI N
MID
2.5kHz
10
U
MID
2.5kHz
U
MON
mono
-15 +15lineHI input), -15 the
+15 gain SET knob-15 adjusts
M M
LEVEL LEVEL M LEVEL M LEVEL LEVEL LEVEL 15
-15 +15
U
HI
12kHz
-15 +15
U
HI
SET
12kHz U
SET
12kHz U
HI
12kHz U
+15 HI
SET
12kHz These
-15
U
+15 LEDs
12kHz are used
HI
SET -15 +15 with
U 12kHz the gain
HI
SET -15 +15 control [20] to set
U
15
-15 +15 -15

U +15
+50 LOW
the
-15
U
input
+15
+50 LOW
sensitivity
-15
U +15 of
+50 LOW
the mic and
-15
U +15 line
+50 LOW
the
-15 channel
+15 preamplifier
-15 +15 gain just 125
right
250
for each
500
source.
1K 2K 104K 8K
LOW U U +50 LOW U U +50 LOW -20 +20 LOW -20 PRESETS
FX +20
U 80Hz -20dB U
GAIN
+30dB
80Hz inputs.
-20dB U
GAIN
+30dB
80Hz -20dB U
GAIN
+30dB80Hz -20dB U
GAIN
+30dB
80Hz 80Hz 80Hz 80Hz
GAIN MAIN MIX01 BRIGHT ROOM
5
-15 +15 MID -15 LOW

+15
CUT MID -15 LOW
+15 CUT MID -15 LOW
+15CUT MID -15 LOW+15
CUT MID IfGAIN
-15 you
LOW+15CUThear
MID
GAIN
distortion
-15 LOW CUT on
+15 MID
one or
-15 more
+15 MONof your GAIN
channels,
02 WARM LOUNGE
03 SMALL STAGE
EQ IN
BYPASS
0
2.5kHz
AUX Adjust the gain
100 Hz 2.5kHz
control so
100 Hz 2.5kHz
the level set LEDs
100 Hz 2.5kHz
[21] 100 Hz 2.5kHz
check the level
100 Hz 2.5kHz
set LEDs are
100 Hz 2.5kHz
not on continuously, and
04 WARM THEATER 5
-15 +15 AUX -15 +15 AUX -15 +15 AUX -15 +15 AUX -15 +15 AUX -15 +15 AUX AUX 05 WARM HALL
U U U U U U U U
-15 +15
U comeUUon occasionally
EQ U
U during EQ the louder
UU moments
EQ Uof
U yourEQ turn down EQ
U
U the gain if they
U
U EQ are. U 06 CONCERT HALL
EQ 07 PLATE REVERB EQ
U 10
MON MON MON MON MON MON MON MON USB
LOW playing or singing, and go off
HI when you stop.
08 CATHEDRAL
LOW
HI LOW LOW
HI LOW
HI LOW
HI LOW
HI HI HI 15
80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz FX PRESETS 09 CHORUS
OO +15 OO +15 12kHz OO +15 12kHz OO +15 12kHz OO +15 12kHz OO +15 12kHz OO +15 12kHz 01 O O +15
BRIGHT ROOM
12kHz 10 CHORUS + REV 12kHz
22.
-15 LOW CUT
PRESETS
11 DOUBLER 125 250
-15 U+15 U U U U U+15 U 02 WARM U LOUNGE
If the signal comes through the mic XLR jack, there
-15
-15 +15
U
+15 -15
-15 +15
U
+15
U
-15
-15 +15
U
+15 -15
-15 +15
U
+15 -15 +15 -15
-15 +15
U
+15 -15 STAGE
03 SMALL
U
+15
04 WARM THEATER
-15 SLAP
12 TAPE
U
+15 U
FX will be 0 dB
AUX FXof gain (U for
AUX AUXunity) with the FXknob fully AUX
AUX AUX AUX
U
MID
U FX
MID
U
MID
FX
MID
Each U
channel
U
FX
MID
with a mic FX
MID
input has a low cut switch U U 05 WARM HALL
06 CONCERT HALL MID
FX 14 DELAY 2 (380ms)
15 DELAY 3 (480ms) MID
MA
MO
+15 MON down, +15 ramping
2.5kHz to 50 +15dB ofMON gain fully+15up.MON 2.5kHz that cuts
OO MON OO
2.5kHz OO
2.5kHz +15 MON +15 MON
OO
the
2.5kHzbass frequencies
+15 MON2.5kHz below 100 Hz, at a rate 2.5kHz
OO OO OO 07 O
PLATE REVERB
O +15
08 CATHEDRAL
2.5kHz 16 REVERB + DLY (250ms)
OO +10
PAN -15 +15 PAN -15 +15 PAN -15 +15 PAN -15 +15 PAN -15 +15 PAN -15 +15 PAN -15 +15 -15 +15
All mic inputs arePAN
09 CHORUS
+15 U
+15 U+15 U+15 U+15 of 18 +15
UdB per octave.+15 U affected, andU
U
the OL U
10 CHORUS + REV
INPUTULEVEL
Through the 1⁄4" mono input, there is 20 dB of U
OO OO OO OO OO OO OO
PRESETS
U U U U U U 11 DOUBLER
LOW line inputsLOW of the mono channels. 12 TAPE SLAP
attenuation80Hz fully down and80Hz 30 dB of gain80Hz fully up,
LOW LOW LOW LOW LOW LOW FX PRESETS
80Hz 80Hz 80Hz MUTE 80Hz 13 DELAY 1 (300ms) 80Hz
FX FX FX FX FX FX FX 01 BRIGHT ROOM
14 DELAY 2 (380ms)
with-15La+15
“U” (unity gain) mark at 12:00. This 20 dB of+15
L R R L +15
R L +15
R L +15
R L +15
R L +15
R +15 L 3+15
R(480ms) OO OO
02 WARM +15
LOUNGE
OO+15
+15 -15
OO +15
-15
+15
OO
-15
We
-15
recommend-15that
+15 OO +15
you use low cut on everyFX OO
micro-
-15 +15
MASTER OO OO
15 DELAY
-15
16 REVERB + DLY (250ms)
03FXUSBTO
SMALL MON
THRU
STAGE
a
ttenuation can be very handy
AUX when youAUX are i
nserting
04 WARM THEATER
U AUX U U U AUX phone application
U AUX except
U AUX kick drum,U
bass
AUX guitar, U
and AUX 05 WARM HALL
PAN PAN PAN PAN PAN PAN PAN U U 06 CONCERT HALL
MUTE a very hot signal,
MUTE need to add
MUTE a lot of EQ
MUTE boost, or both.
MUTE MUTE MUTE MUTE MUTE
OL OL MON OL MON OL MON OL MON bassy OL synth MON patches.
OL TheseMONaside, OL thereMONisn’t much
OL
OL down MON 07 PLATE REVERB
08 CATHEDRAL
1 Without +15
this 2“
virtual
OO
pad,”
+15
this
3 s
cenario+15
OO
might
4 lead to
+15 5/6 there that
+15 7/8
OO you want to
+15 hear,
9/10 and filtering
11/12
+15 it outOOmakes
ST+15 RTN OO OO OO OO
09 CHORUS
FX RT
10 CHORUS + REV
channel clipping. the low stuff you dB do want much
U +15
dB more crisp and
U +15
dB tasty.
OO
L R L UR L UR L UR L UR L UR L UR OO 11 DOUBLER
OO MAX
B dB dB dB dB dB dB SLAP
FX MASTER FX TO MON PHONES
12 TAPE
0 10 10 10 10 10 10 10 10 1310
DELAY 1 (300ms)
FX FX FX FX Not only that, FX low cut canFXhelp reduce the FX possibility FX 14 DELAY 2 (380ms)
5 MUTE 5 MUTE
+15 5 OO
MUTE
+15 5 MUTE
+15
OO
5 MUTE
+15 of OLfeedback in live
5 MUTE
+15 OO
5
situations and
MUTE
+15 5
help to conserve
MUTE
+15 5OO the
+15 OO OO OO OO
MON
15 DELAY 3 (480ms)
165REVERB + DLY (250
OL OL OL OL OL OL OL
2 PAN
3 PAN
4 PAN
5/6 PAN
7/8 amplifier power.
PAN
9/10 PAN
11/12 ST RTNPAN
FX RTN PAN U
18
U U U U U U U U U U
dB dB ProFX8 and dB ProFX12 dB dB dB dB dB dB dB
50 5
10 5
10 5
10 5
10 5
10 5
10 5 10 5
10 5
10
L R L R L R L R L R L R L R L R OO +15
10
5 10
5 10
5 10
5 10
5 10
5 10
5 10 5 10
5 10
5FX MASTER
20
U 20
U 20
U 20
U 20
U 20
U 20
U 20 U 20
U 20
U
Another way to consider low cut’s function is that it 25. LOW EQ
Owner’s Manual
actually adds flexibility during live performances. With
This control gives you up +15
the addition of low cut, you can safely use low EQ on

to 15 dB boost or cut below +10
vocals. Many times, bass shelving EQ can really ben-

80 Hz. The circuit is flat at +5
efit voices. Trouble is, adding low EQ also boosts stage 0

the center detent position.
rumble, mic handling clunks and breath pops. Low cut –5
This frequency represents
removes all these problems so you can add low EQ with- –10
the punch in bass drums,
out losing a woofer out the window. –15
bass guitar, fat synth 20Hz 100Hz 1kHz 10kHz 20kHz
Low EQ
patches, and some really
3-BAND EQ serious male singers. +15
+10
The ProFX mixer has 3-band equalization at carefully
Used in conjunction with +5
selected points — low shelving at 80 Hz, mid peaking at
the low cut [22] switch, 0
2.5 kHz, and high shelving at 12 kHz. “Shelving” means
you can boost the low EQ –5
that the circuitry boosts or cuts all frequencies past the

without injecting a ton of –10
specified frequency. For example, rotating the low EQ –15

subsonic debris into the 20Hz 100Hz 1kHz 10kHz 20kHz
knob 15 dB to the right boosts bass starting at 80 Hz and Low EQ with Low Cut
mix.
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 MODERATION DURING EQ
the mid EQ. With EQ, you can also upset things royally. We’ve de-
signed a lot of boost and cut into each equalizer circuit,
The following graphs of frequency vs. signal level show
because we know everyone will occasionally need that.
the approximate overall effect of EQ adjustment on the
But if you max the EQs on every channel, you’ll get mix
frequency range.
mush. Equalize subtly and use the left sides of the knobs
(cut), as well as the right (boost). Very few gold-record-
23. HI EQ album engineers ever use more than about 3 dB of EQ.
This control gives you +15 If you need more than that, there’s usually a better way
up to 15 dB boost or cut +10
to get it, such as placing a mic differently (or using a
above 12 kHz, and it is flat +5 different kind of mic entirely).
0
(no boost or cut) at the
–5
detent. Use it to add sizzle –10 26. AUX MON
to cymbals, and an overall –15
These knobs tap a portion of each channel's signal
sense of transparency, or 20
Hz 100
Hz 1kHz 10k 20k
Hz Hz
to set up a nice monitor mix feeding stage monitors,

edge to keyboards, vocals, High EQ independent of the main mix. Adjust these controls on
guitar and bacon frying. Turn
each channel until your band is happy with the stage
it down a little to reduce sibilance, or to hide tape hiss.
monitor mix.
24. MID EQ The aux mon feed from hybrid and stereo channels is
a mono sum of the left and right sides of these channels.
Short for “midrange,” +15
this knob provides 15 dB +10

The controls are off when turned fully down, deliver
of boost or cut, centered at +5 unity gain at the center detent, and can provide up to 15
0
2.5 kHz, also flat at the cen- –5 dB of gain turned fully up.
ter detent. Midrange EQ –10
The channel fader [31], pan [28], or mute [30] do
is often thought of as the –15
not affect the monitor output, but the other channel
most dynamic, because the 20 100
Hz Hz 1k Hz10k 20kHz Hz
controls will. (The aux mon is pre-fader.)

frequencies that define any Mid EQ
particular sound are almost always found in this range. The monitor signal from the monitor output jack [13]
You can create many interesting and useful EQ changes is the sum (mix) of all the channels whose aux mon
by turning this knob down as well as up. 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].
Owner’s Manual 19
MON SEND FOOTSWITCH
BAL /
R R R R R UNBAL R
ProFX8 and ProFX12

INSERT
U
21 INSERT
U
INSERT
U
INSERT
U
LINE IN 6 LINE IN 8 LINE IN 10 LINE IN 12 ST RETURN
STEREO GRAPHIC EQ
FX SEND MAIN OUT PHONES
20
C GAIN C GAIN U U
M
IC GAIN
M
IC GAIN
M
IC GAIN
M
IC GAIN MI MI
48V
10 10
U +50 U +50 U +50 U +50 U +50 U +50 -20 +20 -20 +20 PHANTOM
-20dB +30dB -20dB +30dB -20dB +30dB -20dB +30dB 5 5
22
POWER
100 Hz 100 Hz 100 Hz 100 Hz 100 Hz 100 Hz
5 5
POWER
EQ EQ EQ EQ EQ EQ EQ EQ
23
U U U U U U U U 10 10
125 250 500 1K 2K 4K 8K 0dB=0dBu
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15
U U U U U U U U
24
OL
MAIN MIX EQ IN 15
10
6
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15
U U U U U U U U 3
25
USB 0
01 BRIGHT ROOM
4
02 WARM LOUNGE
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 U 7
03 SMALL STAGE
04 WARM THEATER 10
U AUX U AUX U AUX U AUX U AUX U AUX U AUX U AUX
26
05 WARM HALL
06 CONCERT HALL 20
07 PLATE REVERB 30
08 CATHEDRAL OO
PRESETS
27
12 TAPE SLAP
15 DELAY 3 (480ms)
28
OL

29 MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MON MAIN
30
1 2 3 4 5/6 7/8 9/10 11/12 ST RTN FX RTN

10 10 10 10 10 10 10 10 10 10 10 10
5 5 5 5 5 5 5 5 5 5 5 5
31
5 5 5 5 5 5 5 5 5 5 5 5
10 10 10 10 10 10 10 10 10 10 10 10
20 20 20 20 20 20 20 20 20 20 20 20
30 30 30 30 30 30 30 30 30 30 30 30
40 40 40 40 40 40 40 40 40 40 40 40
50 50 50 50 50 50 50 50 50 50 50 50
60 60 60 60 60 60 60 60 60 60 60 60
27. AUX FX 29. OL LED

These knobs tap a portion of each channel's signal to This LED will light if the channel signal is too high,
set up a nice FX mix feeding the internal FX processor, and this may cause distortion due to overloading.
and to feed external processors via the FX output [14].
The OL LED comes before the channel fader [31] in
The aux FX feed from hybrid and stereo channels is a the signal path, so the fader has no effect in your efforts
mono sum of the left and right sides of these channels. to turn off the OL LED.
The controls are off when turned fully down, deliver Overloading may occur if the gain [20] is set too high,
unity gain at the center detent, and can provide up to 15 so check that the level set LED [21] is not turning on
dB of gain turned fully up. frequently. Turn down the gain if it is.
The channel fader [31], mute [30] and other channel Overloading can also occur if the channel EQ [23-25]
controls affect the FX output, but pan [28] does not. is set too high. Check that the EQ settings are moderate.
The aux FX is post-fader. Use the low cut switches [22] if the overloading is due
The FX signal reaching the internal FX processor to lower unwanted bass thumps and bangs.
and the FX send output jack, is the sum (mix) of all
the channels whose aux FX control is set to more than 30. MUTE
minimum. The overall FX send level can be adjusted Press this switch in to mute the channel in the main
with the FX master knob [52]. mix. The aux mon output of the channel is not muted,
The FX signal from the internal FX processor is added but the FX output to the internal FX processor and FX
to the main mix using the FX return fader [46], and can send jack [14] is.
be added to the monitors with the FX to mon knob [54].
31. CHANNEL FADER
28. PAN These faders control the channel’s level, from off, to
These knobs adjust the amount of channel signal sent unity gain, on up to 10 dB of additional gain. The mono
to the left versus the right outputs. On mono channels channels have mono faders, and the hybrid and stereo
these controls act as pan pots. On hybrid and stereo channels use stereo faders.
channels, they work like the balance control on a home With the gain control [20] set correctly, the faders
stereo. They do not affect the aux mon or FX mixes. should be set around unity gain (U).

BAL /
R R UNBAL R
LINE IN 12 ST RETURN FX SEND MAIN OUT PHONES
Master Controls
Owner’s Manual
STEREO GRAPHIC EQ
37
U
32
15 15
48V
-20 +20
10 10
PHANTOM
32. PHANTOM POWER SWITCH
5 5 POWER
GAIN
0 0 If your microphones need phantom power, press in
5 5 33 this switch to add phantom power to all the XLR mi-
crophone inputs of the mixer. This lets the mixer send
POWER
U EQ 10 10
HI 15 15 MAIN low-current DC voltage to the mic’s electronics through

12kHz METERS
-15 +15
125 250 500 1K 2K 4K 8K 0dB=0dBu the same wires that carry audio. The LED will turn on as
U OL
a reminder that phantom power is engaged.
MID 38 MAIN MIX
MON
EQ IN
BYPASS 39 15
10
-15 +15
2.5kHz
6 Most modern professional condenser mics require
U 3
phantom power. Semi-pro condenser mics often have
LOW
80Hz FX PRESETS
USB
34 0
2 batteries to accomplish the same thing. “Phantom” owes
49
01 BRIGHT ROOM
-15 +15 02 WARM LOUNGE
03 SMALL STAGE
U
4
7
its name to an ability to be “unseen” by dynamic mics
40 (Shure SM57/SM58, for instance), which don’t need
04 WARM THEATER 10
U AUX 05 WARM HALL
20
external power and aren’t affected by it anyway.
06 CONCERT HALL
MON 07 PLATE REVERB
08 CATHEDRAL
09 CHORUS
50 OO
INPUT LEVEL
+10
L
30
R
OO
U
+15 10 CHORUS + REV
11 DOUBLER
PRESETS Never plug single-ended (unbalanced) micro
phones, or ribbon microphones into the mic
35
12 TAPE SLAP
FX
13 DELAY 1 (300ms)
14 DELAY 2 (380ms)
MUTE
41 input jacks if phantom power is on. Do not
53 51
15 DELAY 3 (480ms)
OO +15 16 REVERB + DLY (250ms) USB THRU BREAK
PAN U U
U
plug instrument outputs into the mic input jacks with
phantom power on, unless you know for certain it is safe
52 54 42 36
OL
to do so.
L R OO +15 OO +15 OO MAX OO +20
33. POWER LED
OL
MUTE
43 OL
MUTE
44 MON MAIN
This LED comes on when the mixer is plugged into
11/12 ST RTN FX RTN the AC mains supply, and the rear panel power switch
dB dB dB dB dB
10 10 10 10 10
[3] is on.
If the LED does not turn on, make sure the AC power
5 5 5 5 5
U U U U U is live, both ends of the power cord are correctly in-

5 5 5 5 5 serted, your electricity bill has been paid, and the lights
in town are on.
10
45 10
4610
47
10
4810
20 20 20 20 20 If you suspect the fuse is blown, disconnect

30 30 30 30 30
the power cord before removing and inspect-
40 40 40 40 40
ing the fuse located below the AC input.
50 50 50 50 50
60 60 60 60 60
O OO OO OO OO
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).
Owner’s Manual 21
BAL /
R R UNBAL R
36. TAPE LEVEL

ProFX8 and ProFX12
STEREO GRAPHIC EQ
37
U
This allows you to control the input level of signals
32
15 15
10 10
48V
entering the tape inputs. It is conveniently close to the
-20 +20
5 5
PHANTOM
POWER
break switch [35] so you can quickly mute all channels
GAIN
0 0 and then bring up your background music when the
5 5 33 POWER
band is taking a break.
U EQ 10 10
MAIN
37. STEREO GRAPHIC EQ
HI 15 15
12kHz METERS
125 250 500 1K 2K 4K 8K 0dB=0dBu
-15 +15
U OL This 7-band graphic equalizer adjusts the main mix
MID 38 MAIN MIX
MON
EQ IN
BYPASS 39 15
10
output. It affects the line-level outputs [4, 15], but not
-15 +15
2.5kHz
6 the tape outputs [19], headphones [17], or the USB
output [5]. This EQ can be used for the monitor mix in-
U 3
LOW
80Hz FX PRESETS
USB
34 0
2 stead of the main mix, if the main mix/mon switch [38]
49
01 BRIGHT ROOM
4
-15 +15 02 WARM LOUNGE
03 SMALL STAGE
U 7 is engaged. It can also be quickly bypassed using the EQ
40
04 WARM THEATER
U AUX 05 WARM HALL
06 CONCERT HALL
10
20
in/bypass switch [39].
MON 07 PLATE REVERB
08 CATHEDRAL
09 CHORUS
50 OO
INPUT LEVEL
+10
L
30
R Each slider allows you to adjust the level of its
frequency band, with up to 15 dB of boost or cut, and
OO +15 10 CHORUS + REV
PRESETS
U 11 DOUBLER
35
12 TAPE SLAP
FX
13 DELAY 1 (300ms)
14 DELAY 2 (380ms)
MUTE
41 no change in level at the center (0 dB) position. The
frequency bands are: 125, 250, 500, 1k, 2k, 4k, and 8kHz.
53 51
15 DELAY 3 (480ms)
OO +15 16 REVERB + DLY (250ms) USB THRU BREAK
PAN U U U
The EQ section comes before the main fader [48],
52 54 42 36
OL
and meters [34]. As with the channel EQ, just take it
L R OO +15 OO +15 OO MAX OO +20 easy. There is a large amount of adjustment, and if you
are not careful, you can upset the delicate balance of
OL
MUTE
43 OL
MUTE
44 MON MAIN nature. Although it may not seem cool to actually turn
down controls, with EQ it is often your best option. Turn
11/12 ST RTN FX RTN
dB dB dB dB dB down the offending frequency range, rather than boost
10 10 10 10 10
the wanted range. You can use it to reduce the level of
5 5 5 5 5 some frequency bands where feedback occurs.
U U U U U
5 5 5 5 5
38. MAIN MIX/MON
10
45 10
4610
47
10
4810 This switch allows you to choose if the stereo graphic
EQ [37] is used for the stereo left and right main mix,
20 20 20 20 20
or if it is used for the monitors. For example, there
30 30 30 30 30
maybe times when the graphic EQ can be used wisely
40
50
40
50
40
50
40
50
40
50
in the monitor mix to reduce feedback in the monitors
60
O
60
OO
60
OO
60
OO
60
OO
from nearby microphones.
39. EQ IN/BYPASS
35. BREAK SWITCH This switch allows you to quickly engage or disen-
This important "take-a-break" switch quickly mutes gage the stereo graphic EQ. This can be used for quick
all the microphones and line-level inputs when the band checks of your EQ settings, or to shorten the signal path
is between sets. This will prevent protestors or rogue if you do not need to use the EQ.
karaoke singers from storming the stage at the interval.
The monitor send [13] and FX send [14] are not af- 40. USB INPUT LEVEL
fected. Check this switch first, if you are having trouble
with no sound in your system. This control lets you adjust the signal level of the two
channels coming in from your computer, via the USB
You can still play the stereo RCA tape inputs [18] in port, relative to the mix of the other channels. Adjust
the main stereo mix, and play audio coming in from your it carefully to achieve the desired mix with the other
computer via the USB inputs. For example, you could channels.
play a soothing CD while the band is off stage.
The USB input from your audio software such as
Tracktion, could be individual instrument tracks, a mix
of tracks, or processed tracks.

41. USB THRU 45. STEREO RETURN FADER
Owner’s Manual
In addition to a mix of the other channels, the USB Use this fader to lovingly adjust the level of any audio
output to your computer can contain any input from coming into the stereo return inputs [12] from your
your computer, if this switch is down. (This switch only external processors or other equipment. The audio is
affects the output to your computer, not the headphones added to the main mix, and it can also be muted with
or main mix.) the stereo return mute switch [44].
• If disengaged (out), the USB output to your Typically, this fader can just live at the unity U mark,
computer will just be the main mix. This is a and the external device’s output control set at whatever
good position for overdubbing, as any playback they call unity gain (check the manual of the effects
from your computer can be played in your main unit, CD player, drum machine, or whatever). If that
speakers and headphones, while you play along turns out to be too loud or too quiet, adjust the external
with a guitar and record only the guitar via device’s outputs, not the mixer. That way, the mixer’s
USB. This is also good for live recording, as a faders are easy to relocate at the unity U mark. The
safeguard against feedback. Here, the USB level range is off to +10 dB.
knob should also be down.
• If pressed in, the USB output to your computer 46. FX RETURN FADER
will be the main mix, including any audio Use this fader to gently adjust the level of the stereo
coming in from your computer. This is a good output from the internal FX processor being added to
position to record live performances where the main mix. The range is off to +10 dB with unity at U.
playback of audio from the computer is also
part of the performance.
47. MONITOR FADER
42. PHONES LEVEL This fader controls the overall level of the monitor
send signal sent out to your stage monitors.
This controls the volume of the headphones output
from off to maximum gain. Adjust it carefully, and check that your band are
happy with the levels. The fader does not affect the
Warning: The headphone amplifier is de-
main mix level.
signed to drive any standard headphones to a
very loud level. It can cause permanent hear- The monitor send signals are off with the fader fully
ing damage. Even intermediate levels may be painfully down, the “U” marking is unity gain, and fully up pro-
loud with some headphones. Be careful! Always start vides 10 dB of additional gain.
with the phones level control turned all the way down
before connecting headphones or making any connec- 48. MAIN FADER
tions. Keep it down until you’ve put on the headphones,
and turn it down first whenever you play a new source or This fader controls the level of the main mix, and
instrument. 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.
43. OL LED (for stereo return)
This LED will light if the signal coming into the stereo This gives you ultimate control over your audience.
return inputs [12] is too high, and this may cause dis- Adjust it carefully, with your good eye on the meters to
tortion due to overloading. check against overloading, and your good ear on the
levels to make sure your audience is happy.
The OL LED comes before the stereo return fader
[45], so the fader has no effect in your efforts to turn off The control does not affect the monitor send [13],
the OL LED. tape output [19], headphones [17], or USB output [5].
Check your external processor or other device, and The main mix signals are off with the fader fully down,
turn down its level until the OL LED does not come on. 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
44. MUTE (for stereo returns)
there. The level control is stereo, as it affects both the
Press this switch in to mute the signals coming into left and right of the main mix equally. This is the control
the stereo return inputs [12]. to turn down at the end of the song when you want “The
Great Fade-Out.”
Owner’s Manual 23
BAL /
R R UNBAL R
50. PRESET SELECTOR

ProFX8 and ProFX12
STEREO GRAPHIC EQ
U
15 15
Rotate this knob to increase or decrease the number
10 10
48V
of the preset. The available presets are shown in the
-20 +20
5 5
PHANTOM
POWER
table on the next page, and are marked on the panel
GAIN
0 0 silkscreen. (Only one preset can be selected at a time.)
5 5
POWER
U EQ 10 10
51. INTERNAL FX MUTE and LED
HI 15 15 MAIN
12kHz
125 250 500 1K 2K 4K 8K
METERS
0dB=0dBu When engaged, the internal effects processor is
-15 +15
U OL muted. Its output will not appear in the main mix or
MAIN MIX EQ IN
MID MON BYPASS
15
10
monitors, and the adjacent LED will come on. The
-15 +15
2.5kHz
6 footswitch connection [16] becomes disabled, and you
will not be able to use the footswitch to mute or unmute
U 3
USB 0
LOW
80Hz FX PRESETS 2 the effects.
49
01 BRIGHT ROOM
4
02 WARM LOUNGE
-15 +15 U 7
If this switch is not engaged, then the internal effects
03 SMALL STAGE
04 WARM THEATER 10
U AUX 05 WARM HALL
06 CONCERT HALL 20
can be muted or unmuted with your footswitch.
MON 07 PLATE REVERB
08 CATHEDRAL
09 CHORUS
50 OO +10
INPUT LEVEL L
30
R
52. FX MASTER
OO +15 10 CHORUS + REV
PRESETS
U 11 DOUBLER
12 TAPE SLAP
FX 14 DELAY 2 (380ms) Use this knob to control the level of the signals going
51
15 DELAY 3 (480ms)
53
USB THRU BREAK
OO +15 16 REVERB + DLY (250ms)
(MUTES ALL CHANNELS) into the internal effects processor. Adjust it carefully,
PAN U U U
with your inner magical eye on the adjacent OL LED
52 54
OL
[53] to prevent overloading the effects processor.
L R OO +15 OO +15 OO MAX OO +20
FX MASTER FX TO MON PHONES TAPE LEVEL Fully down is off, 12 o'clock is unity gain, and fully up
MON MAIN is 15 dB of gain.
MUTE MUTE
Stereo
ST RTNEffects
FX RTNProcessor
OL OL
11/12 It also affects the level going out of the FX send out-
dB dB dB dB dB put [14].
10 10 10 10 10
The Mackie Running-Man 32-bit internal effects pro-
5
cessor
5
is a mono-in,
5
stereo-out5effects processor,
5
with 53. OL LED
U 16Upresets. It is fed
U by adjusting
U the aux FX control
U [27] This LED illuminates when the effects processor is
5
on5 each channel.5 The FX master 5
knob [52] adjusts
5
the being overloaded with too strong a signal (OL). Turn
overall level entering the FX processor, and the OL LED down the FX master [52] if it is.
10 10 10 10 10
[53] shows if the level is too high.
20 20 20 20 20 The signals going into the processor are affected by
30
The
30
output from
30
the processor
30
can be added
30
to the the channel aux FX controls [27], and the channel fad-
main mix by adjusting the FX return fader [46]. Its ers [31]. Check the LED if you alter these controls.
40 40 40 40 40
50 output
50 can also be
50 added to the50 monitor mix 50
by adjust-
60
ing60the FX to mon60
[54] knob. 60 60
54. FX TO MON
O OO OO OO OO
49. PRESET DISPLAY This knob allows you to add the output of the internal
FX processor to the stage monitor mix. Fully down is off,
This display shows the number of the currently 12 o'clock is unity gain, and fully up is 15 dB of gain.
selected effects preset, as shown in the list of presets
silkscreened to the left of the display.

TABLE OF INTERNAL EFFECTS
Owner’s Manual
No. Title Description Example of its use
1 BRIGHT ROOM This room has a bright tone with lots of scattered Useful on vocals that require a brighter re-
reflections to simulate harder, more reflective verb to cut through the mix, or for giving
surfaces. acoustic instruments a livelier vibe.
2 WARM LOUNGE This preset features a medium sized room/lounge Useful for vocals on songs that require
sound, with just enough enhancement of the lower a larger, more “wet” sound, or for giving
mids to produce a warm tone. dimension to bright horns without adding
harshness.
3 SMALL STAGE This preset simulates the sound of a small concert Useful for vocals or guitars in fast paced,
stage, with a medium reverb time and reverberant high-energy songs that call for a “live”
space. sounding reverberation.
4 WARM THEATER This reverb has a warm bodied tone and medium Perfect for vocals, drums, acoustic and
long reverb time to simulate the live acoustics of a electric guitars, keyboards, and more.
theater space.
5 WARM HALL This reverb simulates the sound of a spacious, Perfect for adding natural concert hall
yet cozy, heavily draped and carpeted concert hall ambience to close-mic’ed orchestral
with an especially warm tone. instruments.
6 CONCERT HALL This hall reverb is characterized by its large, spa- Adds life to acoustic instruments and
cious sound, long pre-delay, and vibrant tone. vocals from solos to full-on symphonies
and choirs.
7 PLATE REVERB This preset emulates vintage mechanical rever- Perfect for thickening percussive instru-
beration that was generated with a metal plate. ments, such as a snare drum, or tight
Its sound is characterized by lots of early reflec- vocal arrangements.
tions and no pre-delay.
8 CATHEDRAL This reverb emulates the extremely long tails, Gives amazing depth to choirs, wind
dense diffusion and long pre-delays and reflec- instruments, organs, and soft acoustic
tions that would be found in a very large, stone guitars.
walled house of worship.
9 CHORUS This preset provides a soft, ethereal sweeping Perfect for enhancement of electric and
effect that is useful for thickening and for making acoustic guitar and bass, or to add a dra-
a particular sound pop out of the mix. matic effect to vocals, particularly group
harmonies and choirs.
10 CHORUS + REV This preset perfectly combines the chorus effect This lets you both thicken your sound
above with a large, roomy reverb. 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 Provides a vibe that is similar to chorus
instrument being recorded twice (double tracked) without the subtle swirl.
on a multi-track recorder. (50MS)
12 TAPE SLAP This effect provides a single, relatively rapid delay Often used on vocals for a 1950’s era feel,
of the original signal, with the added warmth that or on guitars for a surf-type tone. Often
vintage tape-based echo units provided. (180 MS) used by people whose favorite number is
12.
13 DELAY 1 (300MS) These delay presets provide around three repeats These work best with full, up-beat music
14 DELAY 2 (380MS) of the original signal. The default delay time for like rock where the delay needs to cut
15 DELAY 3 (480 MS) each preset is shown in ms - the smaller the time, through the mix.
the faster the delay.
16 REVERB + DLY This effect combines the warm theater reverb ef- Perfect for thickening vocals while adding
(250MS) fect with the echoes of the 3-repeat delay effect. dimension, it can also be used as a spacey
effect on electric guitars.
Owner’s Manual 25
Appendix A: Service Information
ProFX8 and ProFX12
If you think your ProFX mixer has a problem, please

check out the following troubleshooting tips and do your Repair
best to confirm the problem. Visit the support section of For warranty service, refer to the warranty informa-
our website (www.mackie.com) where you will find lots tion on page 35.
of useful information such as FAQs, documentation and
user forums. You may find the answer to the problem Non-warranty service for Mackie products is avail-
without having to send your mixer away. able 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
Troubleshooting for Mackie products living outside the United States can
be obtained through local dealers or distributors.
Bad Channel If you do not have access to our website, you can
call our Tech Support department at 1-800-898-3211,
• Has the gain been set correctly? Monday-Friday, normal business hours, Pacific Time, to
• Is the mute switch on? explain the problem. Tech Support will tell you where
the nearest factory-authorized service center is located
• Is the fader turned up?
in your area.
• 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.

Appendix B: Connections
Owner’s Manual
“XLR” Connectors • Balanced mono circuits. When wired as a bal-
Mackie mixers use 3-pin female “XLR” connectors on anced connector, a 1⁄4" TRS jack or plug is con-
all microphone inputs, with pin 1 wired to the grounded nected tip to signal high (hot), ring to signal
(earthed) shield, pin 2 wired to the “high” (”hot” or low (cold), and sleeve to ground (earth).
positive polarity) side of the audio signal and pin 3 • Unbalanced Send/Return circuits. When wired
wired to the “low” (“cold” or negative polarity) side of as send/return “Y” connector, a 1⁄4" TRS jack
the signal. See Figure A. This is all totally aboveboard or plug is connected tip to signal send (output
and in full accord with the hallowed standards dictated from mixer), ring to signal return (input back
by the AES (Audio Engineering Society). into mixer), and sleeve to ground (earth).
Use a male “XLR”-type connector, usually found on the
nether end of what is called a “mic cable,” to connect to 1⁄4" TS Phone Plugs and Jacks
a female XLR jack.
2
“TS” stands for Tip-Sleeve, the two connections avail-
SHIELD
HOT able on a “mono” 1⁄4" phone jack or plug. See Figure C.
SLEEVE SLEEVE TIP

COLD 3 1
SHIELD 1
TIP
TIP
COLD 3 2
HOT SLEEVE
1 SHIELD
3 COLD Figure C: TS Plug
2
HOT
Figure A: XLR Connectors TS jacks and plugs areRINGused in many

SLEEVE
different
SLEEVE RING TIP
applications, always unbalanced. The tip is connected to
SLEEVE SLEEVE TIP
the audio signal and the sleeve
TIP to ground (earth). Some
examples: RING
1⁄4" TRS Phone Plugs and Jacks
TIP
TIP
TIP
• Unbalanced microphones SLEEVE
SLEEVE
“TRS” stands for Tip-Ring-Sleeve, the three • Electric guitars and electronic instruments
connections available on a “stereo” 1⁄4" or “balanced” • Unbalanced line-level connections
phone jack or plug. See Figure B.
RING SLEEVE SLEEVE RING TIP RCA Plugs and Jacks
TIP RCA-type plugs (also known as phono plugs) and
RING jacks are often used in home stereo and video equip-
TIP
SLEEVE
ment and in many other applications (Figure D). They
are unbalanced and electrically identical to a 1⁄4" TS
Figure B: 1⁄4" TRS Plugs
phone plug or jack (see Figure C). Connect the signal to
the center post and the ground (earth) or shield to the
TRS jacks and plugs are used in several different ap- surrounding “basket.”
plications:
SLEEVE TIP SLEEVE TIP
• Stereo Headphones, and rarely, stereo micro-

phones and stereo line connections.
When wired for stereo, a 1⁄4" TRS jack or plug Figure D: RCA Plug
is connected tip to left, ring to right and sleeve
to ground (earth). Mackie mixers do not
directly accept 1-plug-type stereo microphones.
They must be separated into a left cord and a
right cord, which are plugged into the two mic
preamps.
Owner’s Manual 27
TRS Send/Receive Insert Jacks Mackie Stereo Inputs and Returns: Mono,
ProFX8 and ProFX12
Stereo, Whatever
Mackie’s single-jack inserts are the three-conductor,
TRS-type 1⁄4" phone. They are unbalanced, but have Stereo line inputs and stereo returns are a fine
both the mixer output (send) and the mixer input example of the Mackie philosophy (which we just made
(return) signals in one connector. See Figure E. up) of Maximum Flexibility with Minimum Headache.
The sleeve is the common ground (earth) for both The inputs and returns will automatically be mono or
signals. The send from the mixer to the external unit is stereo, depending upon how you use the jacks. Here’s
carried on the tip, and the return from the unit to the how it works:
mixer is on the ring. A mono signal should be patched into the input or re-
SEND to processor turn jack labeled left (mono). The signal will be routed
ring “tip”
tip sleeve (TRS plug) 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
This plug connects to one of the
mixer’s Channel Insert jacks.
“ring” assigned to, or it can be “panned” with the pan control.
RETURN from processor
Figure E
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
Using the Send only on an Insert Jack function, and the signals will show up in stereo.
A mono signal connected to the right jack will show
If you insert a TS (mono) 1⁄4" plug only partially (to
up in the right bus only. You probably will only want to
the first click) into a Mackie insert jack, the plug will
use this sophisticated effect for special occasions.
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.
MONO PLUG
Channel Insert jack
Direct out with no signal interruption to master.

Insert only to first “click.”
MONO PLUG
Channel Insert jack
Direct out with signal interruption to master.

Insert all the way in to the second “click.”
STEREO
PLUG
Channel Insert jack
For use as an effects loop.
(TIP = SEND to effect, RING = RETURN from effect.)
Figure F

Appendix C: Technical Information
Owner’s Manual
Specifications
Noise Maximum Voltage Gain (EQ Flat)
20 Hz – 20 kHz, 150 Ohm Source Impedance Mic Input Channel to
Equivalent Input Noise Insert Output 50 dB
(Mic in to Insert Send out, max gain) -125 dBu Tape Output 60 dB
Residual Output Noise USB Output 50 dB
(All outputs, master levels off, all channel levels off) ¼ Inch Main Output 70 dB
-95 dBu XLR Main Output 76 dB
(All outputs, master levels unity, all channel levels off) Monitor Send 75 dB
-80 dBu FX Send 90 dB
(All outputs, master levels unity, one channel level unity) Mono Line Input Channel to
-80 dBu Insert Output 30 dB
Tape Output 40 dB
Distortion USB Output 30 dB
20 Hz – 20 kHz XLR Main Output 56 dB
THD+N, SMPTE IMD Monitor Send 55 dB
(Mic input to Main output) <0.03% @ +4 dBu output FX Send 70 dB
Common Mode Rejection Ratio Stereo Line Input Channel to
Tape Output 30 dB
1 kHz USB Output 20 dB
(Mic input to Insert Send output) 60 dB gain at unity XLR Main Output 46 dB
Frequency Response Monitor Send 45 dB
FX Send 60 dB
20 Hz – 30 kHz
Tape Input to
(Mic input to any output, gain at unity) +0 dB/-1 dB
Tape Output 20 dB
Crosstalk USB Output 10 dB
20 Hz – 20 kHz XLR Main Output 36 dB
Adjacent Inputs -90 dB @ 1 kHz USB Input to
Inputs to Outputs -90 dB @ 1 kHz Tape Output 20 dB
Fader Off -75 dB @ 1 kHz USB Output 10 dB
Mute Switch/Break Switch Mute -90 dB @ 1 kHz XLR Main Output 36 dB
Stereo Return to
Maximum Levels Tape Output 10 dB
All Inputs +22 dBu USB Output 0 dB
Main Mix XLR +28 dBu XLR Main Output 26 dB
All other outputs +22 dBu Effects Return to
Tape Output 10 dB
Impedances USB Output 0 dB
Mic in 3 kilohms XLR Main Output 26 dB
Channel Insert return 10 kilohms Monitor Send 25 dB
Ch 1 Instrument Input 1 Megohm
All other inputs 20 kilohms Channel EQ
Tape out 1.1 kilohms Low Cut 100 Hz, -18 dB/Octave
Phones out 25 ohms High Shelving ±15 dB @ 12 kHz
All other outputs 120 ohms 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
Owner’s Manual 29
Meters
Dimensions
ProFX8 and ProFX12
Main L/R Mix
Two columns of 12 segments each: WEIGHT
OL (+20 dBu), +15, +10, +6, +3, 0 (0 dBu), -2, -4, -7, -10, -20, 7.1 lb
3.2 kg
and -30
7 Band Graphic EQ
Frequency Centers 125, 250, 500, 1k, 2k, 4k, 8k
Gain ±15 dB 3.58 in/
91 mm
Assignable to Main or Monitor
Bypassable
USB
Format USB 1.1
I/O Stereo Input/Stereo Output
14.05 in/ 357mm

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) 11.41 in/ 290 mm
Power Connector 3 Pin IEC
Dimensions (H x W x D)
WEIGHT
ProFX8 14.05" x 11.41" x 3.58" 9.0 lb
(357 mm x 290 mm x 91 mm) 4.1 kg
ProFX12 14.05" x 14.6" x 3.58"
(357 mm x 370 mm x 91 mm)
Weight
3.58 in/
ProFX8 7.1 lb (3.2 kg) 91 mm
ProFX12 9.0 lb (4.1 kg)
14.05 in/ 357mm
14.6 in/ 370 mm
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 specifications 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.
©2009 LOUD Technologies Inc. All Rights Reserved.
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 office, waste authority, or your household waste disposal service.

Global 48v
48V Switch/LED
Phantom Power Insert
FX (post)
(To All Mics)
Mon (pre)
L
R Main
OL (Flicker)
L sum Break
Phantom Power Level Set switch Main Fader
Low Cut In Left
Gain Mute
Pan
LO MID HI
+
Mic - 80 2.5K 12K
R sum to/from
Mono 7-Band
HPF GEQ
Main out
Channels 100 Hz Fader
2-2 ProFX8 Line Mic: 0 ~ +50dB
Line: -20 ~ +30dB 3-Band EQ
2-4 ProFX12 Right
FX
Phantom
Power
Mon
Main
Meters
Block Diagram
+ Tape Input
Mic -
Mono Line / Mic: 0 ~ +50dB L Left
Hi-Z Line: -20 ~ +30dB
Channel Gain Tape Out
Line /
1 ProFX8 Hi-Z R Right
1 ProFX12
Level
Phones
OL (Flicker)
3-Band EQ Fader Phones
Level
LO MID HI Mute USB Thru
Pan USB Input
Hybrid L L
80 2.5K 12K USB
Channels
Out
3-6 ProFX8
LO MID HI R
5-8 ProFX12 R
Level Set 80 2.5K 12K
Level
FX
+
Mic - Mon
Low Cut In Main L Main L
HPF Mon Mon
100 Hz
Phantom Mic Gain: Main R Main R
Power 0 ~ +50dB
Mains EQ In
Gain Mon
7-band Stereo Bypass
Stereo GEQ
L EQ assign Bypass
Channels switch switch
7-8 ProFX8 Line Gain: Note: When not assigned to EQ, signal is sent to straight through to destination.
9-12 ProFX12 -20 ~ +20 dB
R Mon Fader
to/from Monitor send

OL (Flicker) 7-Band EQ OL
Fader
Mute
FX send
L FX level
Stereo Return
FX to Main L/R Fader In Preset select
R Out L
FX
Out R
active
FX Mute FX
Preset
FX to Mon Display
FX Bypass
Logic
L
footswitch
Main R
NOTE: Switches are shown in the default (out) position. Internal FX

FX (post)
Mon (pre)
Owner’s Manual
Rev 105
31
June 6, 2008
Owner’s Manual
Appendix D: USB interface
ProFX8 and ProFX12
System Requirements USB stream to computer

These are the minimum requirements for your com- In addition to a mix of channels, the USB output to
puter system to use the mixer's USB interface. your computer can contain audio from your computer, if
the USB thru switch [41] is engaged.
For the PC:
The mains and headphone outputs are not af-
• Windows XP (service pack 2)
fected by the switch, and always provide a full
• Pentium 4 or Athlon XP processor mix of channels and any 2-channel audio from
• 256 MB RAM your computer.
For the Mac: The analog audio from the mixer is converted to digi-
• OS X (10.4.11 or higher) tal signals by the USB interface’s A/D converters.
• G4 processor The following table shows the outputs to your com-
• 256 MB RAM puter from the mixer’s USB interface:
The internal USB interface will allow the left and To From
right main mix to be recorded on a Mac or PC computer. Computer input 1 Left mix of channels including
It also allows two channels of audio from the computer any audio from computer
to be added to the main mix. (thru switch in)
or
Plug and Play Left mix of channels without
audio from computer
No drivers or software installation is required. The (thru switch out)
ProFX mixer's USB interface connects directly to the Computer input 2 Right mix of channels including
USB port of your computer. any audio from computer
(thru switch in)
USB stream from computer or
Right mix of channels without
The following table shows the outputs from your com- audio from computer
puter to the mixer’s USB interface: (thru switch out)
From To Here are two examples of using the USB thru switch:
Computer output 1 Main mix L
Studio Overdub – Tracktion playback is coming into
Computer output 2 Main mix R the mixer on USB inputs, and routing through
the mains/phones for you to hear. A guitar
The 2-channel digital stream from the computer plugged into channel 1 is being recorded via the
enters the mixer through the USB connector and is USB output, while you listen and play along to
converted to analog audio. the Tracktion playback. The USB thru switch is
The audio level can be adjusted using the USB input out, so the output to be recorded on the com-
control [40]. puter contains all playing channels except the
playback from the computer.
Beware of a possible feedback loop, if you are
Live Performance – Computer playback software
feeding the main mix back into the mixer.
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.

Recording with USB Monitoring
Owner’s Manual
When recording to computer software with a ProFX
The mixer's built-in USB connection allows overdub
mixer, use direct hardware monitoring:
style recording to a Mac or PC digital audio workstation
(DAW) through the USB cable. • Listen to the track you are recording directly off
of your mixer, while also listening to previously-
Here are some steps showing how to record a first
recorded tracks on your DAW software, as they
track, and then record additional tracks while monitor-
are fed back into the mixer.
ing ones that have already been recorded.
The procedure is as follows:
1. Connect to the mixer, the sound source you
wish to record to your audio software, for ex- • Arm the track you wish to record onto, on your
ample: DAW software, such as Tracktion.
• A microphone for a voice or instrument. • On the track you have just armed, disable input
monitoring (see top of next page), so that
• A line-level source such as an electronic
while recording, you do not hear the return
keyboard.
of that track coming from the computer. This
• An instrument connected directly to the will ensure you do not mix the direct track you
instrument input 1 (with the hi-z switch are monitoring, with the duplicate of the track
[7] pressed in). on the DAW as it is being recorded. You do not
2. Make sure the USB thru switch [41] is not want to hear the direct and DAW track of the
pressed in. This will ensure that during each same source simultaneously, as the DAW ver-
recording pass, the audio software only receives sion might be slightly delayed, and the combi-
the track-in-progress as an audio signal, and nation of the two will produce a filtered sound.
not the pre-existing mix from the computer as • Make sure that the DAW’s input meters show
well. a healthy level, and if it needs to be increased
3. Set the gain knob [20] at the top of the channel or decreased, adjust the signal’s channel fader
you are using, to an appropriate level for the [31], not the gain knob [20].
source being recorded, using the level set LED • Press record on the DAW and record the track.
[21] as a guide. Once the gain has been set, set
the channel fader [31] to unity (U). Overdubbing
The signals going out to your computer are not
affected by the main fader [48] or the head- To overdub additional tracks while listening to previ-
phones knob [42]. ously recorded ones, follow these steps:
4. If you are recording an acoustic source through • Press Play. The previously recorded track will
a microphone, monitor it through headphones, now play out of the DAW’s main L-R mix into
not through speakers. This will prevent sound the USB input of the mixer.
from the speakers from leaking into the micro-
• Set the level of the USB input level knob [40]
phone. If working in this fashion, turn down
to a level where you can hear the previously
the main fader, and instead turn up the phones
recorded track comfortably.
knob for safe listening levels in the head-
phones. • 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.
Owner’s Manual 33
ProFX8 and ProFX12
end-to-end disabled
Tracktion Screen
In Tracktion, to disable input monitoring for the track ins in your work. If this happens, your audio may stop or
you are recording onto, select the input to the track (it “drop out.” Drop outs may also occur if you have a slower
will be highlighted in red) and disable the end-to-end computer or not enough memory.
function.
When recording using the overdub method, it is
You’ll hear existing tracks playing back via the USB important to set the mixer’s latency to it’s lowest oper-
in, and you’ll be monitoring the track you are recording able setting. This means going into the audio interface
through the mixer’s headphones or main out. When you property page of your recording program and setting the
play back the recording, you’ll hear the track you’ve just latency property to the lowest setting the device and
overdubbed without unmuting anything. your system will accept without any drop-outs, distor-
tion or CPU overburdening.
Other DAWs may show this as a speaker next to the
track record arm button. The buffer is an area of computer memory that your
DAW uses to hold audio as it works. The smaller the
Other tips buffer, the faster audio gets in and out of your com-
puter, and the lower the latency. The size of the buffer
• If recording with a microphone, turn down the is measured in samples. The more samples, the higher
main fader [48] while recording, and listen the latency time value. This time value varies by sample
through the headphones instead. rate.
• If recording “direct” sources such as an electric Higher latency settings are fine and even necessary
guitar, you can listen with speakers, as there when in live record mode. The same is true for mix-
is no microphone present to worry about the down mode, especially when you start adding lots of
speaker’s sound leaking in. plug-ins.
The latency will never be zero, but generally we can
A word about latency lower it enough so its effect cannot be heard.
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-

ProFX8 and ProFX12 Limited Warranty
Owner’s Manual
Please keep your sales receipt in a safe place.
This Limited Product Warranty (“Product Warranty”) is provided by LOUD Technologies Inc. (“LOUD”)
and is applicable to products purchased in the United States or Canada through a LOUD-authorized
reseller or dealer. The Product Warranty will not extend to anyone other than the original purchaser of
the product (hereinafter, “Customer,” “you” or “your”).
For products purchased outside the U.S. or Canada, please visit www.mackie.com/warranty to find
contact information for your local distributor, and information on any warranty coverage provided by the
distributor in your local market.
LOUD warrants to Customer that the product will be free from defects in materials and workmanship
under normal use during the Warranty Period. If the product fails to conform to the warranty then LOUD
or its authorized service representative will at its option, either repair or replace any such nonconforming
product, provided that Customer gives notice of the noncompliance within the Warranty Period to the
Company at: www.mackie.com/support or by calling LOUD technical support at 1.800.898.3211 (toll-
free in the U.S. and Canada) during normal business hours Pacific Time, excluding weekends or LOUD
holidays. Please retain the original dated sales receipt as evidence of the date of purchase. You will need it
to obtain any warranty service.
For full terms and conditions, as well as the specific duration of the Warranty for this product, please visit
www.mackie.com/warranty.
The Product Warranty, together with your invoice or receipt, and the terms and conditions located
at www.mackie.com/warranty constitutes the entire agreement, and supersedes any and all prior
agreements between LOUD and Customer related to the subject matter hereof. No amendment,
modification or waiver of any of the provisions of this Product Warranty will be valid unless set forth in a
written instrument signed by the party to be bound thereby.
Owner’s Manual 35
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

Profx8 and Profx12: Professional Mic/Line Mixers With FX and Usb I/O

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Profx8 and Profx12: Professional Mic/Line Mixers With FX and Usb I/O

Uploaded by

Copyright:

Available Formats

ProFX8 and ProFX12

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

POWER WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC

MIC MIC MIC MIC MIC MIC (UNBALANCED)

BAL / BAL / BAL / BAL / BAL / BAL /

L R L R L R L R L R L R L R L R OO +15 OO +15 OO MAX OO +20

1 2 3 4 5/6 7/8 9/10 11/12 ST RTN FX RTN

2 ProFX8 and ProFX12

Part No. SW0713 Rev. C

Need help with your new mixer?

MIC MIC MIC MIC MIC MIC (UNBALANCED)

L L POWER WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC

BAL / BAL / BAL / BAL / BAL / BAL /

Effects Processor for recording

Mono in, Stereo out

1 2 3 4 5/6 7/8 9/10 11/12 ST RTN FX RTN

SRM450v2 Powered Monitors SRM450v2 Powered Speakers

Band System ProFX12

6 ProFX8 and ProFX12

MIC MIC MIC MIC MIC MIC (UNBALANCED)

L L POWER WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC

BAL / BAL / BAL / BAL / BAL / BAL /

125 250 500 1K 2K 4K 8K

Mono in, Stereo out

L R L R L R L R L R L R L R L R OO +15 OO +15 OO MAX OO +20

1 2 3 4 5/6 7/8 9/10 11/12 ST RTN FX RTN

SRM450v2 Powered Monitors

House of Worship System ProFX12

MIC MIC MIC MIC (UNBALANCED)

L L POWER WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC

BAL / BAL / BAL / BAL / BAL /

Laptop running Tracktion

L R L R L R L R L R OO +15 OO +15 OO MAX OO +20

8 ProFX8 and ProFX12

CD+G Player Video

MIC MIC MIC MIC (UNBALANCED)

L L POWER WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC

BAL / BAL / BAL / BAL / BAL /

with Karaoke Software

Effects Processor SRM450v2

1 2 3/4 5/6 7/8 ST RTN FX RTN

SRM350v2 Powered Monitors

Karaoke System ProFX8

MIC MIC MIC MIC (UNBALANCED)

L L POWER WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC

BAL / BAL / BAL / BAL / BAL /

L R L R L R L R L R OO +15 OO +15 OO MAX OO +20

Electronic Drum Kit

MR8 Powered Reference Monitors

Home Studio System ProFX8

10 ProFX8 and ProFX12

MIC MIC MIC MIC (UNBALANCED)

L L POWER WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC

BAL / BAL / BAL / BAL / BAL /

L R L R L R L R L R OO +15 OO +15 OO MAX OO +20

MR5 Powered Reference Monitors

Podcast System ProFX8

POWER WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC

1. POWER CONNECTION 4. XLR MAIN OUTS

Securely connect the supplied detachable linecord in TAPE

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

mixer has a universal

LINE/HI-Z IN 1 LINE IN 2 LINE IN 3 LINE IN 4 LINE IN 5

level instruments and effects, headphones, and the MAIN

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

We use phantom-powered, balanced microphone

the same reason: This kind of circuit isexcellent at re-

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

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

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

music to a PA system between sets, when the break