Mackie ProFX12 User manual

ProFX8 and ProFX12
OWNER’S MANUAL
ProfessionalMic/LineMixerswithFXandUSBI/O
MAIN
RIGHT
(BALANCED)
MAIN
LEFT
USB
(BALANCED)
8K4K2K1K500250125
15
15
10
10
5
5
0
15
15
10
10
5
5
0
TAPE
IN
ST RETURN MAIN OUT PHONES
FOOTSWITCH
PHONES
TAPE
OUT
L
R
L
(UNBALANCED)
R
STEREO GRAPHIC EQ
DESIGNED BY MACKOIDS IN WOODINVILLE, WA, USA • MANUFACTURED IN CHINA
FABRIQUE EN CHINE • COPYRIGHT ©2008 • "MACKIE" AND THE RUNNING MAN FIGURE
ARE TRADEMARKS OF LOUD TECHNOLOGIES, INC. • PATENT PENDING.
FX SEND
MID
2.5kHz
MID
2.5kHz
MID
2.5kHz
MID
2.5kHz
MID
2.5kHz
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
LINE IN 4
INSERT
RL
LOW CUT
100 Hz
U
GAIN
M
I
C
G
A
I
N
U+50
-20dB +30dB
4
12kHz
HI
MID
2.5kHz
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
12kHz
HI
MID
2.5kHz
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
12kHz
HI
MID
2.5kHz
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
12kHz
HI
PAN
AUX
U
+15
OO
MON
FX
U
+15
OO
RL
PAN
AUX
U
+15
OO
MON
FX
U
+15
OO
RL
PAN
AUX
U
+15
OO
MON
FX
U
+15
OO
RL
PAN
AUX
U
+15
OO
MON
FX
U
+15
OO
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
RL
LOW CUT
100 Hz
12kHz
HI
PAN
AUX
U
+15
OO
MON
FX
U
+15
OO
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
BAL /
UNBAL
(MONO) (MONO) (MONO) (MONO)
LINE IN 7
LINE IN 8
BAL /
UNBAL LINE IN 9
RL
LOW CUT
100 Hz
GAIN
7/85/6
12kHz
HI
PAN
AUX
U
+15
OO
MON
FX
U
+15
OO
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
RL
M
I
C
G
A
I
N
U+50
GAIN
M
I
C
G
A
I
N
U+50
9/10
12kHz
HI
LEVEL
SET
LEVEL
SET
LEVEL
SET
LOW CUT
100 Hz
U
GAIN
M
I
C
G
A
I
N
U+50
-20dB +30dB
LEVEL
SET
LEVEL
SET
LEVEL
SET
LOW CUT
100 Hz
U
GAIN
M
I
C
G
A
I
N
U+50
-20dB +30dB
LOW CUT
100 Hz
U
GAIN
M
I
C
G
A
I
N
U+50
-20dB +30dB
PAN
AUX
U
+15
OO
MON
FX
U
+15
OO
GAIN
MICMICMICMICMICMIC
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
U
+20-20
GAIN
U
+20-20
RL
11/12 ST RTN FX RTN
EQEQEQEQ EQ EQ EQ EQ
12kHz
HI
PAN
AUX
U
+15
OO
MON
FX
U
+15
OO
U
+15
FX TO MON
FX MASTER
U
+15
OO
OO
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
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
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
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
L
R
(MONO)
LINE IN 5
LINE IN 6
BAL /
UNBAL
L
R
LINE IN 10
BAL /
UNBAL
L
R
LINE IN 11
LINE IN 12
BAL /
UNBAL
L
R
BAL /
UNBAL
L
R
BAL /
UNBAL
L
R
MON SEND
BAL /
UNBAL
BAL /
UNBAL
PRESETS
FX PRESETS
01 BRIGHT ROOM
02 WARM LOUNGE
03 SMALL STAGE
04 WARM THEATER
05 WARM HALL
06 CONCERT HALL
13 DELAY 1 (300ms)
14 DELAY 2 (380ms)
15 DELAY 3 (480ms)
16 REVERB + DLY (250ms)
07 PLATE REVERB
08 CATHEDRAL
09 CHORUS
10 CHORUS + REV
11 DOUBLER
12 TAPE SLAP
MON MAIN
4
LINE IN 3
INSERT
3
BAL /
UNBAL
3
LINE IN 2
INSERT
2
BAL /
UNBAL
BAL /
UNBAL
2
LINE/HI-Z IN 1
INSERT
1 5/6 7/8 9/10 11/12
POWER
ON
0dB=0dBu
MAIN
METERS
OL
4
6
3
10
15
7
10
20
30
0
2
BREAK
(MUTES ALL CHANNELS)
PHANTOM
POWER
POWER
OO
+20
U
TAPE LEVEL
OO
+20
U
USB THRU
LINE
HI-Z
OO
MAX
1
OL OL OL OL OL OL OL OL OL
OL
MAIN MIX
MON
EQ IN
BYPASS
PROFESSIONAL MIC/LINE MIXER WITH FX
PROFESSIONAL MIC/LINE MIXER WITH FX
FUSE: T1.6AL AC250V
~100- 240V 50/60 Hz 25W
RL
INPUT LEVEL
USB
MUTE
MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE
48V
THIS DEVICE COMPLIES WITH PART 15 OF THE FCC RULES AND THE ICES-003 FOR
CANADA. OPERATION IS SUBJECT TO THE FOLLOWING TWO CONDITIONS: (1) THIS
DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE, AND (2) THIS DEVICE MUST
ACCEPT ANY INTERFERENCE RECEIVED, INCLUDING INTERFERENCE THAT MAY
CAUSE UNDESIRED OPERATION.
MANUFACTURING DATE
SERIAL NUMBER
WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC
SHOCK, DO NOT EXPOSETHIS EQUIPMENT TO RAIN OR
MOISTURE. DO NOT REMOVE COVER.NO USER SERVICEABLE
PARTSINSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.
AVIS: RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR

2
ProFX8 and ProFX12
ProFX8 and ProFX12
1. Readtheseinstructions.
2. Keeptheseinstructions.
3. Heedallwarnings.
4. Followallinstructions.
5. Donotusethisapparatusnearwater.
6. Cleanonlywithadry cloth.
7. Donotblockanyventilationopenings.Installinaccordancewiththe
manufacturer’sinstructions.
8. Donotinstallnearanyheatsourcessuchasradiators,heatregisters,
stoves,orotherapparatus(includingamplifiers)thatproduceheat.
9. Donotdefeatthesafetypurposeofthepolarizedorgrounding-type
plug.Apolarizedplughastwobladeswithonewiderthantheother.
Agrounding-typeplughastwobladesandathirdgroundingprong.
Thewidebladeorthethirdprongareprovidedforyoursafety.Ifthe
providedplugdoesnotfitintoyouroutlet,consultanelectricianfor
replacementoftheobsoleteoutlet.
10. Do not overload wall outlets and extension cords as this can result in a
riskoffireorelectricshock.
11. Protect the power cord from being walked on or pinched particularlyat
plugs,conveniencereceptacles,andthepointwheretheyexitfromthe
apparatus.
12. Only use attachments/accessories specified by the manufacturer.
13. Use only with a cart,
stand,tripod,bracket,
ortablespecified
bythemanufac-
turer, or sold with
theapparatus.When
acart is used, use
cautionwhenmoving
thecart/apparatus
combinationtoavoid
injury from tip-over.
14. Unplug this apparatus during lightning storms or when unused for long
periodsoftime.
15. Refer all servicing to qualified service personnel. Servicing is required
whentheapparatushasbeendamagedinanyway,suchaspower-
supplycordorplugisdamaged,liquidhasbeenspilledorobjectshave
fallenintotheapparatus,theapparatushasbeenexposedtorainor
moisture,doesnotoperatenormally, or has been dropped.
16. This apparatus shall not be exposed to dripping or splashing, and no
objectfilledwithliquids,suchasvasesorbeerglasses,shallbeplaced
ontheapparatus.
17. This apparatus has been designed with Class-I constructionandmust
beconnectedtoamainssocketoutletwithaprotectiveearthing con-
nection(thethirdgroundingprong).
18. This apparatus has been equipped with an all-pole, rocker-style AC
mainspowerswitch.Thisswitchislocatedontherearpaneland
shouldremainreadilyaccessibletotheuser.
19. TheMAINSplugoranappliancecouplerisusedasthedisconnect
device,sothedisconnectdeviceshallremainreadilyoperable.
20.NOTE: This equipment has been tested and found to comply with
thelimitsforaClassBdigitaldevice,pursuanttopart 15 of the FCC
Rules.Theselimitsaredesignedtoprovidereasonableprotection
againstharmful interference in a residential installation. This equip-
mentgenerates,uses,andcanradiateradiofrequencyenergyand,if
notinstalledandusedinaccordancewiththeinstructions, may cause
harmful interference to radio communications. However,thereisno
guaranteethatinterference will not occur in a particular installation. If
thisequipmentdoescauseharmful interference to radio or television
reception,whichcanbedetermined by turning the equipment off and
on,theuserisencouragedtotry to correcttheinterference by one or
moreofthefollowingmeasures:
• Reorientorrelocatethereceivingantenna.
• Increasetheseparationbetweentheequipmentandthe
receiver.
• Connecttheequipmentintoanoutletonacircuitdifferentfrom
thattowhichthereceiverisconnected.
• Consultthedealeroranexperiencedradio/TVtechnicianfor
help.
CAUTION:Changesormodificationstothisdevicenotexpressly
approvedbyLOUDTechnologies Inc. could void the user's authority to
operatetheequipmentunderFCCrules.
21. ThisapparatusdoesnotexceedtheClassA/ClassB(whicheveris
applicable) limitsforradionoiseemissionsfromdigitalapparatusas
setoutintheradiointerference regulations of the Canadian Department
ofCommunications.
ATTENTION —Leprésentappareilnumériquen’émetpasdebruits
radioélectriquesdépassantlaslimitesapplicablesauxappareils
numériquesdeclassA/declassB(selonlecas)prescritesdansle
réglementsurlebrouillageradioélectriqueédictéparlesministeredes
communicationsduCanada.
22. Exposure to extremely high noise levels may cause permanenthearing
loss.Individualsvary considerably in susceptibility to noise-induced
hearingloss,butnearlyeveryone will lose some hearing if exposed to
sufficientlyintensenoiseforaperiodoftime.TheU.S.Government’s
OccupationalSafetyandHealthAdministration(OSHA)hasspecified
thepermissible noise level exposures shown in the following chart.
AccordingtoOSHA,anyexposureinexcessofthesepermissiblelimits
couldresultinsomehearingloss.To ensure against potentially danger-
ousexposuretohighsoundpressurelevels,itisrecommendedthatall
personsexposedtoequipmentcapableofproducinghighsoundpres-
surelevelsusehearingprotectorswhiletheequipmentisinoperation.
Earplugsorprotectorsintheearcanalsorovertheearsmustbeworn
whenoperatingtheequipmentinordertopreventpermanent hearing
lossifexposureisinexcessofthelimitssetforth 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.
CAUTION AVIS
RISK OF ELECTRIC SHOCK. DO NOT OPEN
RISQUE DE CHOC ELECTRIQUE. NE PAS OUVRIR
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK DO NOT REMOVE COVER (OR BACK)
NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL
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. WARNING —To reducethe riskof fireor electricshock, donot
exposethis apparatusto rainor moisture.
Duration,
perdayin
hours
SoundLevel
dBA,Slow
Response
Typical Example
8 90 Duoinsmallclub
692
4 95 SubwayTrain
397
2 100 Very loud classical music
1.5 102
1 105 DavescreamingatSteveabout
deadlines
0.5 110
0.25orless 115 Loudestparts at a rock concert

3
Owner’s Manual
Owner’s Manual
Part No. SW0713 Rev. A
©2008 LOUD Technologies Inc. All Rights Reserved,
No electrons were harmed during the production of this PDF.
2. For mono channels, adjust the gain control so
the level set LED just comes on occasionally
during the loudest parts of your performance.
The mono channel gain affects the mic and the
line inputs. The hybrid channel gain affects the
mic input only, not the stereo line inputs.
The stereo channel gain adjusts the stereo line
inputs. Adjust as desired, and check the OL
LED does not come on during the loudest pas-
sages.
3. Repeat steps 1 to 2 for your other channels.
Instant Mixing
1. To get sound out of the speakers and into a
waiting world, turn up the channel’s fader to the
U (unity gain) position,
and slowly bring up the
main fader
to a comfortable listening level.
2. Sing and play. You’re a star! Bring in the other
channels, and adjust their faders to make a
nice mix and generally have fun.
USB
The USB connection allows you to play 2 channels of
audio from your computer, and to record the main mix
to your computer. See Appendix D on page 32 for details
of getting started with the USB.
Notes
For optimum sonic performance, the channel faders
and main fader should be set near the “U” (unity gain)
markings.
Turn down all faders before making connections to
and from your ProFX mixer.
When you shut down your system, turn off your ampli-
fiers or powered speakers first. When powering up, turn
them on last. This will prevent the possibility of turn-on
and turn-off thumps heard in your speakers.
Save the shipping box! You may need it someday.
Read This Page!
You probably want to try out your new
mixer right away. Before you do, please
read the safety instructions on page 2,
then read this page, and the rest later.
Zero the Mixer
1. Turn down all knobs except the channel EQ and
pan knobs, and set all the faders fully down.
2. Set all channel EQ knobs, pan knobs, and the
graphic EQ sliders at their center detent.
3. Set all buttons to the "out" position.
4. Whistle a popular show tune.
Connections
If you already know how you want to connect the
mixer, go ahead and connect the inputs and outputs
the way you want them. If you just want to get sound
through the mixer, follow these steps:
1.
Plug signal sources into the mixer, such as:
• Microphones plugged into the mic inputs.
Engage phantom power if your mics need
it. Check the mic's user manual to be sure.
• Line-level sources such as keyboards, drum
machines, or CD players plugged into the
line-level inputs.
• A guitar plugged into channel 1, with the
line/hi-z switch pressed in.
2 . Connect cords from the main outs to your pow-
ered speakers or amplifier.
3. Plug in the mixer’s power cord to a live AC
outlet and turn on the mixer.
4. If you have powered speakers, turn them on.
Otherwise, hook up your passive speakers to
your amp with speaker cables, and turn it on.
Adjust your powered speaker or amplifier level
controls to however the
manufacturer recom-
mends. (This is usually all the way up.)
Set the Gain
1. Play something into an input. This could be an
instrument, you singing or speaking, or a line
level source such as a keyboard or CD player.
Be sure that the volume of the input is the
same as it would be during normal use, or you
may have to readjust the gain in the middle of a
set. You can listen with headphones if you care-
fully turn up the channel fader and headphones
level a little.
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
ProFX8 and ProFX12
ProFX8 and ProFX12
Introduction
Thank you for choosing a Mackie professional ProFX
mixer. It is equipped with our rather lovely microphone
preamps, an internal FX processor, and a USB port for
playing and recording 2 channels of audio using a com-
puter. The ProFX8 has 8 channels and the ProFX12 has
12 channels. Apart from this difference, the mixers are
identical and this manual covers both models.
At Mackie, we know what it takes to be roadworthy.
After all, our mixers have traveled all over the world,
often under the worst of conditions, and we’ve applied
what we’ve learned to the mechanical design of our
ProFX mixers.
Reliability is paramount to sound reinforcement.
That’s why our engineers have subjected our mixers to
the most rigorous and fiendish tests imaginable to fine-
tune the design, and extend its limits beyond those of
ordinary mixers.
Features
• The ProFX8 mixer has 8 channels (2 mono, 2
hybrid, 1 stereo)
• The ProFX12 mixer has 12 channels (4 mono, 2
hybrid, 2 stereo)
• Mono channels have a mic input and a mono
line-level input, with a gain control and level
set LED for adjustment of mic and line gain
• Hybrid channels have a mic input and stereo
line-level inputs, with a gain control and level
set LED for adjustment of mic gain
• Stereo channels have stereo line-level inputs,
with a gain control to adjust the line gain
• +48V phantom power can be applied to all mics
• Tape/CD stereo RCA inputs and outputs
• 1/4" TRS insert jacks on mono channels
• Channel 1 hi-z switch allows direct connection
of a guitar or bass without a DI box
• Low cut switch on mono and hybrid channels
• 3-band EQ on each channel
• Aux monitor control on each channel
• Aux FX control on each channel
• Each channel has a pan control, mute switch,
overload (OL) LED, and fader
• Stereo return has mute, OL LED and fader
• XLR and 1/4" TRS main stereo line outputs
• 1/4" TRS stereo return
• 1/4" TRS FX send and monitor send
• 1/4" TRS stereo headphones output
• Headphones level control
• Tape input level control
• 16 built-in Running Man effects with input
level, OL LED, preset display, FX to monitor
level, and footswitchable mute/unmute
• 7-band graphic EQ can be used for main mix, or
monitor mix, or bypassed
• 12-segment stereo output meters on main mix
• Break switch mutes all channels except tape
input and USB input
• Faders for stereo return, FX return, monitor
and main
• USB connection allows 2-channel computer
recording and 2-channel computer playback
• USB thru switch and input level
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 ProFX8 or ProFX12 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, XLR
line-level outputs and USB I/O
• Connection Section: The upper section, where
you connect microphones and guitars etc.
• Channel Controls: The channel strips where
you adjust and control each channel
• Master Controls: The section on the right, with
graphic EQ and main level controls
• Stereo Effect Processor
Throughout these sections you’ll find illustrations
with each feature numbered and described in the
nearby paragraphs.
This iconmarks informationthat iscritically
important orunique tothe mixer.For yourown
good,read them and rememberthem.
This icon will lead you to some explanations of
features and practical tips. Go ahead and skip
these if you really need to go.
Appendix A: Service information.
Appendix B: Connectors.
Appendix C: Technical information.
Appendix D: USB information.

5
Owner’s Manual
Owner’s Manual
Contents
Need help with your new mixer?
• Visit www.mackie.com and click Support to find:
FAQs (Frequently Asked Questions), manuals, addendums, and
user forums.
• Email us at: t[email protected].
• Telephone [phone] to speak with one of our splendid
technical support representatives, (Monday through Friday,
from 7 a.m. to 5 p.m. PST).
IMPORTANT SAFETY INSTRUCTIONS........................ 2
READ THIS PAGE!....................................................3
INTRODUCTION ...................................................... 4
CONTENTS ............................................................. 5
HOOKUP DIAGRAMS............................................... 6
REAR PANEL FEATURES ......................................... 12
1. POWER CONNECTION............................. 12
2. FUSE...................................................... 12
3. POWER SWITCH..................................... 12
4. XLR MAIN OUTS ................................... 12
5. USB PORT ............................................. 12
FRONT PANEL FEATURES....................................... 13
CONNECTION SECTION....................................... 13
6. MIC INPUTS........................................... 13
7. LINE/HI-Z SWITCH................................. 13
8. LINE/HI-Z INPUT (CHANNEL 1 ONLY)...... 13
9. MONO LINE INPUTS............................... 14
10. STEREO LINE INPUTS.............................. 14
11. CHANNEL INSERT................................... 14
12. STEREO RETURN .................................... 14
13. MON SEND ............................................ 15
14. FX SEND................................................ 15
15. 1⁄4" MAIN OUTS.................................... 15
16. FX FOOTSWITCH.................................... 15
17. PHONES ................................................ 15
18. TAPE INPUT ........................................... 16
19. TAPE OUTPUTS ...................................... 16
CHANNEL CONTROLS ......................................... 17
20. GAIN .................................................... 18
21. LEVEL SET LED........................................ 18
22. LOW CUT............................................... 18
23. HI EQ..................................................... 19
24. MID EQ.................................................. 19
25. LOW EQ................................................. 19
26. AUX MON............................................... 19
27. AUX FX................................................... 20
28. PAN........................................................ 20
29. OL LED....................................................20
30. MUTE .................................................... 20
31. CHANNEL FADER..................................... 20
MASTER CONTROLS........................................... 21
32. PHANTOM POWER SWITCH.....................21
33. POWER LED............................................. 21
34. METERS................................................. 21
35. BREAK SWITCH ..................................... 22
36. TAPE LEVEL ........................................... 22
37. STEREO GRAPHIC EQ............................... 22
38. MAIN MIX/MON..................................... 22
39. EQ IN/BYPASS........................................ 22
40. USB INPUT LEVEL .................................... 22
41. USB THRU.............................................. 23
42. PHONES LEVEL....................................... 23
43. OL LED (FOR STEREO RETURNS).............. 23
44. MUTE (FOR STEREO RETURNS)................ 23
45. STEREO RETURN FADER.......................... 23
46. FX RETURN FADER ................................. 23
47. MONITOR FADER ................................... 23
48. MAIN FADER.......................................... 23
STEREO EFFECTS PROCESSOR .............................24
49. PRESET DISPLAY...................................... 24
50. PRESET SELECTOR.................................... 24
51. INTERNAL FX MUTE................................. 24
52. FX MASTER.............................................24
53. OL LED................................................... 24
54. FX TO MON........................................... 24
APPENDIX A: SERVICE INFORMATION.................... 26
APPENDIX B: CONNECTIONS..................................27
APPENDIX C: TECHNICAL INFORMATION................ 29
APPENDIX D: USB INTERFACE................................ 32
PROFX8 AND PROFX12 LIMITED WARRANTY ........ 35

6
ProFX8 and ProFX12
ProFX8 and ProFX12
Band System ProFX12
MAIN
RIGHT
(BALANCED)
MAIN
LEFT
USB
(BALANCED)
DESIGNED BY MACKOIDS IN WOODINVILLE, WA, USA • MANUFACTURED IN CHINA
FABRIQUE EN CHINE • COPYRIGHT ©2008 • "MACKIE" AND THE RUNNING MAN FIGURE
ARE TRADEMARKS OF LOUD TECHNOLOGIES, INC. • PATENT PENDING.
POWER
ON PROFESSIONAL MIC/LINE MIXER WITH FX
FUSE: T1.6AL AC250V
~100- 240V 50/60 Hz 25W
THIS DEVICE COMPLIES WITH PART 15 OF THE FCC RULES AND THE ICES-003 FOR
CANADA. OPERATION IS SUBJECT TO THE FOLLOWING TWO CONDITIONS: (1) THIS
DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE, AND (2) THIS DEVICE MUST
ACCEPT ANY INTERFERENCE RECEIVED, INCLUDING INTERFERENCE THAT MAY
CAUSE UNDESIRED OPERATION.
MANUFACTURING DATE
SERIAL NUMBER
WARNING: TO REDUCETHE RISK OF FIRE OR ELECTRIC
SHOCK,DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR
MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE
PARTSINSIDE. REFER SERVICINGTO QUALIFIED PERSONNEL.
AVIS: RISQUE DE CHOC ELECTRIQUE — NE PASOUVRIR
8K4K2K1K500250125
15
15
10
10
5
5
0
15
15
10
10
5
5
0
TAP E
IN
ST RETURN MAIN OUT PHONES
FOOTSWITCH
PHONES
TAP E
OUT
L
R
L
(UNBALANCED)
R
STEREO GRAPHIC EQ
FX SEND
MID
2.5kHz
MID
2.5kHz
MID
2.5kHz
MID
2.5kHz
MID
2.5kHz
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
LINE IN 4
INSERT
RL
LOW CUT
100 Hz
U
GAIN
M
I
C
G
A
I
N
U+50
-20dB +30dB
4
12kHz
HI
MID
2.5kHz
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
12kHz
HI
MID
2.5kHz
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
12kHz
HI
MID
2.5kHz
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
12kHz
HI
PAN
AUX
U
+15
OO
MON
FX
U
+15 OO
RL
PAN
AUX
U
+15
OO
MON
FX
U
+15 OO
RL
PAN
AUX
U
+15
OO
MON
FX
U
+15 OO
RL
PAN
AUX
U
+15
OO
MON
FX
U
+15 OO
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
RL
LOW CUT
100 Hz
12kHz
HI
PAN
AUX
U
+15
OO
MON
FX
U
+15 OO
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
BAL /
UNBAL
(MONO) (MONO) (MONO) (MONO)
LINE IN 7
LINE IN 8
BAL /
UNBAL LINE IN 9
RL
LOW CUT
100 Hz
GAIN
7/85/6
12kHz
HI
PAN
AUX
U
+15
OO
MON
FX
U
+15 OO
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
RL
M
I
C
G
A
I
N
U+50
GAIN
M
I
C
G
A
I
N
U+50
9/10
12kHz
HI
LEVEL
SET
LEVEL
SET
LEVEL
SET
LOW CUT
100 Hz
U
GAIN
M
I
C
G
A
I
N
U+50
-20dB +30dB
LEVEL
SET
LEVEL
SET
LEVEL
SET
LOW CUT
100 Hz
U
GAIN
M
I
C
G
A
I
N
U+50
-20dB +30dB
LOW CUT
100 Hz
U
GAIN
M
I
C
G
A
I
N
U+50
-20dB +30dB
PAN
AUX
U
+15
OO
MON
FX
U
+15 OO
GAIN
MICMICMICMICMICMIC
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
U
+20-20
GAIN
U
+20-20
RL
11/12 ST RTN FX RTN
EQEQEQEQ EQ EQ EQ EQ
12kHz
HI
PAN
AUX
U
+15
OO
MON
FX
U
+15 OO
U
+15
FX TO MON
FX MASTER
U
+15 OO
OO
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
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
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
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
L
R
(MONO)
LINE IN 5
LINE IN 6
BAL /
UNBAL
L
R
LINE IN 10
BAL /
UNBAL
L
R
LINE IN 11
LINE IN 12
BAL /
UNBAL
L
R
BAL /
UNBAL
L
R
BAL /
UNBAL
L
R
MON SEND
BAL /
UNBAL
BAL /
UNBAL
PRESETS
FX PRESETS
01 BRIGHT ROOM
02 WARM LOUNGE
03 SMALL STAGE
04 WARM THEATER
05 WARM HALL
06 CONCERT HALL
13 DELAY1 (300ms)
14 DELAY2 (380ms)
15 DELAY3 (480ms)
16 REVERB + DLY (250ms)
07 PLATEREVERB
08 CATHEDRAL
09 CHORUS
10 CHORUS + REV
11 DOUBLER
12 TAPESLAP
MON MAIN
4
LINE IN 3
INSERT
3
BAL /
UNBAL
3
LINE IN 2
INSERT
2
BAL /
UNBAL
BAL /
UNBAL
2
LINE/HI-Z IN 1
INSERT
1 5/6 7/8 9/10 11/12
0dB=0dBu
MAIN
METERS
OL
4
6
3
10
15
7
10
20
30
0
2
BREAK
(MUTES ALL CHANNELS)
PHANTOM
POWER
POWER
OO
+20
U
TAPE LEVEL
OO
+20
U
USB THRU
LINE
HI-Z
OO
MAX
1
OL OL OL OL OL OL OL OL OL
OL
MAIN MIX
MON
EQ IN
BYPASS
PROFESSIONAL MIC/LINE MIXER WITH FX
RL
INPUT LEVEL
USB
MUTE
MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE
48V
Mono Effects
press HI-Z
button
Microphones
Acoustic
Guitar with
pickup
Headphones
SRM450v2 Powered Speakers
SRM450v2 Powered Monitors
Footswitch
iPod
Docking Station
Laptop Computer
with Tracktion
for recording
Effects Processor
Mono in, Stereo out
Keyboard
Drum
Machine
Bass
Guitar
Electric
Guitar
Monitor EQ
HOOKUP DIAGRAMS
This diagram shows a guitar connected directly to channel 1 (with the hi-z switch pressed in), micro-
phones attached to channels 2, 3, and 4, guitar effects processors connected to the left line-level input of
channel 5/6, and 7/8, a keyboard attached to channel 9/10's line-level inputs, and a drum machine
connected to channel 11/12. An iPod docking station is attached to the stereo tape inputs. An effects
processor receives a mono input from the FX send, and its stereo outputs connect to the stereo return
inputs.
Mackie SRM450v2 powered speakers are connected to the left and right main output. Two of these
speakers are also set up as stage monitors, and connect to the mixer's monitor output via a graphic EQ.
The aux mon controls of each channel allow you to create a stage monitor mix that is independent of the
main mix. Use the external graphic EQ to adjust the stage monitor EQ as desired. Headphones are used
for monitoring, and a footswitch allows you to mute/unmute the internal effects as desired.
A laptop connects to the USB port, and allows the 2-channel main mix of the performance to be re-
corded using Tracktion software. Two channels of audio can also play from your computer to the main
mix.

7
Owner’s Manual
Owner’s Manual
House of Worship System ProFX12
MAIN
RIGHT
(BALANCED)
MAIN
LEFT
USB
(BALANCED)
DESIGNED BY MACKOIDS IN WOODINVILLE, WA, USA • MANUFACTURED IN CHINA
FABRIQUE EN CHINE • COPYRIGHT ©2008 • "MACKIE" AND THE RUNNING MAN FIGURE
ARE TRADEMARKS OF LOUD TECHNOLOGIES, INC. • PATENT PENDING.
POWER
ON PROFESSIONAL MIC/LINE MIXER WITH FX
FUSE: T1.6AL AC250V
~100- 240V 50/60 Hz 25W
THIS DEVICE COMPLIES WITH PART 15 OF THE FCC RULES AND THE ICES-003 FOR
CANADA. OPERATION IS SUBJECT TO THE FOLLOWING TWO CONDITIONS: (1) THIS
DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE, AND (2) THIS DEVICE MUST
ACCEPT ANY INTERFERENCE RECEIVED, INCLUDING INTERFERENCE THAT MAY
CAUSE UNDESIRED OPERATION.
MANUFACTURING DATE
SERIAL NUMBER
WARNING: TO REDUCETHE RISK OF FIRE OR ELECTRIC
SHOCK,DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR
MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE
PARTSINSIDE. REFER SERVICINGTO QUALIFIED PERSONNEL.
AVIS: RISQUE DE CHOC ELECTRIQUE — NE PASOUVRIR
8K4K2K1K500250125
15
15
10
10
5
5
0
15
15
10
10
5
5
0
TAP E
IN
ST RETURN MAIN OUT PHONES
FOOTSWITCH
PHONES
TAP E
OUT
L
R
L
(UNBALANCED)
R
STEREO GRAPHIC EQ
FX SEND
MID
2.5kHz
MID
2.5kHz
MID
2.5kHz
MID
2.5kHz
MID
2.5kHz
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
LINE IN 4
INSERT
RL
LOW CUT
100 Hz
U
GAIN
M
I
C
G
A
I
N
U+50
-20dB +30dB
4
12kHz
HI
MID
2.5kHz
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
12kHz
HI
MID
2.5kHz
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
12kHz
HI
MID
2.5kHz
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
12kHz
HI
PAN
AUX
U
+15
OO
MON
FX
U
+15 OO
RL
PAN
AUX
U
+15
OO
MON
FX
U
+15 OO
RL
PAN
AUX
U
+15
OO
MON
FX
U
+15 OO
RL
PAN
AUX
U
+15
OO
MON
FX
U
+15 OO
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
RL
LOW CUT
100 Hz
12kHz
HI
PAN
AUX
U
+15
OO
MON
FX
U
+15 OO
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
BAL /
UNBAL
(MONO) (MONO) (MONO) (MONO)
LINE IN 7
LINE IN 8
BAL /
UNBAL LINE IN 9
RL
LOW CUT
100 Hz
GAIN
7/85/6
12kHz
HI
PAN
AUX
U
+15
OO
MON
FX
U
+15 OO
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
RL
M
I
C
G
A
I
N
U+50
GAIN
M
I
C
G
A
I
N
U+50
9/10
12kHz
HI
LEVEL
SET
LEVEL
SET
LEVEL
SET
LOW CUT
100 Hz
U
GAIN
M
I
C
G
A
I
N
U+50
-20dB +30dB
LEVEL
SET
LEVEL
SET
LEVEL
SET
LOW CUT
100 Hz
U
GAIN
M
I
C
G
A
I
N
U+50
-20dB +30dB
LOW CUT
100 Hz
U
GAIN
M
I
C
G
A
I
N
U+50
-20dB +30dB
PAN
AUX
U
+15
OO
MON
FX
U
+15 OO
GAIN
MICMICMICMICMICMIC
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
U
+20-20
GAIN
U
+20-20
RL
11/12 ST RTN FX RTN
EQEQEQEQ EQ EQ EQ EQ
12kHz
HI
PAN
AUX
U
+15
OO
MON
FX
U
+15 OO
U
+15
FX TO MON
FX MASTER
U
+15 OO
OO
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
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
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
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
L
R
(MONO)
LINE IN 5
LINE IN 6
BAL /
UNBAL
L
R
LINE IN 10
BAL /
UNBAL
L
R
LINE IN 11
LINE IN 12
BAL /
UNBAL
L
R
BAL /
UNBAL
L
R
BAL /
UNBAL
L
R
MON SEND
BAL /
UNBAL
BAL /
UNBAL
PRESETS
FX PRESETS
01 BRIGHT ROOM
02 WARM LOUNGE
03 SMALL STAGE
04 WARM THEATER
05 WARM HALL
06 CONCERT HALL
13 DELAY1 (300ms)
14 DELAY2 (380ms)
15 DELAY3 (480ms)
16 REVERB + DLY (250ms)
07 PLATEREVERB
08 CATHEDRAL
09 CHORUS
10 CHORUS + REV
11 DOUBLER
12 TAPESLAP
MON MAIN
4
LINE IN 3
INSERT
3
BAL /
UNBAL
3
LINE IN 2
INSERT
2
BAL /
UNBAL
BAL /
UNBAL
2
LINE/HI-Z IN 1
INSERT
1 5/6 7/8 9/10 11/12
0dB=0dBu
MAIN
METERS
OL
4
6
3
10
15
7
10
20
30
0
2
BREAK
(MUTES ALL CHANNELS)
PHANTOM
POWER
POWER
OO
+20
U
TAPE LEVEL
OO
+20
U
USB THRU
LINE
HI-Z
OO
MAX
1
OL OL OL OL OL OL OL OL OL
OL
MAIN MIX
MON
EQ IN
BYPASS
PROFESSIONAL MIC/LINE MIXER WITH FX
RL
INPUT LEVEL
USB
MUTE
MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE
48V
Mono Effects
Microphones
Lavalier
Clip-on Mic
Headphones
SRM450v2 Powered Monitors
Laptop
with Tracktion
recording
the service
SR1521z Powered S
p
eakers
Effects Processor
Mono in, Stereo out
Dual Compressors
Compressor/Limiter
Acoustic Guitar
and Mic
iPod
Docking Station
Monitor EQ
Assistive Listening
System
Keyboard
Electric
Guitar
This diagram shows various microphones attached to channels 1 to 4, a guitar mic on channel 5/6, a
guitar effects processor connected to the left line-level input of channel 7/8, and a keyboard attached to
channel 9/10's line-level inputs. An iPod docking station is attached to the stereo tape inputs. An effects
processor receives a mono input from the FX send, and its stereo outputs connect to the stereo return
inputs. An assistive listening system is connected to the line-level main output. Dual compressors are con-
nected to the inserts of channels 1 to 4, allowing vocal compression.
Mackie SR1521z powered speakers are connected to the left and right main output, via a compressor/
limiter. Two SRM450v2 powered speakers are set up as stage monitors, and connect to the mixer's moni-
tor output via a graphic EQ. The aux mon controls of each channel allow you to create a stage monitor
mix that is independent of the main mix. Use the external graphic EQ to adjust the stage monitor EQ as
desired. Headphones are used for monitoring.
A laptop connects to the USB port, and allows the 2-channel main mix of the service to be recorded us-
ing Tracktion software. Two channels of audio can also play from your computer to the main mix.

8
ProFX8 and ProFX12
ProFX8 and ProFX12
DJ System ProFX8
MAIN
RIGHT
(BALANCED)
MAIN
LEFT
USB
(BALANCED)
POWER
ON
DESIGNED BY MACKOIDS IN WOODINVILLE, WA, USA • MANUFACTURED IN CHINA
FABRIQUE EN CHINE • COPYRIGHT ©2008 • "MACKIE" AND THE RUNNING MAN FIGURE
ARE TRADEMARKS OF LOUD TECHNOLOGIES, INC. • PATENT PENDING.
THIS DEVICE COMPLIES WITH PART 15 OF THE FCC RULES AND THE ICES-003 FOR
CANADA. OPERATION IS SUBJECT TO THE FOLLOWING TWO CONDITIONS: (1) THIS
DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE, AND (2) THIS DEVICE MUST
ACCEPT ANY INTERFERENCE RECEIVED, INCLUDING INTERFERENCE THAT MAY
CAUSE UNDESIRED OPERATION.
MANUFACTURING DATE
SERIAL NUMBER
WARNING: TO REDUCETHE RISK OF FIRE OR ELECTRIC
SHOCK,DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR
MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE
PARTSINSIDE. REFER SERVICING TO QUALIFIEDPERSONNEL.
AVIS: RISQUE DE CHOC ELECTRIQUE — NE PASOUVRIR
FUSE: T1.6AL AC250V
~100- 240V 50/60 Hz 20W
PROFESSIONAL MIC/LINE MIXER WITH FX
13 DELAY1 (300ms)
14 DELAY2 (380ms)
15 DELAY3 (480ms)
16 REVERB + DLY (250ms)
8K4K2K1K
500250125
15
15
10
10
5
5
0
15
15
10
10
5
5
0
TAPE
IN
ST RETURN MAIN OUT PHONES
FOOTSWITCH
PHONES
TAPE
OUT
L
R
L
(UNBALANCED)
R
0dB=0dBu
MAIN
METERS
RL
OL
4
6
3
10
15
7
10
20
30
0
2
BREAK
(MUTES ALL CHANNELS)
PHANTOM
POWER
POWER
STEREO GRAPHIC EQ
FX SEND
MID
2.5kHz
MID
2.5kHz
MID
2.5kHz
MID
2.5kHz
MID
2.5kHz
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
INSERT
RL
LOW CUT
100 Hz
U
GAIN
M
I
C
G
A
I
N
U+50
-20dB +30dB
OL
1
EQ
12kHz
HI
PAN
AUX
U
+15
OO
MON
FX
U
+15
OO
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
RL
LOW CUT
100 Hz
U
GAIN
M
I
C
G
A
I
N
U+50
-20dB +30dB
2
EQ
12kHz
HI
PAN
AUX
U
+15
OO
MON
FX
U
+15
OO
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
LINE IN 2LINE/HI-Z IN 1
INSERT
BAL /
UNBAL
(MONO) (MONO) (MONO) (MONO)
LINE IN 3
LINE IN 4
BAL /
UNBAL LINE IN 5
RL
LOW CUT
100 Hz
GAIN
3/4
EQ
12kHz
HI
PAN
AUX
U
+15
OO
MON
FX
U
+15
OO
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
RL
LOW CUT
100Hz
GAIN
M
I
C
G
A
I
N
U+50
M
I
C
G
A
I
N
U+50
5/6
EQ
12kHz
HI
LEVEL
SET
LEVEL
SET
LEVEL
SET
LEVEL
SET
PAN
AUX
U
+15
OO
MON
FX
U
+15
OO
GAIN
MICMICMICMIC
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
U
+20-20
RL
7/8 ST RTN FX RTN
EQ
12kHz
HI
PAN
AUX
U
+15
OO
MON
FX
U
+15
OO
U
+15
FX TO MON
FX MASTER
U
+15
OO
OO
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
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
30
20
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
L
R
LINE IN 6
BAL /
UNBAL
L
R
LINE IN 7
LINE IN 8
BAL /
UNBAL
L
R
BAL /
UNBAL
L
R
BAL /
UNBAL
L
R
MON SEND
BAL /
UNBAL
BAL /
UNBAL
MUTE
PRESETS
FX PRESETS
OL OL OL OL OL
INPUT LEVEL
USB
OO
+20
U
TAPE LEVEL
OO
+20
U
MON MAIN
1 2 3/4 5/6 7/8
OL
USB THRU
LINE
HI-Z
MAIN MIX
MON
EQ IN
BYPASS
01 BRIGHT ROOM
02 WARM LOUNGE
03 SMALL STAGE
04 WARM THEATER
05 WARM HALL
06 CONCERT HALL
07 PLATEREVERB
08 CATHEDRAL
09 CHORUS
10 CHORUS + REV
11 DOUBLER
12 TAPESLAP
OO
MAX
PROFESSIONAL MIC/LINE MIXER WITH FX
LINE
HI-Z
MUTE MUTE MUTE MUTE MUTE MUTE
48V
Headphones
Effects Processor
Reverb
Compressor
CD Player
Laptop running Tracktion
and DJ software
SR1530z Powered S
p
eakers
SRM450v2 Powered Monitors
Microphones
iPod
Docking Station
CD Turntable
This diagram shows two microphones attached to channels 1 and 2, a CD player connected to the line-
level inputs of channel 3/4, a CD turntable connected to the line-level inputs of channel 7/8. An iPod
docking station is attached to the stereo tape inputs. An effects processor receives a mono input from the
FX send, and its stereo outputs connect to the stereo return inputs. A reverb and compressor are con-
nected to the insert of channel 1 allowing vocal compression and a touch of reverb.
Mackie SR1530z powered speakers are connected to the left and right main output. Two SRM450v2
powered speakers are set up as stage monitors, and connect to the mixer's monitor output. The aux mon
controls of each channel allow you to create a stage monitor mix that is independent of the main mix.
Switch the internal graphic EQ to adjust the stage monitor EQ if desired. Headphones are used for moni-
toring.
A laptop connects to the USB port, and allows 2-channel output of DJ software to play in your main
mix. It also can be used to record your set on the computer for posterity.

9
Owner’s Manual
Owner’s Manual
Karaoke System ProFX8
MAIN
RIGHT
(BALANCED)
MAIN
LEFT
USB
(BALANCED)
POWER
ON
DESIGNED BY MACKOIDS IN WOODINVILLE, WA, USA • MANUFACTURED IN CHINA
FABRIQUE EN CHINE • COPYRIGHT ©2008 • "MACKIE" AND THE RUNNING MAN FIGURE
ARE TRADEMARKS OF LOUD TECHNOLOGIES, INC. • PATENT PENDING.
THIS DEVICE COMPLIES WITH PART 15 OF THE FCC RULES AND THE ICES-003 FOR
CANADA. OPERATION IS SUBJECT TO THE FOLLOWING TWO CONDITIONS: (1) THIS
DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE, AND (2) THIS DEVICE MUST
ACCEPT ANY INTERFERENCE RECEIVED, INCLUDING INTERFERENCE THAT MAY
CAUSE UNDESIRED OPERATION.
MANUFACTURING DATE
SERIAL NUMBER
WARNING: TO REDUCETHE RISK OF FIRE OR ELECTRIC
SHOCK,DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR
MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE
PARTSINSIDE. REFER SERVICING TO QUALIFIEDPERSONNEL.
AVIS : RISQUE DE CHOC ELECTRIQUE — NE PASOUVRIR
FUSE: T1.6AL AC250V
~100- 240V 50/60 Hz 20W
PROFESSIONAL MIC/LINE MIXER WITH FX
13 DELAY1 (300ms)
14 DELAY2 (380ms)
15 DELAY3 (480ms)
16 REVERB + DLY (250ms)
8K4K2K1K
500250125
15
15
10
10
5
5
0
15
15
10
10
5
5
0
TAPE
IN
ST RETURN MAIN OUT PHONES
FOOTSWITCH
PHONES
TAPE
OUT
L
R
L
(UNBALANCED)
R
0dB=0dBu
MAIN
METERS
RL
OL
4
6
3
10
15
7
10
20
30
0
2
BREAK
(MUTES ALL CHANNELS)
PHANTOM
POWER
POWER
STEREO GRAPHIC EQ
FX SEND
MID
2.5kHz
MID
2.5kHz
MID
2.5kHz
MID
2.5kHz
MID
2.5kHz
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
INSERT
RL
LOW CUT
100 Hz
U
GAIN
M
I
C
G
A
I
N
U+50
-20dB +30dB
OL
1
EQ
12kHz
HI
PAN
AUX
U
+15
OO
MON
FX
U
+15
OO
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
RL
LOW CUT
100 Hz
U
GAIN
M
I
C
G
A
I
N
U+50
-20dB +30dB
2
EQ
12kHz
HI
PAN
AUX
U
+15
OO
MON
FX
U
+15
OO
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
LINE IN 2LINE/HI-Z IN 1
INSERT
BAL /
UNBAL
(MONO) (MONO) (MONO) (MONO)
LINE IN 3
LINE IN 4
BAL /
UNBAL LINE IN 5
RL
LOW CUT
100 Hz
GAIN
3/4
EQ
12kHz
HI
PAN
AUX
U
+15
OO
MON
FX
U
+15
OO
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
RL
LOW CUT
100Hz
GAIN
M
I
C
G
A
I
N
U+50
M
I
C
G
A
I
N
U+50
5/6
EQ
12kHz
HI
LEVEL
SET
LEVEL
SET
LEVEL
SET
LEVEL
SET
PAN
AUX
U
+15
OO
MON
FX
U
+15
OO
GAIN
MICMICMICMIC
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
U
+20-20
RL
7/8 ST RTN FX RTN
EQ
12kHz
HI
PAN
AUX
U
+15
OO
MON
FX
U
+15
OO
U
+15
FX TO MON
FX MASTER
U
+15
OO
OO
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
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
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
L
R
LINE IN 6
BAL /
UNBAL
L
R
LINE IN 7
LINE IN 8
BAL /
UNBAL
L
R
BAL /
UNBAL
L
R
BAL /
UNBAL
L
R
MON SEND
BAL /
UNBAL
BAL /
UNBAL
MUTE
PRESETS
FX PRESETS
OL OL OL OL OL
INPUT LEVEL
USB
OO
+20
U
TAPE LEVEL
OO
+20
U
MON MAIN
1 2 3/4 5/6 7/8
OL
USB THRU
LINE
HI-Z
MAIN MIX
MON
EQ IN
BYPASS
01 BRIGHT ROOM
02 WARM LOUNGE
03 SMALL STAGE
04 WARM THEATER
05 WARM HALL
06 CONCERT HALL
07 PLATEREVERB
08 CATHEDRAL
09 CHORUS
10 CHORUS + REV
11 DOUBLER
12 TAPESLAP
OO
MAX
PROFESSIONAL MIC/LINE MIXER WITH FX
LINE
HI-Z
MUTE MUTE MUTE MUTE MUTE MUTE
48V
SRM350v2 Powered Monitors
Microphones
Headphones
Effects Processor
CD+G Player
TV monitor
Video
Laptop Computer
with Karaoke Softwar
e
SWA1501
Powered
Subwoofer
SRM450v2
Powered
Speaker
Dual Compressor
This diagram shows microphones attached to channels 1 to 4, and a CD+G player connected to the
line-level inputs of channel 7/8. An effects processor receives a mono input from the FX send, and its
stereo outputs connect to the stereo return inputs. A dual compressor is connected to the insert of channel
1, and 2, allowing vocal compression.
Mackie SRM450v2 powered speakers and SWA1501 powered subwoofers are connected to the left
and right main output. Two SRM450v2 powered speakers are set up as stage monitors, and connect to
the mixer's monitor output. The aux mon controls of each channel allow you to create a stage monitor
mix that is independent of the main mix. Headphones are used for monitoring.
A laptop running Karaoke software connects to the USB port, and allows a 2-channel output to play in
the main mix.
The CD+G player allows karaoke text and graphics to be displayed on your TV monitor.

10
ProFX8 and ProFX12
ProFX8 and ProFX12
Home Studio System ProFX8
MAIN
RIGHT
(BALANCED)
MAIN
LEFT
USB
(BALANCED)
POWER
ON
DESIGNED BY MACKOIDS IN WOODINVILLE, WA, USA • MANUFACTURED IN CHINA
FABRIQUE EN CHINE • COPYRIGHT ©2008 • "MACKIE" AND THE RUNNING MAN FIGURE
ARE TRADEMARKS OF LOUD TECHNOLOGIES, INC. • PATENT PENDING.
THIS DEVICE COMPLIES WITH PART 15 OF THE FCC RULES AND THE ICES-003 FOR
CANADA. OPERATION IS SUBJECT TO THE FOLLOWING TWO CONDITIONS: (1) THIS
DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE, AND (2) THIS DEVICE MUST
ACCEPT ANY INTERFERENCE RECEIVED, INCLUDING INTERFERENCE THAT MAY
CAUSE UNDESIRED OPERATION.
MANUFACTURING DATE
SERIAL NUMBER
WARNING: TO REDUCETHE RISK OF FIRE OR ELECTRIC
SHOCK,DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR
MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE
PARTSINSIDE. REFER SERVICING TO QUALIFIEDPERSONNEL.
AVIS : RISQUE DE CHOC ELECTRIQUE — NE PASOUVRIR
FUSE: T1.6AL AC250V
~100- 240V 50/60 Hz 20W
PROFESSIONAL MIC/LINE MIXER WITH FX
13 DELAY1 (300ms)
14 DELAY2 (380ms)
15 DELAY3 (480ms)
16 REVERB + DLY (250ms)
8K4K2K1K
500250125
15
15
10
10
5
5
0
15
15
10
10
5
5
0
TAPE
IN
ST RETURN MAIN OUT PHONES
FOOTSWITCH
PHONES
TAPE
OUT
L
R
L
(UNBALANCED)
R
0dB=0dBu
MAIN
METERS
RL
OL
4
6
3
10
15
7
10
20
30
0
2
BREAK
(MUTES ALL CHANNELS)
PHANTOM
POWER
POWER
STEREO GRAPHIC EQ
FX SEND
MID
2.5kHz
MID
2.5kHz
MID
2.5kHz
MID
2.5kHz
MID
2.5kHz
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
INSERT
RL
LOW CUT
100 Hz
U
GAIN
M
I
C
G
A
I
N
U+50
-20dB +30dB
OL
1
EQ
12kHz
HI
PAN
AUX
U
+15
OO
MON
FX
U
+15
OO
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
RL
LOW CUT
100 Hz
U
GAIN
M
I
C
G
A
I
N
U+50
-20dB +30dB
2
EQ
12kHz
HI
PAN
AUX
U
+15
OO
MON
FX
U
+15
OO
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
LINE IN 2LINE/HI-Z IN 1
INSERT
BAL /
UNBAL
(MONO) (MONO) (MONO) (MONO)
LINE IN 3
LINE IN 4
BAL /
UNBAL LINE IN 5
RL
LOW CUT
100 Hz
GAIN
3/4
EQ
12kHz
HI
PAN
AUX
U
+15
OO
MON
FX
U
+15
OO
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
RL
LOW CUT
100Hz
GAIN
M
I
C
G
A
I
N
U+50
M
I
C
G
A
I
N
U+50
5/6
EQ
12kHz
HI
LEVEL
SET
LEVEL
SET
LEVEL
SET
LEVEL
SET
PAN
AUX
U
+15
OO
MON
FX
U
+15
OO
GAIN
MICMICMICMIC
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
U
+20-20
RL
7/8 ST RTN FX RTN
EQ
12kHz
HI
PAN
AUX
U
+15
OO
MON
FX
U
+15
OO
U
+15
FX TO MON
FX MASTER
U
+15
OO
OO
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
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
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
L
R
LINE IN 6
BAL /
UNBAL
L
R
LINE IN 7
LINE IN 8
BAL /
UNBAL
L
R
BAL /
UNBAL
L
R
BAL /
UNBAL
L
R
MON SEND
BAL /
UNBAL
BAL /
UNBAL
MUTE
PRESETS
FX PRESETS
OL OL OL OL OL
INPUT LEVEL
USB
OO
+20
U
TAPE LEVEL
OO
+20
U
MON MAIN
1 2 3/4 5/6 7/8
OL
USB THRU
LINE
HI-Z
MAIN MIX
MON
EQ IN
BYPASS
01 BRIGHT ROOM
02 WARM LOUNGE
03 SMALL STAGE
04 WARM THEATER
05 WARM HALL
06 CONCERT HALL
07 PLATEREVERB
08 CATHEDRAL
09 CHORUS
10 CHORUS + REV
11 DOUBLER
12 TAPESLAP
OO
MAX
PROFESSIONAL MIC/LINE MIXER WITH FX
LINE
HI-Z
MUTE MUTE MUTE MUTE MUTE MUTE
48V
Desktop
Mac or PC
using Tracktion
Condenser
microphone
for vocals Amplifier
Modeler
Electric
Guitar
Headphones
Headphone Amp
Electronic Drum Kit
Keyboard
MR8 Powered Reference Monitors
press HI-Z
button
Acoustic
Guitar with
pickup
This diagram shows an acoustic guitar connected directly to channel 1 (with hi-z switch pressed in), a
condenser microphone attached to channel 2 mic input, a guitar amplifier modeler connected to the line-
level inputs of channel 3/4, an electronic drum kit connected to channel 5/6, and a keyboard attached
to channel 7/8.
Mackie MR8 powered reference monitors are connected to the left and right main output, for careful
and accurate monitoring of your performances.
A desktop computer connects to the USB port, and allows the 2-channel main mix to be recorded and
2 channels to be played back using Tracktion software.

11
Owner’s Manual
Owner’s Manual
Podcast System ProFX8
MAIN
RIGHT
(BALANCED)
MAIN
LEFT
USB
(BALANCED)
POWER
ON
DESIGNED BY MACKOIDS IN WOODINVILLE, WA, USA • MANUFACTURED IN CHINA
FABRIQUE EN CHINE • COPYRIGHT ©2008 • "MACKIE" AND THE RUNNING MAN FIGURE
ARE TRADEMARKS OF LOUD TECHNOLOGIES, INC. • PATENT PENDING.
THIS DEVICE COMPLIES WITH PART 15 OF THE FCC RULES AND THE ICES-003 FOR
CANADA. OPERATION IS SUBJECT TO THE FOLLOWING TWO CONDITIONS: (1) THIS
DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE, AND (2) THIS DEVICE MUST
ACCEPT ANY INTERFERENCE RECEIVED, INCLUDING INTERFERENCE THAT MAY
CAUSE UNDESIRED OPERATION.
MANUFACTURING DATE
SERIAL NUMBER
WARNING: TO REDUCETHE RISK OF FIRE OR ELECTRIC
SHOCK,DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR
MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE
PARTSINSIDE. REFER SERVICING TO QUALIFIEDPERSONNEL.
AVIS: RISQUE DE CHOC ELECTRIQUE — NE PASOUVRIR
FUSE: T1.6AL AC250V
~100- 240V 50/60 Hz 20W
PROFESSIONAL MIC/LINE MIXER WITH FX
13 DELAY1 (300ms)
14 DELAY2 (380ms)
15 DELAY3 (480ms)
16 REVERB + DLY (250ms)
8K4K2K1K
500250125
15
15
10
10
5
5
0
15
15
10
10
5
5
0
TAPE
IN
ST RETURN MAIN OUT PHONES
FOOTSWITCH
PHONES
TAPE
OUT
L
R
L
(UNBALANCED)
R
0dB=0dBu
MAIN
METERS
RL
OL
4
6
3
10
15
7
10
20
30
0
2
BREAK
(MUTES ALL CHANNELS)
PHANTOM
POWER
POWER
STEREO GRAPHIC EQ
FX SEND
MID
2.5kHz
MID
2.5kHz
MID
2.5kHz
MID
2.5kHz
MID
2.5kHz
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
INSERT
RL
LOW CUT
100 Hz
U
GAIN
M
I
C
G
A
I
N
U+50
-20dB +30dB
OL
1
EQ
12kHz
HI
PAN
AUX
U
+15
OO
MON
FX
U
+15
OO
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
RL
LOW CUT
100 Hz
U
GAIN
M
I
C
G
A
I
N
U+50
-20dB +30dB
2
EQ
12kHz
HI
PAN
AUX
U
+15
OO
MON
FX
U
+15
OO
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
LINE IN 2LINE/HI-Z IN 1
INSERT
BAL /
UNBAL
(MONO) (MONO) (MONO) (MONO)
LINE IN 3
LINE IN 4
BAL /
UNBAL LINE IN 5
RL
LOW CUT
100 Hz
GAIN
3/4
EQ
12kHz
HI
PAN
AUX
U
+15
OO
MON
FX
U
+15
OO
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
RL
LOW CUT
100Hz
GAIN
M
I
C
G
A
I
N
U+50
M
I
C
G
A
I
N
U+50
5/6
EQ
12kHz
HI
LEVEL
SET
LEVEL
SET
LEVEL
SET
LEVEL
SET
PAN
AUX
U
+15
OO
MON
FX
U
+15
OO
GAIN
MICMICMICMIC
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
U
+20-20
RL
7/8 ST RTN FX RTN
EQ
12kHz
HI
PAN
AUX
U
+15
OO
MON
FX
U
+15
OO
U
+15
FX TO MON
FX MASTER
U
+15
OO
OO
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
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
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
L
R
LINE IN 6
BAL /
UNBAL
L
R
LINE IN 7
LINE IN 8
BAL /
UNBAL
L
R
BAL /
UNBAL
L
R
BAL /
UNBAL
L
R
MON SEND
BAL /
UNBAL
BAL /
UNBAL
MUTE
PRESETS
FX PRESETS
OL OL OL OL OL
INPUT LEVEL
USB
OO
+20
U
TAPE LEVEL
OO
+20
U
MON MAIN
1 2 3/4 5/6 7/8
OL
USB THRU
LINE
HI-Z
MAIN MIX
MON
EQ IN
BYPASS
01 BRIGHT ROOM
02 WARM LOUNGE
03 SMALL STAGE
04 WARM THEATER
05 WARM HALL
06 CONCERT HALL
07 PLATEREVERB
08 CATHEDRAL
09 CHORUS
10 CHORUS + REV
11 DOUBLER
12 TAPESLAP
OO
MAX
PROFESSIONAL MIC/LINE MIXER WITH FX
LINE
HI-Z
MUTE MUTE MUTE MUTE MUTE MUTE
48V
Microphones
Headphones
Laptop Computer
with Tracktion
Keyboard workstation
Effects/ Sampler
MR5 Powered Reference Monitors
CD Turntable
This diagram shows microphones attached to channel 1 and 2 mic inputs, a keyboard workstation
attached to channel 3/4's line-level inputs, and a CD turntable connected to channel 5/6's line-level
inputs. An effects/sampler receives a mono input from the FX send, and its stereo outputs connect to the
stereo return inputs.
Mackie MR5 powered reference monitors are connected to the left and right main output, for careful
and accurate monitoring of your work.
A desktop computer connects to the USB port, and allows the 2-channel main mix to be recorded and
2 channels played back using Tracktion software.

12
ProFX8 and ProFX12
ProFX8 and ProFX12
Rear Panel Features
1. POWER CONNECTION
This is a standard 3-prong IEC AC power connector.
Securely connect the supplied detachable linecord in
here, and plug the other end into an AC outlet. The
mixer has a universal power supply that can accept any
AC voltage ranging from 100 VAC to 240 VAC. No need
for voltage select switches or step-up or step-down
transformers, it will work virtually anywhere in the
world. It is less susceptible to voltage sags or spikes
than conventional power supplies, and provides greater
electromagnetic isolation and better protection against
AC line noise.
2. FUSE
The ProFX mixer is fused for your (and its own)
protection. If you suspect a blown fuse, disconnect the
power cord, pull this fuse drawer out and replace the
fuse with exactly the same type and rating.
If two fuses blow in a row, something is very
wrong, and you must stop using the mixer.
Please call our toll-free number 1-800-898-
3211 from within the U.S. (or call the distributor in your
country) and find out what to do.
3. POWER SWITCH
Press the top of this rocker switch to turn on the
mixer. The front panel power LED [33] will glow with
happiness, or at least it will if you have the mixer
plugged into a suitable live AC mains supply.
Press the bottom of this switch to turn off the mixer,
whenever you feel that this would be a safe thing to do.
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 possibility of any turn-on or turn-
off thumps in your speakers.
MAIN
RIGHT
(BALANCED)
MAIN
LEFT
USB
(BALANCED)
DESIGNED BY MACKOIDS IN WOODINVILLE, WA, USA • MANUFACTURED IN CHINA
FABRIQUE EN CHINE • COPYRIGHT ©2008 • "MACKIE" AND THE RUNNING MAN FIGURE
ARE TRADEMARKS OF LOUD TECHNOLOGIES, INC. • PATENT PENDING.
POWER
ON PROFESSIONAL MIC/LINE MIXER WITH FX
FUSE: T1.6AL AC250V
~100-240V 50/60 Hz 25W
THIS DEVICE COMPLIES WITH PART 15 OF THE FCC RULES AND THE ICES-003 FOR
CANADA. OPERATION IS SUBJECT TO THE FOLLOWING TWO CONDITIONS: (1) THIS
DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE, AND (2) THIS DEVICE MUST
ACCEPT ANY INTERFERENCE RECEIVED, INCLUDING INTERFERENCE THAT MAY
CAUSE UNDESIRED OPERATION.
MANUFACTURING DATE
SERIAL NUMBER
WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC
SHOCK, DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR
MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE
PARTS INSIDE. REFER SERVICINGTO QUALIFIED PERSONNEL.
AVIS: RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR
4. XLR MAIN OUTS
These XLR connectors provide stereo line-level sig-
nals from the main mix. Connect these to the balanced
inputs of the powered speakers, or the power amplifier
powering your main speakers.
The main mix is the sum of all active channels cur-
rently playing, including any 2-channel USB input from
your computer. How much of a channel that is heard
in the main mix, is determined by that channel’s fader
[31].
The XLR outputs are 6 dB higher output than
the 1/4" TRS main outputs [15]. Balanced
connections offer better immunity to external
noise (specifically, hum and buzz) than unbalanced
connections. Because of this, it is the preferred inter-
connect method, especially where very long lengths of
cable are being used.
5. USB PORT
The USB serial I/O interface allows you to transfer
digital audio to and from your computer.
The interface provides two audio outputs to your
computer:
• Main mix output, left and right. These output
signals are independent of any adjustments
made to the main fader [48] and graphic EQ
[37]. This allows you to easily record your live
performance directly to your laptop.
• The USB thru switch [41] allows you to also
include the output from your computer in your
recording. See page 23 for more details of this
switch.
The USB interface also lets you use your computer to
playback two channels into the mixer:
• Left and right signals from your computer are
added to the main mix. The USB input level
control [40] allows you to adjust the level of
the incoming audio from your computer being
added to the main mix.
See Appendix D on page 32 for more USB details, and
also check out the block diagram on page 31.
1
2
3
4 5

13
Owner’s Manual
Owner’s Manual
Front Panel Features
Connection Section
This is where you plug things in: microphones, line-
level instruments and effects, headphones, and the
ultimate destination for your sound: PA system, stage
monitors, effects processors, CD player/recorder, etc.
See Appendix B for further details and drawings of
the connectors you can use with the ProFX mixer.
6. 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 re-
jecting hum and noise. You can plug in almost any kind
of mic that has a standard XLR male mic connector.
Professional ribbon, dynamic, and condenser mics will
all sound excellent through these inputs. The ProFX
mixer’s mic inputs will handle any kind of mic level
you can toss at them, without overloading. Be sure to
perform the gain-setting procedure on page 3.
PHANTOM POWER
Most modern professional condenser mics require
phantom power, which lets the mixer send low-cur-
rent 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 ProFX mixer’s phantom power is globally
controlled by the phantom power switch [32]. (This
means that phantom power for all the mic inputs is
turned on and off together.)
Never plug single-ended (unbalanced) micro-
phones, or ribbon microphones into the mic
input jacks if phantom power is on. Do not
plug instrument outputs into the mic input jacks with
phantom power on unless you know for certain it is safe
to do so.
7. LINE/HI-Z SWITCH
To connect a guitar directly to the mixer without us-
ing a DI Box, press this switch in first, then connect the
output from your guitar to channel 1's 1⁄4" TRS input
[8]. The input impedance is then optimized for direct
connection, and high-frequency fidelity is assured.
In the out position, channel 1's 1⁄4" TRS input be-
comes a line input just like the other mono line inputs
[9].
To use guitars or other instruments on other chan-
nels, you will need to use an external DI box first.
Without the DI box, (or if this switch is not pressed in)
guitars may sound dull and muddy.
8. LINE/HI-Z INPUT (Channel 1 only)
This 1/4" jack shares circuitry (but not phantom
power) with the mic preamp, and can be driven by bal-
anced or unbalanced sources.
To connect a balanced line to this input, use a 1⁄4"
Tip-Ring-Sleeve (TRS) plug.
To connect an unbalanced line to this input, use a 1⁄4"
mono (TS) phone plug or instrument cable.
This line-level input can also accept instrument-level
signals if the hi-z switch [7] is pressed in. This allows
you to connect guitars directly into channel 1 without
the need for a DI box.
TAPE
IN
ST RETURN MAIN OUT PHONES
FOOTSWITCH
TAP E
OUT
L
R
L
(UNBALANCED)
R
FX SEND
LINE IN 4
INSERT
BAL /
UNBAL
(MONO) (MONO) (MONO) (MONO)
LINE IN 7
LINE IN 8
BAL /
UNBAL LINE IN 9
MICMICMICMICMICMIC
L
R
(MONO)
LINE IN 5
LINE IN 6
BAL /
UNBAL
L
R
LINE IN 10
BAL /
UNBAL
L
R
LINE IN 11
LINE IN 12
BAL /
UNBAL
L
R
BAL /
UNBAL
L
R
BAL /
UNBAL
L
R
MON SEND
BAL /
UNBAL
BAL /
UNBAL
4
LINE IN 3
INSERT
BAL /
UNBAL
3
LINE IN 2
INSERT
BAL /
UNBAL
BAL /
UNBAL
2
LINE/HI-Z IN 1
INSERT
1 5/6 7/8 9/10 11/12
LINE
HI-Z
PROFESSIONAL MIC/LINE MIXER WITH FX
7
6
8
11
9 9 9 10 10 10
11 11 11 10

14
ProFX8 and ProFX12
ProFX8 and ProFX12
The insert point is after the gain control [20], level
set LED [21], and low cut switch [22], but before the
channel EQ [23-25] and fader [31]. 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 28 (figure F) showing three ways to use insert con-
nections.
12. STEREO RETURN
This is where you connect the outputs of your parallel
effects devices (or extra audio sources). The circuits
will handle stereo or mono, balanced or unbalanced sig-
nals. They can be used with just about any pro or semi-
pro effects device or line-level source on the market.
The signals coming into these inputs can be adjusted
using the stereo return [45] fader before passing onto
the main mix bus (see page 23). Signals coming in here
can also be quickly muted with the mute switch [44],
and the OL LED [43] will show you if your incoming
signal is too high.
Stereo Device: If you have a stereo parallel effects
device (two cords), use stereo return left and right.
Mono Device: If you have an effects device with a
mono output (one cord), plug that into the stereo
return left/mono, and leave the right unplugged. The
signal will be sent to both sides, magically appearing in
the center as a mono signal.
9. MONO LINE INPUTS
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.
If you have a stereo source, and the stereo
and hybrid channels are in use, you can use
two mono channels. Traditionally, an odd-
numbered channel receives the left signal. For
example, you could feed the ProFX mixer a stereo signal
by inserting the device’s left output plug into the chan-
nel 1 jack (pan fully left), and its right output plug into
the channel 2 jack (pan fully right).
10. STEREO LINE INPUTS
These 1/4" jacks can be driven by stereo or mono,
balanced or unbalanced sources. They can be used with
just about any professional or semi-pro instrument, ef-
fect or tape player.
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.
If you just have a mono source, plug it into the left
input (labeled mono), and the signal will appear (as if
by magic) equally on the left and right of the main mix.
11. CHANNEL INSERT
These unbalanced 1/4" jacks are for connecting serial
effects processors such as compressors, equalizers, de-
essers, or filters.
We’ve included inserts for just the mono channels. If
you want to use this kind of processing on other chan-
nels, simply patch through the processor before you plug
into the ProFX mixer.
TAPE
IN
ST RETURN MAIN OUT PHONES
FOOTSWITCH
TAP E
OUT
L
R
L
(UNBALANCED)
R
FX SEND
LINE IN 4
INSERT
BAL /
UNBAL
(MONO) (MONO) (MONO) (MONO)
LINE IN 7
LINE IN 8
BAL /
UNBAL LINE IN 9
MICMICMICMICMICMIC
L
R
(MONO)
LINE IN 5
LINE IN 6
BAL /
UNBAL
L
R
LINE IN 10
BAL /
UNBAL
L
R
LINE IN 11
LINE IN 12
BAL /
UNBAL
L
R
BAL /
UNBAL
L
R
BAL /
UNBAL
L
R
MON SEND
BAL /
UNBAL
BAL /
UNBAL
4
LINE IN 3
INSERT
BAL /
UNBAL
3
LINE IN 2
INSERT
BAL /
UNBAL
BAL /
UNBAL
2
LINE/HI-Z IN 1
INSERT
1 5/6 7/8 9/10 11/12
LINE
HI-Z
PROFESSIONAL MIC/LINE MIXER WITH FX
7
6
8
11
9 9 9 10 10 10
11 11 11 10 12 13 15 16
17
14
6 6 6 6 6 18 19
“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)

15
Owner’s Manual
Owner’s Manual
13. MON SEND
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 mix can be care-
fully adjusted in level using the aux mon controls [26].
These tap a portion of each channel's signal to provide
a 1/4" TRS output here to feed external 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 aux mon control is set to more than mini-
mum. If they want "more me, and less Keith," you can
turn up their channel's aux mon control, and turn down
Keith's.
The overall output level can be adjusted with the
monitor fader [47] and its EQ tweaked with the graphic
EQ [37] if the main mix/mon switch [38] is pressed in.
Alternatively, you could add an external graphic EQ be-
tween this output and your powered monitors. This will
allow you to adjust the EQ, and minimize the chance of
feedback from nearby microphones.
The monitor output is not affected by the main fader
[48], or the channel faders [31]. This allows you to set
up the monitor mix and level just right, and not have it
change when a channel fader or the main mix fader is
adjusted. This is known as "pre-fader."
14. FX SEND
This 1/4" TRS line-level output can be used to feed an
external effects processor (FX), such as a nice sound ef-
fect, or delay unit. The output from this jack is an exact
copy of what goes into the internal FX processor, being
the careful mix of all channels whose aux FX control
[14] is turned more than minimum.
(The processed output of the internal FX does not
come out of this output, but is added internally to the
main mix or monitor mix.)
The overall output level can be adjusted with the FX
master knob [52]. (This knob also effects the level go-
ing into the internal FX.)
The output is "post-fader," so any changes to the chan-
nel faders [31] will also affect the level going to the
external processor.
The processed output from the effects processor is
usually returned to the stereo returns [12] or a spare
channel, and you can carefully mix the original unpro-
cessed channel (dry) and the processed channel (wet).
Altering the original channel fader increases both the
wet and dry signals and keeps them at the same delicate
ratio. (For example, the reverb remains at the same
level relative to the original.)
15. 1⁄4" MAIN OUTS
These outputs feed the main mix out into the waiting
world. You can feed your amplifiers this way, or through
the XLR main outputs [4].
To use these outputs to drive balanced inputs, con-
nect 1⁄4" TRS (Tip–Ring–Sleeve) phone plugs like this:
Tip = + (hot)
Ring = –(cold)
Sleeve = Ground
To use these outputs to drive unbalanced inputs, con-
nect 1⁄4" TS (Tip-Sleeve) phone plugs like this:
Tip = + (hot)
Sleeve = Ground
16. FX FOOTSWITCH
This 1/4" TRS connector is where you can connect
your favorite footswitch. This will allow you to easily
mute or un-mute the internal effects, while stamping
your foot and looking like you were mad about some-
thing. Any one-button on/off footswitch will work.
If the internal effects have already been muted with
the internal FX mute switch [51] 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. PHONES
This 1/4" TRS stereo jack will drive any standard head-
phone to very loud levels. The wiring follows standard
conventions:
Tip = Left channel
Ring = Right channel
Sleeve = Common ground
The headphones output is the stereo main mix, not
affected by the main fader [48], or the graphic EQ [37].
Warning: when we say the headphone out-
put is loud, we’re not kidding. It can cause
permanent ear damage. Even intermediate
levels may be painfully loud with some earphones. Be
careful! Always turn the phones level control [42] all
the way down before connecting headphones, adding
new sources, or making any other changes. Keep it down
until you’ve put the phones on. Then turn it up slowly.

16
ProFX8 and ProFX12
ProFX8 and ProFX12
18. TAPE INPUT
These stereo unbalanced RCA inputs are designed to
work with semipro as well as pro player/recorders. You
can also connect any standard source with an unbal-
anced line-level output, such as a CD or DVD player,
iPod dock, and so on.
Connect your source’s line-level outputs here, using
good quality hi-fi (RCA) cables.
You can use these with a tape or CD player to feed
music to a PA system between sets, when the break
switch [35] is engaged. The level coming into the mixer
can be adjusted with the tape level knob [36]. For ex-
ample, you could press the break switch to mute all the
other channels at once, then play your tape or CD player
and bring up its level slowly.
19. 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, etc. This
allows you to make a recording for posterity/archive/
legal purposes whenever the band gets back together
again.
The tape output is the stereo main mix, not affected
by the main fader [48], or the graphic EQ [37].
TAPE
IN
ST RETURN MAIN OUT PHONES
FOOTSWITCH
TAP E
OUT
L
R
L
(UNBALANCED)
R
FX SEND
LINE IN 4
INSERT
BAL /
UNBAL
(MONO) (MONO) (MONO) (MONO)
LINE IN 7
LINE IN 8
BAL /
UNBAL LINE IN 9
MICMICMICMICMICMIC
L
R
(MONO)
LINE IN 5
LINE IN 6
BAL /
UNBAL
L
R
LINE IN 10
BAL /
UNBAL
L
R
LINE IN 11
LINE IN 12
BAL /
UNBAL
L
R
BAL /
UNBAL
L
R
BAL /
UNBAL
L
R
MON SEND
BAL /
UNBAL
BAL /
UNBAL
4
LINE IN 3
INSERT
BAL /
UNBAL
3
LINE IN 2
INSERT
BAL /
UNBAL
BAL /
UNBAL
2
LINE/HI-Z IN 1
INSERT
1 5/6 7/8 9/10 11/12
LINE
HI-Z
PROFESSIONAL MIC/LINE MIXER WITH FX
18 19

17
Owner’s Manual
Owner’s Manual
Channel Controls
The vertical channel strips look very similar, with only
a few differences between them. Each channel works
independently, and just controls the signals plugged into
the inputs directly above it. There are three different
flavors of channel strip: Mono, Hybrid, and Stereo.
Mono Channels (1–4 on ProFX12)
(1, 2 on ProFX8)
• The mono channel controls affect both the
mono mic input and the mono line-level input.
• The gain knob adjusts both mic and line inputs.
• Each mono channel has an insert jack and low
cut switch.
• Channel 1 has a hi-z switch so you can connect
a guitar directly.
• The 3-band EQ has shelving high, shelving low,
and peaking mid EQ.
Hybrid Channels (5/6, 7/8 on ProFX12)
(3/4, 5/6 on ProFX8)
• Except for gain and low cut, these controls
affect the mono mic input and the stereo line-
level input.
• The gain knob adjusts the mic input only. (The
stereo line inputs are fixed at unity gain.)
• The low cut switch only affects the mic input.
• The mono mic input is split equally to the left
and right.
• The hybrid channel EQ is a 3-band design just
like the mono channel EQ.
Stereo Channels (9/10, 11/12 on ProFX12)
(7/8 on ProFX8)
• These controls affect the stereo line-level
inputs.
• The gain knob adjusts the left and right line
inputs equally. There is no level set LED or low
cut switch.
• The stereo channel EQ is a 3-band design just
like the mono channel EQ.
“U” LIKE UNITY GAIN
Mackie mixers have a “U” symbol on almost every level
control. This “U” stands for “unity gain,” meaning no
change in signal level (0 dB gain). Once you have ad-
justed the input signal with the gain control, you can set
every control at “U” and your signals will travel through
the mixer at optimal levels. What’s more, all the labels
on our level controls are measured in decibels (dB), so
you’ll know what you’re doing level-wise if you choose to
change a control’s settings.
TAPE
IN
TAPE
OUT
L
R
L
(UNBALANCED)
R
MID
2.5kHz
MID
2.5kHz
MID
2.5kHz
MID
2.5kHz
MID
2.5kHz
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
LINE IN 4
INSERT
RL
LOW CUT
100 Hz
U
GAIN
M
I
C
G
A
I
N
U+50
-20dB +30dB
4
12kHz
HI
MID
2.5kHz
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
12kHz
HI
MID
2.5kHz
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
12kHz
HI
MID
2.5kHz
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
12kHz
HI
PAN
AUX
U
+15
OO
MON
FX
U
+15
OO
RL
PAN
AUX
U
+15
OO
MON
FX
U
+15
OO
RL
PAN
AUX
U
+15
OO
MON
FX
U
+15
OO
RL
PAN
AUX
U
+15
OO
MON
FX
U
+15
OO
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
RL
LOW CUT
100 Hz
12kHz
HI
PAN
AUX
U
+15
OO
MON
FX
U
+15
OO
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
BAL /
UNBAL
(MONO) (MONO) (MONO)
LINE IN 7
LINE IN 8
BAL /
UNBAL LINE IN 9
RL
LOW CUT
100 Hz
GAIN
7/85/6
12kHz
HI
PAN
AUX
U
+15
OO
MON
FX
U
+15
OO
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
RL
M
I
C
G
A
I
N
U+50
GAIN
M
I
C
G
A
I
N
U+50
9/10
12kHz
HI
LEVEL
SET
LEVEL
SET
LEVEL
SET
LOW CUT
100 Hz
U
GAIN
M
I
C
G
A
I
N
U+50
-20dB +30dB
LEVEL
SET
LEVEL
SET
LEVEL
SET
LOW CUT
100 Hz
U
GAIN
M
I
C
G
A
I
N
U+50
-20dB +30dB
LOW CUT
100 Hz
U
GAIN
M
I
C
G
A
I
N
U+50
-20dB +30dB
PAN
AUX
U
+15
OO
MON
FX
U
+15
OO
GAIN
MICMICMICMICMICMIC
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
U
+20-20
GAIN
U
+20-20
RL
11/12
EQEQEQEQ EQ EQ EQ EQ
12kHz
HI
PAN
AUX
U
+15
OO
MON
FX
U
+15
OO
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
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
dB
30
20
10
10
OO
40
50
5
5
U
60
dB
30
20
10
10
OO
40
50
5
5
U
60
L
R
(MONO)
LINE IN 5
LINE IN 6
BAL /
UNBAL
L
R
LINE IN 10
BAL /
UNBAL
L
R
LINE IN 11
LINE IN 12
BAL /
UNBAL
L
R
4
LINE IN 3
INSERT
3
BAL /
UNBAL
3
LINE IN 2
INSERT
2
BAL /
UNBAL
BAL /
UNBAL
2
LINE/HI-Z IN 1
INSERT
1 5/6 7/8 9/10 11/12
LINE
HI-Z
1
OL OL OL OL OL OL OL OL
MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE
TAPE
IN
L
R
(UNBAL
A
MID
2.5kHz
MID
2.5kHz
MID
2.5kHz
MID
2.5kHz
MID
2.5kHz
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
INSERT
RL
LOW CUT
100 Hz
U
GAIN
M
I
C
G
A
I
N
U+50
-20dB +30dB
OL
1
EQ
12kHz
HI
PAN
AUX
U
+15
OO
MON
FX
U
+15
OO
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
RL
LOW CUT
100 Hz
U
GAIN
M
I
C
G
A
I
N
U+50
-20dB +30dB
2
EQ
12kHz
HI
PAN
AUX
U
+15
OO
MON
FX
U
+15
OO
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
LINE IN 2LINE/HI-Z IN 1
INSERT
BAL /
UNBAL
(MONO) (MONO) (MONO)
LINE IN 3
LINE IN 4
BAL /
UNBAL LINE IN 5
RL
LOW CUT
100 Hz
GAIN
3/4
EQ
12kHz
HI
PAN
AUX
U
+15
OO
MON
FX
U
+15
OO
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
RL
LOW CUT
100Hz
GAIN
M
I
C
G
A
I
N
U+50
M
I
C
G
A
I
N
U+50
5/6
EQ
12kHz
HI
LEVEL
SET
LEVEL
SET
LEVEL
SET
LEVEL
SET
PAN
AUX
U
+15
OO
MON
FX
U
+15
OO
GAIN
MICMICMICMIC
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
U
+20-20
RL
7/8
EQ
12kHz
HI
PAN
AUX
U
+15
OO
MON
FX
U
+15
OO
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
dB
30
20
10
10
OO
40
50
5
5
U
60
dB
30
20
10
10
OO
40
50
5
5
U
60
L
R
LINE IN 6
BAL /
UNBAL
L
R
LINE IN 7
LINE IN 8
BAL /
UNBAL
L
R
OL OL OL OL
1 2 3/4 5/6 7/8
LINE
HI-Z
LINE
HI-Z
MUTE MUTE MUTE MUTE MUTE
MONO HYBRID STEREO
MONO HYBRID STEREO
ProFX12
ProFX8

18
ProFX8 and ProFX12
ProFX8 and ProFX12
For hybrid channels (mic input and
stereo line input), the gain control just
affects the microphone input.
For stereo channels (no mic input) the
gain control just affects the line-level
inputs, with 20 dB of gain, and 20 dB of
attenuation. There is no level set LED.
21. LEVEL SET LED
These LEDs are used with the gain control [20] to set
the channel preamplifier gain just right for each source.
If you hear distortion on one or more of your channels,
check the level set LEDs are not on continuously, and
turn down the gain if they are.
22. LOW CUT
Each channel with a mic input has a low cut switch
that cuts the bass frequencies below 100 Hz, at a rate
of 18 dB per octave. All mic inputs are affected, and the
line inputs of the mono channels.
We recommend that you use low cut on every micro-
phone application except kick drum, bass guitar, and
bassy synth patches. These aside, there isn’t much down
there that you want to hear, and filtering it out makes
the low stuff you do want much more crisp and tasty.
Not only that, low cut can help reduce the possibility
of feedback in live situations and help to conserve the
amplifier power.
20. GAIN
If you haven’t already, please read the gain-setting
procedure on page 3. The gain adjustment allows all
your various source signals from the outside world to be
adjusted to the same optimal internal operating levels.
Setting the gain correctly will ensure that the pre-
amplifier’s gain is not too high, where distortion could
occur, and not too low, where your quieter, exquisitely-
delicate passages might be lost in background noise.
For mono channels (mic input with a
mono line input), the gain knob adjusts
the input sensitivity of the mic and line
inputs.
Adjust the gain control so the level set LEDs [21]
come on occasionally during the louder moments of your
playing or singing, and go off when you stop.
If the signal comes through the mic XLR jack, there
will be 0 dB of gain (U for unity) with the knob fully
down, ramping to 50 dB of gain fully up.
Through the 1⁄4" mono input, there is 20 dB of
attenuation fully down and 30 dB of gain fully up,
with a “U” (unity gain) mark at 12:00. This 20 dB of
attenuation can be very handy when you are inserting
a very hot signal, need to add a lot of EQ boost, or both.
Without this “virtual pad,” this scenario might lead to
channel clipping.
MID
2.5kHz
MID
2.5kHz
MID
2.5kHz
MID
2.5kHz
MID
2.5kHz
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
RL
LOW CUT
100 Hz
U
GAIN
M
I
C
G
A
I
N
U+50
-20dB +30dB
4
12kHz
HI
MID
2.5kHz
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
12kHz
HI
MID
2.5kHz
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
12kHz
HI
MID
2.5kHz
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
12kHz
HI
PAN
AUX
U
+15
OO
MON
FX
U
+15
OO
RL
PAN
AUX
U
+15
OO
MON
FX
U
+15
OO
RL
PAN
AUX
U
+15
OO
MON
FX
U
+15
OO
RL
PAN
AUX
U
+15
OO
MON
FX
U
+15
OO
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
RL
LOW CUT
100 Hz
12kHz
HI
PAN
AUX
U
+15
OO
MON
FX
U
+15
OO
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
RL
LOW CUT
100 Hz
GAIN
7/85/6
12kHz
HI
PAN
AUX
U
+15
OO
MON
FX
U
+15
OO
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
RL
M
I
C
G
A
I
N
U+50
GAIN
M
I
C
G
A
I
N
U+50
9/10
12kHz
HI
LEVEL
SET
LEVEL
SET
LEVEL
SET
LOW CUT
100 Hz
U
GAIN
M
I
C
G
A
I
N
U+50
-20dB +30dB
LEVEL
SET
LEVEL
SET
LEVEL
SET
LOW CUT
100 Hz
U
GAIN
M
I
C
G
A
I
N
U+50
-20dB +30dB
LOW CUT
100 Hz
U
GAIN
M
I
C
G
A
I
N
U+50
-20dB +30dB
PAN
AUX
U
+15
OO
MON
FX
U
+15
OO
GAIN
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
U
+20-20
GAIN
U
+20-20
RL
11/12
EQEQEQEQ EQ EQ EQ EQ
12kHz
HI
PAN
AUX
U
+15
OO
MON
FX
U
+15
OO
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
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
dB
30
20
10
10
OO
40
50
5
5
U
60
dB
30
20
10
10
OO
40
50
5
5
U
60
321
OL OL OL OL OL OL OL OL
MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE
20 21
22
23
24
25
26
27
28
29 30
31
GAIN
U
+20-20
GAIN
M
I
C
G
A
I
N
U+50
LEVEL
SET
LEVEL
SET
U
GAIN
M
I
C
G
A
I
N
U+50
-20dB +30dB

19
Owner’s Manual
Owner’s Manual
Another way to consider low cut’s function is that it
actually adds flexibility during live performances. With
the addition of low cut, you can safely use low EQ on
vocals. Many times, bass shelving EQ can really ben-
efit voices. Trouble is, adding low EQ also boosts stage
rumble, mic handling clunks and breath pops. Low cut
removes all these problems so you can add low EQ with-
out losing a woofer out the window.
3-BAND EQ
The ProFX mixer has 3-band equalization at carefully
selected points — low shelving at 80 Hz, mid peaking at
2.5 kHz, and high shelving at 12 kHz. “Shelving” means
that the circuitry boosts or cuts all frequencies past the
specified frequency. For example, rotating the low EQ
knob 15 dB to the right boosts bass starting at 80 Hz and
continuing down to the lowest note you never heard.
“Peaking” means that certain frequencies form a “hill”
around the center frequency — 2.5 kHz in the case of
the mid EQ.
The following graphs of frequency vs. signal level show
the approximate overall effect of EQ adjustment on the
frequency range.
23. HI EQ
This control gives you
up to 15 dB boost or cut
above 12 kHz, and it is flat
(no boost or cut) at the
detent. Use it to add sizzle
to cymbals, and an overall
sense of transparency, or
edge to keyboards, vocals,
guitar and bacon frying. Turn
it down a little to reduce sibilance, or to hide tape hiss.
24. MID EQ
Short for “midrange,”
this knob provides 15 dB
of boost or cut, centered at
2.5 kHz, also flat at the cen-
ter detent. Midrange EQ
is often thought of as the
most dynamic, because the
frequencies that define any
particular sound are almost always found in this range.
You can create many interesting and useful EQ changes
by turning this knob down as well as up.
25. LOW EQ
This control gives you up
to 15 dB boost or cut below
80 Hz. The circuit is flat at
the center detent position.
This frequency represents
the punch in bass drums,
bass guitar, fat synth
patches, and some really
serious male singers.
Used in conjunction with
the low cut [22] switch,
you can boost the low EQ
without injecting a ton of
subsonic debris into the
mix.
MODERATION DURING EQ
With EQ, you can also upset things royally. We’ve de-
signed a lot of boost and cut into each equalizer circuit,
because we know everyone will occasionally need that.
But if you max the EQs 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). Very few gold-record-
album engineers ever use more than about 3 dB of EQ.
If you need more than that, there’s usually a better way
to get it, such as placing a mic differently (or using a
different kind of mic entirely).
26. AUX MON
These knobs tap a portion of each channel's signal
to set up a nice monitor mix feeding stage monitors,
independent of the main mix. Adjust these controls on
each channel until your band is happy with the stage
monitor mix.
The aux mon feed from hybrid and stereo channels is
a mono sum of the left and right sides of these channels.
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 channel fader [31], pan [28], or mute [30] do
not affect the monitor output, but the other channel
controls will. (The aux mon is pre-fader.)
The monitor signal from the monitor output jack [13]
is the sum (mix) of all the channels whose aux mon
control is set to more than minimum. The overall output
level can be adjusted with the monitor fader [47] and
its EQ tweaked with the graphic EQ [37] if the main
mix/mon switch [38] is pressed in. Internal FX can also
be added to the monitor mix with the FX to mon knob
[54].
20Hz 100Hz 1kHz 10kHz 20kHz
–15
–10
–5
0
+5
+10
+15
Mid EQ
20Hz 100Hz 1kHz 10kHz 20kHz
–15
–10
–5
0
+5
+10
+15
20 Hz 100 Hz 1k Hz 10k Hz 20k Hz
–15
–10
–5
0
+5
+10
+15
Low EQ with Low Cut
Low EQ
20 Hz 100 Hz 1k Hz 10k Hz 20k Hz
–15
–10
–5
0
+5
+10
+15
High EQ

20
ProFX8 and ProFX12
ProFX8 and ProFX12
27. AUX FX
These knobs tap a portion of each channel's signal to
set up a nice FX mix feeding the internal FX processor,
and to feed external processors via the FX output [14].
The aux FX feed from hybrid and stereo channels is a
mono sum of the left and right sides of these channels.
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 channel fader [31], mute [30] and other channel
controls affect the FX output, but pan [28] does not.
The aux FX is post-fader.
The FX signal reaching the internal FX processor
and the FX send output jack, is the sum (mix) of all
the channels whose aux FX control is set to more than
minimum. The overall FX send level can be adjusted
with the FX master knob [52].
The FX signal from the internal FX processor is added
to the main mix using the FX return fader [46], and can
be added to the monitors with the FX to mon knob [54].
28. PAN
These knobs adjust the amount of channel signal sent
to the left versus the right outputs. On mono channels
these controls act as pan pots. On hybrid and stereo
channels, they work like the balance control on a home
stereo. They do not affect the aux mon or FX mixes.
29. OL LED
This LED will light if the channel signal is too high,
and this may cause distortion due to overloading.
The OL LED comes before the channel fader [31] in
the signal path, so the fader has no effect in your efforts
to turn off the OL LED.
Overloading may occur if the gain [20] is set too high,
so check that the level set LED [21] is not turning on
frequently. Turn down the gain if it is.
Overloading can also occur if the channel EQ [23-25]
is set too high. Check that the EQ settings are moderate.
Use the low cut switches [22] if the overloading is due
to lower unwanted bass thumps and bangs.
30. MUTE
Press this switch in to mute the channel in the main
mix. The aux mon output of the channel is not muted,
but the FX output to the internal FX processor and FX
send jack [14] is.
31. CHANNEL FADER
These faders control the channel’s level, from off, to
unity gain, on up to 10 dB of additional gain. The mono
channels have mono faders, and the hybrid and stereo
channels use stereo faders.
With the gain control [20] set correctly, the faders
should be set around unity gain (U).
MID
2.5kHz
MID
2.5kHz
MID
2.5kHz
MID
2.5kHz
MID
2.5kHz
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
RL
LOW CUT
100 Hz
U
GAIN
M
I
C
G
A
I
N
U+50
-20dB +30dB
4
12kHz
HI
MID
2.5kHz
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
12kHz
HI
MID
2.5kHz
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
12kHz
HI
MID
2.5kHz
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
12kHz
HI
PAN
AUX
U
+15
OO
MON
FX
U
+15
OO
RL
PAN
AUX
U
+15
OO
MON
FX
U
+15
OO
RL
PAN
AUX
U
+15
OO
MON
FX
U
+15
OO
RL
PAN
AUX
U
+15
OO
MON
FX
U
+15
OO
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
RL
LOW CUT
100 Hz
12kHz
HI
PAN
AUX
U
+15
OO
MON
FX
U
+15
OO
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
RL
LOW CUT
100 Hz
GAIN
7/85/6
12kHz
HI
PAN
AUX
U
+15
OO
MON
FX
U
+15
OO
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
RL
M
I
C
G
A
I
N
U+50
GAIN
M
I
C
G
A
I
N
U+50
9/10
12kHz
HI
LEVEL
SET
LEVEL
SET
LEVEL
SET
LOW CUT
100 Hz
U
GAIN
M
I
C
G
A
I
N
U+50
-20dB +30dB
LEVEL
SET
LEVEL
SET
LEVEL
SET
LOW CUT
100 Hz
U
GAIN
M
I
C
G
A
I
N
U+50
-20dB +30dB
LOW CUT
100 Hz
U
GAIN
M
I
C
G
A
I
N
U+50
-20dB +30dB
PAN
AUX
U
+15
OO
MON
FX
U
+15
OO
GAIN
80Hz
LOW
U
+15-15
U
+15-15
U
+15-15
U
+20-20
GAIN
U
+20-20
RL
11/12
EQEQEQEQ EQ EQ EQ EQ
12kHz
HI
PAN
AUX
U
+15
OO
MON
FX
U
+15
OO
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
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
dB
30
20
10
10
OO
40
50
5
5
U
60
dB
30
20
10
10
OO
40
50
5
5
U
60
321
OL OL OL OL OL OL OL OL
MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE
20 21
22
23
24
25
26
27
28
29 30
31