Mackie PPM1008 User manual

OWNER’S MANUAL
FOOT SWITCH
FX
/
2 X 800W PROFESSIONAL POWERED MIXER
PPM1008
8-Channel,2x800WProfessionalPoweredMixer

2
PPM1008
PPM1008
1. Readtheseinstructions.
2. Keepthese instructions.
3. Heedall warnings.
4. Followall instructions.
5. Donot usethis apparatusnear water.
6. Cleanonly witha dry cloth.
7. Donot blockany ventilationopenings. Installin accordancewith the
manufacturer’sinstructions.
8. Donot installnear anyheat sourcessuch asradiators, heatregisters,
stoves,or otherapparatus (includingamplifiers) thatproduce heat.
9. Donot defeatthe safetypurpose ofthe polarizedor grounding-type
plug.A polarizedplug hastwo bladeswith onewider thanthe other.
Agrounding-type plughas twoblades anda thirdgrounding prong.
Thewide bladeor thethird prongare providedfor yoursafety. Ifthe
providedplug doesnot fitinto youroutlet, consultan electricianfor
replacementof theobsolete outlet.
10. Donot overloadwall outletsand extensioncords asthis canresult ina
riskof fireor electricshock.
11. Protectthe powercord frombeing walkedon orpinched particularly at
plugs,convenience receptacles,and thepoint wherethey exitfrom the
apparatus.
12. Onlyuse attachments/accessoriesspecified bythe manufacturer.
13. Useonly witha cart,
stand,tripod, bracket,
ortable specifiedby the
manufacturer, orsold
withthe apparatus.
Whena cart isused,
usecaution whenmov-
ingthe cart/apparatus
combinationto avoid
injury fromtip-over.
14. Unplugthis apparatusduring lightningstormsor whenunused forlong
periodsof time.
15. Referall servicing toqualified service personnel.Servicing isrequired
whenthe apparatushas beendamaged inany way,such aspower-
supplycord orplug isdamaged, liquidhas beenspilled orobjects have
falleninto theapparatus, theapparatus hasbeen exposedto rainor
moisture,does notoperate normally, orhas beendropped.
16. Thisapparatus shallnot beexposed todripping orsplashing, andno
objectfilled withliquids, suchas vasesor beerglasses, shallbe placed
onthe apparatus.
17. Thisapparatus hasbeen designedwith Class-Iconstructionand must
beconnected toa mainssocket outletwith aprotective earthing con-
nection(the thirdgrounding prong).
18. Thisapparatus hasbeen equippedwith anall-pole, rocker-styleAC
mainspower switch.This switchis locatedon therear paneland
shouldremain readilyaccessible tothe user.
19. TheMAINS plugor anappliance coupleris usedas thedisconnect
device,so thedisconnect deviceshall remainreadily operable.
20.NOTE:This equipmenthas beentested andfound tocomply with
thelimits fora ClassB digitaldevice, pursuantto part 15of theFCC
Rules.These limitsare designedto providereasonable protection
againstharmfulinterferencein aresidential installation.This equip-
mentgenerates, uses,and canradiate radiofrequency energyand, if
notinstalled andused inaccordance withthe instructions, maycause
harmful interferenceto radiocommunications. However, thereis no
guaranteethat interference willnot occurin aparticular installation.If
thisequipment doescause harmful interferenceto radioor television
reception,which canbe determined byturning theequipment offand
on,the useris encouragedto try tocorrectthe interference byone or
moreof thefollowing measures:
• Reorientor relocatethe receivingantenna.
• Increasethe separationbetween theequipment andthe
receiver.
• Connectthe equipmentinto anoutlet ona circuitdifferent from
thatto whichthe receiveris connected.
• Consultthe dealeror anexperienced radio/TVtechnician for
help.
CAUTION:Changes ormodifications tothis devicenot expressly
approvedby LOUDTechnologiesInc. couldvoid theuser's authorityto
operatethe equipmentunder FCCrules.
21. Thisapparatus doesnot exceedthe ClassA/Class B(whichever is
applicable) limits forradio noiseemissions fromdigital apparatusas
setout inthe radiointerferenceregulations ofthe CanadianDepartment
ofCommunications.
ATTENTION —Le présentappareil numériquen’émet pasde bruits
radioélectriquesdépassant laslimites applicablesaux appareilsnumériques de
classA/de classB (selonle cas)prescrites dansle réglementsur lebrouillage
radioélectriqueédicté parles ministeredes communicationsdu Canada.
22. Exposureto extremelyhigh noiselevels maycause permanent hearing
loss.Individuals vary considerablyin susceptibilityto noise-induced
hearingloss, butnearly everyone willlose somehearing ifexposed to
sufficientlyintense noisefor aperiod oftime. TheU.S. Government’s
OccupationalSafety andHealth Administration(OSHA) hasspecified
thepermissiblenoise levelexposures shownin thefollowing chart.
Accordingto OSHA,any exposurein excessof thesepermissiblelimits
couldresult insome hearingloss. To ensureagainst potentiallydanger-
ousexposure tohigh soundpressure levels,it isrecommended thatall
personsexposed toequipment capableof producinghigh soundpres-
surelevels usehearing protectorswhile theequipment isin operation.
Earplugs orprotectors inthe earcanals orover theears mustbe worn
whenoperating theequipment inorder toprevent permanent hearing
lossif exposureis inexcess ofthe limitsset forth here.
Important Safety Instructions
PORTABLE CART WARNING
Carts and stands - The
Component should be used
only with a cart or stand
that is recommended by
the manufacturer.
A Component and cart
combination should be
moved with care. Quick
stops, excessive force, and
uneven surfaces may cause
the Component and cart
combination to overturn.
WARNING —Toreduce the risk of fire or electricshock,do not
exposethisapparatus to rain or moisture.
Duration,
perdayin
hours
SoundLevel
dBA,Slow
Response
Typical Example
8 90 Duoin small club
692
4 95 SubwayTrain
397
2 100 Very loud classicalmusic
1.5 102
1 105 Davescreaming at Steveabout
deadlines
0.5 110
0.25or less 115 Loudestpartsat a rockconcert
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 NOTREMOVE COVER (OR BACK)
NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL
ATTENTION: POUR EVITER LES RISQUES DE CHOC ELECTRIQUE, NE PAS ENLEVER LE COUVERCLE.
AUCUN ENTRETIEN DE PIECES INTERIEURES PAR L'USAGER.
CONFIER L'ENTRETIEN AU PERSONNEL QUALIFIE.
AVIS: POUR EVITER LES RISQUES D'INCENDIE OU D'ELECTROCUTION, N'EXPOSEZ PAS CET ARTICLE
A LA PLUIE OU A L'HUMIDITE
The lightning flash with arrowhead symbol within an equilateral triangle is
intended to alert the user to the presence of uninsulated "dangerous
voltage" within the product's enclosure, that may be of sufficient magnitude
to constitute a risk of electric shock to persons.
Le symbole éclair avec point de flèche à l'intérieur d'un triangle équilatéral
est utilisé pour alerter l'utilisateur de la présence à l'intérieur du coffret de
"voltage dangereux" non isolé d'ampleur suffisante pour constituer un risque
d'éléctrocution.
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 à l'intérieur d'un triangle équilatéral est employé
pour alerter les utilisateurs de la présence d'instructions importantes pour le
fonctionnement et l'entretien (service) dans le livret d'instruction
accompagnant l'appareil.

3
Owner’s Manual
Owner’s Manual
Part No. SW0685 Rev. A
©2008 LOUD Technologies Inc. All Rights Reserved.
Episode 3: The Mackie marketing department landing party arrives on
Aldebaran 3 to investigate a distress signal, with hilarious results.
Ready, steady, go!
1. Turn the channel level, mon 1, and FX/mon 2
controls fully down.
2. Turn down the compressor controls (ch. 1–4).
3. Set all the EQ controls to the center, including
the graphic EQ sliders.
4. Turn down the main level and monitor 1 level
controls.
5. For each channel, press the gain switch in (low
gain) if you are using a line-level source. Press
it out (high gain) if you are using a microphone
or other low-level source.
6. For condenser mics, push in the phantom
power switch. If you are using both condenser
and dynamic mics, don’t worry. Phantom power
will not hurt most dynamic mics. Check the
microphone’s user manual if you’re not sure.
7. Play something into an input at real-world lev-
els, and turn up the channel level to U (unity).
8. In normal playing, the channel's OL LED should
only light occasionally. If it stays on for a large
portion of your performance, check that the
gain switch is set correctly.
9. Slowly turn up the main level control until you
hear the signal in your speakers.
10. Repeat steps 5 to 8 for the remaining channels.
11. If needed, apply some EQ wisely.
12. Adjust the levels to get the best mix. Keep the
level controls fully down on unused channels.
Other Notes
• Only connect the powered mixer's speaker-level
outputs to passive loudspeakers.
• When shutting down, turn off any external
amplifiers or powered loudspeakers first. When
powering up, turn on any external amplifiers or
powered loudspeakers last.
• Save the shipping box!
Read This Page!
We realize that you must be keen to try
out your new powered mixer, but please
read the safety instructions on page 2,
and this page first.
Setup
The PPM1008 powered mixer is designed to be easy to
operate, and to be set up quickly.
Place the powered mixer in a position where it is easy
to reach the controls. All the controls and input con-
nection points are located on the front panel so you can
make quick adjustments and connections on stage.
Make sure there is at least 6 inches of airspace behind
the powered mixer for ventilation. There are two fans
inside the cabinet to cool the power amplifier section.
Use the powered mixers in a nice clean and dry environ-
ment, free from dryer lint and dust bunnies.
Connections
1. Be sure the rear-panel power switch is off
before making any connections.
2. Push the linecord securely into the IEC connec-
tor on the rear panel, and plug it into a 3-prong
AC outlet that is properly configured for the
voltage of your powered mixer.
3. Plug a balanced microphone into one of the mic
XLR (3-pin) connectors on the front panel. Or
you can connect any line-level signal (key-
board, or guitar preamp) to a line-level input
using a TS or a TRS 1/4" plug.
4. You can connect a guitar directly to inputs 5 or
6 without need for a DI box, if you press the hi-z
switch on these channels.
5. The insert jacks can be used to connect an
external effects or dynamics processor into the
signal chain. See page 13 for more details.
6. Plug the speakers (4 ohms or greater) into the
speaker output jacks on the rear panel. If you
plug two speakers in one side, each speaker
must be 8 ohms or greater to maintain a 4-ohm
minimum load on the amplifier. Use at least
18 gauge speaker cable with 1/4" TS plugs or
Speakon®plugs. For now, set the rear panel
power amp mode switch to stereo mains.
Don’t use guitar cords for speaker cables!
They’re not designed to handle speaker-level
signals and could overheat.
Please write your serial number here for future
reference (i.e., insurance claims, tech support,
return authorization, make dad proud, etc.)
Purchased at:
Date of purchase:

4
PPM1008
PPM1008
Introduction
It is possible that only one person will read this
manual all the way through. Hello mom. Here's another
manual from your boy.
Thank you for choosing a Mackie professional pow-
ered mixer. These powerful mixers are designed to meet
the needs of almost any small to medium-sized club,
meeting room, sanctuary, or outdoor gathering.
At Mackie, we know what it takes to be roadworthy.
After all, our mixers have traveled all over the world
under the worst of conditions and the best of conditions,
and we’ve applied what we’ve learned to the mechanical
design of our powered mixers.
Reliability is paramount to sound reinforcement.
That’s why our engineers have subjected our powered
mixers to the most rigorous and fiendish tests imagin-
able to fine-tune the design and extend its limits beyond
those of ordinary mixers or amplifiers.
Features
• Two internal power amplifiers each rated at
800 watts peak at 4 ohms
• Three selectable amplifier modes (stereo main,
mono-main/monitor 1, or mon 1/mon 2)
• 8 channels (6 mono, 2 stereo)
• Mic inputs on all channels
• Line-level inputs (6 mono, 2 stereo)
• RCA inputs on stereo channels
• Insert jacks on mono channels
• Channels 5 and 6 allow direct connection of
guitars and basses without a DI box
• 3-band EQ with sweepable mid-range frequency
on mono channels
• 4-band EQ on stereo channels
• Monitor 1 send
• Main mix stereo line outputs
• Main mix mono sub out
• Amplifier line-level inputs allow the connection
of external mixers if more channels are needed
• Footswitch connection for FX mute/unmute
• FX/monitor 2 send (selectable pre/post)
• +48v Phantom power can be applied to all mics
• Built-in compressors on the first 4 mono inputs
(dedicated in-line compression)
• 24 built-in Running Man 32-bit effects with
input gain, tap delay, and footswitch mute/un-
mute
• Independent 9-band graphic EQs with constant-
Q filters on main and monitor outputs
• Tape/CD stereo RCA outputs
• 12-segment stereo output meters on main mix,
and mono meter on monitor 1
• Break switch mutes all mono channels
• Speakon and 1/4" power amp outputs
• Precision passive switch for enhanced clar-
ity and LF response with key Mackie passive
speakers
• Polycarbonate sides with built-in metal handles
• Modern and splendidly-stylish powered rabbit
hutch design
How To Use This Manual
The first pages after the table of contents are the
hookup diagrams. These show typical setups for fun
times with your powered mixer.
Next is a detailed tour of the entire mixer. The de-
scriptions are divided into sections, just as your mixer is
organized into distinct zones:
• Rear panel: The AC input, power switch, speak-
er-level outputs and amplifier mode switch
• Patchbay: The lower front section, where you
connect microphones and guitars etc.
• Channel Strips: The channel strips where you
adjust and control each channel
• Master Section: The section on the right, with
graphic EQs and main level controls
• Stereo Effects Processor
Throughout these sections you’ll find illustrations
with each feature numbered and described in nearby
paragraphs.
This iconmarks information thatiscritically
important orunique to themixer. For yourown
good,read themandremember them.
This icon will lead you to some explanations of
features and practical tips. Go ahead and skip
these if you need to leave the room in a hurry.
Appendix A: Service information.
Appendix B: Connectors.
Appendix C: Technical information.
Appendix D: Table of Effects Presets
The thickness of the manual makes it ideal for fitting
under wobbly table legs. Mackie's technical writers also
wear them on their heads, as they make an excellent
shield from Venusian mind-probes.

5
Owner’s Manual
Owner’s Manual
Need help with your new mixer?
• Visit www.mackie.com and click
Support to find: FAQs, manuals,
addendums, and user forums.
• Email us at: t[email protected].
• Telephone [phone] to speak
with one of our splendid technical
support chaps, (Monday through
Friday, from 7 a.m. to 5 p.m. PST).
Contents
IMPORTANT SAFETY INSTRUCTIONS........................2
READ THIS PAGE!....................................................3
INTRODUCTION...................................................... 4
HOOKUP DIAGRAMS............................................... 6
REAR PANEL FEATURES ......................................... 10
1. POWER CONNECTION............................. 10
2. POWER SWITCH..................................... 10
3. SPEAKER-LEVEL OUTPUTS....................... 10
4. POWER AMP MODE SWITCH .................. 11
5. VENTILATION AND REAR PANEL.............. 11
6. HANDLES............................................... 11
FRONT PANEL FEATURES....................................... 12
PATCHBAY
7. MIC INPUTS........................................... 12
8. MONO LINE INPUTS (CH. 1 TO 4)............ 13
9. LINE/INSTRUMENT INPUTS (CH. 5, 6).....13
10. STEREO LINE INPUTS (CH. 7 AND 8)........ 13
11. RCA INPUTS (CH. 7 AND 8) ....................13
12. INSERT (CH. 1 TO 6)............................... 13
13. TAPE OUTPUTS ...................................... 13
14. BREAK SWITCH AND LED ....................... 13
15. FX/MON 2 SEND OUTPUT ..................... 14
16. FX FOOTSWITCH.................................... 15
17. MON 1 SEND ........................................ 15
18. MAIN SUB ............................................. 15
19. MAIN OUTPUTS .................................... 15
20. POWER AMP INPUTS ............................ 15
CHANNEL CONTROLS
21. MON 1.................................................. 17
22. FX/MON 2............................................ 17
23. HIGH EQ................................................ 17
24. MID EQ LEVEL (CH. 1 TO 6).....................17
25. MID EQ FREQUENCY (CH. 1 TO 6)...........17
26. HIGH MID EQ LEVEL (CH. 7 AND 8).........17
27. LOW MID EQ LEVEL (CH. 7 AND 8).......... 17
28. ICE CREAM DISPENSER........................... 17
29. LOW EQ................................................. 18
30. OVERLOAD (OL) LED............................... 18
31. CHANNEL LEVEL..................................... 18
32. GAIN SWITCH........................................ 18
33. COMPRESSOR........................................ 19
34. HI-Z SWITCH ......................................... 19
35. POWER LED........................................... 20
MASTER CONTROLS
36. MAIN MASTER GRAPHIC EQ................... 20
37. FX TO MAIN........................................... 20
38. MAIN LEVEL........................................... 20
39. 100 HZ RUMBLE REDUCTION SWITCH..... 21
40. MAIN MIX METERS................................ 21
41. MONITOR 1 MASTER GRAPHIC EQ.......... 21
42. FX TO MON 1........................................ 21
43. MONITOR 1 LEVEL................................. 21
44. 100 HZ RUMBLE REDUCTION SWITCH..... 21
45. MONITOR 1 METER................................21
46. PHANTOM SWITCH................................ 22
47. PRECISION PASSIVE EQ ..........................22
48. POWER AMP LIMITER LEDS..................... 22
STEREO EFFECTS PROCESSOR
49. FX/MON 2 SEND MASTER...................... 22
50. SIG/OL LED ........................................... 22
51. FX SEND (POST)/MON 2 SEND (PRE)...... 23
52. PRESET DISPLAY .................................... 23
53. PRESET SELECTOR, TAP DELAY AND LED... 23
54. INTERNAL FX MUTE................................ 23
APPENDIX A: SERVICE INFORMATION.................... 24
APPENDIX B: CONNECTIONS..................................25
APPENDIX C: TECHNICAL INFORMATION................27
APPENDIX D: TABLE OF EFFECTS PRESETS............... 30
PPM1008 LIMITED WARRANTY............................. 31

6
PPM1008
PPM1008
Hookup Diagrams
Club System
This diagram shows microphones attached to channels 1 and 2, electric guitars connected directly to
channels 5 and 6 (with hi-z switch pressed in), and a keyboard attached to channel 7's stereo inputs. A
portable recorder is attached to the stereo tape outputs to record the performance.
Mackie SRM450v2 powered monitors are connected to the monitor 1 send, and play as stage moni-
tors. The mon 1 controls of each channel allow you to set up a stage monitor mix that is independent of
the main mix.
Mackie S225 passive speakers are connected to the speaker-level power output of the powered mixer,
and they play the main stereo mix to your audience. SWA1801z powered subwoofers are connected to
the main mix sub out, to reinforce the low end in your system.
SWA1801z Powered Subwoofers
(plays main mix below 100 Hz)
Microphones
press HI-Z
button
Keyboards
S225 Passive Speakers
(plays stereo main mix)
SRM450 v2 Powered Stage Monitors
(plays mon 1 output)
Portable Recorder
Rear Panel
Front Panel Power Amp Mode
switch set to
Stereo Mains
Adjust
Vocal
Compression
press HI-Z
button

7
Owner’s Manual
Owner’s Manual
House of Worship System
This diagram shows microphones attached to the mic inputs of channels 1 to 4, an electric guitar con-
nected directly to channel 5 (with hi-z switch pressed in), an acoustic guitar mic connected to channel 6
mic in, a keyboard attached to channel 7's stereo inputs, and a drum machine to channel 8.
A Mackie SRM150 powered monitor is connected to the monitor 1 send, and acts as a personal stage
monitor to the keyboard player. The mon 1 knobs of each channel allow you to set up a monitor mix that
is independent of the main mix.
The power amp mode switch is set to play the mono main mix on ch. A, and monitor 1 mix on ch. B.
Mackie S215 passive speakers are connected to the channel A speaker-level power output of the pow-
ered mixer, and they play the main mono mix to your audience.
S218s subwoofers are powered by a Mackie FRS2800 amplifier connected to the main mix sub out, to
reinforce the low end in your main mix.
C300z passive stage monitors are connected to the channel B speaker-level power output of the pow-
ered mixer. These play the stage monitor mix 1 to your performers.
Microphones
press HI-Z
button
Keyboards
Drum
Machine
S215 Passive Speakers
House System
(plays mono main mix)
C300z Passive Stage Monitors
(plays mon 1 output)
FRS2800
Amplifier
dual-mono
mode
Rear Panel
Front Panel Power Amp Mode
switch set to
Mains/Mon 1
Adjust
Vocal
Compression
SRM150 Powered Monitor
(plays mon 1 output) S218s Passive Subwoofers
(plays main mix below 100 Hz)
Acoustic Guitar
and Mic

8
PPM1008
PPM1008
DJ System
This diagram shows a wireless microphone receiver connected to the channel 1 line input, a graphic
EQ connected to channel 1's insert jack (to help control feedback in the wireless mic), a microphone con-
nected to channel 2, and an iPod docking station attached to channel 8's RCA inputs.
A Mackie d.2 Pro DJ production console is connected to two turntables, and its RCA output connects to
the powered mixer's channel 7 stereo RCA inputs. Use the d.2 Pro's advanced DJ controls to get the best
performance from your records. Use the powered mixer to play the d.2 Pro output, and control the mics
and iPod.
The power amp mode switch is set to play the stereo main mix in the Mackie S225 passive speakers,
connected to the speaker-level power outputs.
Mackie SA1521z powered speakers and SWA2801z powered subwoofers are connected to the line-
level main mix outputs, and also play the stereo main mix to your audience.
Microphones
Wireless
Microphone
Rear Panel
Front Panel Power Amp Mode
switch set to
Stereo Mains
S225 Passive Speakers
(plays stereo main mix)
LINE
MIC
RR
PGM 2
MAIN OUT MIC
LLLLLR
PHONO CD
SEND R
BOOTH FX
GND
LINE
PHONO
RETURN
L(MONO) RR
L
R
LIVE
RECORD
~100-240 VAC 50-60Hz 20W
PGM 1
LINE
PHONO GND
PHONO CD
RR
LL
Wireless Mic
Receiver
Graphic EQ
Turntables with phono-level output
Mackie d.2 Pro
DJ Production Console
iPodTM Docking Station
SWA2801z
Powered Subwoofer
(left main mix)
SWA2801z
Powered Subwoofer
(right main mix)
SA1521z
Powered
Speaker
SA1521z
Powered
Speaker

9
Owner’s Manual
Owner’s Manual
Large Band System
This diagram shows microphones attached to the mic inputs of channels 1 to 4, electric guitars con-
nected directly to ch. 5 and 6 (with hi-z switches pressed in), a guitar processor connected to ch.6 insert,
a keyboard attached to channel 7's stereo inputs, and an electronic drum kit attached to channel 8. Add
vocal compression as required, by tweaking the compression knobs on channels 1 to 4.
The power amp mode switch is set to play the monitor 1 mix on channel A, and monitor 2 mix on
channel B. Note: Press in the front panel FX send/mon 2 send switch, or monitor 2 will not play.
Mackie SA1532z powered speakers and SWA2801z powered subwoofers are connected to the line-
level main mix outputs, and play the stereo main mix to your audience.
C200z passive stage monitors are connected to the channel B speaker-level power output of the pow-
ered mixer. These play the stage monitor mix 2 to your performers. C300z passive stage monitors are
connected to the channel A speaker-level power output, and play stage monitor mix 1.
Microphones
press HI-Z
buttons
Guitar Processor
(connected to INSERT)
Send
Return
Keyboards
C300z Passive Stage Monitors
(plays mon 1 output)
SA1532z
Powered
Speaker
SA1532z
Powered
Speaker
C200z Passive Stage Monitors
(plays mon 2 output)
Rear Panel
Front Panel Power Amp Mode
switch set to
Mon 1/Mon 2
Adjust
Vocal
Compression
Electronic Drum Kit SWA2801z
Powered Subwoofer
(plays left main mix)
SWA2801z
Powered Subwoofer
(plays right main mix)

10
PPM1008
PPM1008
OUTPUT POWER: @ 4 OHMS, 800 WATTS PEAK PER CH
MINIMUM LOAD: 4 OHMS PER CHANNEL
2 X 800W PROFESSIONAL POWERED MIXER
Rear Panel Features
1. POWER CONNECTION
This jack accepts the supplied 3-prong IEC AC power
cord.
Before you plug the AC power cord into the
powered mixer, make sure that the voltage of
your unit is the same voltage as your local AC
mains supply. Use only the power cord supplied. Also,
disconnecting the plug’s ground pin is dangerous. Please
don’t do it.
2. POWER SWITCH
Press the top of this rocker switch inwards to turn on
the mixer. The front panel power LED [35] will glow
with happiness, or at least it will if you have the mixer
plugged into a suitable live AC mains supply.
Press the bottom of this switch to turn off the mixer,
whenever you feel that this would be a safe thing to do.
Half-way through a heavy metal guitar solo might not be
such a good time, unless you can run fast.
As a general guide, you should turn on your
mixer first, before any external power ampli-
fiers or powered speakers, and turn it off last.
This will reduce the possibilities of any turn-
on, or turn-off thumps in your speakers.
3. SPEAKER-LEVEL OUTPUTS
These output connections provide speaker-level
output power from the internal power amplifiers to your
passive speakers. The power output of the PPM1008 is
500 watts rms per channel into 4 ohms.
Only passive loudspeakers should be con-
nected to these speaker-level outputs.
The outputs can be selected with the amp mode
switch [4] to be either the stereo main mix, mono main
mix/monitor 1, or monitor 1/monitor 2.
Two common types of connector are provided for your
convenience: Speakons and 1/4" TS.
• Speakon outputs are wired Pin 1+ positive
(hot) and Pin 1– negative (cold).
Mono Speakon Connection
24
3 66
5
COLD
HOT 1+
1+
1–
1–
2–
2+
1

11
Owner’s Manual
Owner’s Manual
• 1/4" TS outputs are wired Tip positive, and
Sleeve negative.
1/4" TS Connection
These two types of outputs are wired in parallel, and
it is possible to use both types at once.
The minimum impedance that the powered
mixers can handle is 4 ohms per channel, and
we recommend that you do not go below this.
If you are using both outputs per channel, make sure
each loudspeaker is 8 ohms impedance or greater.
4. POWER AMP MODE SWITCH
This three-position switch lets
you choose which signal paths
from the mixer section are sent
to the internal power amplifiers.
This allows considerable flex-
ibility in the use of the powered mixer. For example, if
you already have powered main loudspeakers, you could
use the PPM1008 power amplifiers to run passive stage
monitors.
Stereo Mains
The output from channel A is the left side of the main
mix, and the output from channel B is the right side of
the main mix. Choose this position to play a straight
stereo show.
Mains/Monitor 1
Channel A is the mono main mix, and channel B is the
monitor 1 mix. In this setup, you could run a mono PA
system on one channel, and a passive stage monitor
system on the other.
Monitor 1/Monitor 2
Channel A is the monitor 1 mix, and channel B is the
monitor 2 mix. In this setup, the internal power am-
plifiers are powering two independent passive stage
monitor systems.
Make sure that the front panel FX send/mon
2 send switch [51] is pressed in (mon 2) , or
there will be no monitor 2 signal to the inter-
nal power amplifier channel B.
If anything is plugged into the front panel
power amp inputs [20], then this switch has
no effect. The internal power amplifier will
play whatever signals are coming into the
power amp inputs.
5. VENTILATION and REAR PANEL
Ventilation holes in the rear panel and the bottom
panel allow the internal fans to flow breezy and minty-
fresh cooling air over the internal power amplifiers. Do
not obstruct these holes, or the amplifiers may overheat
and shut down.
Do not remove the feet, as these keep the
powered mixer off the ground for ventilation.
Do not place the powered mixer on a carpeted
or similar soft and fuzzy surface that may obstruct the
ventilation holes in the bottom panel.
6. HANDLES
These metal handles are delightfully modern in
styling and good looks, and truly represent the perfect
accessory to accent your busy work schedule. Use the
handles to carefully lift and move the powered mixer.
Better yet, have someone else lift it for you. They will
be remarkably pleased with its light weight, and high
power, ideal for all sorts of road trips.
SLEEVE
TIP
TIP
SLEEVE
TIP
SLEEVE

12
PPM1008
PPM1008
Front Panel Features
7. MIC INPUTS
We use phantom-powered, balanced microphone
inputs just like the big studio mega-consoles, for exactly
the same reason: This kind of circuit is excellent at
rejecting hum and noise. You can plug in almost any
kind of mic that has a standard XLR-type male mic con-
nector.
Professional ribbon, dynamic, and condenser mics all
sound excellent through these inputs. The mic inputs
will handle any kind of mic level you can toss at them,
without overloading.
Microphone-level signals are passed through the
mixer's splendid microphone preamplifiers to become
line-level signals. Because more gain is required to
boost the microphone level signals, make sure the gain
switch [32] is in the up position when you are using
microphones.
Channels 1 to 4 have the extra benefit of built-in sig-
nal in-line compressors [33]. These can be adjusted to
add just the right amount of compression to your vocals
and help prevent distortion and the effects of tonsillitis.
Patchbay section
This is where you plug in things such as: microphones,
line-level instruments, guitars, and effects, a recorder,
PA system, powered monitors, powered subwoofer etc.
(The speaker-level outputs from the internal power
amplifiers are on the rear panel.) Check out the hookup
diagrams for some connection ideas. See Appendix B
(page 25) for further details and some rather lovely
drawings of the connectors you can use with your mixer.
FOOT SWITCH
FX
/
2 X 800W PROFESSIONAL POWERED MIXER
7
8 9 10
11
12
13
14

13
Owner’s Manual
Owner’s Manual
12. INSERT (CH. 1 to 6)
These unbalanced 1/4" jacks on channels 1 to 6 are for
connecting serial effects processors such as compres-
sors, equalizers, de-essers, or filters. The insert point
is after the gain switch [32] and compressor circuits
(on channels 1 – 4), but before the channel’s EQ and
level [31] controls. The channel signal can go out of
the insert jack to an external device, be processed (or
whatever) and come back in on the same insert jack.
To do this requires a special insert cable that must be
wired thusly:
Tip = send (output to effects device)
Ring = return (input from effects device)
Sleeve = common ground
Insert jacks can be used as channel direct outputs;
post-gain, and pre-EQ. See the connector section on
page 26 (figure G) showing three ways to use insert con-
nections.
13. TAPE OUTPUTS
These stereo unbalanced RCA outputs allow you
to record the main stereo mix onto a tape deck, hard
disk recorder, automatic CD burner, or a computer, for
example. This allows you to make a recording for poster-
ity/archive/legal purposes whenever the band gets back
together again.
The tape output is the stereo main mix, not affected
by the main level [38], or the main graphic EQ [36].
14. BREAK SWITCH and LED
This important "take-a-break" switch quickly mutes
all the microphones and the mono channel line-level
inputs when the band is between sets. This will prevent
protestors or rogue karaoke singers from storming the
stage at the interval. The monitor 1 and FX/monitor 2
outputs, and the drive signal to the internal effects are
also muted. The LED will come on, as a reminder that
the break switch is engaged. Check this LED first, if you
are having trouble with no sound in your system.
You can still play the stereo channel line inputs
[10] and RCA inputs [11] in the main stereo mix. For
example, you could play a soothing CD to restore order
before the police arrive.
PHANTOM POWER
Most modern professional condenser mics are
equipped for phantom power, which lets the mixer
send low-current DC voltage to the mic’s electronics
through the same wires that carry audio. (Semi-pro
condenser mics often have batteries to accomplish the
same thing.) “Phantom” owes its name to an ability to
be “unseen” by dynamic mics (Shure SM57/SM58, for
instance), which don’t need external power and aren’t
affected by it anyway.
The mixer's phantom power is globally controlled
by the phantom [46] switch on the front panel. (The
phantom power for all channels is turned on and off
together.)
Never plug single-ended (unbalanced) micro-
phones, or ribbon mics into the mic input
jacks if phantom power is on.
Do not plug instrument outputs into the mic
XLR input jacks with phantom power on,
unless you know for certain it is safe to do so.
8. MONO LINE INPUTS (CH. 1 to 4)
These 1/4" jacks share circuitry (but not phantom
power) with the mic preamps, and can be driven by bal-
anced or unbalanced sources.
To connect balanced lines to these inputs, use a 1⁄4"
Tip-Ring-Sleeve (TRS) plug.
To connect unbalanced lines to these inputs, use a
1⁄4" mono (TS) phone plug or instrument cable.
9. LINE/INSTRUMENT INPUTS (CH. 5 and 6)
The line-level inputs for channels 5 and 6 can also
accept instrument-level signals if the hi-z switches
[34] are pressed in. This allows you to connect guitars
directly to channels 5 and 6, without the need for a DI
box. The input impedance is optimized for direct con-
nection, and high-frequency fidelity is assured.
10. STEREO LINE INPUTS (CH. 7 and 8)
Channel 7 and 8 have stereo line inputs. If you
just have a mono source, plug it into the left input of
channel 7 or 8 (labeled left/mono), and the signal will
appear (as if by magic) equally on the left and right of
the main mix.
11. RCA INPUTS (CH. 7 and 8)
Channel 7 and 8 also have RCA line inputs, suitable
for connecting the line-level, unbalanced output from
CD players, tape decks, iPod docks etc. They are not
suitable for direct connection of phono-level outputs
from turntables, as a phono preamp is required.
“tip”
This plug connects to one of the
mixer’s Channel Insert jacks. “ring”
tip ring sleeve
SEND to processor
RETURN from processor
(TRS plug)

14
PPM1008
PPM1008
15. FX/MON 2 SEND OUTPUT
This 1/4" TRS line-level output can be used to feed an
external effects processor (FX) or another set of stage
monitors (mon 2). The output here is a copy of what
goes into the internal FX processor, being the careful
mix of all channels whose FX/mon 2 control [22] is
turned more than minimum.
The processed output of the internal FX does
not come out of here, but is added internally
to the main mix or monitor 1 mix.
The overall output level can be adjusted with the
FX/mon 2 send control [49], and it can be either post
or pre channel level, depending on the setting of the FX
send /mon 2 send switch [51] as follows:
MONITOR 2 SEND or FX SEND?
To run one set of stage monitors, use the monitor 1
system because it has its own graphic EQ [41], master
level [43], and meter [45]. To run another set of moni-
tors, set the FX send/mon 2 send switch to mon 2.
Stage monitors allow the talented musicians in your
band to hear themselves clearly on stage, and this can
often be a good thing. The monitor output can be care-
fully adjusted in level using the channel FX/mon 2 con-
trols [22], and not change if the channel levels or main
mix levels are adjusted. This is known as "pre-fader."
If they want "more me, and less Keith," you can turn
up their channel's FX/mon 2 control, and turn down
Keith's. (If you were using monitor 1 to feed the stage
monitor, then you would adjust the mon 1 control [21]
on each channel.)
To feed an external effects processor, such as a nice
sound effect, or delay, the feed should be "post-fader."
In this way, any changes to the channel level will also
affect the level going to the external processor. The
processed output from the effects processor is usu-
ally returned to a spare channel, and you can carefully
mix the original unprocessed channel (dry) and the
processed channel (wet). Altering the original channel
level increases both the wet and dry signals and keeps
them at the same delicate ratio. (For example, the re-
verb remains at the same level relative to the original).
SRM450v2
Powered Stage Monitor
From mon 1 or mon 2
line-level output
To channel 5 or 6
instrument inputs
FOOT SWITCH
FX
/
Stereo effects processor
Using the output to feed a stereo effects processor. In this
example, the stereo outputs go to ch. 7 stereo inputs.
Switch out
FX Send (Post)
POST
SRM450v2 Powered Stage Monitors
(plays mon 2 output)
Using the output to feed a pair of powered stage monitors.
Switch in
Mon 2 Send (Pre)
PRE
15 17 19
16 18 20

15
Owner’s Manual
Owner’s Manual
EFFECTS: SERIAL OR PARALLEL?
“Serial” means that the entire channel signal
leaves the mixer (insert [12] send), is routed
through the effects device, and returns to the
mixer (insert return). Examples: compressor,
limiter, graphic equalizer. Line-level sources can also be
patched through a serial effects device before connec-
tion to the mixer.
“Parallel” means that a portion of the signal in the
mixer is tapped off to the device, processed, and re-
turned to a spare channel of the mixer to be mixed with
the original “dry” signal. This way, multiple channels
can all make use of the same effects device. Examples:
reverb, digital delay. The internal effects are parallel,
as all channels can make use of it, and the processed
output is added to the main mix.
16. FX FOOTSWITCH
This 1/4" TRS connector is where you can connect a
footswitch. This will allow you to easily mute or un-mute
the internal effects, while stamping your foot and look-
ing like you were mad about something. Any one-button
on/off footswitch will work.
If the internal effects have already been muted with
the front panel mute switch [54] then the footswitch
has no effect, but you can still stamp your foot and pout
if that helps any. Cultivate that bad-boy image.
17. MON 1 SEND
This 1/4" TRS connector allows you to send the moni-
tor 1 line-level output to stage monitors. These could
either be passive stage monitors powered by an external
amplifier, or powered stage monitors with their own
amplifier built in.
The monitor signal is the sum (mix) of all the chan-
nels whose mon 1 control [21] is set to more than
minimum. The overall output level can be adjusted with
the mon 1 master level [43] and its EQ tweaked with
the monitor graphic EQ [41].
The monitor 1 output is not affected by the main
master level [38], or the channel level controls [31].
This allows you to set up the monitor mix and level just
right, and not have it change every time a channel level
or the main mix level is adjusted. This is the main aim
of a monitor mix: independence from the main mix.
18. MAIN SUB
This 1/4" TRS connector supplies a copy of the mono
main mix below 100 Hz. This is usually patched to the
inputs of an external power amplifier running a passive
subwoofer, or directly to a powered subwoofer. Whatever
adjustments you make to the main mix, will affect this
output below 100 Hz.
(The main mix still plays the full frequency range,
this sub output is just a copy of the range below 100 Hz
for external subwoofers.)
19. MAIN OUTPUTS
These 1/4" TRS outputs supply the stereo main mix at
line-level. You can connect these outputs to the line-lev-
el inputs of external power amplifiers running passive
loudspeakers, or to the inputs of powered loudspeakers
(or not use them at all, if you don't have the external
gear).
These outputs play the same signal as the rear-panel
speaker-level outputs [3] (when set to stereo mains),
only at line-level.
These outputs can also be used to feed an external
stereo effects processor or other device, and have the
processed output of that device feed the power amp
inputs [20]. This places the device in-line and it will
affect the main mix.
Another super idea is to use an external
active crossover. This splits the line-level main
output into two or three frequency bands. The
high-frequency output of the crossover could
be connected to the power amp inputs [20], so the
internal amplifiers will power your top-frequency-range
loudspeakers. The active crossover's low-frequency out-
puts could connect directly to powered subwoofers. In
this way, you can take some of the strain off your pow-
ered mixer's internal amplifiers, and have the powered
subwoofers crank out the bass.
20. POWER AMP INPUTS
These unbalanced 1/4" TS inputs allow you to connect
line-level signals directly to the input of the internal
power amplifiers.
The amplifiers will only play what you put in, and only
the precision passive EQ switch [47] and limiters [48]
will affect the output. The power amp mode switch [4]
has no effect, and the meters will not show the levels.
Plugging anything in here, does not affect any of the
line-level outputs.
You could patch a device between the main outputs
[19] and these inputs, in which case, the controls and
meters will work except for the power amp mode switch.
These inputs are also useful when you need more
channels then the PPM1008 provides. You could con-
nect the line-level outputs from another mixer, and use
it to control the mix and levels playing in loudspeakers
attached to the powered mixer.
The external mixer or device will control the
volume, so turn it down at first, or the pow-
ered mixer may come on at full volume.

16
PPM1008
PPM1008
Channel Controls
The eight vertical channel strips look very similar,
with only a few differences between them. Each chan-
nel works independently, and just controls the signals
plugged into the inputs directly below it.
Mono Channels 1 to 6
• Channels 1 to 6 are mono channels, and their
controls affect either the mono mic input or the
mono line-level input.
• Channels 1 to 4 have a built-in signal in-line-
compressor circuit with adjustable threshold.
• Channels 5 and 6 have a hi-z switch [34] so you
can connect guitars directly.
• The mono 3-band EQ has shelving high, low,
and peaking mid EQ with sweepable frequency.
• The mono signals are split equally to the left
and right of the main mix.
Stereo Channels 7 to 8
• Channels 7 and 8 are stereo channels, and their
controls affect either the mono mic input, ste-
reo line-level input, or stereo RCA inputs. (The
mono mic input of each stereo channel is split
equally to left and right).
• The stereo channel 4-band EQ has shelving
high, shelving low, peaking lo-mid, and hi-mid.
“U” like Unity gain
Mackie mixers have a “U” symbol on almost every level
control. It stands for “unity gain,” meaning no change in
signal level. The labels on the controls are measured in
decibels (dB), so you’ll know what you’re doing level-
wise if you choose to change a control setting.
Signal Flow
The block diagram on page 29 shows the signal flow,
but here is a short description of the flow through the
channel strip section:
The mic inputs and mono line inputs each feed a
preamplifier whose gain is set by the gain switch [32].
The stereo channel line inputs and RCA inputs do not go
through a gain-selectable preamp.
The signal then passes through the compressor circuit
(ch. 1 to 4 only), then through the channel EQ, and the
channel level [31].
The mon 1 control [21] taps the signal off just before
(pre) the channel level.
The FX/mon 2 control [22] taps the signal off before
(pre) and after (post) the channel level. The FX send/
mon 2 send switch [51] lets you choose which is used.
Post is used for FX, and pre is for monitor 2.
/
21
22
23
24
25
29
31
32
33 34
30
34
26
27

17
Owner’s Manual
Owner’s Manual
21. MON 1
This control allows you set up a nice monitor mix,
independent of the main mix or the monitor 2 mix.
Adjust these controls on each channel until your band is
happy with the stage monitor mix. The controls are off
when turned fully down, deliver unity gain at the center
detent, and can provide up to 15 dB of gain turned fully
up. Adjustments to the channel level or main mix level
will not affect the monitor output, but channel EQ and
gain [32] will.
One of the powered mixer's internal amplifiers can
power passive stage monitors if you set the power amp
mode switch [4] on the rear panel. Mon 1 send [17] is a
line-level output if you want to connect external power
amplifiers and passive stage monitors, or powered stage
monitors.
22. FX/MON 2
These controls allow you to send a sample of each
channel's signal to the internal FX processor, and to the
FX/mon 2 line-level output [15] to run external proces-
sors, or a second set of stage monitors.
Carefully adjust each control to set up the FX or moni-
tor 2 mix. The controls are off when turned fully down,
deliver unity gain at the center detent, and can provide
up to 15 dB of gain turned fully up.
The dual nature of this knob (FX or mon 2) is deter-
mined by the setting of the FX send /mon 2 send switch
[51]. More FX/mon 2 details are shown on page 14 and
page 23 (item 51).
CHANNEL EQUALIZATION (EQ)
The PPM1008 mono channels have 3-band equaliza-
tion: low shelving, mid peaking with adjustable frequen-
cy, and high shelving. The stereo channels have 4-band
EQ: low shelving, low-mid and high-mid peaking, and
high shelving. It’s probably all the EQ you’ll ever need!
Shelving means that the circuitry boosts or cuts all
frequencies past the specified frequency. For example,
the low EQ boosts bass frequencies below 80 Hz and
continues down to the lowest note you never heard.
Peaking means that certain frequencies form a “hill”
around the center frequency.
With too much EQ, you can really upset
things. We’ve designed a lot of boost and cut
into each equalizer circuit because we know
that everyone will occasionally need that. But
if you max the EQ on every channel, you’ll get mix mush.
Equalize subtly and use the left sides of the knobs
(cut), as well as the right (boost). If you find yourself
repeatedly using full boost or cut, consider altering the
sound source, such as placing a mic differently, trying a
different kind of mic, changing the strings, or gargling.
23. HIGH EQ
The high EQ provides up to 15
dB of boost or cut above 12 kHz,
and it is also flat at the detent.
Use it to add sizzle to cymbals,
an overall sense of transpar-
ency, or an edge to keyboards,
vocals, guitar and bacon frying. Turn it down a little to
reduce sibilance or to mask tape hiss.
24. MID EQ LEVEL (Ch. 1 to 6)
The mid knob sets the
amount of boost or cut, up to
15 dB, and is effectively by-
passed at the center detent.
The frequency at which the cut
or boost occurs is set by the
frequency control [25].
25. MID EQ FREQUENCY (Ch. 1 to 6)
This knob sets the center
frequency of the mid EQ control
[24]. This is sweepable from
100 Hz to 8 kHz.
Once this is set, the mid EQ
level can be adjusted with the
mid EQ level control [24].
Most of the root and lower harmonics that define
a sound are located in the 100 Hz–8 kHz frequency
range, and you can create drastic changes with these
two knobs. Many engineers use mid EQ to cut midrange
frequencies, not boost them. One popular trick is to set
the mid fully up, turn the frequency knob until you find
a point where it sounds just terrible, then back the mid
down into the cut range, causing those terrible frequen-
cies to disappear. Sounds silly, but it works. Sometimes.
26. HIGH MID EQ LEVEL (Ch. 7 and 8)
The high mid EQ provides up to 15 dB of boost or cut
at 2.5 kHz, and it is also flat at the detent. This control
is only available on stereo channels 7 and 8.
27. LOW MID EQ LEVEL (Ch. 7 and 8)
The low mid EQ provides up to 15 dB of boost or cut
at 400 Hz, and it is also flat at the detent. This control is
only available on stereo channels 7 and 8.
28. ICE CREAM DISPENSER
This control is not there. It was going to be, but after
much discussion among the engineers, it was decided
not to add it after all. It would have been good though.
20 Hz 100 Hz 1k Hz 10k Hz 20k Hz
–15
–10
–5
0
+5
+10
+15
20 Hz 100 Hz 1k Hz 10k Hz 20k H
z
–15
–10
–5
0
+5
+10
+15
20 Hz 100 Hz 1k Hz 10k Hz 20k Hz
–15
–10
–5
0
+5
+10
+15

18
PPM1008
PPM1008
32. GAIN SWITCH
Press this in (low) if you are connecting a line-level
input source to channels 1 to 6.
Press this out (high) if you are connecting a micro-
phone-level signal to channels 1 to 8, or a instrument-
level signal to channels 5 and 6 only (hi-z switch in).
Note that the gain switch has no effect on the line-
level inputs and RCA inputs of channels 7 or 8.
This is the first control that the input signals meet. It
allows you to choose the level depending on the type of
input source you have connected. If it is set incorrectly,
then the input signals may overload the mixer, caus-
ing distortion, or it may come in too low, and be lost in
noise.
The gain switch allows you to make the initial level
adjustment, appropriate for the connected device (mic
or line-level, for example). The channel level controls
[31] are more for fine-tuning, to balance the channels
appropriately for the song.
29. LOW EQ
The low EQ provides up to 15
dB of boost or cut below 80 Hz.
The circuit is flat (no boost or
cut) at the center detent posi-
tion. This frequency represents
the punch in bass drums, bass
guitar, fat synth patches, and some really serious male
singers who eat raw beef for breakfast.
30. OVERLOAD (OL) LED
This LED will come on when the channel’s input
signal is too high. This should be avoided, as distortion
will occur.
If the LED is coming on regularly, check that the gain
switch [32] is set correctly for your input device: Set
it to low if you are using a line-level input, or high if
you are using a microphone, or instrument-level input
(channel 5 and 6 only).
31. CHANNEL LEVEL
This adjusts the level of each channel onto the main
mix. The “U” mark indicates unity gain, meaning no
increase or decrease of signal level. All the way up
provides an additional 20 dB, should you need to boost
a section of the band. If you find that the overall level
is too quiet or too loud with the level near unity, you’ll
want to confirm the gain switch is set correctly.
/
20 Hz 100 Hz 1k Hz 10k Hz 20k Hz
–15
–10
–5
0
+5
+10
+15
21
22
23
24
25
29
31
32
33 34
30
26
27
Gain switch
position MIC (XLR) Inputs LINE (TRS) Inputs
IN (LOW) Gain = 25 dB Gain = 0 dB
OUT (HIGH) Gain = 45 dB Gain = 20 dB

19
Owner’s Manual
Owner’s Manual
33. COMPRESSOR
Channels 1 to 4 have an in-line compressor circuit
with a variable threshold. This is very useful for com-
pression of vocals, for example.
When the incoming signals exceed the threshold level
set by this knob, the signal level is automatically com-
pressed. This reduces the dynamic range, and reduces
the chance of distortion due to overloading the input
signals.
Dynamic range is the difference in level be-
tween the quietest part of your song and the
loudest part. Using a compressor, you are able
to squeeze the dynamic range, resulting in
an overall steadier, more constant volume level for the
signal. It helps sources such as vocals "sit" properly in
the mix, and it is very useful for live sound as well.
The compression ratio is fixed at around 6:1, with
a soft knee response. The threshold can be adjusted
clockwise from off (no compression) to 0 dBu (max).
As an example, suppose the threshold is set to maxi-
mum. An incoming signal reaches the threshold of 0
dBu. As it increases beyond the threshold, it becomes
compressed at a ratio of 6:1. This means that even if the
input further increases by 6 dB, the actual output only
increases by 1 dB. This compresses the output signal, so
there is more protection to your system from distortion
and overload due to poor microphone technique (say
it ain't so) and general pops, bangs and heavy metal
screaming. The soft knee means that the compression
slowly ramps up to 6:1 from the threshold. It does not
jump abruptly to 6:1, as this would be hard knee com-
pression, and hard on the ears too.
The following graph shows the input signal
level going into the compressor, versus the
output level coming out of it. It is the typical
graph to see when compressors are discussed,
and is just the kind of thing our engineers like to talk
about during the company Christmas party.
If the compressor is off, then the input = output. For
example an input signal level of +5 dBu results in an
output level of +5 dBu. The diagonal line from lower left
to upper right represents x = y, that is, input = output.
At the maximum compression, the threshold is set at
0 dBu, and the input to output relationship is repre-
sented by the lower blue curve. If the input is –5 dBu
(that is, below the threshold), the output is –5. As the
input reaches 0 dBu, the output is a bit less than 0 dBu.
If the input is +5 dBu, the output is about +2 dBu. If
the input reaches +10 dBu, then the output is +3 dBu.
Notice the shapely curve of the soft knee between the
diagonal slope of x = y and the compressor slope of 6:1
(the compression ratio).
+20
-10
-5
+0
+5
+10
+15
+20-10 -5 +0
SLOPE 6:1
SOFT KNEE
SLOPE 1:1
+5 +10 +15
INPUT SIGNAL STRENGTH dBu
OUTPUT SIGNAL STRENGTH dBu
The other blue curves represent in-between positions
of the compressor knob, with higher thresholds before
compression begins.
Separate compressors often have controls such as
compression ratio, threshold, soft knee/hard knee, at-
tack time, and release time. These last two affect how
quickly the compressor kicks in when the input exceeds
the threshold, and how quickly it is released after it
drops below the threshold. In this powered mixer com-
pressor, these parameters are specially chosen to give
you the best overall performance.
Adjust the threshold carefully, so your dynamic range
is still lovely, without distortion or overload during the
performance. Run through a few practice songs and
adjust the compression as required.
34. HI-Z SWITCH
Channels 5 and 6 are the only place to plug
in guitars and basses directly to the powered
mixer. These switches must be pressed in first.
If you connect a line-level device, such as a keyboard
or drum machine, make sure these switches are out.
(They only affect the 1/4" line inputs of channels 5 or 6,
not the XLR mic inputs.)
To use guitars or other instruments on other chan-
nels, you will need to use an external DI box first. With-
out the DI box, (or if these switches are not pressed in)
guitars will sound dull and muddy.

20
PPM1008
PPM1008
Master Controls
35. POWER LED
This LED comes on when the powered mixer is
plugged into the correct-voltage AC mains supply, and
the rear panel power switch [2] is on.
If the LED does not turn on, make sure the AC power
is live, both ends of the power cord are correctly in-
serted, your electricity bill has been paid, and the lights
in town are still on.
36. MAIN MASTER GRAPHIC EQ
This 9-band graphic equalizer adjusts the main mix
output. It affects the line-level outputs [19], as well as
the main speaker-level outputs if the internal amplifiers
are playing the main mix.
Each slider allows you to adjust the level of its
frequency band, with up to 15 dB of boost or cut, and
no change in level at the center (0 dB) position. The
frequency bands are: 63, 125, 250, 500, 1k, 2k, 4k, 8k
and 16 kHz.
The EQ section comes after the main level [38], and
just before the main meters [40]. Therefore, as you ad-
just the EQ, you can keep an eye on the meters in case
you over-do it and take the levels into overload.
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 turn down controls, with EQ it is often
your best option. Turn down the offending
frequency range, rather than boost the wanted
range. Having many sliders will allow you to
reduce the level of some frequency bands where
feedback occurs.
With this constant-Q graphic EQ, the
bandwidth (and Q) of a frequency
band doesn't vary with the amount of
boost or cut. The adjustment of one
slider has minimal effect on adjacent bands
for all settings of the slider levels. (There's
always some effect on adjacent bands to avoid
too much variation or ripple between bands,
but the constant-Q design keeps this fairly
constant for all settings.) The position of the
sliders gives a good indication of the frequency
response across the audio band. Non-constant
types of EQ (on other mixers) give a wider
bandwidth for lower levels of boost or cut, and
narrows as the level goes up or down. For ex-
ample, if you're boosting 500 Hz and 2 kHz slightly, the
1 kHz band will also be boosted, even though the 1 kHz
slider is in the flat position.
37. FX TO MAIN
This knob lets you adjust the level of the internal
effects being added to the main mix. (It is a stereo con-
trol, as the output from the internal effects processor is
stereo and is added to the left and right main mix.)
Adjust the FX level being added, compared to the
other channels playing in the main mix.
At the fully-down position, no effects are added, the
center U mark is unity gain, and 10 dB of effects gain is
available at the fully clockwise position.
38. MAIN LEVEL
This knob controls the overall level of the main mix,
and affects the main meters [40], main line-level out-
puts [19], main sub out [18], and the main speaker-lev-
el outputs if the internal amplifiers are playing the main
mix. The level adjustment occurs before the EQ [36].
This gives you ultimate control over your audience.
Adjust it carefully, with your good eye on the meters to
prevent overloading, and your good ear to the levels to
make sure your audience is happy.
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2 X 800W PROFESSIONAL POWERED MIXER
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