Mackie SP260 User manual

OWNER’S MANUAL
2x6 Speaker Processor
SP260
NAV/EDIT1
ENTER ESC
CLIP
+15
+9
+3
0
-10
-20
LIMIT
CLIP
+15
+9
+3
0
-15
USB
EDIT
MUTE
UTILITY
A
CLIP
+15
+9
+3
0
-10
-20
EDIT
MUTE B 1
EDIT
MUTE
LIMIT
CLIP
+15
+9
+3
0
-15
2
EDIT
MUTE
LIMIT
CLIP
+15
+9
+3
0
-15
3
EDIT
MUTE
LIMIT
CLIP
+15
+9
+3
0
-15
4
EDIT
MUTE
LIMIT
CLIP
+15
+9
+3
0
-15
5
EDIT
MUTE
LIMIT
CLIP
+15
+9
+3
0
-15
6
EDIT
MUTE
2x6 SPEAKER
PROCESSOR
EDIT2EDIT3
PUSHPUSH
ON
OUTPUTS
MAIN
GNDLIFT
ATTENTION: RISK OF ELECTRIC SHOCK
DO NOT OPEN THE COVER
100-240 VAC
40W 50/60 Hz
FUSE: T 800mAL 250V
AB123456
INPUTS

SP260 2x6 Speaker Processor
2
SP260 2x6 Speaker Processor
Important Safety Instructions
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.
1. Read these instructions.
2. Keep these instructions.
3. Heed all warnings.
4. Follow all instructions.
5. Do not use this apparatus near water.
6. Clean only with a dry cloth.
7. Do not block any ventilation openings. Install in accordance with the
manufacturer’s instructions.
8. Do not install near any heat sources such as radiators, heat registers,
stoves, or other apparatus (including amplifiers) that produce heat.
9. Do not defeat the safety purpose of the polarized or grounding-type
plug.
A polarized plug has two blades with one wider than the other. A
grounding-type plug has two blades and a third grounding prong.
The wide blade or the third prong are provided for your safety. If the
provided plug does not fit into your outlet, consult an electrician for
replacement of the obsolete outlet.
10. Protect the power cord from being walked on or pinched particularly at
plugs, convenience receptacles, and the point where they exit from the
apparatus.
11. Only use attachments/accessories specified by the manufacturer.
12. Use only with a cart, stand, tripod, bracket, or
table specified by the manufacturer, or sold with
the apparatus. When a cart is used, use caution
when moving the cart/apparatus combination to
avoid injury from tip-over.
13. Unplug this apparatus during lightning storms or
when unused for long periods of time.
14. Refer all servicing to qualified service personnel. Servicing is required
when the apparatus has been damaged in any way, such as power-
supply cord or plug is damaged, liquid has been spilled or objects have
fallen into the apparatus, the apparatus has been exposed to rain or
moisture, does not operate normally, or has been dropped.
15. This apparatus shall not be exposed to dripping or splashing, and no
object filled with liquids, such as vases or beer glasses, shall be placed
on the apparatus.
16. Do not overload wall outlets and extension cords as this can result in a
risk of fire or electric shock.
17. This apparatus has been designed with Class-I construction and must
be connected to a mains socket outlet with a protective earthing
connection (the third grounding prong).
18. This apparatus has been equipped with a rocker-style AC mains power
switch. This switch is located on the rear panel and should remain
readily accessible to the user.
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:
s 2EORIENTORRELOCATETHERECEIVINGANTENNA
s )NCREASETHESEPARATIONBETWEENTHEEQUIPMENTANDTHERECEIVER
s #ONNECTTHEEQUIPMENTINTOANOUTLETONACIRCUITDIFFERENTFROM
that to which the receiver is connected.
s #ONSULTTHEDEALERORANEXPERIENCEDRADIO46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 présent appareil numérique n’émet pas de bruits
radioélectriques dépassant las limites applicables aux appareils
numériques de class A/de class B (selon le cas) prescrites dans le
réglement sur le brouillage radioélectrique édicté 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. Government’s
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 danger-
ous exposure to high sound pressure levels, it is recommended that all
persons exposed to equipment capable of producing high sound pres-
sure 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:
PORTABLE CART
WARNING
CAUTION
RISK OF ELECTRIC SHOCK. DO NOT OPEN
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK DO NOT REMOVE COVER (OR BACK)
NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL
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.
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.
WARNING — To reduce the risk of fire or electric shock, do not
expose this apparatus to rain or moisture.
Duration, per
day in hours Sound Level dBA,
Slow Response Typical Example
8 90 Duo in small club
6 92
4 95 Subway Train
3 97
2 100 6ERYLOUDCLASSICALMUSIC
1.5 102
1 105 Fooyoung screaming at desTROYer about deadlines
0.5 110
0.25 or less 115 Loudest parts at a rock concert

Owner’s Manual
3
Owner’s Manual
Part No. SW0934 Rev. A 06/12
©2012 LOUD Technologies Inc. All Rights Reserved.
Offering sophisticated EQ, crossover, dynamics
processing and system protection, the Mackie SP260
2x6 Speaker Processor provides complete system
optimization for both passive and powered systems.
Five different operating modes cover a wide range
of systems. Each of the six outputs feature dedicated
level control, mute, polarity invert, high / low-pass
filters, 7-band parametric / shelving EQ, 600ms delay
and limiting. Two input channels provide independent
level control, mute, 600ms delay and a flexible 5-band
parametric / shelving EQ.
The convenient front-panel control also includes
7-segment LED metering per channel. The SP260
utilizes high-end 24-bit AKM®AD/DA converters with
120 dB dynamic range for class-leading sound quality.
With 24 user-definable presets and flexible I/O for
simple routing and configuration, the SP260 is an
ultra-flexible processor, ideal for a wide range of
portable and permanent applications.
Introduction
Contents
IMPORTANT SAFETY INSTRUCTIONS ........................ 2
CONTENTS.............................................................. 3
INTRODUCTION ...................................................... 3
FEATURES............................................................... 4
HOW TO USE THIS MANUAL.................................... 4
GETTING STARTED................................................... 5
THINGS TO REMEMBER........................................... 5
HOOKUP DIAGRAMS............................................... 6
FEATURES: REAR PANEL ........................................ 11
1. Power........................................................ 11
2. Power Cord Socket and Fuse........................ 11
3. Main: Lift / Gnd ......................................... 11
4. XLR Outputs............................................... 11
5. XLR Inputs ................................................. 11
FEATURES: FRONT PANEL ...................................... 12
6. LCD DIsplay................................................ 12
7. Nav/Edit1 Wheel........................................ 12
8. Edit2 Wheel................................................ 12
9. Edit3 Wheel................................................ 12
10. Enter Button ............................................. 12
11. ESC Button ............................................... 12
12. Utility Button............................................ 12
13. Mute / Edit Buttons.................................. 12
14. Edit LEDs .................................................. 13
15. Mute LEDs................................................ 13
16. Meters..................................................... 13
17. USB ......................................................... 13
Factory Reset ................................................. 13
UTILITIES.............................................................. 14
System Utilities .............................................. 14
System Setup ........................................... 14
Delay Units .............................................. 14
Ramps on changes .................................... 15
Software Version...................................... 15
Preset Utilities................................................ 15
Recall a Preset ......................................... 15
Save a Preset........................................... 15
Delete a Preset......................................... 15
Security Utilities ............................................. 16
Show Parameter....................................... 16
Lock Unit.................................................. 16
User Password ......................................... 16
Enable Password ...................................... 16
EDITING ............................................................... 17
Inputs A / B................................................... 17
Gain......................................................... 17
Delay....................................................... 17
EQ Bypass................................................ 18
5-Band EQ................................................ 18
Outputs 1 – 6................................................. 18
Name....................................................... 18
Source...................................................... 19
Polarity.................................................... 19
Gain......................................................... 19
EQ Bypass................................................ 19
7-Band EQ................................................ 19
Delay....................................................... 20
High Pass Filter ........................................ 20
Low Pass Filter......................................... 20
Limiter ..................................................... 21
VU Meter................................................. 21
Linking Inputs or Outputs ................................ 21
Wrap-Up ........................................................ 21
APPENDIX A: SERVICE INFORMATION.................... 22
APPENDIX B: CONNECTIONS ................................. 24
APPENDIX C: SP260 CONTROL APPLICATION ......... 25
APPENDIX D: SP260 PROCESSING PARAMETERS.... 30
APPENDIX E: SP260 SPECIFICATIONS..................... 31
SP260 DIMENSIONS ............................................. 32
SP260 BLOCK DIAGRAM....................................... 33
MACKIE LIMITED WARRANTY ................................ 34

SP260 2x6 Speaker Processor
4
SP260 2x6 Speaker Processor
Features
s 0ROFESSIONALINPUTOUTPUTSYSTEMPROCESSOR
for passive and powered PAs
s 3OPHISTICATEDINTUITIVE%1CROSSOVERDELAY
and dynamics processing optimizes and protects
your system
s (IGHENDBIT!+-®AD/DA with 120 dB
dynamic range
s4WOBALANCED8,2INPUTSWITHLEVELCONTROLMUTE
600ms delay and 5-band parametric / shelving EQ
s 3IXBALANCED8,2OUTPUTSWITHLEVELCONTROL
mute, polarity invert, dedicated high and low
pass filters, 7-band parametric / shelving EQ,
600ms delay, and limiting
s 0OWERFULLIMITERONEVERYOUTPUTFOR 
ultimate protection
s #ONVENIENTFRONTPANELCONTROLSFORPARAMETER
editing and input / output muting
s 53"PORTFORSIMPLEPROGRAMMINGVIA0#
s ,INKABLEINPUTSANDOUTPUTSFOREASY
stereo configuration
s SEGMENT,%$METERINGFORINPUTOUTPUTLEVEL
or limiter activity
s OPERATINGMODESXSTEREOSUBXSTEREO
XWAYSUBXWAYANDXWAY
s PRESETSFORSTORINGYOUR-ACKIEOROTHER
system parameters
s 3WITCHMODEPOWERSUPPLY6n6
s #OMPACTSINGLERACKUNITDESIGN
How to Use This Manual:
After this introduction, a getting started guide will
help you get things set up fast. The hook-up diagrams
show some typical setups, while the remaining sections
provide details of the SP260 and how to use it to
optimize your PA system.
This icon marks information that is critically
important or unique to the processor. For your
own good, read and remember them.
This icon leads you to in-depth explanations
of features and practical tips. They usually
have some valuable nuggets of information.
This icon draws attention to certain features
and functions relating to the usage of the
processor.

Owner’s Manual
5
Owner’s Manual
Things to Remember:
s .EVERLISTENTOLOUDMUSICFORPROLONGEDPERIODS
Please see the Safety Instructions on page 2 for
information on hearing protection.
s 7HENYOUSHUTDOWNTHEEQUIPMENTTURNOFFTHE
amplifiers first to prevent thumps and other
noises generated by any upstream equipment
from coming out of the speakers. When powering
up, turn on the amplifiers last.
s 3AVETHESHIPPINGBOXESANDPACKINGMATERIALS
You may need them someday. Besides, the
cats will love playing in them and jumping out at
you unexpectedly. Remember to pretend like you
  ARESURPRISED
s 3AVEYOURSALESRECEIPTINASAFEPLACE
Getting Started
The following steps will help you set up your system
quickly.
1. Make all initial connections with the power switches
OFF on all equipment. Make sure the master
volume, level, or gain controls are all the way down.
 #ONNECTTHELINELEVELOUTPUTSFROMYOURMIXING
console (or other signal source) to the inputs of the
SP260 2x6 Speaker Processor.
 #ONNECTOUTPUTSFROMTHE30TOTHEINPUTS
of power amplifiers OR directly to the inputs of
POWERED loudspeakers and/or subwoofers.
4. If using amplifiers, connect the outputs from
THEPOWERAMPLIlERSTOTHEINPUTSOF0!33)6%
loudspeakers.
5. Turn on the mixing console (or other signal source).
6. Turn on the SP260 2x6 Speaker Processor.
7. Select the system setup that best matches your PA
;MOREDETAILSMAYBEFOUNDONPAGE=
s X3TEREO3UB;DEFAULT=
Two full-range loudspeaker pairs and
a pair of [mono by default] subwoofers
s X7AY3UB
Two bi-ampable full-range loudspeakers
and a pair of [mono by default] subwoofers
s X7AY
Two tri-ampable full-range loudspeakers
s X3TEREO
Three full-range loudspeaker pairs
s X7AY
Mono 6-way setup
 5NMUTETHEAPPROPRIATEOUTPUTSONTHE30
[See page 12 for details.]
9. Turn on the amplifier(s) OR powered
loudspeakers. Turn up the volume or gain
control(s) as recommended by the manufacturer.
10. Start the signal source and raise the mixer’s
main L/R fader up until audio may be heard
through the loudspeakers.
!TTHISPOINTYOUVEGOTSIGNALTHROUGHTHE0!nWHICH
ISGREATnBUTTHEREISSOMElNETUNINGTODOATTHIS
point. We strongly encourage that you read the rest of
this owner’s manual to learn basic navigation, how to
edit the inputs and outputs, set security features and
more.

SP260 2x6 Speaker Processor
6
SP260 2x6 Speaker Processor
In this example, the SP260 is configured using the ‘3xStereo’ setup type. The left and right line-level
XLR outputs from a Mackie ProFX22 mixer feed the A and B XLR inputs of a Mackie SP260 Speaker
Processor. XLR outputs 1 and 2 of the Mackie SP260 Speaker Processor feed the 1 and 2 XLR inputs of a
Mackie FRS Power Amplifier. The CH 1 and CH 2 NL4 speaker outputs of the power amplifier feed the
NL4 inputs of two Mackie S525 passive loudspeakers which are located on stage.
XLR outputs 3 and 4 of the Mackie SP260 Speaker Processor feed the 1 and 2 XLR inputs of
another Mackie FRS Power Amplifier. The CH 1 and CH 2 NL4 speaker outputs of this power
amplifier feed the NL4 inputs of two Mackie S515 passive loudspeakers. These are positioned
halfway toward the rear of the venue and have delay added, so they are sync’d with the mains.
Then there are XLR outputs 5 and 6 of the Mackie SP260 Speaker Processor which feed the
1 and 2 XLR inputs of yet another Mackie FRS Power Amplifier. The CH 1 and CH 2 NL4 speaker
outputs of this power amplifier feed the NL4 inputs of two Mackie S512 passive loudspeakers which
are located in an area away from the coverage of the Mackie S525s and S515s; a beer garden,
for example. Mmmmmm, beer.
Hookup Diagrams
Passive Full-Range Loudspeakers
PUSHPUSH
ON
OUTPUTS
MAIN
GNDLIFT
ATTENTION:RISK OF ELECTRIC SHOCK
DONOT OPENTHE COVER
100-240VAC
40W 50/60 Hz
FUSE:T 800mAL 250V
AB123456
INPUTS
48V
MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTEMUTEMUTEMUTEMUTEMUTEMUTE
OL
4
6
3
10
15
7
10
20
30
0
2
0dB= 0dBu
LEVEL
SET RUDE
SOLO
MAIN
METERS
RL
MIC MIC MIC MIC MIC MIC MIC MIC MIC MIC
GAINGAIN
+20
-20
GAIN
(MONO)
LINEIN 9
LINEIN 10
L
R
(MONO)
L
R
(MONO)
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL BAL/ UNBAL
BAL/UNBAL BAL/ UNBAL
BAL/UNBAL BAL/ UNBALBAL/UNBALBAL/UNBALBAL /UNBALBAL / UNBALBAL/ UNBALBAL /UNBALBAL /UNBALBAL /UNBALBAL / UNBALBAL/ UNBAL
L
R
(MONO)
L
R
LINEIN 11
LINEIN 12
LINEIN 13
LINEIN 14
LINEIN 15
LINEIN 16
L R
17/1815/16 19/20 21/22
U
GAIN
M
I
C
G
A
I
N
U+50
-20dB +30dB
AUX
LINEIN LINEINLINEIN LINEIN LINEIN LINEIN
OL
RL
PAN
7
dB
30
20
10
10
OO
40
50
5
5
U
60
7
PFL
SOLO
L-R
1-2
3-4
80Hz
LOW
MID
FREQ
600
1.5k150
8k100
EQ
12kHz
HI
MON
1
MON
2
U
+15 OO
U
+15 OO
U
+15 OO
-15
U
+15
-15
U
+15
-15
U
+15
LOWCUT
8 9 10 11 12 13 14
GAIN
U+50
M
I
C
G
A
I
N
U+50
M
I
C
G
A
I
N
U
LOWCUT LOWCUT
AUX
RETURN
MON
1
INTERNALFX
MON
2
AUX
MASTER
U
+15 OO
U
+15 OO
U
+15 OO
TO
MON1
TO
MON2
TO
MON1
TO
MON2
TO
MAIN
L-R
U
+10
OO
U
+15 OO
U
+15 OO
U
+10
OO
U
+15 OO
U
+15
OO
SOURCE
LINE
USB
PHANTOM POWER
8 9 10 11 12 13 14 15/16 17/18 19/20 21/22
8K4K2K1K500250125
15
15
10
10
5
5
0
15
15
10
10
5
5
0
STEREO GRAPHIC EQ
PHONES
L
R
(MONO)
L
R
1
2
3
4
1
2
RL RL RL RL
SUB 2 SUB 3SUB 1
INSERT
U
GAIN
M
I
C
G
A
I
N
U+50
-20dB +30dB
AUX
LINEIN
OL
RL
PAN
dB
30
20
10
10
OO
40
50
5
5
U
60
PFL
SOLO
L-R
1-2
3-4
80Hz
LOW
MID
FREQ
600
1.5k150
8k100
EQ
12kHz
HI
MON
1
MON
2
U
+15 OO
U
+15 OO
U
+15 OO
-15
U
+15
-15
U
+15
-15
U
+15
LOWCUT
INSERT
U
GAIN
M
I
C
G
A
I
N
U+50
-20dB +30dB
AUX
LINEIN
OL
RL
PAN
dB
30
20
10
10
OO
40
50
5
5
U
60
PFL
SOLO
L-R
1-2
3-4
80Hz
LOW
MID
FREQ
600
1.5k150
8k100
EQ
12kHz
HI
MON
1
MON
2
U
+15 OO
U
+15 OO
U
+15 OO
-15
U
+15
-15
U
+15
-15
U
+15
LOWCUT
INSERT
U
GAIN
M
I
C
G
A
I
N
U+50
-20dB +30dB
AUX
LINEIN
OL
RL
PAN
dB
30
20
10
10
OO
40
50
5
5
U
60
PFL
SOLO
L-R
1-2
3-4
80Hz
LOW
MID
FREQ
600
1.5k150
8k100
EQ
12kHz
HI
MON
1
MON
2
U
+15 OO
U
+15 OO
U
+15 OO
-15
U
+15
-15
U
+15
-15
U
+15
LOWCUT
U
GAIN
M
I
C
G
A
I
N
U+50
-20dB +30dB
AUX
OL
RL
PAN
dB
30
20
10
10
OO
40
50
5
5
U
60
PFL
SOLO
L-R
1-2
3-4
80Hz
LOW
MID
FREQ
600
1.5k150
8k100
EQ
12kHz
HI
MON
1
MON
2
U
+15 OO
U
+15 OO
U
+15 OO
-15
U
+15
-15
U
+15
-15
U
+15
LOWCUT
U
GAIN
M
I
C
G
A
I
N
U+50
-20dB +30dB
AUX
OL
RL
PAN
dB
30
20
10
10
OO
40
50
5
5
U
60
PFL
SOLO
L-R
1-2
3-4
80Hz
LOW
MID
FREQ
600
1.5k150
8k100
EQ
12kHz
HI
MON
1
MON
2
U
+15 OO
U
+15 OO
U
+15 OO
-15
U
+15
-15
U
+15
-15
U
+15
LOWCUT
U
GAIN
M
I
C
G
A
I
N
U+50
-20dB +30dB
AUX
OL
RL
PAN
dB
30
20
10
10
OO
40
50
5
5
U
60
PFL
SOLO
L-R
1-2
3-4
80Hz
LOW
MID
FREQ
600
1.5k150
8k100
EQ
12kHz
HI
MON
1
MON
2
U
+15 OO
U
+15 OO
U
+15 OO
-15
U
+15
-15
U
+15
-15
U
+15
LOWCUT
U
GAIN
M
I
C
G
A
I
N
U+50
-20dB +30dB
AUX
OL OL OL OL OL
RL
PAN
dB
30
20
10
10
OO
40
50
5
5
U
60
PFL
SOLO
L-R
1-2
3-4
dB
30
20
10
10
OO
40
50
5
5
U
60
PFL
SOLO
L-R
1-2
3-4
dB
30
20
10
10
OO
40
50
5
5
U
60
PFL
SOLO
L-R
1-2
3-4
dB
30
20
10
10
OO
40
50
5
5
U
60
PFL
SOLO
L-R
1-2
3-4
dB
30
20
10
10
OO
40
50
5
5
U
60
PFL
SOLO
L-R
1-2
3-4
80Hz
LOW
MID
FREQ
600
1.5k150
8k100
EQ EQ EQ EQ EQ
12kHz
HI
MON
1
MON
2
U
+15 OO
U
+15 OO
U
+15 OO
AUX
RL
PAN
MON
1
MON
2
U
+15 OO
U
+15 OO
U
+15 OO
AUX
RL
PAN
MON
1
MON
2
U
+15 OO
U
+15 OO
U
+15 OO
AUX
RL
PAN
MON
1
MON
2
U
+15 OO
U
+15 OO
U
+15 OO
AUX
RL
PAN
MON
1
MON
2
U
+15 OO
U
+15 OO
U
+15 OO
-15
U
+15
-15
U
+15
-15
U
+15 -15
U
+15
-15
U
+15
-15
U
+15
-15
U
+15
-15
U
+15
-15
U
+15
-15
U
+15
-15
U
+15
-15
U
+15
-15
U
+15
-15
U
+15
-15
U
+15
LOWCUT
INSERT
OFF MAX
COMP OFF MAX COMP OFF MAX COMP OFF MAX COMP
12kHz
HI
80Hz
LOW
MID
2.5kHz
12kHz
HI
80Hz
LOW
MID
2.5kHz
12kHz
HI
80Hz
LOW
MID
2.5kHz
12kHz
HI
80Hz
LOW
MID
2.5kHz
dB
30
20
10
10
OO
40
50
5
5
U
60
dB
30
20
10
10
OO
40
50
5
5
U
60
dB
30
20
10
10
OO
40
50
5
5
U
60
SUB 4
dB
30
20
10
10
OO
40
50
5
5
U
60
CR/PHONES
OO
MAX
2-TRACKRETURN
TAPE
USBOUT
MAIN
LEVEL
U
+15 OO
INTFX
MUTE
SIG/OL
PROFESSIONALMIC/LINE MIXER WITH FX
FXSEND
FOOTSWITCH
MONSEND
BALANCED BALANCED
AUXRETURN CROUT SUB OUT
MAINOUT
IN OUT
TAPE
L
R
dB
30
20
10
10
OO
40
50
5
5
U
60
MAIN
+20
-20
U
MIC
BAL/UNBAL
U
GAIN
M
I
C
G
A
I
N
U+50
-20dB +30dB
AUX
LINEIN
OL
RL
PAN
6
dB
30
20
10
10
OO
40
50
5
5
U
60
6
PFL
SOLO
L-R
1-2
3-4
80Hz
LOW
MID
FREQ
600
1.5k150
8k100
EQ
12kHz
HI
MON
1
MON
2
U
+15 OO
U
+15 OO
U
+15 OO
-15
U
+15
-15
U
+15
-15
U
+15
LOWCUT
INSERT
MIC
BAL/UNBAL
U
GAIN
M
I
C
G
A
I
N
U+50
-20dB +30dB
AUX
LINEIN
OL
RL
PAN
5
dB
30
20
10
10
OO
40
50
5
5
U
60
5
PFL
SOLO
L-R
1-2
3-4
80Hz
LOW
MID
FREQ
600
1.5k150
8k100
EQ
12kHz
HI
MON
1
MON
2
U
+15 OO
U
+15 OO
U
+15 OO
-15
U
+15
-15
U
+15
-15
U
+15
LOWCUT
INSERT
MIC
BAL/UNBAL
U
GAIN
M
I
C
G
A
I
N
U+50
-20dB +30dB
AUX
LINEIN
OL
RL
PAN
4
dB
30
20
10
10
OO
40
50
5
5
U
60
4
PFL
SOLO
L-R
1-2
3-4
80Hz
LOW
MID
FREQ
600
1.5k150
8k100
EQ
12kHz
HI
MON
1
MON
2
U
+15 OO
U
+15 OO
U
+15 OO
-15
U
+15
-15
U
+15
-15
U
+15
LOWCUT
INSERT
MIC
BAL/UNBAL
U
GAIN
M
I
C
G
A
I
N
U+50
-20dB +30dB
AUX
LINEIN
OL
RL
PAN
3
dB
30
20
10
10
OO
40
50
5
5
U
60
3
PFL
SOLO
L-R
1-2
3-4
80Hz
LOW
MID
FREQ
600
1.5k150
8k100
EQ
12kHz
HI
MON
1
MON
2
U
+15 OO
U
+15 OO
U
+15 OO
-15
U
+15
-15
U
+15
-15
U
+15
LOWCUT
INSERT
MIC
BAL/UNBAL
U
GAIN
M
I
C
G
A
I
N
U+50
-20dB +30dB
AUX
LINEIN
OL
RL
PAN
2
dB
30
20
10
10
OO
40
50
5
5
U
60
2
PFL
SOLO
L-R
1-2
3-4
80Hz
LOW
MID
FREQ
600
1.5k150
8k100
EQ
12kHz
HI
MON
1
MON
2
U
+15 OO
U
+15 OO
U
+15 OO
-15
U
+15
-15
U
+15
-15
U
+15
LOWCUT
INSERT
MIC
BAL/UNBAL
U
GAIN
M
I
C
G
A
I
N
U+50
-20dB +30dB
AUX
LINEIN
OL
RL
PAN
1
dB
30
20
10
10
OO
40
50
5
5
U
60
1
PFL
SOLO
L-R
1-2
3-4
80Hz
LOW
MID
FREQ
600
1.5k150
8k100
EQ
12kHz
HI
MON
1
MON
2
U
+15 OO
U
+15 OO
U
+15 OO
-15
U
+15
-15
U
+15
-15
U
+15
LOWCUT
100Hz 100Hz 100Hz 100Hz 100Hz 100Hz 100Hz 100Hz 100Hz 100Hz 100Hz 100Hz 100Hz 100Hz 100Hz 100Hz
INSERT
MAINMIX
MON1
EQIN
BYPASS
USBSUB1-2
13DELAY1 (300ms)
14DELAY2 (38 0ms )
15DELAY3 (48 0ms )
16REVERB+ DLY (250ms)
01BRIGHTROOM
02WARMLOUNGE
03SMALLSTAG E
04WARMTHEATE R
09CHORUS
10CHORUS+ REV
11DOUBLER
12TAPESLAP
05WARMHALL
06CONCERTHALL
07PLATE REVERB
08CATHEDRAL
BREAK
(MUTESALL CH)
FX FX TO
MAIN
L-R
FX FX FX FX FX FX FX FX FXFX FXFXFXFXFXFXFX
AMP MODE
CHANNEL 2 CHANNEL 1
BRIDGED
BRIDGED
CH 1 CH 2
CLIP LIMIT
FILTER
SUBSONIC@30Hz
PIN
1+
1
PIN
1+
2+
1+
1
PIN
2+
2
PIN
1+
1
SPEAKER OUTPUTS
Use only class 3 wiring
POWERCONSUMPTION
2000W
THISDEVICE COMPLIES WITH PART 15 OF THE FCC RULES. OPERATIONIS SUBJECT TO THE
FOLLOWINGTWO CONDITIONS: (1) THIS DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE,
AND(2) THIS DEVICE MUST ACCEPT ANY INTERFERENCE RECEIVED, INCLUDING INTERFERENCE
THATMAY CAUSE UNDESIRED OPERATION.
AVIS: RISQUEDE CHOC ELECTRIQUE — NE PASOUVRIR
WARNING: TOREDUCETHE RISK OF FIRE OR ELECTRIC
SHOCK,DONOT EXPOSE THIS EQUIPMENT TORAIN OR
MOISTURE.DO NOT REMOVE COVER.NO USER SERVICEABLE
PARTSINSIDE.REFERSERVICING TO QUALIFIED PERSONNEL.
AVIS: N'OUVREZPASLA COUVERTURE.N'EXPOSEZ PAS CET ÉQUIPEMENT À LA
PLUIEOUÀ L'HUMIDITÉ.
AMP MODE
CHANNEL 2 CHANNEL 1
BRIDGED
BRIDGED
CH 1 CH 2
CLIP LIMIT
FILTER
SUBSONIC@30Hz
PIN
1+
1
PIN
1+
2+
1+
1
PIN
2+
2
PIN
1+
1
SPEAKER OUTPUTS
Use only class 3 wiring
POWERCONSUMPTION
2000W
THISDEVICE COMPLIES WITH PART 15 OF THE FCC RULES. OPERATIONIS SUBJECT TO THE
FOLLOWINGTWO CONDITIONS: (1) THIS DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE,
AND(2) THIS DEVICE MUST ACCEPT ANY INTERFERENCE RECEIVED, INCLUDING INTERFERENCE
THATMAY CAUSE UNDESIRED OPERATION.
AVIS: RISQUEDE CHOC ELECTRIQUE — NE PASOUVRIR
WARNING: TOREDUCETHE RISK OF FIRE OR ELECTRIC
SHOCK,DONOT EXPOSE THIS EQUIPMENT TORAIN OR
MOISTURE.DO NOT REMOVE COVER.NO USER SERVICEABLE
PARTSINSIDE.REFERSERVICING TO QUALIFIED PERSONNEL.
AVIS: N'OUVREZPASLA COUVERTURE.N'EXPOSEZ PAS CET ÉQUIPEMENT À LA
PLUIEOUÀ L'HUMIDITÉ.
AMP MODE
CHANNEL 2 CHANNEL 1
BRIDGED
BRIDGED
CH 1 CH 2
CLIP LIMIT
FILTER
SUBSONIC@30Hz
PIN
1+
1
PIN
1+
2+
1+
1
PIN
2+
2
PIN
1+
1
SPEAKER OUTPUTS
Use only class 3 wiring
POWERCONSUMPTION
2000W
THISDEVICE COMPLIES WITH PART 15 OF THE FCC RULES. OPERATIONIS SUBJECT TO THE
FOLLOWINGTWO CONDITIONS: (1) THIS DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE,
AND(2) THIS DEVICE MUST ACCEPT ANY INTERFERENCE RECEIVED, INCLUDING INTERFERENCE
THATMAY CAUSE UNDESIRED OPERATION.
AVIS: RISQUEDE CHOC ELECTRIQUE — NE PASOUVRIR
WARNING: TOREDUCETHE RISK OF FIRE OR ELECTRIC
SHOCK,DONOT EXPOSE THIS EQUIPMENT TORAIN OR
MOISTURE.DO NOT REMOVE COVER.NO USER SERVICEABLE
PARTSINSIDE.REFERSERVICING TO QUALIFIED PERSONNEL.
AVIS: N'OUVREZPASLA COUVERTURE.N'EXPOSEZ PAS CET ÉQUIPEMENT À LA
PLUIEOUÀ L'HUMIDITÉ.
POWER
500 WATTS
PROGRAM
IMPEDANCE
8 OHMS
S512
2-WAY PASSIVE LOUDSPEAKER
SERIALNUMBER / REVISION
INPUT THRU
PARALLEL
POWER
500 WATTS
PROGRAM
IMPEDANCE
8 OHMS
S512
2-WAY PASSIVE LOUDSPEAKER
SERIALNUMBER / REVISION
INPUT THRU
PARALLEL
POWER
600 WATTS
PROGRAM
IMPEDANCE
8 OHMS
S515
2-WAY PASSIVE LOUDSPEAKER
SERIALNUMBER / REVISION
INPUT THRU
PARALLEL
POWER
600 WATTS
PROGRAM
IMPEDANCE
8 OHMS
S515
2-WAY PASSIVE LOUDSPEAKER
SERIALNUMBER / REVISION
INPUT THRU
PARALLEL
IMPEDANCE
8 OHMS
S525
2-WAY PASSIVE LOUDSPEAKER
POWER
1200 WATTS
PROGRAM
SERIALNUMBER / REVISION
INPUT THRU
PARALLEL
IMPEDANCE
8 OHMS
S525
2-WAY PASSIVE LOUDSPEAKER
POWER
1200 WATTS
PROGRAM
SERIALNUMBER / REVISION
INPUT THRU
PARALLEL
Mackie FRS
Power Amplifier
L / R Line Level Outputs
Mackie FRS Power Amplifier Mackie FRS Power Amplifier
A / B Inputs
Mackie
ProFX22
Mixer
Mackie S512
Passive
Loudspeakers
Mackie S515
Passive
Loudspeakers
Mackie S525
Passive
Loudspeakers
Mackie SP260
Speaker Processor

Owner’s Manual
7
Owner’s Manual
PUSHPUSH
ON
OUTPUTS
MAIN
GNDLIFT
ATTENTION:RISK OF ELECTRIC SHOCK
DONOT OPENTHE COVER
100-240VAC
40W 50/60 Hz
FUSE:T 800mAL 250V
AB123456
INPUTS
AMP MODE
CHANNEL 2 CHANNEL 1
BRIDGED
BRIDGED
CH 1 CH 2
CLIP LIMIT
FILTER
SUBSONIC@30Hz
PIN
1+
1
PIN
1+
2+
1+
1
PIN
2+
2
PIN
1+
1
SPEAKER OUTPUTS
Use only class 3 wiring
POWERCONSUMPTION
2000W
THISDEVICE COMPLIES WITH PART 15 OF THE FCC RULES. OPERATIONIS SUBJECT TO THE
FOLLOWINGTWO CONDITIONS: (1) THIS DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE,
AND(2) THIS DEVICE MUST ACCEPT ANY INTERFERENCE RECEIVED, INCLUDING INTERFERENCE
THATMAY CAUSE UNDESIRED OPERATION.
AVIS: RISQUEDE CHOC ELECTRIQUE — NE PASOUVRIR
WARNING: TOREDUCETHE RISK OF FIRE OR ELECTRIC
SHOCK,DONOT EXPOSE THIS EQUIPMENT TORAIN OR
MOISTURE.DO NOT REMOVE COVER.NO USER SERVICEABLE
PARTSINSIDE.REFERSERVICING TO QUALIFIED PERSONNEL.
AVIS: N'OUVREZPASLA COUVERTURE.N'EXPOSEZ PAS CET ÉQUIPEMENT À LA
PLUIEOUÀ L'HUMIDITÉ.
AMP MODE
CHANNEL 2 CHANNEL 1
BRIDGED
BRIDGED
CH 1 CH 2
CLIP LIMIT
FILTER
SUBSONIC@30Hz
PIN
1+
1
PIN
1+
2+
1+
1
PIN
2+
2
PIN
1+
1
SPEAKER OUTPUTS
Use only class 3 wiring
POWERCONSUMPTION
2000W
THISDEVICE COMPLIES WITH PART 15 OF THE FCC RULES. OPERATIONIS SUBJECT TO THE
FOLLOWINGTWO CONDITIONS: (1) THIS DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE,
AND(2) THIS DEVICE MUST ACCEPT ANY INTERFERENCE RECEIVED, INCLUDING INTERFERENCE
THATMAY CAUSE UNDESIRED OPERATION.
AVIS: RISQUEDE CHOC ELECTRIQUE — NE PASOUVRIR
WARNING: TOREDUCETHE RISK OF FIRE OR ELECTRIC
SHOCK,DONOT EXPOSE THIS EQUIPMENT TORAIN OR
MOISTURE.DO NOT REMOVE COVER.NO USER SERVICEABLE
PARTSINSIDE.REFERSERVICING TO QUALIFIED PERSONNEL.
AVIS: N'OUVREZPASLA COUVERTURE.N'EXPOSEZ PAS CET ÉQUIPEMENT À LA
PLUIEOUÀ L'HUMIDITÉ.
AMP MODE
CHANNEL 2 CHANNEL 1
BRIDGED
BRIDGED
CH 1 CH 2
CLIP LIMIT
FILTER
SUBSONIC@30Hz
PIN
1+
1
PIN
1+
2+
1+
1
PIN
2+
2
PIN
1+
1
SPEAKER OUTPUTS
Use only class 3 wiring
POWERCONSUMPTION
2000W
THISDEVICE COMPLIES WITH PART 15 OF THE FCC RULES. OPERATIONIS SUBJECT TO THE
FOLLOWINGTWO CONDITIONS: (1) THIS DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE,
AND(2) THIS DEVICE MUST ACCEPT ANY INTERFERENCE RECEIVED, INCLUDING INTERFERENCE
THATMAY CAUSE UNDESIRED OPERATION.
AVIS: RISQUEDE CHOC ELECTRIQUE — NE PASOUVRIR
WARNING: TOREDUCETHE RISK OF FIRE OR ELECTRIC
SHOCK,DONOT EXPOSE THIS EQUIPMENT TORAIN OR
MOISTURE.DO NOT REMOVE COVER.NO USER SERVICEABLE
PARTSINSIDE.REFERSERVICING TO QUALIFIED PERSONNEL.
AVIS: N'OUVREZPASLA COUVERTURE.N'EXPOSEZ PAS CET ÉQUIPEMENT À LA
PLUIEOUÀ L'HUMIDITÉ.
IMPEDANCE
8 OHMS
S518S
PASSIVE SUBWOOFER
POWER
900 WATTS
PROGRAM
SERIALNUMBER / REVISION
INPUT THRU
PARALLEL
IMPEDANCE
8 OHMS
S518S
PASSIVE SUBWOOFER
POWER
900 WATTS
PROGRAM
SERIALNUMBER / REVISION
INPUT THRU
PARALLEL
POWER
500 WATTS
PROGRAM
IMPEDANCE
8 OHMS
S512
2-WAY PASSIVE LOUDSPEAKER
SERIALNUMBER / REVISION
INPUT THRU
PARALLEL
POWER
500 WATTS
PROGRAM
IMPEDANCE
8 OHMS
S512
2-WAY PASSIVE LOUDSPEAKER
SERIALNUMBER / REVISION
INPUT THRU
PARALLEL
IMPEDANCE
8 OHMS
S525
2-WAY PASSIVE LOUDSPEAKER
POWER
1200 WATTS
PROGRAM
SERIALNUMBER / REVISION
INPUT THRU
PARALLEL
IMPEDANCE
8 OHMS
S525
2-WAY PASSIVE LOUDSPEAKER
POWER
1200 WATTS
PROGRAM
SERIALNUMBER / REVISION
INPUT THRU
PARALLEL
Mackie FRS
Power Amplifier
L / R Line Level Outputs
Mackie FRS Power Amplifier Mackie FRS Power Amplifier
A / B Inputs
Mackie
DL1608
Mixer
Mackie S512
Passive
Loudspeakers
Mackie S518S
Passive
Subwoofers
Mackie S525
Passive
Loudspeakers
Mackie SP260
Speaker Processor
Passive Main Loudspeakers with Subwoofers and Delay Stacks
In this example, the SP260 is configured using the ‘2xStereo+Subs’ setup type. The left and right
line-level XLR outputs from a Mackie DL1608 mixer feed the A and B XLR inputs of a Mackie SP260
Speaker Processor. XLR outputs 1 and 2 of the Mackie SP260 Speaker Processor feed the 1 and 2 XLR
inputs of a Mackie FRS Power Amplifier. The CH 1 and CH 2 NL4 speaker outputs of the power amplifier
feed the NL4 inputs of two Mackie S525 passive loudspeakers. These loudspeakers are paired with
subwoofers as mentioned below.
XLR outputs 3 and 4 of the Mackie SP260 Speaker Processor feed the 1 and 2 XLR inputs of
another Mackie FRS Power Amplifier. The CH 1 and CH 2 NL4 speaker outputs of this power
amplifier feed the NL4 inputs of two Mackie S518S passive subwoofers. The SP260’s high- and low-pass
filters on output channels 1–4 are configured to create a crossover to optimize these subwoofers with the
S525 loudspeakers. The subs may be stereo or mono by properly configuring the input sources for
SP260 outputs 3 and 4.
XLR outputs 5 and 6 of the Mackie SP260 Speaker Processor feed the 1 and 2 XLR inputs of yet
another Mackie FRS Power Amplifier. The CH 1 and CH 2 NL4 speaker outputs of this power amplifier
feed the NL4 inputs of two Mackie S512 passive loudspeakers. This full-range pair is positioned halfway
toward the rear of the venue and has delay added, so it syncs with the mains.

SP260 2x6 Speaker Processor
8
SP260 2x6 Speaker Processor
Bi-amped Passive Full-Range Loudspeakers with Subwoofers
Here’s a fun setup! In this example, the SP260 is configured using the ‘2x2Way+Subs’ setup type.
The left and right line-level 1/4" outputs from a Mackie 1604-VLZ3 mixer feed the A and B XLR inputs
of a Mackie SP260 Speaker Processor. XLR outputs 1 and 2 of the Mackie SP260 Speaker Processor
feed the 1 and 2 XLR inputs of a Mackie FRS Power Amplifier. The CH 1 and CH 2 NL4 speaker outputs
of the power amplifier feed the high inputs of two bi-amplified passive loudspeakers.
XLR outputs 3 and 4 of the Mackie SP260 Speaker Processor feed the 1 and 2 XLR inputs of
another Mackie FRS Power Amplifier. The CH 1 and CH 2 NL4 speaker outputs of this power
amplifier feed the low inputs of the two aforementioned bi-amplified passive loudspeakers.
XLR outputs 5 and 6 of the Mackie SP260 Speaker Processor feed the 1 and 2 XLR inputs of a third
Mackie FRS Power Amplifier. The CH 1 and CH 2 NL4 speaker outputs of this power amplifier feed input
A of two passive subwoofers.
The SP260’s high- and low-pass filters on the output channels are configured to create a crossover
so that outputs 1 and 2 of the SP260 deliver the high frequencies to the loudspeakers, outputs 3 and 4
deliver the low frequencies to the same loudspeakers and outputs 5 and 6 deliver the lowest frequencies
to the passive subwoofers. The subs may be stereo or mono by properly configuring the input sources for
SP260 outputs 5 and 6.
PUSHPUSH
ON
OUTPUTS
MAIN
GNDLIFT
ATTENTION:RISK OF ELECTRIC SHOCK
DONOT OPENTHE COVER
100-240VAC
40W 50/60 Hz
FUSE:T 800mAL 250V
AB123456
INPUTS
AMP MODE
CHANNEL2 CHANNEL 1
BRIDGED
BRIDGED
CH 1 CH 2
CLIP LIMIT
FILTER
SUBSONIC@30Hz
PIN
1+
1
PIN
1+
2+
1+
1
PIN
2+
2
PIN
1+
1
SPEAKER OUTPUTS
Useonly class 3 wiring
POWERCONSUMPTION
2000W
THISDEVICE COMPLIES WITH PART 15 OF THE FCC RULES. OPERATIONIS SUBJECT TO THE
FOLLOWINGTWO CONDITIONS: (1) THIS DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE,
AND(2) THIS DEVICE MUST ACCEPT ANY INTERFERENCE RECEIVED, INCLUDING INTERFERENCE
THATMAY CAUSE UNDESIRED OPERATION.
AVIS: RISQUEDE CHOC ELECTRIQUE — NE PASOUVRIR
WARNING: TOREDUCETHE RISK OF FIRE OR ELECTRIC
SHOCK,DONOT EXPOSE THIS EQUIPMENT TORAIN OR
MOISTURE.DO NOT REMOVE COVER.NO USER SERVICEABLE
PARTSINSIDE.REFERSERVICING TO QUALIFIED PERSONNEL.
AVIS: N'OUVREZPASLA COUVERTURE.N'EXPOSEZ PAS CET ÉQUIPEMENT À LA
PLUIEOUÀ L'HUMIDITÉ.
AMP MODE
CHANNEL2 CHANNEL 1
BRIDGED
BRIDGED
CH 1 CH 2
CLIP LIMIT
FILTER
SUBSONIC@30Hz
PIN
1+
1
PIN
1+
2+
1+
1
PIN
2+
2
PIN
1+
1
SPEAKER OUTPUTS
Useonly class 3 wiring
POWERCONSUMPTION
2000W
THISDEVICE COMPLIES WITH PART 15 OF THE FCC RULES. OPERATIONIS SUBJECT TO THE
FOLLOWINGTWO CONDITIONS: (1) THIS DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE,
AND(2) THIS DEVICE MUST ACCEPT ANY INTERFERENCE RECEIVED, INCLUDING INTERFERENCE
THATMAY CAUSE UNDESIRED OPERATION.
AVIS: RISQUEDE CHOC ELECTRIQUE — NE PASOUVRIR
WARNING: TOREDUCETHE RISK OF FIRE OR ELECTRIC
SHOCK,DONOT EXPOSE THIS EQUIPMENT TORAIN OR
MOISTURE.DO NOT REMOVE COVER.NO USER SERVICEABLE
PARTSINSIDE.REFERSERVICING TO QUALIFIED PERSONNEL.
AVIS: N'OUVREZPASLA COUVERTURE.N'EXPOSEZ PAS CET ÉQUIPEMENT À LA
PLUIEOUÀ L'HUMIDITÉ.
AMP MODE
CHANNEL2 CHANNEL 1
BRIDGED
BRIDGED
CH 1 CH 2
CLIP LIMIT
FILTER
SUBSONIC@30Hz
PIN
1+
1
PIN
1+
2+
1+
1
PIN
2+
2
PIN
1+
1
SPEAKER OUTPUTS
Useonly class 3 wiring
POWERCONSUMPTION
2000W
THISDEVICE COMPLIES WITH PART 15 OF THE FCC RULES. OPERATIONIS SUBJECT TO THE
FOLLOWINGTWO CONDITIONS: (1) THIS DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE,
AND(2) THIS DEVICE MUST ACCEPT ANY INTERFERENCE RECEIVED, INCLUDING INTERFERENCE
THATMAY CAUSE UNDESIRED OPERATION.
AVIS: RISQUEDE CHOC ELECTRIQUE — NE PASOUVRIR
WARNING: TOREDUCETHE RISK OF FIRE OR ELECTRIC
SHOCK,DONOT EXPOSE THIS EQUIPMENT TORAIN OR
MOISTURE.DO NOT REMOVE COVER.NO USER SERVICEABLE
PARTSINSIDE.REFERSERVICING TO QUALIFIED PERSONNEL.
AVIS: N'OUVREZPASLA COUVERTURE.N'EXPOSEZ PAS CET ÉQUIPEMENT À LA
PLUIEOUÀ L'HUMIDITÉ.
Mackie FRS
Power Amplifier
(for lows)
L / R Line Level Outputs
Mackie FRS Power Amplifier (for subs) Mackie FRS Power Amplifier (for highs)
A / B Inputs
To Low In To High In To High In
Mackie
1604-VLZ3
Mixer
Passive
Subwoofer
Passive
Subwoofer
Bi-ampable Passive
Loudspeaker
Bi-ampable Passive
Loudspeaker
Mackie SP260
Speaker Processor
To Low In

Owner’s Manual
9
Owner’s Manual
PUSHPUSH
ON
OUTPUTS
MAIN
GNDLIFT
ATTENTION:RISK OF ELECTRIC SHOCK
DONOT OPENTHE COVER
100-240VAC
40W 50/60 Hz
FUSE:T 800mAL 250V
AB123456
INPUTS
BA
INPUTS
B
A
B
A
OUTPUTS
HIGH PASS
FULL RANGE
BA
INPUTS
B
A
B
A
OUTPUTS
HIGH PASS
FULL RANGE
SIGNAL PRESENT
INPUTTHRU
PEAK
LOW CUT
75Hz
MIC
LINE
LEVEL
(+4dBu)
NORMAL
+40dB
OO
PARALLEL
SIGNAL PRESENT
INPUTTHRU
PEAK
LOW CUT
75Hz
MIC
LINE
LEVEL
(+4dBu)
NORMAL
+40dB
OO
PARALLEL
O
OL
LEVEL
U
+15-15
U
+15-15
U
+15-15
600
8k100
MAX
OO
U
FREQ
HIGH
12kHz
LOW
80Hz
MID
THRU
EQ
CONTOUR EQ
INPUT
ON
POWER
OFF
ON
O
OL
LEVEL
U
+15-15
U
+15-15
U
+15-15
600
8k100
MAX
OO
U
FREQ
HIGH
12kHz
LOW
80Hz
MID
THRU
EQ
CONTOUR EQ
INPUT
ON
POWER
OFF
ON
L / R Line Level Outputs
Mackie SRM450v2
Active Loudspeakers
Mackie TH-15A
Active Loudspeakers
Mackie SRM1801
Active Subwoofers
A / B Inputs
Mackie
ProFX12
Mixer
Mackie SP260
Speaker Processor
Powered Main Loudspeakers and Subwoofers
with Separate Stereo Full-Range Loudspeakers
The Mackie SP260 Speaker Processor is also useful for folks utilizing powered loudspeakers and
subwoofers. Here, the SP260 is configured using the ‘2xStereo+Subs’ setup type. The left and right
line-level XLR outputs from a Mackie ProFX12 mixer feed the A and B XLR inputs of a Mackie SP260
Speaker Processor. XLR outputs 1 and 2 of the Mackie SP260 Speaker Processor feed the XLR inputs
of two Mackie SRM450v2 powered loudspeakers. These loudspeakers are located on stage and
are paired with powered subwoofers as mentioned below.
XLR outputs 3 and 4 of the Mackie SP260 Speaker Processor feed the XLR inputs of two Mackie
TH-15A powered loudspeakers. This full-range pair should be positioned halfway toward the rear of
the venue with delay added, so it syncs with the mains. Or place them in a separate area away from
the stage. Again, beer gardens, for example. Who doesn’t like gardening...it’s relaxing and looks nice,
right?!
Finally, XLR outputs 5 and 6 of the Mackie SP260 Speaker Processor feed the XLR inputs of two
Mackie SRM1801 powered subwoofers that are located on stage and paired with the SRM450v2
loudspeakers. In this setup, the SP260’s high- and low-pass filters on outputs 1 and 2 and 5 and 6 may
be used to configure a crossover between the SRM450v2s and SRM1801s for added control from the
processor. Care should be taken when configuring the SP260’s crossover so the SRM1801’s built-in
crossover does not conflict. The subs may be stereo or mono by properly configuring the input sources for
SP260 outputs 5 and 6.
The SP260 may be used for additional room corrective EQ and delay to align the loudspeakers
and subwoofers and a limiter added for extra protection against greasy-fingered guest engineers
or irrational DJs.

SP260 2x6 Speaker Processor
10
SP260 2x6 Speaker Processor
PUSHPUSH
ON
OUTPUTS
MAIN
GNDLIFT
ATTENTION:RISKOF ELEC TRIC SHOCK
DONOTOPEN THE COVER
100-240VAC
40W 50/60 Hz
FUSE:T800mAL 250V
AB123456
INPUTS
01PLATEREVERB
02VOCALPLATE
03WARMROOM
04BRIGHTROOM
05WARMLOUNGE
06SMALLSTAGE
13CHORUS
14CHORUS+REVERB
15DOUBLER
16TAPESLAP
17DLY1BRIGHT(350ms)
18DLY1WARM(300ms)
19DLY2BRIGHT(250ms)
20DLY2WARM(200ms)
21DLY3BRIGHT(175ms)
22DLY3WARM(150ms)
23CHORUS+DLY(300ms)
24REVERB+DLY(200ms)
FXPRESETS
TAPTOEDIT
07WARMTHEATER
08BRIGHTSTAGE
09WARMHALL
10CONCERTHALL
11CATHEDRAL
12GATEDREVERB
GAIN
1
GAIN
2
GAIN
3
GAIN
4
GAIN
5
GAIN
6
GAIN
7
GAIN
8
GAIN
9
GAIN GAIN GAIN GAIN GAIN GAIN
10 11 12 13 14 15
GAIN GAIN GAIN GAIN GAIN GAIN
20 21/22 23/2417 18 19
GAIN
16
LOWCUT
100Hz
18dB/OCT
LOWCUT
100Hz
18dB/OCT
LOWCUT
100Hz
18dB/OCT
LOWCUT
100Hz
18dB/OCT
LOWCUT
100Hz
18dB/OCT
LOWCUT
100Hz
18dB/OCT
LOWCUT
100Hz
18dB/OCT
LOWCUT
100Hz
18dB/OCT
LOWCUT
100Hz
18dB/OCT
LOWCUT
100Hz
18dB/OCT
LOWCUT
100Hz
18dB/OCT
LOWCUT
100Hz
18dB/OCT
LOWCUT
100Hz
18dB/OCT
LOWCUT
100Hz
18dB/OCT
LOWCUT
100Hz
18dB/OCT
PAD
-20dB
PAD
-20dB
PAD
-20dB
PAD
-20dB
PAD
-20dB
PAD
-20dB
PAD
-20dB
PAD
-20dB
PAD
-20dB
PAD
-20dB
PAD
-20dB
PAD
-20dB
PAD
-20dB
PAD
-20dB PAD -20dB
LOWCUT
100Hz
18dB/OCT
LOWCUT
100Hz
18dB/OCT
LOWCUT
100Hz
18dB/OCT
LOWCUT
100Hz
18dB/OCT
PAD
-20dB
LOWCUT
100Hz
18dB/OCT
AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUXAUX
2404
MUTE
1
MUTE
2
MUTE
3
MUTE
4
MUTE
5
MUTE
6
MUTE
7
MUTE
8
MUTE
9
MUTE
10
MUTE
11
MUTE
12
MUTE
13
MUTE
14
MUTE
15
MUTE
18
MUTE
19
MUTE
20
MUTE
21/22
MUTE
23/24
MUTE
16
MUTE
17
EQ
PAN
EQ
PAN
EQ
PAN
EQ
PAN
EQ
PAN
EQ
PAN
EQ
PAN
EQ
PAN
EQ
PAN
EQ
PAN
EQ
PAN
EQ
PAN
EQ
PAN
EQ
PAN
EQ
PAN
EQ EQ EQ EQ EQ EQ
PAN PAN PAN PAN BAL BAL
EQ
PAN
RL RL RL RL RL RL RL RL RL RL RL RL RL RL RL RL RL RL RL RL RLRL
INTFX
AUX5/6
PRE
HI
12k
LOW
80Hz
MID
INTFX
AUX5/6
PRE
HI
12k
LOW
80Hz
MID
INTFX
AUX5/6
PRE
HI
12k
LOW
80Hz
MID
INTFX
AUX5/6
PRE
HI
12k
LOW
80Hz
MID
INTFX
AUX5/6
PRE
HI
12k
LOW
80Hz
MID
INTFX
AUX5/6
PRE
HI
12k
LOW
80Hz
MID
INTFX
AUX5/6
PRE
HI
12k
LOW
80Hz
MID
INTFX
AUX5/6
PRE
HI
12k
LOW
80Hz
MID
INTFX
AUX5/6
PRE
HI
12k
LOW
80Hz
MID
INTFX
AUX5/6
PRE
HI
12k
LOW
80Hz
MID
INTFX
AUX5/6
PRE
HI
12k
LOW
80Hz
MID
INTFX
AUX5/6
PRE
HI
12k
LOW
80Hz
MID
INTFX
AUX5/6
PRE
HI
12k
LOW
80Hz
MID
INTFX
AUX5/6
PRE
HI
12k
LOW
80Hz
MID
INTFX
AUX5/6
PRE
HI
12k
LOW
80Hz
MID
FREQ FREQ FREQ FREQ FREQ FREQFREQ FREQ FREQ FREQ FREQ FREQ FREQ FREQ FREQ
INTFX
AUX5/6
PRE
SOLO
LEFT
TAP
DELAY
INTFX
MUTE
INTFX
AUX5/6
PRE
HI
12k
LOW
80Hz
MID
INTFX
AUX5/6
PRE
HI
12k
LOW
80Hz
MID
INTFX
AUX5/6
PRE
HI
12k
LOW
80Hz
MID
HI
12k
LOW
80Hz
MID
HI
12k
LOW
80Hz
HI
12k
LOW
80Hz
LOW
MID
400Hz
HI
MID
2.5k
LOW
MID
400Hz
HI
MID
2.5k
INTFX
AUX5/6
PRE
INTFX
AUX5/6
PRE
INTFX
AUX5/6
PRE
HI
12k
LOW
80Hz
MID
FREQ FREQ FREQ FREQ FREQ
1
2
3
4
PRE
PRE
5
6
FX1
FX2
1
2
3
4
PRE
PRE
5
6
FX1
FX2
1
2
3
4
PRE
PRE
5
6
FX1
FX2
1
2
3
4
PRE
PRE
5
6
FX1
FX2
1
2
3
4
PRE
PRE
5
6
FX1
FX2
1
2
3
4
PRE
PRE
5
6
FX1
FX2
1
2
3
4
PRE
PRE
5
6
FX1
FX2
1
2
3
4
PRE
PRE
5
6
FX1
FX2
1
2
3
4
PRE
PRE
5
6
FX1
FX2
1
2
3
4
PRE
PRE
5
6
FX1
FX2
1
2
3
4
PRE
PRE
5
6
FX1
FX2
1
2
3
4
PRE
PRE
5
6
FX1
FX2
1
2
3
4
PRE
PRE
5
6
FX1
FX2
1
2
3
4
PRE
PRE
5
6
FX1
FX2
1
2
3
4
PRE
PRE
5
6
FX1
FX2
1
2
3
4
PRE
PRE
5
6
FX1
FX2
1
2
3
4
PRE
PRE
5
6
FX1
FX2
1
2
3
4
PRE
PRE
5
6
FX1
FX2
1
2
3
4
PRE
PRE
5
6
FX1
FX2
1
2
3
4
PRE
PRE
5
6
FX1
FX2
1
2
3
4
PRE
PRE
5
6
FX1
FX2
1
2
3
4
PRE
PRE
5
6
FX1
FX2
PUSH
TOTALK
TALKBACKGROUPS
MAIN
RIGHT
AUX1-4
STEREO
RIGHT
SOLO
LEFT
TOAUX1
TOAUX2
SOLO
PHONES
MONITOR
TAP
DELAY
INTFX
MUTE
TOAUX1
TOAUX2
RIGHT
SOLO
STEREO
LEFT
RIGHT
SOLO
LEFT
SENDMASTERSENDMASTER
TOMAINTOMAIN
FX2 FX1
1 2 3 4 MAINMIX
SOLO
1
SOLO
1
2
3
4
2
SOLO
SOLOMODE
MAIN
FX1
USB
STEREORETURNSAUXMASTERS
SOLO
SOLO
SOLO
SOLO +15
OO +15 OO
+15 OO
SOLO
U
MAX OO
U
U
MAX
OO
U
MAX OO
FX2
U
MAX
OO
U
MAX
OO
SIG/OLSIG/OL
AUX
AUX
AUX
AUX
MAIN
MIX
0dB=0dBu
RUDESOLO
20
10
7
4
2
0
2
4
7
10
20
30
LEFTRIGHT
SOLO
MAX OO
U
MAX
OO
U
MAX OO
U
MAX
OO
U
MAX
OO
U
MAX OO
U
+20
OO
TOMAIN
PFL
AFL
GRP1-2
CH1-2 CH3-4
AUX5-6
PWR
48V
TAPE
USB
2-TRACKRETURN USBOUT
GRP3-4
MAINL/R
LEVEL
SET
U
+15 OO
U
+15 OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U U
MAX OO
OFF MAX
COMP OFF MAX COMP OFF MAX COMP OFF MAX COMP LEVEL
U
+15
OO
3
1
5
6
2
U
U
+15
OO
U
+15
OO
+15 OO
U
+15
OO
U
4U
U
+20-20
U
+20-20
12V
0.5A
50%
25% 75%
0% 100%
SUCK
OFF MAX OFF MAX OFF MAX OFF MAX
COMP COMP COMP COMP
U
+15 OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15 OO
SOLO
3-4
1-2
L/R
2k
060
-45dB+15dB
U
800
200
8k100
U
-15
U
+15
-15 +15
-15 +15
U
OL
SIG SIG SIG SIG SIG SIG SIG SIG SIG SIG SIG SIG SIG SIGSIG
U
U
M
I
C
G
A
I
N
-
1
0
d
B
V
M
I
C
G
A
I
N
dB
30
20
10
OO
40
50
5
5
U
60
10
SOLO
3-4
1-2
L/R
OL
dB
30
20
10
OO
40
50
5
5
U
60
10
SOLO
3-4
1-2
L/R
OL
dB
30
20
10
OO
40
50
5
5
U
60
10
SOLO
3-4
1-2
L/R
OL
dB
30
20
10
OO
40
50
5
5
U
60
10
SOLO
3-4
1-2
L/R
OL
dB
30
20
10
OO
40
50
5
5
U
60
10
SOLO
3-4
1-2
L/R
OL
dB
30
20
10
OO
40
50
5
5
U
60
10
SOLO
3-4
1-2
L/R
OL
dB
30
20
10
OO
40
50
5
5
U
60
10
SOLO
3-4
1-2
L/R
OL
dB
30
20
10
OO
40
50
5
5
U
60
10
SOLO
3-4
1-2
L/R
OL
dB
30
20
10
OO
40
50
5
5
U
60
10
SOLO
3-4
1-2
L/R
OL
dB
30
20
10
OO
40
50
5
5
U
60
10
SOLO
3-4
1-2
L/R
OL
dB
30
20
10
OO
40
50
5
5
U
60
10
SOLO
3-4
1-2
L/R
OL
dB
30
20
10
OO
40
50
5
5
U
60
10
SOLO
3-4
1-2
L/R
OL
dB
30
20
10
OO
40
50
5
5
U
60
10
SOLO
3-4
1-2
L/R
OL
dB
30
20
10
OO
40
50
5
5
U
60
10
SOLO
3-4
1-2
L/R
OL
dB
30
20
10
OO
40
50
5
5
U
60
10
U
+15 OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15 OO
2k
060
-45dB+15dB
U
800
200
8k100
U
-15
U
+15
-15 +15
-15 +15
U
U
U
M
I
C
G
A
I
N
-
1
0
d
B
V
M
I
C
G
A
I
N
U
+15 OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15 OO
2k
060
-45dB+15dB
U
800
200
8k100
U
-15
U
+15
-15 +15
-15 +15
U
U
U
M
I
C
G
A
I
N
-
1
0
d
B
V
M
I
C
G
A
I
N
U
+15 OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15 OO
2k
060
-45dB+15dB
U
800
200
8k100
U
-15
U
+15
-15 +15
-15 +15
U
U
U
M
I
C
G
A
I
N
-
1
0
d
B
V
M
I
C
G
A
I
N
U
+15 OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15 OO
2k
060
-45dB+15dB
U
800
200
8k100
U
-15
U
+15
-15 +15
-15 +15
U
U
U
M
I
C
G
A
I
N
-
1
0
d
B
V
M
I
C
G
A
I
N
U
+15 OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15 OO
2k
060
-45dB+15dB
U
800
200
8k100
U
-15
U
+15
-15 +15
-15 +15
U
U
U
M
I
C
G
A
I
N
-
1
0
d
B
V
M
I
C
G
A
I
N
U
+15 OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15 OO
2k
060
-45dB+15dB
U
800
200
8k100
U
-15
U
+15
-15 +15
-15 +15
U
U
U
M
I
C
G
A
I
N
-
1
0
d
B
V
M
I
C
G
A
I
N
U
+15 OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15 OO
2k
060
-45dB+15dB
U
800
200
8k100
U
-15
U
+15
-15 +15
-15 +15
U
U
U
M
I
C
G
A
I
N
-
1
0
d
B
V
M
I
C
G
A
I
N
U
+15 OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15 OO
2k
060
-45dB+15dB
U
800
200
8k100
U
-15
U
+15
-15 +15
-15 +15
U
U
U
M
I
C
G
A
I
N
-
1
0
d
B
V
M
I
C
G
A
I
N
U
+15 OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15 OO
2k
060
-45dB+15dB
U
800
200
8k100
U
-15
U
+15
-15 +15
-15 +15
U
U
U
M
I
C
G
A
I
N
-
1
0
d
B
V
M
I
C
G
A
I
N
U
+15 OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15 OO
2k
060
-45dB+15dB
U
800
200
8k100
U
-15
U
+15
-15 +15
-15 +15
U
U
U
M
I
C
G
A
I
N
-
1
0
d
B
V
M
I
C
G
A
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U
+15 OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15 OO
2k
060
-45dB+15dB
U
800
200
8k100
U
-15
U
+15
-15 +15
-15 +15
U
U
U
M
I
C
G
A
I
N
-
1
0
d
B
V
M
I
C
G
A
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N
U
+15 OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15 OO
2k
060
-45dB+15dB
U
800
200
8k100
U
-15
U
+15
-15 +15
-15 +15
U
U
U
M
I
C
G
A
I
N
-
1
0
d
B
V
M
I
C
G
A
I
N
U
+15 OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15 OO
2k
060
-45dB+15dB
U
800
200
8k100
U
-15
U
+15
-15 +15
-15 +15
U
U
U
M
I
C
G
A
I
N
-
1
0
d
B
V
M
I
C
G
A
I
N
U
+15 OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15 OO
2k
060
-45dB+15dB
U
800
200
8k100
U
-15
U
+15
-15 +15
-15 +15
U
U
U
M
I
C
G
A
I
N
-
1
0
d
B
V
M
I
C
G
A
I
N
U
+15 OO
U
+15
OO
U
+15
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U
+15 OO
U
+15 OO
U
+15
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U
+15 OO
U
+15
OO
U
+15
OO
U
+15 OO
U
+15 OO
U
+15 OO
2k
060
-45dB+15dB
U
800
200
8k100
U
-15
U
+15
-15 +15
-15 +15
U
U
U
M
I
C
G
A
I
N
-
1
0
d
B
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M
I
C
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A
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U
+15 OO
U
+15
OO
U
+15
OO
U
+15 OO
U
+15 OO
U
+15 OO
2k
060
-45dB+15dB
U
800
200
8k100
U
-15
U
+15
-15 +15
-15 +15
U
U
U
M
I
C
G
A
I
N
-
1
0
d
B
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U
+15 OO
U
+15
OO
U
+15
OO
U
+15 OO
U
+15 OO
U
+15 OO
2k
060
-45dB+15dB
U
800
200
8k100
U
-15
U
+15
-15 +15
-15 +15
U
2k
800
200
8k100
U
-15
U
+15
-15 +15
-15 +15
U
U
-15 +15
-15 +15
U
U
-15 +15
-15 +15
U
-15 +15
U
-15 +15
U
-15 +15
U
-15 +15
U
U
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C
G
A
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N
-
1
0
d
B
V
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G
A
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U
+15 OO
U
+15
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U
+15
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U
+15 OO
U
+15 OO
U
+15 OO
060
-45dB+15dB
U
U
U
M
I
C
G
A
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N
-
1
0
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B
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M
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A
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U
+15 OO
U
+15
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U
+15
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U
+15 OO
U
+15 OO
U
+15 OO
U
U
dB
30
20
10
OO
40
50
5
5
U
60
10
dB
30
20
10
OO
40
50
5
5
U
60
10
dB
30
20
10
OO
40
50
5
5
U
60
10
dB
30
20
10
OO
40
50
5
5
U
60
10
dB
30
20
10
OO
40
50
5
5
U
60
10
SIG
SOLO
3-4
1-2
L/R
OL
dB
30
20
10
OO
40
50
5
5
U
60
10
SIG
SOLO
3-4
1-2
L/R
OL
dB
30
20
10
OO
40
50
5
5
U
60
10
SIG
SOLO
3-4
1-2
L/R
OL
dB
30
20
10
OO
40
50
5
5
U
60
10
SIG
SOLO
3-4
1-2
L/R
OL
dB
30
20
10
OO
40
50
5
5
U
60
10
SIG
SOLO
3-4
1-2
L/R
OL
dB
30
20
10
OO
40
50
5
5
U
60
10
SIG
SOLO
3-4
1-2
L/R
OL
dB
30
20
10
OO
40
50
5
5
U
60
10
SIG
SOLO
3-4
1-2
L/R
OL
dB
30
20
10
OO
40
50
5
5
U
60
10
U
+15 OO
U
+15
OO
U
+15
OO
U
+15 OO
U
+15 OO
U
+15 OO
2k
060
-45dB+15dB
U
800
200
8k100
U
-15
U
+15
-15 +15
-15 +15
U
U
U
M
I
C
G
A
I
N
-
1
0
d
B
V
M
I
C
G
A
I
N
L / R Line Level Outputs
Mackie SP260
Speaker Processor
Mackie HD1801
Active Subwoofer
Mackie HD1801
Active Subwoofer
Mackie
HDA Active
Loudspeakers x3
Mackie
HDA Active
Loudspeakers x3
A / B Inputs
Mackie
2404-VLZ3
Mixer
Powered Arrayable Loudspeakers and Subwoofers; aka “The Shizz”
Ok, so you’ve got the big boy setup...we understand and are able to fulfill your needs here, too!
Here, the SP260 is configured using the ‘2xStereo+Subs’ setup type. We connected the left and right
line-level XLR outputs of a Mackie 2404-VLZ3 mixer to the A and B XLR inputs of a Mackie SP260
Speaker Processor. Next, we connected XLR outputs 1 and 2 of the Mackie SP260 Speaker Processor
to the XLR main input of the top Mackie HDA powered arrayable loudspeaker on each side. The loop
out XLR jack of these HDAs feed the main inputs of another pair of Mackie HDA powered arrayable
loudspeakers right below them [the middle HDA on each side].
XLR outputs 3 and 4 of the Mackie SP260 Speaker Processor feed the XLR main input of the bottom
Mackie HDA powered arrayable loudspeaker on each side.
Now let’s add some low end to this beast! Connect XLR outputs 5 and 6 of the Mackie SP260 Speaker
Processor to XLR input A of the Mackie HD1801 powered subwoofer on each side.
With this setup, you might choose to reduce output to the bottom HDA if the application calls for it.
If the rig is high enough, though, these HDAs might be fine at the same output level as the top two
HDAs on each side.
The SP260’s high- and low-pass filters on output channels 1–6 may be configured to create a
crossover to optimize the subwoofers with the HDAs. The subs may be stereo or mono by properly
configuring the input sources for SP260 outputs 5 and 6. The SP260 may be used for additional room
corrective EQ and delay to align the loudspeakers and subwoofers and a limiter added for extra
protection. The only thing it can’t do is make you breakfast!
NOTE: Please refer to the loudspeaker’s owner’s manual if utilizing a setup similar to the
one shown here. There are issues of safety, weights, angles, coverage and much more
regarding systems that are flown. Installation should only be done by experienced, licensed
professionals. Improper installation may result in damage to the equipment, injury or death. Make
sure the loudspeakers and subwoofers are installed in a stable and secure way in order to avoid any
conditions that may be dangerous for persons or structures.

Owner’s Manual
11
Owner’s Manual
SP260 2x6 Speaker Processor Features: Rear Panel
PUSHPUSH
ON
OUTPUTS
MAIN
GNDLIFT
ATTENTION: RISK OF ELECTRIC SHOCK
DO NOT OPEN THE COVER
100-240 VAC
40W 50/60 Hz
FUSE: T 800mAL 250V
AB123456
INPUTS
1 2 43 5
1.Power
5SETHISROCKERSTYLESWITCHTOTURNTHEUNITONOR
off. The processor is on when the top of the switch is
pressed in. It is off when the bottom of the switch is
PRESSEDIN4HE,#$$ISPLAY;=WILLILLUMINATEAND
text will appear when the power switch is on.
The SP260 remembers its settings, so you may power
cycle the unit and it will resume operation using the
same settings as before. The SP260 employs relays
on the outputs to prevent unwanted pops and noise
in the system when power cycling and starting up
the processor. After engaging the power switch, the
unit will initialize and the relays will switch. Any
live outputs will smoothly fade from silence to their
configured output levels. The processor may now be
edited, or you may signal the band to start playing if
the SP260 is already configured for the PA system.
2. Power Cord Socket and Fuse
This is where to connect the detachable power cord
included with the processor. Plug the other end of the
POWERCORDINTOAN!#OUTLET4HEOUTLETSHOULDMATCH
the power cord.
WARNING: Bypassing the plug’s safety
GROUNDPINCANBEDANGEROUS$ONTDOIT
The fuse is located behind the fuse cover, at the
BOTTOMOFTHE)%#SOCKET3EETHEh4ROUBLESHOOTINGv
section on page 22 for information about replacing the
fuse.
3.Main: Lift / Gnd
The ground lift separates the chassis ground from
the signal ground. The default position is GND.
You may attempt to remedy system ground loop
hum by moving the switch to LIFT.
4.XLR Outputs
4HESESIXMALE8,2CONNECTORSPROVIDEABALANCED
line-level signal for each of the processor’s output
CHANNELS#ONNECTTHESETOTHEINPUTSOFPOWER
amplifiers and/or powered loudspeakers.
5.XLR Inputs
4HESEFEMALE8,2CONNECTORSACCEPTABALANCED
line-level input from a mixer’s main L/R output.

SP260 2x6 Speaker Processor
12
SP260 2x6 Speaker Processor
SP260 2x6 Speaker Processor Features: Front Panel
6.LCD Display
4HE,#$$ISPLAYISONEOFTHEMOSTVITALFEATURES
of the processor. It displays processor information
including (but not limited to) System, Preset and
3ECURITY5TILITIESGAINDELAY%1ANDOTHERINPUT
and output processing parameters.
When the SP260 is powered up, the last state it was
INWILLLOADUPANDTHE,#$$ISPLAYWILLPRESENTTHE
CURRENTSYSTEMSETUPTYPE
s X3TEREO3UB;DEFAULT=
s X7AY3UB
s X7AY
s X3TEREO
s X7AY
7.Nav/Edit1 Wheel
The Nav/Edit1 Wheel allows you to navigate the user
interface, edit sections of the processor, navigate within
screens to select sub-menus, pages and parameters,
as well as select values during editing.
8. Edit2 Wheel
The Edit2 Wheel allows you to edit parameters, as
well as select values during editing.
9. Edit3 Wheel
"ROKENRECORDALERT4HE%DIT7HEELALLOWSYOUTO
edit parameters, as well as select values during editing.
Read on to learn more about what each of these
wheels does. In general, use the Nav/Edit1
Wheel to scroll through the various pages and
configuration settings. Depending on the page,
individual parameters may be changed by turning one
(or more) of the wheels. In some cases, the Edit2 and
Edit3 Wheels provide fine and course control of the same
parameter.
10. Enter Button
The Enter Button allows you to dig deeper and deeper
into menus and parameters, confirm operations and
change settings.
NAV/EDIT1
ENTER ESC
CLIP
+15
+9
+3
0
-10
-20
LIMIT
CLIP
+15
+9
+3
0
-15
USB
EDIT
MUTE
UTILITY
A
CLIP
+15
+9
+3
0
-10
-20
EDIT
MUTE B 1
EDIT
MUTE
LIMIT
CLIP
+15
+9
+3
0
-15
2
EDIT
MUTE
LIMIT
CLIP
+15
+9
+3
0
-15
3
EDIT
MUTE
LIMIT
CLIP
+15
+9
+3
0
-15
4
EDIT
MUTE
LIMIT
CLIP
+15
+9
+3
0
-15
5
EDIT
MUTE
LIMIT
CLIP
+15
+9
+3
0
-15
6
EDIT
MUTE
2x6 SPEAKER
PROCESSOR
EDIT2EDIT3
6
17
7 10 11 12 151413
16
11. ESC Button
4HE%3#"UTTONALLOWSYOUTORETREATFROMSELECTED
variables. In some cases, it confirm operations and
changes settings, as well. These will be noted.
12. Utility Button
Press this button to select and update the SP260’s
UTILITIES4HEREARETHREEMAINUTILITIESMENUS
s 3YSTEM5TILITIES
s 0RESET5TILITIES
s 3ECURITY5TILITIES
Within each, an array of sub-menus are available.
13. Mute / Edit Buttons
4HESEEIGHTBUTTONSSERVEADUALPURPOSE
s Muting selected inputs and outputs
s Editing selected inputs and outputs
To mute an input or output, quickly press and release
the desired button once to engage mute; quickly press
and release it again to un-mute. Mute does just what it
SOUNDSLIKEITDOES)TMUTESnTURNSOFFnTHESIGNALON
the corresponding inputs and outputs.
To edit an input or output, press and hold the
desired button until that input or output’s blue
LED [14] illuminates. Press and hold again to take
it out of edit mode. Edit does just what it sounds like
ITDOES)TALLOWSYOUTOEDITnCHANGEnVARIABLESON
the chosen inputs and outputs.
While it is not possible to edit the inputs AND
outputs simultaneously, it is possible to link and
edit the inputs simultaneously OR link and edit
any number of outputs simultaneously. Simply press and
hold any additional input or output Mute / Edit buttons to
link. Any changed parameters will affect all linked inputs
or outputs.
8 9

Owner’s Manual
13
Owner’s Manual
14. Edit LEDs
4HEREAREATOTALOFEIGHT%DIT,%$SONTHE30
two input and six output. Edit LEDs illuminate blue
when engaged. See Mute / Edit Buttons [13].
(AVEYOUEVERBEENATTHEAIRPORTWHENITSDARK
outside? You know the blue lights lined up on runways?
The color of these Edit LEDs look quite similar to those
of the airport runway’s lights.
15. Mute LEDs
4HEREAREATOTALOFEIGHT-UTE,%$SONTHE30
two input and six output. Mute LEDs illuminate red
when engaged. See Mute / Edit Buttons [13].
16. Meters
These seven-segment meters display the input and
output signal levels OR the gain reduction amount for
EACHOUTPUTSLIMITERDEPENDINGONTHESELECTED65
Meter mode. Detailed information may be found on
PAGE;65-ETERSECTION=
These meters should remain green with the
occasional bump into the yellow zone. If there is too
much yellow (or any red clipping), lower the mixer’s
Main L/R fader until it’s gone. You might check the
gain and EQ settings on the SP260 input and output
channels, as well.
)NPUTMETERSSTARTINGATTHETOPSHOW
#LIPD"UD"UD"UD"UnD"UAND
nD"U
/UTPUTMETERSSTARTINGATTHETOPSHOW
,IMIT#LIPD"UD"UD"UD"UANDnD"U
when in Level mode.
)FTHE65METERMODEIS,IMITTHEOUTPUTMETERSSHOW
,IMITD"nD"nD"nD"nD"ANDnD"
SP260 2x6 Speaker Processor Features: Front Panel
17. USB
The SP260 may be controlled and programmed
USINGA7INDOWSBASED0#'OTOWWWMACKIECOM
TODOWNLOADTHEFREEAPPLICATIONANDDRIVER(EREYOU
will also find presets for typical Mackie PA system
setups.
3IMPLYCONNECTA53"CABLEFROMTHE30TOTHE
computer in order to control all parameters of the
processor via computer.
Factory Reset
It is possible to reset the SP260 2x6 Speaker
Processor to its factory settings.
Please keep in mind that this erases all settings,
including any passwords and presets that may
have been set. Be sure to power down any amps
and/or powered speakers before resetting the SP260.
3IMPLYPRESSANDHOLDTHE%NTER;=%3#;=AND
5TILITY;=BUTTONSWHENPOWERINGUPUNTILTHE,#$
$ISPLAY;=SHOWS
Please Wait....
Memory Reset
Then you may take your fingers off the buttons.
You will know it worked when the six output
Mute LEDs [15] illuminate after the SP260 is
fully powered up.
4HEDEFAULTPASSWORDISSIXZEROES

SP260 2x6 Speaker Processor
14
SP260 2x6 Speaker Processor
Utilities
As mentioned earlier, there are three main utility
MENUSTOCHOOSEFROM
s 3YSTEM5TILITIES
s 0RESET5TILITIES
s 3ECURITY5TILITIES
Within each utility menu, an array of sub-menus are
available. We will go through each utility, each sub-
menu, how to get there, how to edit and change settings
and what each wheel and button does in each situation.
When navigating menus, the current setting
for any parameter will be indicated with an
asterisk [*] making it easy to get back where
you started.
 0RESSTHE5TILITY"UTTON;=TOOPENTHE5TILITY
Menu.
5SETHE.AV%DIT7HEEL;=TONAVIGATEBETWEENTHE
THREEUTILITYMENUS3YSTEM5TILITIES0RESET5TILITIES
AND3ECURITY5TILITIES
0RESSTHE%3#BUTTON;=TORETURNTOTHEMAIN
SCREEN7EREHERETOLEARNABOUT5TILITIESSONONEEDTO
%3#OUTOFHEREATTHISPOINT
Press the Enter Button [10] to enter and edit the
SELECTED5TILITIESMENU4HISISHOWWEREACHTHE
SUBMENUSOFTHE5TILITIES
System Utilities
4URNTHE.AV%DIT7HEELUNTIL3YSTEM5TILITIESIS
presented and press the Enter Button [10] to reach the
3YSTEM5TILITIESSUBMENUSASLISTEDBELOW
s 3YSTEM3ETUP
s $ELAY5NITS
s 2AMPSONCHANGES
s 3OFTWARE6ERSION
We will go through each of these sub-menus, one-by-
one (and in order), but know that...
(1) The Nav/Edit1 Wheel [7] is used to navigate
BETWEENTHEFOUR3YSTEM5TILITIES
4HE%3#BUTTON;=ISUSEDTORETURNTOTHE
3YSTEM5TILITIESMENU
(3) The Enter Button [10] is used to enter and edit
THECHOSEN3YSTEM5TILITY
Without further ado, press the Enter Button [10] to
enter System Setup.
System Setup
System Setup is where the processor is configured
for your particular loudspeaker system. It configures
channel names, input routing to outputs and provides
starting points for crossover setups.
4HElVEOPTIONSARELISTEDBELOW(ERETURNTHE
Edit2 [8] or Edit3 [9] Wheel to scroll between the
different System Setup choices.
s X3TEREO3UB;DEFAULT=
Two full-range loudspeaker pairs and
a pair of [mono by default] subwoofers
s X7AY3UB
Two bi-ampable full-range loudspeakers
and a pair of [mono by default] subwoofers
s X7AY
Two tri-ampable full-range loudspeakers
s X3TEREO
Three full-range loudspeaker pairs
s X7AY
Mono 6-way setup
Once you have decided on a system, press the Enter
"UTTON;=TWICEONCETOSELECTANDAGAINTOCONlRM
The outputs will automatically mute once updated
and the processor returns to the System Setup splash
screen.
You may configure the SP260 for other
scenarios by adjusting the available
parameters. If you are creating a custom
setup, choose the setup that most closely resembles
your system, then tweak from there.
0RESSTHE%3#BUTTON;=TORETURNTOTHE3YSTEM
5TILITYMENUWITHOUTMAKINGANYCHANGES
Delay Units
This is where to choose units used when adjusting
the input and output delay values. You will be presented
WITHTHREEOPTIONSHERE
s 5NIT4IMEMS
s 5NIT$ISTANCEM;DEFAULT=
s 5NIT$ISTANCEFEET
Turn the Edit2 [8] or Edit3 [9] Wheel to
scroll between these three choices. Press the
Enter Button [10] once a unit of delay has been
decided. The processor will return to the Delay
5NITSSPLASHSCREEN/RPRESSTHE%3#BUTTON;=TO
RETURNTOTHE3YSTEM5TILITYMENUWITHOUTMAKINGANY
changes.

Owner’s Manual
15
Owner’s Manual
Ramps on changes
When engaged, sudden volume changes may be
avoided when changing parameter values, particularly
WHENUSINGA7INDOWSBASED0#TOCONTROLTHEUNIT
Disengage this feature for live applications since instant
response to change is desired.
Turn the Edit2 [8] or Edit3 [9] Wheel to scroll
between Ramps : On and Ramps : Off [default]. If
changing, press the Enter Button [10] only once here.
The processor will return to the Ramps on changes
splash screen. Or pRESSTHE%3#BUTTON;=TORETURNTO
THE3YSTEM5TILITYMENUWITHOUTMAKINGANYCHANGES
Software Version
Nothing may be changed here. Just press the Enter
Button [10] to view what version of software is installed
INTHIS300RESSTHE%NTER;=OR%3#;="UTTON
TORETURNTOTHE3OFTWARE6ERSIONSPLASHSCREEN
!NDTHATWRAPSUPTHE3YSTEM5TILITIESPORTIONOFTHE
SP260 training. Next we will take a look at the Preset
5TILITIESANDWHATFEATURESAREOFFEREDTHERE
Preset Utilities
This is where to save, recall and delete presets
on the SP260. This is useful when the PA system
has multiple setups for different environments or
several loudspeaker systems utilizing varying setups.
Note: As mentioned earlier, the SP260 will load up the last
state it was in when it was powered down.
As discussed earlier, the way to get here from the
MAINMENUISBYPRESSINGTHE5TILITY"UTTON;=/NCE
INSIDETHE5TILITY-ENUSCROLLTHE.AV%DIT7HEEL;=
CLOCKWISETO0RESET5TILITIES/NECLICKSHOULDDOTHE
trick. Now press the Enter Button [10] again to reach
THESUBMENUSASLISTEDBELOW
s 2ECALLA0RESET
s 3AVEA0RESET
s $ELETEA0RESET
Again, we will go through each of these sub-menus,
one-by-one (and in order), but know that...
(1) The Nav/Edit1 Wheel [7] is used to navigate
BETWEENTHETHREE0RESET5TILITIES
4HE%3#BUTTON;=ISUSEDTORETURNTOTHE
0RESET5TILITIESMENU
(3) The Enter Button [10] is used to enter and edit
THECHOSEN0RESET5TILITY
Without further ado, press the Enter Button [10] to
enter Recall a Preset.
Recall a Preset
If a preset has been saved earlier, it may be recalled
here. If no presets are stored in the unit, the processor
will return to the Recall a Preset splash screen.
If presets are available, turn the Edit2 [8] or
Edit3 [9] Wheel to select which preset to recall. Press
the Enter Button [10] to select a preset and again to
confirm recall. The preset will load and the processor
will return to the Recall a Preset splash screen.
Save a Preset
Once the perfect system settings have been
dialed in, save it to the SP260 for recall later. Turn
the Edit2 [8] or Edit3 [9] Wheel to scroll between
PRESETSn0RESSTHE%NTER"UTTON;=ONCEYOU
decide where to save the preset.
Now you get to name the preset. The Nav/Edit1
Wheel [7] moves the cursor left and right while the
Edit2 [8] and Edit3 [9] Wheels change the text.
Once satisfied with the results, press the Enter
"UTTON;=TWICEONCETOSELECTANDAGAINTO
confirm. The processor will return to the Save a
Preset splash screen.
It is possible to save over an existing preset.
If attempted, you will need to confirm by pressing
the Enter Button [10]AGAIN/RPRESSTHE%3#
"UTTON;=TORETURNTOTHE0RESET5TILITIESMENU
without overwriting the preset.
Delete a Preset
4HOSEhPERFECTvSETTINGSWERENTSOhPERFECTvNOWWERE
they? If a preset is no longer needed for recall, it may be
deleted here. It will help avoid confusion down the road
and keep the SP260’s memory clutter-free.
Turn the Edit2 [8] or Edit3 [9] Wheel to scroll
BETWEENPRESETSn0RESSTHE%NTER"UTTON;=
once you decide on which preset to delete.
0RESSTHE%NTER"UTTON;=TWICEONCETOSELECTAND
again to confirm. The processor will return to the
Delete a Preset splash screen.
!NDTHATWRAPSUPTHE0RESET5TILITIESPORTIONOFTHE
SP260 training. Next we will take a look at the Security
5TILITIESANDWHATFEATURESAREOFFEREDTHERE

SP260 2x6 Speaker Processor
16
SP260 2x6 Speaker Processor
Security Utilities
This is where to lock the SP260 to prevent anyone
from accidentally (or intentionally) changing the
settings. You also have control over some of the
behaviors after it’s been locked.
As discussed earlier, the way to get here from the
MAINMENUISBYPRESSINGTHE5TILITY"UTTON;=/NCE
INSIDETHE5TILITY-ENUSCROLLTHE.AV%DIT7HEEL;=
CLOCKWISETO3ECURITY5TILITIES4WOCLICKSSHOULDDOTHE
trick. Now press the Enter Button [10] again to reach
the sub-menus as listed below.
s 3HOW0ARAMETER
s ,OCK5NIT
s 5SER0ASSWORD
s %NABLE0ASSWORD
We will go through each of these sub-menus, one-by-
one (and in order), but know that...
(1) The Nav/Edit1 Wheel [7] is used to navigate
BETWEENTHEFOUR3ECURITY5TILITIES
4HE%3#BUTTON;=ISUSEDTORETURNTOTHE
3ECURITY5TILITIESMENU
(3) The Enter Button [10] is used to enter and edit
THECHOSEN3ECURITY5TILITY
Without further ado, press the Enter Button [10] to
enter Show Parameter.
Show Parameter
Once an SP260 has been locked, you have the option
of allowing the various processing parameter values to
be shown or not.
Turn the Edit2 [8] or Edit3 [9] Wheel to scroll
between Parameter will be shown [default] and
Parameter will not be shown. If changing, press the
Enter Button [10] only once here. The processor will
return to the Show Parameter splash screen.
Lock Unit
Locking a SP260 prevents accidental changes to its
settings.
Turn the Edit2 [8] or Edit3 [9] Wheel to scroll
between Lock : Off [default] and Lock : On. If changing,
press the Enter Button [10] only once here.
When locked, a symbol resembling a key will
appear in the lower-right hand area of the
,#$$ISPLAY;=0RESSINGTHE5TILITY"UTTON;=
HERERETURNSYOUDIRECTLYTOTHE,OCK5NITSPLASHSCREEN
When unlocked, the key symbol disappears and the
PROCESSORWILLRETURNTOTHE3ECURITY5TILITIESSPLASH
screen.
User Password
For the ultimate protection from accidental and
intentional parameter adjustments, set up a user
password here. Only those with the password will
be allowed access to edit processor settings.
The Nav/Edit1 Wheel [7] moves the cursor left and
right while the Edit2 [8] and Edit3 [9] Wheels change
the text.
In order to change the password, the
current password needs to be entered.
4HEDEFAULTFACTORYPASSWORDIS
Enter the current password and press the Enter
Button [10]. It will now prompt you for a new
PASSWORD5SEASFEWASONEANDUPTOAMAXIMUM
of six) characters, using any combination of letters,
numbers and symbols. Enter a new password and
press the Enter Button [10]. It will now prompt
you to confirm the new password. Enter it and press
the Enter Button again to confirm. The processor will
RETURNTOTHE5SER0ASSWORDSPLASHSCREEN
If the entered password is wrong, the splash screen
WILLDISPLAYh0ASSWORD7RONGvANDTHEPROCESSORWILL
RETURNTOTHE5SER0ASSWORDSPLASHSCREENWITHOUT
changing the password.
The password has been updated, but it is still
DISABLED4HISLEADSUSTOTHEFOURTHnANDlNALn
SUBMENU
Enable Password
(EREISWHERETHEUSERPASSWORDISENABLED
The Nav/Edit1 Wheel [7] moves the cursor left
and right while the Edit2 [8] and Edit3 [9] Wheels
change the text.
Enter the correct password and press the Enter
Button [10]. Turn the Edit2 [8] or Edit3 [9] Wheel
to scroll between Password : Disable [default] and
Password : Enable. If changing, press the Enter
Button [10] only once here.
When enabling, a symbol resembling a padlock will
APPEARINTHELOWERRIGHTAREAOFTHE,#$$ISPLAY;=
0RESSINGTHE5TILITY"UTTON;=HERERETURNSYOU
DIRECTLYTOTHE5SER0ASSWORDSPLASHSCREEN
When disabling, the padlock symbol disappears
and the processor will return to the Security
5TILITIESSPLASHSCREEN
The password will need to be entered to make
any changes once the SP260 has been locked
and password enabled. Therefore, write it down
or tell a friend
If the password is gone forever, you will have to perform a
factory reset to restore the unit’s default settings
[see page 13].

Owner’s Manual
17
Owner’s Manual
Editing
Each input and output has an assortment of
powerful tools used to optimize the PA. Like we
DIDINTHE@5TILITYSECTIONOFTHEMANUALHEREWE
will dissect each sub-menu of the inputs and outputs,
how to get there, how to edit and change settings and
what each wheel and button does in each situation.
#HANGESMADEIN%DITINGMODEOCCURIN
real time.
As a reminder...
To edit an input or output, press and hold the
desired Edit Button [13] until that input or output’s
blue LED [14] illuminates. Press and hold again to
take it out of edit mode.
Inputs A / B:
Engaging Edit on Input A, Input B, or both
simultaneously allows you the opportunity to
EDITTHEFOLLOWING
s 'AIN
s $ELAY
s %1"YPASS
s "AND%1
We will go through each of these sub-menus, one-by-
one (and in order), but know that...
(1) The Nav/Edit1 Wheel [7] is used to navigate
between Gain, Delay, EQ Bypass and 5-Band EQ. The
SP260 recalls where you are, so scroll the Nav/Edit1
Wheel [7] until you see the parameter you want to edit.
4HE%3#BUTTON;=ISUSEDTODISENGAGE%DITING
and return to the previous menu.
(3) The Enter Button [10] is used to enter and edit
the chosen feature.
Without further ado, press the Enter Button [10]
to enter the currently selected input processing
PARAMETER!NARROWnWILLAPPEARNEXTTOWHATEVER
SETTINGISREADYTOBEEDITED
Gain, Delay, EQ Bypass or
%1"ANDSn
Gain
The input gain allows you to adjust the entire PA
levels up and down. This is where to calibrate the
signal level coming in from the mixer.
Press the Enter button [10] to enter and edit the
GAIN!NARROWnWILLAPPEARNEXTTOh'AINvINDICATING
that it is ready to be edited.
5SETHE%DIT;=OR%DIT;=7HEELSTOCHANGE
the gain by
± 0.1 dB per click. Turning these wheels
clockwise increases gain, while turning them counter-
clockwise decreases gain. The gain ranges from
nD"TOD"
0RESSTHE%3#BUTTON;=TOEXITTHEGAINEDITING
mode.
Delay
Setting up input delays on the SP260 is useful for
aligning PA loudspeakers to the live instruments or
as a dedicated processor for delay stacks.
Press the Enter button [10] to enter and edit
THEDELAY!NARROWnWILLAPPEARNEXTTOh$ELAYv
indicating that it is ready to be edited.
As stated on page 14, Delay may be represented in one
OFTHREEWAYS
s 4IMEMSOR
s $ISTANCEM;DEFAULT=OR
s $ISTANCEFEET
5SETHE%DIT7HEEL;=TOCHANGETHEDELAYBY
s
± 1.000 ms per click, or
s ~
± 0.340 m per click, or
s ~
± 1.115 feet per click
5SETHE%DIT7HEEL;=TOMAKElNEADJUSTMENTS
4HE%DIT7HEELCHANGESTHEDELAYBY
s
± 0.0208 ms per click, or
s ~
± 0.007 m per click, or
s ~
± 0.023 feet per click
Turning these wheels clockwise increases the delay
time, while turning them counter-clockwise decreases
the delay time.
4HEMINIMUMANDMAXIMUMDELAYRANGESFROM
s 0.0000 msnms
s MnM
s FEETnFEET
0RESSTHE%3#BUTTON;=TODISENGAGE%DITING

SP260 2x6 Speaker Processor
18
SP260 2x6 Speaker Processor
Outputs 1-6:
Engaging Edit on Output(s) 1-6 allows you the
OPPORTUNITYTOEDITTHEFOLLOWING
s .AME
s 3OURCE
s 0OLARITY
s 'AIN
s %1"YPASS
s "AND%1
s $ELAY
s (IGH0ASS&ILTER
s ,OW0ASS&ILTER
s ,IMITER
s 65-ETER
We will go through each of these sub-menus, one-by-
one (and in order), but know that...
(1) The Nav/Edit1 Wheel [7] is used to navigate
between Name, Source, Polarity, Gain, EQ Bypass,
7-Band EQ, Delay, (IGH0ASS&ILTER, Low Pass Filter,
,IMITERANDTHE65-ETER
4HE%3#BUTTON;=ISUSEDTODISENGAGE%DITING
and return to the previous menu.
(3) The Enter Button [10] is used to enter and edit
the chosen feature.
Without further ado, press the Enter Button [10] to
enter Name.
!NARROWnWILLAPPEARNEXTTOh.AMEvINDICATING
that it is ready to be edited.
4HEAFOREMENTIONEDARROWnWILLAPPEARNEXT
TOWHATEVERSETTINGISREADYTOBEEDITED
Name,
Source, Polarity, Gain, EQ Bypass, 7-Band
EQ, Delay, (IGH0ASS&ILTER, Low Pass Filter,
,IMITERANDTHE65-ETER
.
Name
(EREISWHERETHENAMEOFTHESELECTEDOUTPUTSMAY
be changed. The Nav/Edit1 Wheel [7] moves the cursor
left and right while the Edit2 [8] and Edit3 [9] Wheels
change the text.
Press the Enter button [10] to accept the new name
ANDRETURNTOTHE%DITMENU0RESSINGTHE%3#BUTTON
leaves the name as-is and returns you to the output edit
menu.
EQ Bypass
EQ Bypass flattens the 5-Band EQ on the input so
you may hear exactly how it is affecting the system.
By toggling the EQ Bypass on and off, you may quickly
compare the sound with and without EQ.
Turn the Edit2 [8] or Edit3 [9] Wheel to scroll
between Bypass = Off [default] and Bypass = On.
0RESSTHE%3#BUTTON;=TOACCEPTTHENEW%1
Bypass mode and exit the EQ Bypass editing mode.
5-Band EQ
Editing input EQ on the SP260 is useful for
adjusting the response of the entire PA, particularly
when correcting anomalies caused by the venue.
Press the Enter button [10] to enter and edit
THE%1BANDS!NARROWnWILLAPPEARNEXTTOh%1v
indicating that it is ready to be edited.
5SETHE.AV%DIT;=7HEELTOCHANGETHE
frequency by ~
± 1/24 octave per click. Turning this
wheel clockwise increases the frequency, while
turning it counter-clockwise decreases the frequency.
4HEFREQUENCYRANGESFROM(ZTOK(Z
5SETHE%DIT;=7HEELTOCHANGETHEBANDWIDTH
by ~
± 0.05 per click. Turning this wheel clockwise
increases the bandwidth, while turning it counter-
clockwise decreases the bandwidth. The EQ band may
be configured as high or low shelf by turning it all the
way counter-clockwise.
These are the EQ choices from the furthest counter-
CLOCKWISEOPTIONTOTHEFURTHESTCLOCKWISEOPTION
s n(IGH3HELVING
s n(IGH3HELVING
s n,OW3HELVING
s n,OW3HELVING
s n;0ARAMETRIC=
To change the EQ between shelving and
parametric, the gain must first be set to 0.0 dB.
5SETHE%DIT;=7HEELTOCHANGETHEGAINBY
~
± 0.5 dB per click. Turning this wheel clockwise
increases the gain, while turning it counter-clockwise
DECREASESTHEGAIN4HEGAINRANGESFROMnD"TO
D"
0RESSTHE%3#BUTTON;=TOEXITTHE%1EDITING
mode.

Owner’s Manual
19
Owner’s Manual
Source
4HEREARETHREEINPUTSOURCESTOCHOOSEBETWEEN
s )N!)NPUT!
s )N")NPUT"
s )N!)N"!MONOSUMOF)NPUT!)NPUT"
If you are running a stereo system, choose either
Input A or Input B. If the system is mono (or has a
mono component such as a subwoofer or a single
loudspeaker mounted in a venue’s lobby, for example),
GOWITHTHE)NPUT!)NPUT"CHOICE
5SETHE%DIT;=OR%DIT;=7HEELTOCHANGE
between these three options.
0RESSTHE%3#BUTTON;=TOEXITINPUTSOURCE
editing mode.
Polarity
Polarity inversion is often helpful in improving phase
alignment throughout the loudspeaker system, whether
used separately or with a small amount of delay. For
EXAMPLEIFASUBWOOFERDOESNTSOUNDhFULLvINVERTTHE
polarity to see if that doesn’t solve the issue.
Turn the Edit2 [8] or Edit3 [9] Wheel to scroll
between Polarity = Normal [default] and Polarity =
Invert [180˚].
0RESSTHE%3#BUTTON;=TOEXITPOLARITYEDITMODE
Gain
In some cases you may need to adjust the output
levels differently to properly balance the system
components for ideal performance.
5SETHE%DIT;=OR%DIT;=7HEELTOCHANGE
the gain by
± 0.1 dB per click. Turning these wheels
clockwise increases gain, while turning them
counter-clockwise decreases gain. The gain ranges
FROMnD"TOD"
0RESSTHE%3#BUTTON;=TOEXITGAINEDITINGMODE
EQ Bypass
EQ Bypass flattens the 7-Band EQ on the output so
you may hear exactly how it is affecting the system.
By toggling the EQ Bypass on and off, you may quickly
compare the sound with and without EQ.
Turn the Edit2 [8] or Edit3 [9] Wheel to scroll
between Bypass = Off [default] and Bypass = On.
0RESSTHE%3#BUTTON;=TOACCEPTTHENEW%1
Bypass mode and exit the EQ Bypass editing mode.
7-Band EQ
Output EQ is used primarily for adjusting the
response of a particular loudspeaker or transducer.
Additionally, output EQ may be used to correct room
anomalies in multi-room setups.
5SETHE.AV%DIT;=7HEELTOCHANGETHE
frequency. Turning this wheel clockwise increases
the frequency, while turning it counter-clockwise
decreases the frequency. The frequency ranges from
(ZTOK(Z
5SETHE%DIT;=7HEELTOCHANGETHEBANDWIDTH
by ~
± 0.05 per click. Turning this wheel clockwise
increases the bandwidth, while turning it counter-
clockwise decreases the bandwidth. The EQ band may
be configured as high or low shelf by turning it all the
way counter-clockwise.
These are the EQ choices from the furthest counter-
CLOCKWISEOPTIONTOTHEFURTHESTCLOCKWISEOPTION
s n(IGH3HELVING
s n(IGH3HELVING
s n,OW3HELVING
s n,OW3HELVING
s n;0ARAMETRIC=
To change the EQ between shelving and
parametric, the gain must first be set to 0.0 dB.
5SETHE%DIT;=7HEELTOCHANGETHEGAINBY
~
± 0.5 dB per click. Turning this wheel clockwise
increases the gain, while turning it counter-clockwise
DECREASESTHEGAIN4HEGAINRANGESFROMnD"TO
D"
0RESSTHE%3#BUTTON;=TOEXITTHE%1EDITING
mode.

SP260 2x6 Speaker Processor
20
SP260 2x6 Speaker Processor
Delay
Setting up output delays on the SP260 is useful
for time and phase aligning transducers in bi- and
tri-amplified loudspeakers, aligning subwoofers to
full-range loudspeakers, aligning delay stacks to
mains on stage, and more.
As stated on page 14, Delay may be presented in one
OFTHREEWAYS
s 4IMEMSOR
s $ISTANCEM;DEFAULT=OR
s $ISTANCEFEET
5SETHE%DIT7HEEL;=TOCHANGETHEDELAYBY
s
± 1.000 ms per click, or
s ~
± 0.340 m per click, or
s ~
± 1.115 feet per click
5SETHE%DIT7HEEL;=TOCHANGETHEDELAYBY
s ± 0.0208 ms per click, or
s ~
± 0.007 m per click, or
s ~
± 0.023 feet per click
Turning these wheels clockwise increases the delay
time, while turning them counter-clockwise decreases
the delay time.
4HEMINIMUMANDMAXIMUMDELAYRANGESFROM
s 0.0000 msnms
s MnM
s FEETnFEET
0RESSTHE%3#BUTTON;=TOEXITDELAYEDITINGMODE
High Pass Filter
(IGH0ASS&ILTERSAREUTILIZEDTOSETUPCROSSOVERSIN
multi-way loudspeaker and subwoofer systems. They
may also be used to roll-off low frequencies that full-
range loudspeakers cannot efficiently reproduce.
5SETHE%DIT;=7HEELTOCHANGETHE
frequency. Turning this wheel clockwise increases
the frequency, while turning it counter-clockwise
decreases the frequency. The frequency ranges
FROM(ZTOK(Z
Turn the Edit3 [9] Wheel to see the various filter type
ANDSLOPEOPTIONS
s .O#UT/FF
s "UTTERWORTHD"
s "UTTERWORTHD"
s ,INKWITZ2ILEYD"
s "ESSELD"
s "UTTERWORTHD"
s "UTTERWORTHD"
s ,INKWITZ2ILEYD"
s "ESSELD"
0RESSTHE%3#BUTTON;=TOEXITTHISEDITMODE
Low Pass Filter
In conjunction with high pass filters, low pass
filters are utilized to set up crossovers in multi-way
loudspeaker and subwoofer systems. For example,
in a 3-way stereo system, use the high and low pass
filters on the output feeding the mid-range transducer
to define the range of frequencies it will reproduce.
#OMBINEDWITHHIGHANDLOWPASSlLTERSONTHEOUTPUTS
to the low and high frequency transducers, you may
divide the frequency spectrum so each transducer is
reproducing the range for which it is best suited,
making the system sound its best and operate most
efficiently.
5SETHE%DIT;=7HEELTOCHANGETHEFREQUENCY
Turning this wheel clockwise increases the frequency,
while turning it counter-clockwise decreases the
FREQUENCY4HEFREQUENCYRANGESFROM(ZTO
K(Z
Turn the Edit3 [9] Wheel to see the various filter type
ANDSLOPEOPTIONS
s .O#UT/FF
s "UTTERWORTHD"
s "UTTERWORTHD"
s ,INKWITZ2ILEYD"
s "ESSELD"
s "UTTERWORTHD"
s "UTTERWORTHD"
s ,INKWITZ2ILEYD"
s "ESSELD"
0RESSTHE%3#BUTTON;=TOEXITTHISEDITMODE