Mackie ProFX12 Owner's Manual - Page 18

ProFX8 and ProFX12 LINE/HI-Z IN 1 LINE IN 2 LINE IN 3 LINE IN 4 LINE IN 5 UNBAL LINE IN 7 UNBAL LINE IN 9 UNBAL LINE IN 11 UNBAL UNBAL MON SEND UNBAL FOOTSWITCH R R R R R BAL / UNBAL R 20 INSERT INSERT INSERT INSERT LINE IN 6 LINE IN 8 LINE IN 10 LINE IN 12 ST RETURN FX SEND MAIN OUT PHONES 19 U MIC GAIN LEVEL SET U MIC GAIN LEVEL SET U MIC GAIN LEVEL SET U MIC GAIN LEVEL SET U +50 -20dB +30dB 21 GAIN LOW CUT 100 Hz U +50 -20dB +30dB GAIN LOW CUT 100 Hz U +50 -20dB +30dB GAIN LOW CUT 100 Hz U +50 -20dB +30dB GAIN LOW CUT 100 Hz 22 23 24 25 26 27 OO OO U -15 +15 U EQ HI 12kHz -15 +15 U MID 2.5kHz LOW 80Hz -15 +15 U AUX MON +15 U FX +15 PAN LR OO OO U -15 +15 U EQ HI 12kHz -15 +15 U MID 2.5kHz LOW 80Hz -15 +15 U AUX MON +15 U FX +15 PAN LR OO OO U -15 +15 U EQ HI 12kHz -15 +15 U MID 2.5kHz LOW 80Hz -15 +15 U AUX MON +15 U FX +15 PAN LR OO OO U -15 +15 U EQ HI 12kHz -15 +15 U MID 2.5kHz LOW 80Hz -15 +15 U AUX MON +15 U FX +15 PAN LR OO OO MIC GAIN LEVEL SET U +50 GAIN LOW CUT 100 Hz U -15 +15 U EQ HI 12kHz -15 +15 U MID 2.5kHz LOW 80Hz -15 +15 U AUX MON +15 U FX +15 PAN LR OO OO MIC GAIN LEVEL SET U +50 GAIN LOW CUT 100 Hz U -15 +15 U EQ HI 12kHz -15 +15 U MID 2.5kHz LOW 80Hz -15 +15 U AUX MON +15 U FX +15 PAN LR OO OO U -20 +20 GAIN U -15 +15 U EQ HI 12kHz -15 +15 U MID 2.5kHz LOW 80Hz -15 +15 U AUX MON +15 U FX +15 PAN LR OO OO STEREO GRAPHIC EQ U 15 10 -20 +20 GAIN 5 0 15 48V 10 PHANTOM 5 POWER 0 5 U EQ 10 HI 15 12kHz -15 +15 U 125 250 500 1K MID 2.5kHz MAIN MIX MON -15 +15 U LOW 80Hz -15 +15 U AUX MON +15 U FX +15 PAN FX PRESETS 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) U OL PRESETS MUTE U 2K 4K EQ IN BYPASS 5 10 15 8K USB U OO +10 INPUT LEVEL POWER MAIN METERS 0dB=0dBu OL 15 10 6 3 0 2 4 7 10 20 30 L R USB THRU BREAK (MUTES ALL CHANNELS) U OO LR OO +15 OO +15 MAX +20 OO FX MASTER FX TO MON PHONES TAPE LEVEL 28 OL dB 10 MUTE OL 291 dB 10 MUTE 2 OL dB 10 MUTE 3 OL dB 10 MUTE 4 OL dB 10 MUTE OL 5/6 dB 10 MUTE 7/8 OL dB 10 MUTE OL 9/10 dB 10 MUTE 11/12 MUTE OL ST RTN dB 10 FX RTN dB 10 MON dB 10 MAIN dB 10 5 5 5 5 5 5 5 5 U U U U U U U U 5 5 5 5 5 5 5 5 30 10 10 10 10 10 10 10 10 20 20 20 20 20 20 20 20 30 30 30 30 30 30 30 30 40 40 40 40 40 40 40 40 50 50 50 50 50 50 50 50 60 60 60 60 60 60 60 60 5 5 5 5 U U U U 5 5 5 5 10 10 10 10 20 20 20 20 30 30 30 30 40 40 40 40 50 50 50 50 60 60 60 60 OO OO OO OO OO OO OO OO OO OO OO OO 19. GAIN If you haven't already, please read the gain-setting procedure on page 3. The gain adjustment allows the various source signals from the outside world to be adjusted to the same optimal internal operating levels. MIC GAIN LEVEL Setting the gain correctly will ensure that the pre- SET amplifier's gain is not too high, where distortion cUoul+d50 occur, and not too low, where the quieter, exquisitGeAlyIN- delicate passages might be lost in background noise. MIC GAIN LEVEL SET U +50 GAIN U -20 +20 GAIN ForU hybrid channels (mic input and stereo line input), the gain control just a-2f0fe+c20ts the microphone input. GAIN For stereo channels (no mic input) the gain control just affects the line-level inputs, with 20 dB of gain, and 20 dB of attenuation. There is no level set LED. MIC GAIN LEVEL SET U +50 GAIN ForU mono channels (mic input with a mono line input), the gain knob adjusts t-2h0e+i2n0 put sensitivity of the mic and line inGpAIuNts. Adjust the gain control so the level set LEDs [20] illuminate occasionally during the louder moments and are off during the quieter moments. 20. LEVEL SET LED These LEDs are used with the gain control [19] to set the channel preamplifier gain just right for each source. If one or more channels are distorting, check the level set LEDs. If they are on continuously, turn down the gain. If the signal comes through the mic XLR jack, there will be 0 dB of gain ("U" for unity) with the knob fully down, ramping to 50 dB of gain fully up. Through the 1⁄4" mono input, there is 20 dB of ­attenuation fully down and 30 dB of gain fully up, with a "U" (unity gain) mark at 12:00. This 20 dB of ­attenuation can be very handy when i­nserting a very hot signal, need to add a lot of EQ boost, or both. Without this "­virtual pad," this­­scenario might lead to channel clipping. 18 ProFX8 and ProFX12 21. LOW CUT Each channel with a mic input has a low cut switch that cuts the bass frequencies below 100 Hz, at a rate of 18 dB per octave. All mic inputs are affected, as well as the line inputs of the mono channels. We recommend using low cut on ­every microphone application except kick drum, bass guitar, and bassy synth patches. These aside, there isn't much down there that you want to hear, and filtering it out makes the low stuff you do want much more crisp and tasty. Not only that, low cut can help reduce the possibility of feedback in live situations and help to conserve the amplifier power.