Duration, per day in hours 2 1.Sound Level dBA, Slow Response 105 Typical Example Duo in small club Subway Train Very loud classical music Greg and Ben screaming at Troy about deadlines Loudest parts at a rock concert

CAUTION

RISK OF ELECTRIC SHOCK. DO NOT OPEN RISQUE DE CHOC ELECTRIQUE. NE PAS OUVRIR
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK DO NOT REMOVE COVER (OR BACK) NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL
ATTENTION: POUR EVITER LES RISQUES DE CHOC ELECTRIQUE, NE PAS ENLEVER LE COUVERCLE. AUCUN ENTRETIEN DE PIECES INTERIEURES PAR L'USAGER. CONFIER L'ENTRETIEN AU PERSONNEL QUALIFIE. AVIS: POUR EVITER LES RISQUES D'INCENDIE OU D'ELECTROCUTION, N'EXPOSEZ PAS CET ARTICLE A LA PLUIE OU A L'HUMIDITE
The lightning flash with arrowhead symbol within an equilateral triangle is intended to alert the user to the presence of uninsulated "dangerous voltage" within the product's enclosure, that may be of sufficient magnitude to constitute a risk of electric shock to persons. Le symbole clair avec point de flche l'intrieur d'un triangle quilatral est utilis pour alerter l'utilisateur de la prsence l'intrieur du coffret de "voltage dangereux" non isol d'ampleur suffisante pour constituer un risque d'lctrocution. The exclamation point within an equilateral triangle is intended to alert the user of the presence of important operating and maintenance (servicing) instructions in the literature accompanying the appliance. Le point d'exclamation l'intrieur d'un triangle quilatral est employ pour alerter les utilisateurs de la prsence d'instructions importantes pour le fonctionnement et l'entretien (service) dans le livret d'instruction accompagnant l'appareil.

0.0.25 or less 115

WARNING To reduce the risk of fire or electric shock, do not expose this apparatus to rain or moisture.

Read This Page!

We realize that you must be really keen to try out your new powered mixer, but please read the safety instructions on page 2, and this page first.

Ready, steady, go!

1. Turn the channel level, mon 1, and FX/mon 2 controls fully down. 2. Turn down the compressor controls (ch. 14). 3. Set all the EQ controls to the center, including the graphic EQ sliders. 4. Turn down the main level and monitor 1 level controls, and turn on the powered mixer. 5. For each channel, press the gain switch in (low gain) if you are using a line-level source. Press it out (high gain) if you are using a microphone or other low-level source. 6. For condenser mics, push in the phantom power switch. If you are using both condenser and dynamic mics, dont worry. Phantom power will not hurt most dynamic mics. Check the micro phones user manual if youre not sure. 7. Play something into an input at real-world levels, and turn up the channel level to U (unity). 8. In normal playing, the channel's OL LED should only light occasionally. If it stays on for a large portion of your performance, check that the gain switch is set correctly. 9. Slowly turn up the main level control until you hear the signal in your speakers. 10. Repeat steps 5 to 8 for the remaining channels. 11. If needed, apply some EQ wisely. 12. Adjust the levels to get the best mix. Keep the level controls fully down on unused channels.

Owners Manual

The PPM608 powered mixer is designed for ease of operation, and to be set up quickly and easily. Place the powered mixer in a position where it is easy to reach the controls. All the controls and input connection points are located on the front panel so you can make quick adjustments and connections on stage. Make sure there is at least 6 inches of airspace behind the powered mixer for ventilation. There are two fans inside the cabinet to cool the power amplifier section. Use the powered mixers in a nice clean and dry environment, free from dryer lint and dust bunnies.

Connections

1. Be sure the rear-panel power switch is off before making any connections. 2. Push the linecord securely into the IEC connector on the rear panel, and plug the other end into a -prong AC outlet that is properly config3 ured for the voltage of your powered mixer. 3. Plug a balanced microphone into one of the mic XLR (3-pin) connectors on the front panel. Or you can connect any line-level signal (keyboard, or guitar preamp) to a line input jack using a TS or a TRS 1/4" plug. 4. You can connect a guitar directly to inputs 5 or 6 without need for a DI box, if you press the hi-z switch on these channels. 5. The insert jacks are used if you want to connect an external effects or dynamics processor into the signal chain. See page 13 for more details. 6. Plug the speakers (4 ohms or greater) into the speaker output jacks on the rear panel. If you plug two speakers into a side, each speaker must be 8 ohms or greater to maintain a 4-ohm minimum load on the amplifier. Use at least 18 gauge speaker cable with 1/4" TS plugs or Speakon plugs. For now, set the rear panel power amp mode switch to stereo mains. Dont use guitar cords for speaker cables! Theyre not designed to handle speaker-level signals and could overheat.
Part No. SW0681 Rev. E 2009 LOUD Technologies Inc. All Rights Reserved. Loosely based on a dream sequence in which the entire Mackie marketing department tap-dance their way into downtown Woodinville for lunch.

Other Notes

Only connect the powered mixer's speaker-level outputs to passive loudspeakers. When shutting down, turn off any external amplifiers or powered loudspeakers first. When powering up, turn on any external amplifiers or powered loudspeakers last. Save the shipping box!
Please write your serial number here for future reference (i.e., insurance claims, tech support, return authorization, make dad proud, etc.)

Purchased at:

Date of purchase:

Introduction

Thank you for choosing a Mackie professional powered mixer. These powerful mixers are designed to meet the needs of almost any small to medium-sized club, meeting room, sanctuary, or outdoor gathering. At Mackie, we know what it takes to be roadworthy. After all, our mixers have traveled all over the world under the worst of conditions and the best of conditions, and weve applied what weve learned to the mechanical design of our powered mixers. Reliability is paramount to sound reinforcement. Thats why our engineers have subjected our powered mixers to the most rigorous and fiendish tests imaginable to fine-tune the esign, and extend its limits d beyond those of rdinary powered mixers. o 12-segment stereo output meters on main mix, and mono meter on monitor 1 Break switch mutes all mono channels Speakon and 1/4" power amp outputs Precision passive switch for enhanced clarity and low-frequency response with Mackie passive speakers Rugged design with polycarbonate sides and built-in metal handles Modern and stylish design from our modern and stylish, hip and trendy design team (runners-up in the coveted Golden Lock-Washer of Waltonon-Naze design award)

DJ System

Power Amp Mode switch set to Mon 1/Mon 2
press HI-Z buttons Adjust Vocal Compression
Guitar Processor Return (connected to INSERT)

HD1531 Powered Speaker

HD1531 Powered Speaker C200 Passive Stage Monitors (plays mon 2 output)
C300z Passive Stage Monitors (plays mon 1 output)

Electronic Drum Kit

Powered Subwoofer (plays right main mix)
Powered Subwoofer (plays left main mix)
This diagram shows microphones attached to the mic inputs of channels 1 to 4, electric guitars connected directly to ch. 5 and 6 (with hi-z switch pressed in), a guitar processor connected to ch.6 insert, a keyboard attached to channel 7's stereo inputs, and an electronic drum kit attached to channel 8. Add vocal compression as required, by tweaking the compression knobs on channels 1 to 4. The power amp mode switch is set to play the monitor 1 mix on channel A, and monitor 2 mix on channel B. Note: Press in the front panel FX send/mon 2 send switch, or monitor 2 will not play. Mackie HD1531 powered speakers and powered subwoofers are connected to the line-level main mix outputs, and play the stereo main mix to your audience. C200 passive stage monitors are connected to the channel B speaker-level power output of the powered mixer. These play the stage monitor mix 2 to your performers. C300z passive stage monitors are connected to the channel A speaker-level power output, and play stage monitor mix 1.

Large Band System

Rear Panel Features

1. POWER CONNECTION

This jack accepts the supplied -prong IEC AC power 3 cord. Before you plug the AC power cord into the powered mixer, make sure that the voltage of your unit is the same voltage as your local AC mains supply. Use only the power cord supplied. Also, disconnecting the plugs ground pin is dangerous. Please dont do it.

3. SPEAKER-LEVEL OUTPUTS

These output connections provide speaker-level output power from the internal power amplifiers to your passive speakers. The power output of the PPM608 is 300 watts rms per channel into 4 ohms. Only passive loudspeakers should be connected to these speaker-level outputs. The outputs can be selected with the amp mode switch [4] to be either the stereo main mix, mono main mix/monitor 1, or monitor 1/monitor 2. Two common types of connector are provided for your convenience: Speakons and 1/4" TS. Speakon outputs are wired Pin 1+ positive (hot) and Pin 1 negative (cold).

Stereo Mains

The output from channel A is the left side of the main mix, and the output from channel B is the right side of the main mix. Choose this position to play a straight stereo show.

Mains/Monitor 1

Channel A is the mono main mix, and channel B is the monitor 1 mix. In this setup, you could run a mono PA system on one channel, and a passive stage monitor system on the other.

Monitor 1/Monitor 2

Channel A is the monitor 1 mix, and channel B is the monitor 2 mix. In this setup, the internal power amplifiers are powering two independent passive stage monitor systems. Make sure that the front panel FX send/mon 2 send switch [47] is pressed in (mon 2), or there will be no monitor 2 signal to the internal power amplifier channel B. If anything is plugged into the front panel power amp inputs [20], then this switch has no effect. The internal power amplifier will play whatever signals are coming into the power amp inputs. Owners Manual

Front Panel Features

Patchbay section
This is where you plug in things such as: microphones, line-level nstruments, guitars, and effects, a ecorder, i r PA system, powered monitors, powered subwoofer etc. (The speaker-level outputs from the internal power amplifiers are on the rear panel.) Check out the hookup diagrams for some connection ideas. See Appendix B (page 25) for further details and some rather lovely drawings of the connectors you can use with your mixer.

7. MIC INPUTS

We use phantom-powered, balanced icrophone m inputs just like the big studio mega-consoles, for exactly the same reason: This kind of circuit is xcellent at e rejecting hum and noise. You can plug in almost any kind of mic that has a standard LR-type male mic conX nector. Professional ribbon, dynamic, and condenser mics all sound excellent through these inputs. The mic inputs will handle any kind of mic level you can toss at them, without overloading. Microphone-level signals are passed through the mixer's splendid microphone preamplifiers to become line-level signals. Because more gain is required to boost the microphone level signals, make sure the gain switch [28] is in the up position when you are using microphones. Channels 1 to 4 have the extra benefit of built-in signal in-line compressors [29]. These can be adjusted to add just the right amount of compression to your vocals and help prevent distortion and the effects of tonsillitis.

14. BREAK SWITCH and LED

This important "take-a-break" switch quickly mutes all the microphones and the mono channel line-level inputs when the band is between sets. This will prevent protestors or rogue karaoke singers from storming the stage at the interval. The monitor 1 and FX/monitor 2 outputs, and the drive signal to the internal effects are also muted. The LED will come on, as a reminder that the break switch is engaged. Check this LED first, if you are having trouble with no sound in your system. You can still play the stereo channel line inputs [10] and RCA inputs [11] in the main stereo mix. For example, you could play a soothing CD to restore order before the police arrive.
10. STEREO LINE INPUTS (CH. 7 and 8)
Channel 7 and 8 have stereo line inputs. If you just have a mono source, plug it into the left input of channel 7 or 8 (labeled left/mono), and the signal will appear (as if by magic) equally on the left and right of the main mix.
11. RCA INPUTS (CH. 7 and 8)
Channel 7 and 8 also have RCA line inputs, suitable for connecting the line-level, unbalanced output from CD players, tape decks, iPod docks etc. They are not suitable for direct connection of phono-level outputs from turntables, as a phono preamp is required.

15. FX/MON 2 SEND OUTPUT

This 1/4" TRS line-level output can be used to feed an external effects processor (FX) or a second set of stage monitors (mon 2). The output from here is a copy of what goes into the internal FX processor, being the careful mix of all channels whose FX/mon 2 control [22] is turned more than minimum. The processed output of the internal FX does not come out of here, but is added internally to the main mix or monitor 1 mix. The overall output level can be adjusted with the FX/mon 2 send control [45], and it can be either post or pre channel level, depending on the setting of the FX send/mon 2 send switch [47] as follows:
To channel 5 or 6 instrument inputs
If they want "more me, and less Keith," you can turn up their channel's FX/mon 2 control, and turn down Keith's. (If you were using monitor 1 to feed the stage monitor, then you would adjust the mon 1 control [21] on each channel.)

MONITOR 2 or FX?

To run one set of stage monitors, use the monitor 1 system because it has its own graphic EQ [37], master level [39], and meter [41]. To run another set of monitors, set the FX send/mon 2 send switch to mon 2. Stage monitors allow the talented musicians in your band to hear themselves clearly on stage, and this can often be a good thing. The monitor output can be carefully adjusted in level using the channel FX/mon 2 controls [22], and not change if the channel levels or main mix levels are adjusted. This is known as "pre-fader."

U like Unity gain

Mackie mixers have a U symbol on almost every level control. It stands for unity gain, meaning no change in signal level. The labels on the controls are measured in decibels (dB), so youll know what youre doing levelwise if you choose to change a control setting.

Channel Controls

The eight vertical channel strips look very similar, with only a few differences between them. Each channel works independently, and just controls the signals plugged into the inputs directly below it.

Mono Channels 1 to 6

Channels 1 to 6 are mono channels, and their controls affect either the mono mic input or the mono line-level input. Channels 1 to 4 have a built-in signal in-linecompressor circuit with adjustable threshold. Channels 5 and 6 have a hi-z switch [30] so you can connect guitars directly. The 3-band EQ has shelving high, shelving low, and peaking mid EQ. The mono signals are split equally to the left and right of the main mix.

Signal Flow

The block diagram on page 29 shows the signal flow, but here is a short description of the flow through the channel strip section: The mic inputs and mono line inputs each feed a preamplifier whose gain is set by the gain switch [28]. The stereo channel line inputs and RCA inputs do not go through a gain-selectable preamp. The signal then passes through the compressor circuit (ch. 1 to 4 only), then through the channel EQ, and the channel level [27]. The mon 1 control [21] taps the signal off just before (pre) the channel level. The FX/mon 2 control [22] taps the signal off before (pre) and after (post) the channel level. The FX send/ mon 2 send switch [47] lets you choose which is used. Post is used for FX, and pre is for monitor 2.

Stereo Channels 7 to 8

Channels 7 and 8 are stereo channels, and their controls affect either the mono mic input, stereo line-level input, or stereo RCA inputs. (The mono mic input of each stereo channel is split equally to left and right). The stereo channel EQ is a 3-band design just like the mono channel EQ.

21. MON 1

This control allows you set up a nice monitor mix, independent of the main mix or the monitor 2 mix. Adjust these controls on each channel until your band is happy with the stage monitor mix. The controls are off when turned fully down, deliver unity gain at the center detent, and can provide up to 15 dB of gain turned fully up. Adjustments to the channel level or main mix level will not affect the monitor output, but channel EQ and gain [28] will. One of the powered mixer's internal amplifiers can power passive stage monitors if you set the power amp mode switch [4] on the rear panel. Mon 1 send [17] is a line-level output if you want to connect external power amplifiers and passive stage monitors, or powered stage monitors.

CHANNEL EQUALIZATION (EQ)
The PPM608 channels have 3-band equalization: low shelving, mid peaking, and high shelving. Its probably all the EQ youll ever need! Shelving means that the circuitry boosts or cuts all frequencies past the specified frequency. For example, the low EQ boosts bass frequencies below 80 Hz and continues down to the lowest note you never heard. Peaking means that certain frequencies form a hill around the center frequency. With too much EQ, you can really upset things. Weve designed a lot of boost and cut into each equalizer circuit because we know that everyone will occasionally need that. But if you max the EQ on every channel, youll get mix mush. Equalize subtly and use the left sides of the knobs (cut), as well as the right (boost). If you find yourself repeatedly using full boost or cut, consider altering the sound source, such as placing a mic differently, trying a different kind of mic, changing the strings, or gargling.

22. FX/MON 2

These controls allow you to send a sample of each channel's signal to the internal FX processor, and to the FX/mon 2 line-level output [15] to run external processors, or a second set of stage monitors. Carefully adjust each control to set up the FX or monitor 2 mix. The controls are off when turned fully down, deliver unity gain at the center detent, and can provide up to 15 dB of gain turned fully up. The dual nature of this knob (FX or mon 2) is determined by the setting of the FX send /mon 2 send switch [47]. More FX/mon 2 details are shown on page 14 and page 23 (item 47).

23. HIGH EQ

The high EQ provides up to 15 dB of boost or cut above 12 kHz, and is flat at the center 0 detent. Use it to add sizzle to cymbals, an overall sense of transparency, or an edge to keyboards, vocals, guitar and bacon frying. Turn it down a little to reduce sibilance or to mask tape hiss.

+15 +10 +20Hz 100Hz 1kHz

10kHz 20kHz

24. MID EQ

The mid EQ provides up to 15 dB of boost or cut at 2.5 kHz, and is flat at the center 0 detent. Midrange EQ is often thought of as the most dynamic, because the frequencies that define any particular sound are almost always found in this range. You can create many interesting and useful EQ changes by turning this knob down, as well as up.

25. LOW EQ

The low EQ provides up to 15 dB of boost or cut below 80 Hz. 0 The circuit is flat (no boost or cut) at the center detent position. This frequency represents the punch in bass drums, bass guitar, fat synth patches, and some really serious male singers who eat raw beef for breakfast.

26. OVERLOAD (OL) LED

This LED will come on when the channels input signal is too high. This should be avoided, as distortion will occur. If the LED is coming on regularly, check that the gain switch [28] is set correctly for your input device: Set it to low if you are using a line-level input, or high if you are using a microphone input, or instrument-level input (channels 5 and 6 only).

38. FX TO MON 1

This knob lets you control how much of the internal effects is added to the mono monitor 1 mix. (The output from the internal effects processor is stereo, summed to mono and added to the mono monitor 1 mix.) Adjust the FX level being added, compared to the other channels playing in the monitor 1 mix. At the fully-down position, no effects are added, the center U mark is unity gain, and there is 10 dB of effects gain at the fully clockwise position.
35. 100 Hz RUMBLE REDUCTION SWITCH
This switch is used to reduce the level of the frequency range below 100 Hz. It operates on the mono channel 1 to 6 mix, not the stereo channel mix. Use this to reduce the amount of low frequency problems such as mic handling, stage rumble, bangs and thumps in your main mix. This switch is the audio-electronic equivalent of taking anti-gas medication. It relieves low-end rumble, and the whole room sounds better.

39. MONITOR 1 LEVEL

This knob controls the level of he monitor 1 mix, and t affects the monitor 1 meter [41], mon 1 line-level outputs [17], and the monitor 1 speaker-level output if the internal amplifier is playing the monitor 1 mix. The level adjustment occurs before the monitor 1 EQ [37]. This gives you ultimate control over your monitor 1 stage monitors. Adjust it carefully, with your good eye on the monitor 1 meter [41] to guard against overloading. Check that your band are happy with the levels. The control does not affect the main mix level. The monitor 1 mix signals are off with the level fully down, the U marking is unity gain, and fully up provides 12 dB of additional gain.

36. MAIN MIX METERS

Developed from a harmless ex-NATO hamster hypnotizer, these stereo meters show the level of the left and right main mix, after it has passed through the main level [34] and graphic EQ [32]. The top LEDs are marked OL (overload), and you should adjust the levels to avoid these coming on too often, if at all. Please remember: Audio meter displays are just tools to help assure you that your levels are in the ballpark. You dont have to stare at them (unless you want to).
40. 100 Hz RUMBLE REDUCTION SWITCH
This switch is used to reduce the level of the frequency range below 100 Hz, playing in the monitor 1 mix. It only affects the monitor 1 mix, and does not affect any effects being added from the internal FX processor. Use this to reduce the amount of low frequency problems such as mic handling, stage rumble, bangs and thumps, that might affect the stage monitors.

37. MONITOR 1 MASTER GRAPHIC EQ
This 7-band, constantQ graphic equalizer adjusts the monitor 1 mix output. It affects the line-level mon 1 outputs [17], and the monitor 1 speaker-level output if the internal amplifier is playing the monitor 1 mix. Each slider allows you to adjust the level of its frequency band, with up to 15 dB of boost or cut, and no change in level at the center (0 dB) position. The frequency bands are: 125, 250, 500, 1k, 2k, 4k, and 8kHz. The EQ section comes after the monitor 1 level [39], and just before the monitor 1 meter [41]. Therefore, as you adjust the EQ, keep an eye on the meter in case you over-do it and take the levels into overload. As with the channel EQ, just take it easy.

41. MONITOR 1 METER

This meter shows you the level of the monitor 1 mix, after it has passed through the monitor 1 level [39] and graphic EQ [37]. The top LED is marked OL (overload), and you should adjust the levels to avoid this coming on too often, if at all.
fiers, so only loudspeakers connected to the rear panel speaker-level outputs [3] will be affected.
44. POWER AMP LIMITER LEDs
These independent LEDs turn on when power amplifier channel A or B is being overloaded internally and its internal automatic limiter (which is always in the signal path) is actively working. The LED will pulse in time with how much the limiter is being used in the signal path. If the Limiter LEDs come on and stay on for more than a second or two, it means the power supply has overheated and the limiter is holding the amp signal down to 1/4 power until the power supply cools down enough to release the limiter. If this happens, check there is good ventilation around the mixer, and that you are not cranking it too much. Also make sure that your speakers are OK, and are not less than 4 ohms impedance.

42. PHANTOM SWITCH

Press in this switch to add phantom power to all the XLR microphone inputs of the mixer. This lets the mixer send low-current DC voltage to the mics electronics through the same wires that carry audio. The LED will turn on as a reminder that phantom power is engaged. Most modern professional condenser mics are equipped for phantom power. Semi-pro condenser mics often have batteries to accomplish the same thing. Phantom owes its name to an ability to be unseen by dynamic mics (Shure SM57/SM58, for instance), which dont need xternal power and arent affected by e it anyway. Never plug single-ended (unbalanced) micro phones, or ribbon mics into the mic input jacks if phantom power is on. Do not plug instrument outputs into the mic input jacks with phantom power on nless you u know for certain it is safe to do so.

Stereo Effects Processor

The Mackie Running-Man 32-bit internal effects processor is a mono-in, stereo-out effects processor, with 24 presets. It is fed by adjusting the FX/mon 2 control [22] on each channel. The output from the processor can be added to the main mix or monitor 1 mix by adjusting the FX to main [33] and FX to mon 1 [38] controls. This processor is also doing the calculations that hold together the very fabric of the space-time continuum (or at least the lunch-time portion of it).

45. FX/MON 2 SEND MASTER

Use this knob to control the level of he signals going t into the internal effects processor. Adjust it carefully, with your inner magical eye on the adjacent SIG/OL LED [46] to prevent overloading the effects processor. It also affects the level going out of the FX/mon 2 line level output [15], and the internal power amplifier if it is playing monitor 2.

43. PRECISION PASSIVE EQ

If you are using Mackie passive speakers such as the C200, C300z, S408, S215, and S225, then press this switch for enhanced clarity and low-frequency response. If you are not using Mackie speakers, then press it anyway and listen for an improvement. The passive EQ circuit is added just before the internal power ampli-

46. SIG/OL LED

This dual-LED illuminates in green when the signal level going into the effects processor is in a good operating range (SIG). It illuminates in red when the effects processor is being overloaded with too strong a signal (OL). Turn down the level [45] if it is.
The signals going into the processor are affected by the channel FX/mon 2 controls [22], and the channel level controls [27] (if the FX send/mon 2 send switch [47] is out (post)). Check the LED if you alter these controls.
49. PRESET SELECTOR, TAP DELAY and LED
Rotate this endless control to select one of the 24 preset effects. When you stop the rotation, that preset will be loaded and become operational. The current preset number is shown in the display [48]. The different presets are shown in this table and marked on the panel silkscreen. Further details of each preset are shown in Appendix D on page 30. Plate Reverb Vocal Plate Warm Room Bright Room Warm Lounge Small Stage Warm Theater Bright Stage Warm Hall Concert Hall Cathedral Gated Reverb Chorus Chorus + Reverb Doubler Tape Slap Delay 1 Brt 350ms Delay 1 Wrm 300ms Delay 2 Brt 250ms Delay 2 Wrm 200ms Delay 3 Brt 175ms Delay 3 Wrm 150ms Chorus + Dly 300ms Reverb + Dly 200ms

Warm Lounge
This preset features a medium sized room sound, with Useful for vocals on songs that require a larger, just enough enhancement of the lower mids to produce a more wet sound, or for giving dimension to warm tone. bright horns without adding harshness. This preset simulates the sound of a small concert stage, with a medium reverb time and reverberant space. This reverb has a warm bodied tone and medium long reverb time to simulate the live acoustics of a theater space. This preset emulates the sound of a large performance stage, characterized by medium long reverb time and pre-delay, plus a touch of sizzle. This reverb simulates the sound of a spacious, yet cozy, heavily draped and carpeted concert hall with an especially warm tone. This hall reverb is characterized by its large, spacious sound, long pre-delay, and vibrant tone. Useful for vocals or guitars in fast paced, highenergy songs that call for a live sounding reverberation. Perfect for vocals, drums, acoustic and electric guitars, keyboards, and more. Great for adding life and dimension to drums and other acoustic instruments, and for that big live vocal sound. Perfect for adding natural concert hall ambience to close-miced orchestral instruments. Adds life to acoustic instruments and vocals from solos to full-on symphonies and choirs.

06 Small Stage

07 Warm Theater

08 Bright Stage

09 Warm Hall
10 Concert Hall 11 Cathedral
This reverb emulates the extremely long tails, dense dif- Gives amazing depth to choirs, wind instruments, fusion and long pre-delays and reflections that would be organs, and soft acoustic guitars. found in a very large, stone walled house of worship. This preset incorporates an age-old trick whereby an extremely dense reverb is processed through a fast gate for an interesting, albeit artificial, sound. Most often used to fatten snare drums and toms without clutter.

12 Gated Reverb

13 Chorus
This preset provides a soft, ethereal sweeping effect that Perfect for enhancement of electric and acoustic is useful for thickening and for making a particular sound guitar and bass, or to add a dramatic effect to pop out of the mix. vocals, particularly group harmonies and choirs. This preset perfectly combines the chorus effect above with a large, roomy reverb. This effect simulates the sound of a vocal or instrument being recorded twice (double tracked) on a multi-track recorder. This lets you both thicken your sound with the chorus effect while adding warmth and spaciousness thanks to the smooth reverb. Provides a vibe that is similar to chorus without the subtle swirl.

14 Chorus + Reverb

15 Doubler

16 Tape Slap

This effect provides a single, relatively rapid delay of the Often used on vocals for a 1950s era feel, or on original signal, with the added warmth that vintage tape- guitars for a surf-type tone. Often used by people based echo units provided. whose favorite number is 16. These 6 delay presets provide one (delay 1), three (delay 2), or six (delay 3) repeats of the original signal. The default delay time for each preset is shown in mS - the smaller the time, the faster the delay. Delay times can easily be customized to suit the moment by tapping the knob [49] more than once. This effect combines the thickening effect of the chorus with the echoes of the 3-repeat delay effect. Delay times can easily be customized to suit the moment by using the Tap feature. These work best with full, up-beat music like rock where the delay needs to cut through the mix. Warm delays get progressively softer and warmer in tone with each repetition and work great with slow, mellow music. Bright delays have repeats that are consistent in tone with the original sound. Useful on a clean electric guitar that needs a mildly swirling, ethereal tone.
DLY 1 Bright (350ms) DLY 1 Warm (300ms) DLY 2 Bright (250ms) DLY 2 Warm (200ms) DLY 3 Bright (175ms) DLY 3 Warm (150ms)

23 Chorus + DLY (300ms)

24 Reverb + DLY (200ms)
This effect combines the Warm Theater reverb effect with Perfect for thickening vocals while adding dimenthe echoes of the 3-repeat delay effect. sions, it can also be used as a spacey effect on Delay times can easily be customized to suit the moment electric guitars. by using the Tap feature.
For presets 17 to 24, the delay can be entered by tapping the preset selector knob [49] more than once.

Mackie Limited Warranty

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 (tollfree 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.

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

Appendix C: Technical Information

Specications

Distortion (THD + N)
(1 kHz, 30 kHz bandwidth) Mic mono: Line mono: Line stereo <0.007% high gain <0.005% low gain <0.005% low gain <0.01% at main out

Owners Manual

7-Band Graphic EQ
Main and Monitor 1: 15 dB @ 125, 250, 500, 1k, 2k, 4k, and 8 kHz

Connections

Mic input: Line mono input: Line stereo input: Preamp main outputs: Monitor outputs: Inserts: Loudspeaker outputs: XLR balanced 1/4" TRS balanced 1/4" TRS unbalanced 1/4" TRS balanced 1/4" TRS balanced 1/4" TRS unbalanced 1/4" TS and Neutrik Speakon

Main mix output noise

(1 kHz, 30 kHz bandwidth) Main mix level down, all channel levels down: Main mix level 0 dB, all channel levels down: Main mix level 0 dB, all channel levels 0 dB: 95 dBu 86 dBu 77 dBu

Frequency Response

(+0 dB/3 dB) Mic mono input: Line mono inputs: Line stereo inputs: < 10 Hz80 kHz < 10 Hz40 kHz < 10 Hz75 kHz

Loudspeaker outputs

(Both channels loaded and driven at 1 kHz.) Peak output power @ 4 ohms: Average output power @ 4 ohms: Average output power @ 8 ohms: 2 x 500 W peak 2 x 250 W rms, 1% THD 2 x 300 W rms, 3% THD 2 x 150 W rms, 1% THD 2 x 180 W rms, 3% THD per side
Equivalent Input Noise (EIN)
Mic input (20 Hz 20 kHz) 150 termination: 128 dBu Recommended load impedance: 45 dB high gain 25 dB low gain 20 dB high gain 0 dB low gain 0 dB
Mic mono input: Line mono inputs: Line stereo inputs:

Running Man Effects

Type: Effects presets: 32-bit internal processor, mono in, stereo out 24 Mackie-designed presets

Maximum Levels

Mic mono input: Line mono inputs: Line stereo inputs: Preamp main and monitor outputs: 25 dBu high gain 5 dBu low gain +21 dBu low gain +1 dBu high gain +21 dBu +21 dBu

Power Consumption

120 VAC, 50/60 Hz, 680 watts

Dimensions (H x W x D)

12.3" x 19.3" x 11.4" (314 mm x 490 x 290)

Weight

24.5 lb (11.1 kg)

Impedances

Mic mono input, balanced: Line mono input, balanced: Line mono input, Ch 5, 6 Hi-Z: Main and monitor preamp outputs: 3.6 k balanced 20 k balanced 500 k unbalanced 240 balanced 120 unbalanced
LOUD Technologies Inc. is always striving to improve our products by incorporating new and improved materials, components, and manufacturing methods. Therefore, we reserve the right to change these specications 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 holders, and are hereby acknowledged. Please check our website in case there are any corrections and updates to this manual: www.mackie.com. 2008 LOUD Technologies Inc. All Rights Reserved.

Channel EQ

High Shelving Mid Peaking Low Shelving 15 dB @ 12 kHz 15 dB @ 2.5 kHz 15 dB @ 80 Hz