CAUTION AVIS

RISK OF ELECTRIC SHOCK. DO NOT OPEN RISQUE DE CHOC ELECTRIQUE. NE PAS OUVRIR
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK DO NOT REMOVE COVER (OR BACK) NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL
19. The MAINS plug or an appliance coupler is used as the disconnect device, so the disconnect device shall remain readily operable. 20.NOTE: This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures: Reorient or relocate the receiving antenna. Increase the separation between the equipment and the receiver. Connect the equipment into an outlet on a circuit different from that to which the receiver is connected. Consult the dealer or an experienced radio/TV technician for help. CAUTION: Changes or modifications to this device not expressly approved by LOUD Technologies Inc. could void the user's authority to operate the equipment under FCC rules. 21. This apparatus does not exceed the Class A/Class B (whichever is applicable) limits for radio noise emissions from digital apparatus as set out in the radio interference regulations of the Canadian Department of Communications. ATTENTION Le prsent appareil numrique nmet pas de bruits radiolectriques dpassant las limites applicables aux appareils numriques de class A/de class B (selon le cas) prescrites dans le rglement sur le brouillage radiolectrique dict par les ministere des communications du Canada. 22. Exposure to extremely high noise levels may cause permanent hearing loss. Individuals vary considerably in susceptibility to noise-induced hearing loss, but nearly everyone will lose some hearing if exposed to sufficiently intense noise for a period of time. The U.S. Governments Occupational Safety and Health Administration (OSHA) has specified the permissible noise level exposures shown in the following chart. According to OSHA, any exposure in excess of these permissible limits could result in some hearing loss. To ensure against potentially dangerous exposure to high sound pressure levels, it is recommended that all persons exposed to equipment capable of producing high sound pressure levels use hearing protectors while the equipment is in operation. Ear plugs or protectors in the ear canals or over the ears must be worn when operating the equipment in order to prevent permanent hearing loss if exposure is in excess of the limits set forth here:

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 screaming at Troy about deadlines Loudest parts at a rock concert
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!

You probably want to try out your new mixer right away. Before you do, please read the safety instructions on page 2, then read this page, and the rest later.
2. For mono channels, adjust the gain control so the level set LED just comes on occasionally during the loudest parts of your performance. The mono channel gain affects the mic and the line inputs. The hybrid channel gain affects the mic input only, not the stereo line inputs. The stereo channel gain adjusts the stereo line inputs. Adjust as desired, and check the OL LED does not come on during the loudest passages.

Podcast System ProFX8

Rear Panel Features

1. POWER CONNECTION

MIC MIC MIC MIC This is a MIC standard 3-prong IEC ACMIC power connector. Securely connect the supplied detachable linecord in here, and plug the other end into an AC outlet. The mixer has a universal power supply that4can accept any 3 5/6 7/8 AC voltage ranging from 100 VAC to 240 VAC. No need for voltage select switches or step-up or step-down transformers, it will work virtually anywhere in the world. It is less susceptible to voltage sags or spikes than conventional power supplies, and provides greater electromagnetic isolation and better protection against AC line noise.
(MONO) BAL / UNBAL BAL / UNBAL BAL / UNBAL BAL / UNBAL

4. XLR MAIN OUTS

These XLR connectors provide stereo line-level sigL nals from the main mix. Connect these to the balanced inputs of the powered speakers, or the power amplifier R R powering your main speakers. 9/10 11/12

INSERT

LINE IN 6
The main mix is the sum of all active channels currently playing, including any 2-channel USB input from your computer. How much of a channel that is heard in the main mix, is determined by that channels fader STEREO GRAPHIC EQ [31].

ST RETURN

MAIN OUT

+50 +30dB

2. FUSE
The ProFX mixer is fused for your (and its own) protection. If you suspect a blown fuse, disconnect the power cord, pull this fuse drawer out and replace the fuse with exactly the same type and rating.
-15 +15 U -15 +15 U -15 +15 U -15 +15 U -15 +15 U -15 +15 U MID 2.5kHz MID 2.5kHz MID 2.5kHz MID 2.5kHz MID 2.5kHz -15 +15 U -15 +15 U -15 +15 U -15 +15 U -15 +15 U -15 +15 U LOW 80Hz LOW 80Hz LOW 80Hz LOW 80Hz LOW 80Hz -15 +15 U -15 +15 U -15 +15 U -15 +15 U -15 +15 U -15 +15 U

MID 2.5kHz

LOW 80Hz
The XLR outputs are 6 dB higher output than the 1/4" TRS main outputs [15]. Balanced EQ EQ connections offer better immunity to external MAIN METERS noise (specifically, hum and buzz) than unbalanced connections. Because of this, it is the preferred interconnect method, especially where very long lengths of USB cable are being used.

-20 +20 -20 +20

-15 +15 U

-15 +15

L R If two fuses blow in a row, something is very 5. USB PORT wrong, and you must stop using the mixer. The USB serial I/O interface allows you to transfer Please call our toll-free number 1-800-898- PAN PAN PAN PAN PAN PAN PAN digital audioPAN and from your computer. to 3211 from within the U.S. (or call the distributor in your The interface provides two audio outputs to your country) and find out what to do. MAIN MON MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE computer: MUTE

1 3. POWER SWITCH

dB dB 10 5
Press the top of this rocker switch to turn on the mixer. The front panel power LED [33] will glow with happiness, or at least it will if you have the mixer plugged into a suitable live AC mains supply.

FOOTSWITCH R

USB R PROFESSIONAL MIC/LINE MIXER WITH FX R
SHOCK, DO NOT EXPOSE MOISTURE. DO NOT REM PARTS INSIDE. REFER SE

AVIS: RISQUE DE CH

INSERT INSERT INSERT LINE IN 6 LINE IN 8 LINE IN 10
MAIN FX SEND NUMBER OUT SERIAL

PHONES MANUFA

MIC MIC 29

M LEVEL (BALANCED) SET

MAIN LEFT IC GAIN

POWER CUT LOW

100 Hz
PROFESSIONAL EQ 10 MIC/LINE MIXER WITH FX U EQ
HI 12kHz HI 12kHz -15 +15 U MID 2.5kHz MID 2.5kHz -15 +15 U LOW 80Hz 15
-15 +15 U MID 2.5kHz -15 +15 U LOW 80Hz -15 +15 LOW 80Hz

2.5kHz LOW 80Hz

MAIN RIGHT MID
-15 +15 U LOW 80Hz -15 +15

MAIN LEFT MID

+15 U FX +15

TAPE +15 OUT FX MASTER

TAPE L R L IN R (UNBALANCED) R

L 9/10 TAPE

PROFESSIONAL MIC/LINE MIXER WITH

(MONO) OUT

LINE MIC IN 2

LINE MIC IN 3 20

BAL / UNBAL 5

U 5 10

LINEMIC IN 4

LINEMIC UNBAL IN 20

LINEMIC UNBAL IN 7 20

LINEMIC UNBAL IN 9 20

PROFESSIONAL MIC/LINE MIXER WITH FX 10 LINE IN 11(UNBALANCED) UNBAL 20 20

20 MON SEND 50 60

R BAL / TAPE UNBAL

INSERT LINE IN 2

20. GAIN

INSERT LINE IN 3

INSERT LINE IN 4

INSERT LINE IN 5

LINE IN 6 LINE IN 7

LINE IN 8 LINE IN 9

LINE IN 10 LINE IN 11

LINE IN 12 R

OUT ST RETURN R MON SEND

FX SENDBA

R 3 If you havent already, please read the gain-setting

HI-Z IC GAIN M

U LINE

U 20dB

SET SET SET Setting the gain correctly will ensure that the pre- SET U U U U EQ EQ EQ EQ amplifiers gain is U +50 high, where distortion could HI not too HI U U +50 +50 U +50 U +50 HI HI HI +30dB +30dB +30dB 20dB 12kHz 12kHz -20dB occur, and12kHz too INSERT where your quieter, exquisitely-12kHz not -20dBGAIN 12kHz low, GAIN GAIN GAIN GAIN INSERT INSERT INSERT -15LOW CUT +15 -15LOW CUT +15 -15LOW CUT +15 -15LOW CUT +15 -15LOW CUT +15 delicate passages might be lost in background noise. 100 Hz 100 Hz Hz 100 Hz U U U U U Hz

LOW CUT U GA Hz IC 100IN M
procedure on/ pageINSERT BAL / adjustment allows all8 BAL / 3. The gain LINE IN 6 BAL / LINE IN INSERT BAL UNBAL UNBAL U U +50 +50 your various source signals from Uthe+50 UNBAL world +50 be outside U to UNBAL +30dB +30dB +30dB -20dB -20dB -20dB GAIN GAIN GAIN adjusted to the sameINCUT optimal internal operatingGAIN 4 levels. LOW 3 LOW CUT LOW CUT LOW 2 U U LINE IN LINE/HI-Z IN 1 LINE LINE INCUT

GA Hz IC100IN M

R 5/6 L

LEVEL SET (MONO)

R R 7/8 9/10 11/12 For hybrid channels (mic input and

STEREO GRAPH

PROFESSIONA
stereo12line input),RETURN control just LINE IN ST the gain 10 FX SEND L L L -20 +20 -20 +20 affects the microphone input. 5

LINE IN 7 U

(MONO) 15

GA Hz IC 100IN M

GA Hz C 100IN MI
LOW CUT LINE IN 5 UNBAL U Hz 100
U -20 +20 LINE IN 6 -15 +15 U
For stereo channels (noUNBAL input)11 UNBAL mic 5 LINE IN the 15 gain control just affectsEQ line-level the 10 U U EQ R R 10 inputs, with 20 dB of gain, and 20 dB of R 15 -20 +20 HI HI 5 12kHz 12kHz attenuation. There IN 10 level set LED. is no GAIN 125 LINE LINE IN 8 LINE IN 12 250
LINE IN 9 -15 +15 U 0 -15 +15 U 5
STEREO GRAPHIC EQ BAL / BAL / 0

500 ST RETURN 1K

U -15 +15 U -15 +15 U -15 +15 U -15 +15 U
If the signal comes through the mic XLR jack, there U U U AUX will be 0 dB of gain (U for FX AUX AUX AUX AUX AUX FX FX FX FX FX FX unity) with the knob fully AUX Each channel with a mic input has a low cut switch MID MID MID MID MID MID +15 MON down, +15 MON to 50 +15 of gain fully up.MON +15 +15 MON +15 +15 MON ramping dB MON 2.5kHz that cuts MON bass frequencies below 100 Hz, at a rate 2.5kHz 2.5kHz 2.5kHz 2.5kHz 2.5kHz 2.5kHz the -15 +15 PAN -15 +15 PAN -15 +15 PAN -15 +15 PAN -15 +15 -15 +15 -15 +15 U PAN U U U U U +15 +15 +15 +15 +15 +15 per +15 mic of 18UdB PANoctave.UAll PAN inputs arePAN affected, and the OL PRESETS U U U U U U Through the 14" mono input, there is 20 dB of U LOW line inputs of the mono channels. LOW LOW LOW LOW LOW LOW 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz MUTE a ttenuation fully down and 30 dB of gain80Hz up, fully FX FX FX FX FX FX FX +15 L R L R R L R L R R L R -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 withLa+15 (unity gain) mark at 12:00. This 20 dBL of U We+15 recommend that you use low cut on very microe FX MASTER +15 +15 +15 +15 +15 U U U you are nserting AUX U U U U U AUX AUX AUX AUX AUX AUX AUX a U U PAN ttenuation can be very handy when PAN i PAN PAN PAN phone application except kick drum, bass guitar, and PAN PAN MUTE a very hot signal, needMUTE a lot of MUTE MUTE MUTE MUTE MUTE MUTE OL MUTE to MON OL EQMON OL both. add boost, or MON MON bassy synth patches. These aside, thereMON MON MON MON isnt much down OL OL OL OL OL OL OL Without this 2virtual pad, this cenario might lead+15 5/6 there +15 7/8 want +159/10 and filtering it out makes s +to that you to hear, +15 +15 +15 +15 RTN 11/12 ST UR U +15 U +15 L R L UR L R L UR L UR B dB dB dB dB dB dB dB more crisp dB channel clipping. L UR the Llow stuff you doUwant muchFX MASTER and tasty. FX TO MON 10 FX FX FX FX FX FX Not only that, low cut canFX help reduce the possibility FX MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE 5 +15 +15 +15 +15 +15 +15 +15 to conserve the +15 of OL feedback in live situations and help OL OL OL OL OL OL OL PAN U PAN U PAN U PAN amplifierPAN U PAN U PAN U PAN power. U U 5/6 7/8 U 9/10 11/12 ST RTN FX RTN dB ProFX8 and ProFX12 dB dB dB dB dB dB dB dB

O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O

+15 -15 U+15

MAIN MIX S MON LEVEL SET CU U U MID MID MID MID MID MID U U U EQ EQ EQ EQ EQ ForUGmono channelsA(mic input with a2.5kHz 21. ICUGAIN 2.5kHz LEDGAIN 2.5kHz 10 U 2.5kHz U IC AIN IC G IN IC GAIN 2.5kHz 2.5kHz M MI M M M LEVEL LEVEL LEVEL LEVEL LEVEL 15 HIinput), +15 HI HI HI HI SET -15 +15 -15 +15 -15 adjusts SET SET SET mono lineSET -15 Uthe gain knob U+15 12kHz -15 U+15 LEDs are used with the gain control [20] to set 15 These 12kHz -15 U+15 12kHz -15 U+15 12kHz 12kHz U U 500 1K 2K the +15 sensitivity of the micUand line the channel preamplifier gain just right for each source. 104K 8K -15 +15 -15 input -15 +15 -15 +15 -15 +15 -15 +15 U U U +50 LOW +50 LOW +50 LOW +50 LOW LOW U U +50 LOW U U +50 LOW -20 +20 LOW -20 +20 FX PRESETS +30dB +30dB +30dB +30dB -20dB U -20dB U -20dB U -20dB U 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 5 inputs. EQ IN GAIN GAIN GAIN GAIN GAIN GAIN GAIN MAIN MIX01 BRIGHT ROOM GAIN 02 WARM LOUNGE If you hear -15 LOW CUT MID BYPASS 0 -15 LOW CUT MID +15 -15 LOW CUT MID +15 -15 LOW CUT MID +15 -15 LOW CUT MID +15 -15 LOW CUT MID distortion on one or more of your channels, +15 +15 -15 +15 MON MID 03 SMALL STAGE 100 Hz 2.5kHz Hz Hz 100 2.5kHz 2.5kHz 2.5kHz 2.5kHz 04 WARM Adjust the gain control2.5kHzthe level Hz AUX so set LEDs [21]Hz AUX check the2.5kHz set U Hz AUX not on continuously,THEATER 5 level -15 LEDs are and U U U U U U AUX AUX 05 WARM HALL -15 +15 AUX -15 +15 AUX -15 +15 -15 +15 -15 +15 AUX +CONCERT HALL U U U U U U U U U comeUon occasionally during the louder moments U your turn UdownEQ gain Uif they are. U of EQ 10 EQ EQ EQ EQ EQ 07 PLATE REVERB EQ the MON MON MON MON MON MON MON MON USB 08 CATHEDRAL 15 LOW LOW LOW LOW LOW LOW playing or singing, and goLOW when you stop. HI HI HI HI HI HI HI off FX PRESETSHI 09 CHORUS 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz

MID EQ 2.5kHz HI 12kHz

MID EQ 2.5kHz LEVEL HI SET 12kHz

-15 U+15 -15 +15 U U

-15 +15 22. ULOW CUT -15 +15
O +O BRIGHT ROOM U 02 WARM LOUNGE -15 +SMALL STAGE U 04 WARM THEATER FX 05 WARM HALL 06 CONCERT HALL MID 07 O PLATE REVERB O +15 2.5kHz 08 CATHEDRAL -15 +CHORUS U + REV 10 CHORUS 11 DOUBLER 12 TAPE SLAP LOW 13 DELAY 1 (300ms) 80Hz 14 DELAY 2 (380ms) L R 15 DELAY 3 (480ms) -15 +REVERB + DLY (250ms)
10 CHORUS + REV 12kHz 11 DOUBLER -15 +TAPE SLAP U 13 DELAY 1 (300ms) 14 DELAY 2 (380ms) 15 DELAY 3 (480ms) MID 16 REVERB + DLY (250ms)

PRESETS U MUTE

INPUTULEVEL
01 BRIGHT ROOM O O +WARM LOUNGE 03FX TO MON SMALL STAGE USB THRU 04 WARM THEATER 05 WARM HALL 06 CONCERT HALL 07 PLATE REVERB 08 CATHEDRAL 09 CHORUS 10 CHORUS + REV O O 11 DOUBLERMAX dB 12 TAPE SLAP PHONES DELAY 1 (300ms) 14 DELAY 2 (380ms) 15 DELAY 3 (480ms) 165 REVERB + DLY (250

36. TAPE LEVEL

This allows you to control the input level of signals entering the tape inputs. It is conveniently close to the break switch [35] so you can quickly mute all channels and then bring up your background music when the band is taking a break.

37. STEREO GRAPHIC EQ

This 7-band graphic equalizer adjusts the main mix output. It affects the line-level outputs [4, 15], but not the tape outputs [19], headphones [17], or the USB output [5]. This EQ can be used for the monitor mix instead of the main mix, if the main mix/mon switch [38] is engaged. It can also be quickly bypassed using the EQ in/bypass switch [39].
Each slider allows you to adjust the level of its frequency band, with up to 15 dB of boost or cut, and no change in level at the center (0 dB) position. The frequency bands are: 125, 250, 500, 1k, 2k, 4k, and 8kHz. The EQ section comes before the main fader [48], and meters [34]. As with the channel EQ, just take it easy. There is a large amount of adjustment, and if you are not careful, you can upset the delicate balance of nature. Although it may not seem cool to actually turn down controls, with EQ it is often your best option. Turn down the offending frequency range, rather than boost the wanted range. You can use it to reduce the level of some frequency bands where feedback occurs.

38. MAIN MIX/MON

This switch allows you to choose if the stereo graphic EQ [37] is used for the stereo left and right main mix, or if it is used for the monitors. For example, there maybe times when the graphic EQ can be used wisely in the monitor mix to reduce feedback in the monitors from nearby microphones.

35. BREAK SWITCH

This important "take-a-break" switch quickly mutes all the microphones and line-level inputs when the band is between sets. This will prevent protestors or rogue karaoke singers from storming the stage at the interval. The monitor send [13] and FX send [14] are not affected. Check this switch first, if you are having trouble with no sound in your system. You can still play the stereo RCA tape inputs [18] in the main stereo mix, and play audio coming in from your computer via the USB inputs. For example, you could play a soothing CD while the band is off stage.

39. EQ IN/BYPASS

This switch allows you to quickly engage or disengage the stereo graphic EQ. This can be used for quick checks of your EQ settings, or to shorten the signal path if you do not need to use the EQ.

40. USB INPUT LEVEL

This control lets you adjust the signal level of the two channels coming in from your computer, via the USB port, relative to the mix of the other channels. Adjust it carefully to achieve the desired mix with the other channels. The USB input from your audio software such as Tracktion, could be individual instrument tracks, a mix of tracks, or processed tracks.

43. OL LED (for stereo return)
This LED will light if the signal coming into the stereo return inputs [12] is too high, and this may cause distortion due to overloading. The OL LED comes before the stereo return fader [45], so the fader has no effect in your efforts to turn off the OL LED. Check your external processor or other device, and turn down its level until the OL LED does not come on.
44. MUTE (for stereo returns)
Press this switch in to mute the signals coming into the stereo return inputs [12].
1K 2K 4K 8K 15 POWER PHANTOM POWER

50. PRESET SELECTOR

Rotate this knob to increase or decrease the number of the preset. The available presets are shown in the table on the next page, and are marked on the panel silkscreen. (Only one preset can be selected at a time.)
51. INTERNAL FX MUTE and LED
When engaged, the internal effects processor is muted. Its output will not appear in the main mix or monitors, and the adjacent LED will come on. The footswitch connection [16] becomes disabled, and you will not be able to use the footswitch to mute or unmute the effects. If this switch is not engaged, then the internal effects can be muted or unmuted with your footswitch.

52. FX MASTER

Use this knob to control the level of he signals going t into the internal effects processor. Adjust it carefully, with your inner magical eye on the adjacent OL LED [53] to prevent overloading the effects processor. Fully down is off, 12 o'clock is unity gain, and fully up is 15 dB of gain. It also affects the level going out of the FX send output [14].
ST RTN FX RTN Stereo Effects Processor
The Mackie Running-Man 32-bit internal effects pro5 cessor is a mono-in, stereo-out5effects processor, with U U U 16Upresets. It is fed by adjusting the aux FX control [27] on5 each channel. The FX master knob [52] adjusts the 5 overall level entering the FX processor, and the OL LED [53] shows if the level is too high. The output from the processor can be added to the main mix by adjusting the FX return fader [46]. Its output can also be added to the monitor mix 50 adjustby ing the FX to mon [54] knob. 60

53. OL LED

This LED illuminates when the effects processor is being overloaded with too strong a signal (OL). Turn down the FX master [52] if it is. The signals going into the processor are affected by the channel aux FX controls [27], and the channel faders [31]. Check the LED if you alter these controls.

Turn the channel gain and faders down, one by one. If the sound disappears, its either that channel or whatever is plugged into it, so unplug whatever that is. If the noise disappears, its from your whatever.
Unplug the power cord and check the fuse located in a fuse tray just below the AC power connector.

Appendix B: Connections

XLR Connectors
Mackie mixers use 3-pin female XLR connectors on all microphone inputs, with pin 1 wired to the grounded (earthed) shield, pin 2 wired to the high (hot or positive polarity) side of the audio signal and pin 3 wired to the low (cold or negative polarity) side of the signal. See Figure A. This is all totally aboveboard and in full accord with the hallowed standards dictated by the AES (Audio ngineering ociety). E S Use a male XLR-type connector, usually found on the nether end of what is called a mic cable, to connect to a emale XLR jack. f

SHIELD HOT

Balanced mono circuits. When wired as a balanced connector, a 14" TRS jack or plug is connected tip to signal high (hot), ring to signal low (cold), and sleeve to ground (earth). Unbalanced Send/Return circuits. When wired as send/return Y connector, a 14" TRS jack or plug is connected tip to signal send (output from mixer), ring to signal return (input back into mixer), and sleeve to ground (earth).

14"

TS Phone Plugs and Jacks

SLEEVE SLEEVE TIP

TS stands for Tip-Sleeve, the two connections available on a mono 14" phone jack or plug. See Figure C.

COLD SHIELD

COLD 3 HOT

SHIELD COLD

SLEEVE

Figure C: TS Plug

Figure A: XLR Connectors
TRS Phone Plugs and Jacks
TS jacks and plugs are used in many different RING SLEEVE SLEEVE RING TIP a pplications, always unbalanced. The tip is connected to TIP the audio signal and the sleeve to ground (earth). Some RING examples: Unbalanced microphones

TIP SLEEVE

TRS stands for Tip-Ring-Sleeve, the three c onnections available on a stereo 14" or balanced phone jack or plug. See Figure B.
RING SLEEVE SLEEVE RING TIP
Electric guitars and electronic instruments Unbalanced line-level connections

RCA Plugs and Jacks

RCA-type plugs (also known as phono plugs) and jacks are often used in home tereo and video equips ment and in many other applications (Figure D). They are nbalanced and electrically identical to a 14" TS u phone plug or jack (see Figure C). Connect the signal to the center post and the ground (earth) or shield to the surrounding basket.

SLEEVE TIP SLEEVE TIP

RING TIP SLEEVE

Figure B:

TRS Plugs
TRS jacks and plugs are used in several different applications: Stereo Headphones, and rarely, stereo microphones and stereo line connections. When wired for stereo, a 14" TRS jack or plug is connected tip to left, ring to right and sleeve to ground (earth). Mackie mixers do not directly accept 1-plug-type stereo micro hones. p They must be separated into a left cord and a right cord, which are plugged into the two mic preamps.

Maximum Voltage Gain (EQ Flat)
Mic Input Channel to Insert Output Tape Output USB Output Inch Main Output XLR Main Output Monitor Send FX Send Mono Line Input Channel to Insert Output Tape Output USB Output XLR Main Output Monitor Send FX Send Stereo Line Input Channel to Tape Output USB Output XLR Main Output Monitor Send FX Send Tape Input to Tape Output USB Output XLR Main Output USB Input to Tape Output USB Output XLR Main Output Stereo Return to Tape Output USB Output XLR Main Output Effects Return to Tape Output USB Output XLR Main Output Monitor Send 50 dB 60 dB 50 dB 70 dB 76 dB 75 dB 90 dB 30 dB 40 dB 30 dB 56 dB 55 dB 70 dB 30 dB 20 dB 46 dB 45 dB 60 dB 20 dB 10 dB 36 dB 20 dB 10 dB 36 dB 10 dB 0 dB 26 dB 10 dB 0 dB 26 dB 25 dB 100 Hz, -18 dB/Octave 15 dB @ 12 kHz 15 dB @ 2.5 kHz 15 dB @ 80 Hz Mono Input/Stereo Output 16 Mackie-designed presets

Distortion

20 Hz 20 kHz THD+N, SMPTE IMD (Mic input to Main output)<0.03% @ +4 dBu output
Common Mode Rejection Ratio
1 kHz (Mic input to Insert Send output)60 dB gain at unity

Frequency Response

20 Hz 30 kHz (Mic input to any output, gain at unity) +0 dB/-1 dB

Crosstalk

20 Hz 20 kHz Adjacent Inputs Inputs to Outputs Fader Off Mute Switch/Break Switch Mute -90 dB @ 1 kHz -90 dB @ 1 kHz -75 dB @ 1 kHz -90 dB @ 1 kHz +22 dBu +28 dBu +22 dBu 3 kilohms 10 kilohms 1 Megohm 20 kilohms 1.1 kilohms 25 ohms 120 ohms

Maximum Levels

All Inputs Main Mix XLR All other outputs

Impedances

Mic in Channel Insert return Ch 1 Instrument Input All other inputs Tape out Phones out All other outputs

Channel EQ

Low Cut High Shelving Mid Peaking Low Shelving

Digital Effects

I/O Number of Presets

Channel Level Set LED

0 dBu (normal operating level)

Channel OL LED

-1 dB before channel clipping Measured post EQ, pre fader

Meters

Main L/R Mix Two columns of 12 segments each: OL (+20 dBu), +15, +10, +6, +3, 0 (0 dBu), -2, -4, -7, -10, -20, and -30

Dimensions

WEIGHT

7.1 lb 3.2 kg

7 Band Graphic EQ
Frequency Centers 125, 250, 500, 1k, 2k, 4k, 8k Gain 15 dB Assignable to Main or Monitor Bypassable

3.58 in/ 91 mm

14.05 in/ 357mm

Format I/O A/D/A

USB 1.1 Stereo Input/Stereo Output 16 Bit, 44.1 kHz/48 kHz

Phantom Power

48 VDC to all Mic channels at once

AC Power Requirements

Voltage Range Power Consumption: Power Connector 100-240 VAC, 50-60 Hz 20 Watts (ProFX8) 25 Watts (ProFX12) 3 Pin IEC 14.05" x 11.41" x 3.58" (357 mm x 290 mm x 91 mm) 14.05" x 14.6" x 3.58" (357 mm x 370 mm x 91 mm) 7.1 lb (3.2 kg) 9.0 lb (4.1 kg)

11.41 in/ 290 mm

Dimensions (H x W x D)

ProFX8 ProFX12

9.0 lb 4.1 kg

Weight

ProFX8 ProFX12

14.6 in/ 370 mm

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 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 holders, 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

L R Main

Mon (pre) FX (post)
Phantom Power (To All Mics) OL (Flicker) Mute

Insert

Break switch
Phantom Power LO 80 2.5K 12K MID HI

Level Set

Low Cut In

Main Fader

Mic Fader 3-Band EQ FX Mon Main Meters to/from 7-Band GEQ
Mono Channels 2-2 ProFX8 Line 2-4 ProFX12
Mic: 0 ~ +50dB Line: -20 ~ +30dB

Main out

BlockDiagram

Mic L R Level

Tape Input

Line / Hi-Z

Left Tape Out Right
Mono Channel 1 ProFXProFX12

Phones

OL (Flicker)

3-Band EQ Fader

Mute HI

USB Input

L R Level FX Mon

Main L Mon Main R

USB Thru

Phones Level

USB Out
Hybrid Channels 3-6 ProFX8 5-8 ProFX12

HI 12K

Mic Gain: 0 ~ +50dB

Mains Mon

EQ assign switch

7-band Stereo GEQ

Bypass switch

Bypass

Stereo Channels 7-8 ProFX8 9-12 ProFX12

Line Gain: -20 ~ +20 dB

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

Mon Fader

to/from 7-Band EQ Fader

Monitor send FX send

FX level

Stereo Return

FX to Main L/R Fader

In Out L

Preset select

Out R active FX Mute

FX to Mon

L Main R

FX Bypass Logic
FX Preset Display footswitch

Rev 105 June 6, 2008

Mon (pre)

FX (post)

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

Internal FX

Appendix D: USB interface

System Requirements

These are the minimum requirements for your computer system to use the mixer's USB interface. For the PC: Windows XP (service pack 2) Pentium 4 or Athlon XP processor 256 MB RAM For the Mac: OS X (10.4.11 or higher) G4 processor 256 MB RAM The internal USB interface will allow the left and right main mix to be recorded on a Mac or PC computer. It also allows two channels of audio from the computer to be added to the main mix.

USB stream to computer

In addition to a mix of channels, the USB output to your computer can contain audio from your computer, if the USB thru switch [41] is engaged. The mains and headphone outputs are not affected by the switch, and always provide a full mix of channels and any 2-channel audio from your computer. The analog audio from the mixer is converted to digital signals by the USB interfaces A/D converters. The following table shows the outputs to your computer from the mixers USB interface: To Computer input 1 From Left mix of channels including any audio from computer (thru switch in) or Left mix of channels without audio from computer (thru switch out) Right mix of channels including any audio from computer (thru switch in) or Right mix of channels without audio from computer (thru switch out)

Plug and Play

No drivers or software installation is required. The ProFX mixer's USB interface connects directly to the USB port of your computer. Computer input 2

USB stream from computer

The following table shows the outputs from your computer to the mixers USB interface: From To
Computer output 1 Main mix L Computer output 2 Main mix R The 2-channel digital stream from the computer enters the mixer through the USB connector and is converted to analog audio. The audio level can be adjusted using the USB input control [40]. Beware of a possible feedback loop, if you are feeding the main mix back into the mixer.

Overdubbing

To overdub additional tracks while listening to previously recorded ones, follow these steps: Press Play. The previously recorded track will now play out of the DAWs main L-R mix into the USB input of the mixer. Set the level of the USB input level knob [40] to a level where you can hear the previously recorded track comfortably. Arm a new track in the DAW software, be sure it has input monitoring disabled (see top of next page), and record the new track on your DAW. While recording the new track, you will hear the previously recorded tracks coming into the mixers USB input, while you simultaneously 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.
4. If you are recording an acoustic source through a microphone, monitor it through headphones, not through speakers. This will prevent sound from the speakers from leaking into the microphone. If working in this fashion, turn down the main fader, and instead turn up the phones knob for safe listening levels in the headphones.

end-to-end disabled

Tracktion Screen
In Tracktion, to disable input monitoring for the track you are recording onto, select the input to the track (it will be highlighted in red) and disable the end-to-end function. Youll hear existing tracks playing back via the USB in, and youll be monitoring the track you are recording through the mixers headphones or main out. When you play back the recording, youll hear the track youve just overdubbed without unmuting anything. Other DAWs may show this as a speaker next to the track record arm button.
ins in your work. If this happens, your audio may stop or drop out. Drop outs may also occur if you have a slower computer or not enough memory. When recording using the overdub method, it is important to set the mixers latency to its lowest operable setting. This means going into the audio interface property page of your recording program and setting the latency property to the lowest setting the device and your system will accept without any drop-outs, distortion or CPU overburdening. The buffer is an area of computer memory that your DAW uses to hold audio as it works. The smaller the buffer, the faster audio gets in and out of your computer, and the lower the latency. The size of the buffer is measured in samples. The more samples, the higher the latency time value. This time value varies by sample rate. Higher latency settings are fine and even necessary when in live record mode. The same is true for mixdown mode, especially when you start adding lots of plug-ins. The latency will never be zero, but generally we can lower it enough so its effect cannot be heard.

Other tips

If recording with a microphone, turn down the main fader [48] while recording, and listen through the headphones instead. If recording direct sources such as an electric guitar, you can listen with speakers, as there is no microphone present to worry about the speakers sound leaking in.

ProFX8 and ProFX12

The Mackie ProFX Series mixers include effects, graphic EQ and USB I/O for playing and recording two channels of audio using a computer all in one compact package. The ProFX8 is a Professional 8-channel Compact Mixer with four mic preamps and three full stereo channels while the 12-channel ProFX12 comes standard with six mic preamps and four full stereo channels. Each channel has an input Gain control with 50 dB of gain, a sharp 18 dB/octave, 100 Hz Low Cut filter, a 3-band EQ, two Aux sends [monitors and FX], Pan, Mute and a 60mm fader. All mono channels have a Channel Insert jack for connecting an external processor, as well. Additionally, the ProFX Series mixers include Mackies classic high-headroom, low-noise mic preamps, 3-band active EQ (80 Hz, 2.5 kHz and 12 kHz) on all channels, a built-in DI for direct connection of a guitar or bass on channel 1, integrated effects and a precision 7-band graphic EQ for tuning the room or the monitors. The 32-bit RMFX processor has 16 Gig-Ready effects, incuding reverbs, choruses and delays. ProFX allows stereo playback from, and recording to, a computer via USB. The innovative USB Thru switch allows for an impressive live/ recording setup utilizing performance software. Other features include phantom power, a stereo tape input and output, a 1/4 stereo headphone jack, stereo 12-segment LED meters, XLR and TRS stereo output jacks and a footswitch jack to connect a remote control for muting the FX.
COMPACT EFFECTS MIXER WITH USB

FEATURES:

Professional compact mixer with onboard effects and USB I/O Low-noise, high-headroom Mackie mic preamps with easy LED metering 32-bit RMFX processor with 16 Gig-Ready effects 7-band graphic EQ for tuning Mains or Monitors USB I/O for recording shows and music playback via Mac or PC Extra stereo channels plus extra stereo return for keyboards, external effects or stereo playback devices 60mm faders for input channels, returns and Main/ Monitor masters 3-band active EQ on all channels Hi-Z input for direct connection of guitar, bass and other instruments Insert, 100 Hz low cut filter, and 48V phantom power on all mic channels Stereo RCA tape I/O with input level control Headphone output with separate rotary level control

APPLICATIONS

Live sound mixing, houses of worship, clubs, gymnasiums, banquet halls, conference rooms, boardrooms, studio and field recording, video post-production, multimedia applications, broadcast, and many, many more.
Balanced XLR and balanced/unbalanced 1/4 main outputs FX mute with remote control via footswitch Break switch mutes all channels for music playback Built-like-a-tank steel chassis Planet Earth switching power supply for worldwide use

1/6 PAGES

ProFX 8 and ProFX12 SPECIFICATIONS

Noise Characteristics

(20 Hz to 20 kHz, 150 Source Impedance Equivalent Input Noise) Mic in to Insert Send out, max gain (Residual Output Noise) All outputs, master levels off, all channel levels off All outputs, master levels unity, all channel levels off All outputs, master levels unity, one channel level unity 95 dBu 90 dBu 85 dBu 127 dBu
Maximum Voltage Gain (EQ Flat)
Mic input Channel to Insert Output Tape Output USB Output 1/4 Main Output XLR Main Output Monitor Send FX Send Mono Line Input Channel to Insert Output Tape Output USB Output XLR Main Output Monitor Send FX Send Stereo Line Input Channel to Tape Output USB Output XLR Main Output Monitor Send FX Send Tape Input to Tape Output USB Output XLR Main Output USB Input to Tape Output USB Output XLR Main Output Stereo Return to Tape Output USB Output XLR Main Output Effects Return to Tape Output USB Output XLR Main Output Monitor Send 50 dB 60 dB 60 dB 70 dB 76 dB 75 dB 90 dB 30 dB 40 dB 40 dB 56 dB 55 dB 70 dB 30 dB 30 dB 46 dB 45 dB 60 dB 20 dB 20 dB 36 dB 20 dB 20 dB 36 dB 10 dB 10 dB 26 dB 10 dB 10 dB 26 dB 25 dB

Frequency Response

(Mic input to any output, gain at unity) 20 Hz to 30 kHz +0 dB / 1 dB

Distortion (THD+N)

(20 Hz to 20 kHz bandwidth) Mic in to Main out <0.05% @ +4 dBu output
Attenuation and Crosstalk
(1 kHz relative to +10 dBu, 20 Hz - 20 kHz bandwidth, Mic In, 1/4 Main Out, Gain @ unity) Channel Mute switch engaged Channel Fader down 90 dBu 90 dBu
Common Mode Rejection Ratio (CMRR)
(Mic In to Insert Send out, unity) 1 kHz 60 dB gain

Maximum Levels

All inputs Main Mix XLR All other outputs +22 dBu +28 dBu +22 dBu

Impedances

Mic In Channel Insert Return Ch 1 Instrument input All other inputs Tape output Phones output All other outputs 3k 10 k 1M 20 k 1.1 k 25 120

Digital Effects

I/O Number of Presets Mono input / Stereo output 16 Mackie-designed presets

Channel Level Set LED

0 dBu (normal operating level)
High Shelving Mid Peaking Low Shelving Low Cut Filter 15 dB @ 12 kHz 15 dB @ 2.5 kHz 15 dB @ 80 Hz 100 Hz, 18 dB/octave

Channel OL LED

1 dB before channel clipping measured post-EQ, pre-fader

Meters

Main L/R Mix Two columns of 12 segments each: OL (+20 dBu), +15, +10, +6, +3, 0 (0 dBu), 2, 4, 7, 10, 20, 30

2/6 PAGES

ProFX 8 and ProFX12 SPECIFICATIONS continued.

7 Band Graphic EQ

Frequency Centers Gain Assignable to Main or Monitor Bypassable 125, 250, 500, 1k, 2k, 4k, 8k 15 dB
Format I/O A/D/A USB 1.1 Stereo Input / Stereo Output 16 Bit, 44.1 kHz / 48 kHz

Phantom Power

48 VDC to all Mic channels at once

Power Consumption

Voltage Range Power Consumption Power Connector 100 - 240 VAC, 50 - 60 Hz 20 watts (ProFX8) 25 watts (ProFX12) 3 Pin IEC
Physical Properties (packaged product)
Height Depth Width Shipping Weight 7.0 in / 178 mm (both) 17.5 in / 445 mm (both) 15.5 in / 394 mm (ProFX8) 18.5 in / 470 mm (ProFX12) 9.5 lb / 4.3 kg (ProFX8) 11.2 lb / 5.1 kg (ProFX12)
Physical Properties (product)
Height Depth Width Net Weight 14.05 in / 357 mm (both) 3.58 in / 91 mm (both) 11.41 in / 290 mm (ProFX8) 14.6 in / 370 mm (ProFX12) 7.1 lb / 3.2 kg (ProFX8) 9.0 lb / 4.1 kg (ProFX12)

Options

Mixer Bag for ProFX8 Mixer Bag for ProFX12 P/N 0020636 P/N 0020637

Ordering Information

ProFX8 Compact Effects Mixer with USB, US ProFX8 Compact Effects Mixer with USB, EU ProFX8 Compact Effects Mixer with USB, CN ProFX12 Compact Effects Mixer with USB, US ProFX12 Compact Effects Mixer with USB, EU ProFX12 Compact Effects Mixer with USB, CN P/N 0032929-00 P/N 0032929-01 P/N 0032929-05 P/N 0032927-00 P/N 0032927-01 P/N 0032927-05

3/6 PAGES

ProFX FRONT AND REAR PANELS (ProFX12 shown)

POWER ON

PROFESSIONAL MIC/LINE MIXER WITH FX

SERIAL NUMBER

WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL. AVIS: RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR

MANUFACTURING DATE

(BALANCED)

MAIN RIGHT

MAIN LEFT

TAPE IN

(UNBALANCED)

TAPE OUT

LINE HI-Z

BAL / UNBAL

(MONO)

(MONO) (MONO)

LINE IN 5

LINE IN 7

LINE IN 9

LINE IN 11

LINE/HI-Z IN 1

LINE IN 2

LINE IN 3

LINE IN 4

MON SEND

FOOTSWITCH

INSERT INSERT INSERT INSERT LINE IN 6 LINE IN 8

LINE IN 10

LINE IN 12

R ST RETURN

R MAIN OUT PHONES

FX SEND

IC GAIN M

LEVEL SET

C GAIN MI

U 15 10

STEREO GRAPHIC EQ

1K 2K 4K 8K POWER

PHANTOM POWER

U -20dB

+50 +30dB

+50 LOW CUT 100 Hz

-20 +20

LOW CUT 100 Hz

HI 12kHz

MAIN METERS

0dB=0dBu OL 30
-15 +15 U MID 2.5kHz -15 +15 U LOW 80Hz -15 +15 U
-15 +15 U MID 2.5kHz -15 +15 U LOW 80Hz -15 +15

MAIN MIX MON

EQ IN BYPASS

+15 U FX

01 BRIGHT ROOM 02 WARM LOUNGE 03 SMALL STAGE 04 WARM THEATER 05 WARM HALL 06 CONCERT HALL 07 PLATE REVERB 08 CATHEDRAL 09 CHORUS 10 CHORUS + REV 11 DOUBLER 12 TAPE SLAP 13 DELAY 1 (300ms) 14 DELAY 2 (380ms) 15 DELAY 3 (480ms) 16 REVERB + DLY (250ms)

FX PRESETS

PRESETS MUTE

INPUT LEVEL

USB THRU

(MUTES ALL CHANNELS)

FX MASTER

FX TO MON

PHONES

TAPE LEVEL

dB U 60

ST RTN

FX RTN

4/6 PAGES

Global 48v 48V Switch/LED

L R Main

Mon (pre) FX (post)
Phantom Power (To All Mics)

Insert

OL (Flicker) Mute

Break switch

Phantom Power LO 80 2.5K 12K MID HI

Level Set

Low Cut In

Main Fader

Mic Fader 3-Band EQ FX Mon Main Meters to/from 7-Band GEQ
Mono Channels 2-2 ProFX8 Line 2-4 ProFX12
Mic: 0 ~ +50dB Line: -20 ~ +30dB

100 Hz

Main out

Mic L R Level

Tape Input
Left Tape Out Right Phones

Line / Hi-Z

ProFX 8 and ProFX12 BLOCK DIAGRAM
Mono Channel 1 ProFXProFX12

OL (Flicker)

3-Band EQ Fader

Mute LO MID HI

80 2.5K 12K

USB Input

L R Level FX Mon

Main L Mon Main R

USB Thru

Phones Level

USB Out
Hybrid Channels 3-6 ProFX8 5-8 ProFX12

LO 80 2.5K 12K MID HI

Mic Gain: 0 ~ +50dB

Mains Mon

EQ assign switch

7-band Stereo GEQ

Bypass switch

Bypass

Stereo Channels 7-8 ProFX8 9-12 ProFX12

Line Gain: -20 ~ +20 dB

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

Mon Fader

to/from 7-Band EQ Fader

Monitor send

FX level

FX send

Stereo Return

FX to Main L/R Fader

In Out L

Preset select

Out R active FX Mute

FX to Mon

L Main R

FX Bypass Logic

FX Preset Display footswitch

Mon (pre)

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

Internal FX

5/6 PAGES
ProFX 8 and ProFX12 DIMENSIONS
ProFX8 NOTES: 1. WEIGHT APPROX. 7.1 lb [3.2 kg]. 2. SHIPPING WEIGHT APPROX. 9.5 lb [4.3 kg].

3.58 [91] 14.05 [357]

11.41 [290]
ProFX12 NOTES: 1. WEIGHT APPROX. 9.0 lb [4.1 kg]. 2. SHIPPING WEIGHT APPROX. 11.2 lb [5.1 kg].
Electronic files for this product are available at: www.mackie.com
Specification Sheet PROFX_SS.PDF PROFX_OM.PDF

14.6 [370]

Owners Manual
www.mackie.com 16220 Wood-Red Road NE Woodinville, WA 98072 USA 800-898-3211, Fax 425-487-4337, sales@mackie.com Part No. SW0859 Rev. A 06/10
Since we are always striving to make our products better by incorporating new and improved materials, components, and manufacturing methods, we reserve the right to change these specifications at any time without notice. Mackie and the Running Man figure 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. 2010 LOUD Technologies Inc. All Rights Reserved.

6/6 PAGES