PPM1008
8-Channel,2 x 800 W Professional Powered Mixer
O W N E R ’ S M A N U A L
2 X 800W PROFESSIONAL POWERED MIXER
/
FX
FOOT SWITCH
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Ready, steady, go!
Read This Page!
1. Turn the channel level, mon 1, and FX/mon 2
controls fully down.
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.
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.
Setup
The PPM1008 powered mixer is designed to be easy to
operate, and to be set up quickly.
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.
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.
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.
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.
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.
Connections
1. Be sure the rear-panel power switch is off
before making any connections.
9. Slowly turn up the main level control until you
hear the signal in your speakers.
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.
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.
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.
Other Notes
•
Only connect the powered mixer's speaker-level
outputs to passive loudspeakers.
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.
•
When shutting down, turn off any external
amplifiers or powered loudspeakers first. When
powering up, turn on any external amplifiers or
powered loudspeakers last.
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.
•
Save the shipping box!
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.
Please write your serial number here for future
reference (i.e., insurance claims, tech support,
return authorization, make dad proud, etc.)
Purchased at:
Don’t use guitar cords for speaker cables!
They’re not designed to handle speaker-level
signals and could overheat.
Date of purchase:
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.
3
Owner’s Manual
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Introduction
•
Independent 9-band graphic EQs with constant-
Q filters on main and monitor outputs
It is possible that only one person will read this
manual all the way through. Hello mom. Here's another
manual from your boy.
•
•
Tape/CD stereo RCA outputs
12-segment stereo output meters on main mix,
and mono meter on monitor 1
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.
•
•
•
Break switch mutes all mono channels
Speakon and 1/4" power amp outputs
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.
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
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.
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.
Features
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:
•
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)
•
•
•
•
•
Rear panel: The AC input, power switch, speak-
er-level outputs and amplifier mode switch
•
•
•
•
•
•
8 channels (6 mono, 2 stereo)
Mic inputs on all channels
Patchbay: The lower front section, where you
connect microphones and guitars etc.
Line-level inputs (6 mono, 2 stereo)
RCA inputs on stereo channels
Insert jacks on mono channels
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
Channels 5 and 6 allow direct connection of
guitars and basses without a DI box
Stereo Effects Processor
•
3-band EQ with sweepable mid-range frequency
on mono channels
Throughout these sections you’ll find illustrations
with each feature numbered and described in nearby
paragraphs.
•
•
•
•
•
4-band EQ on stereo channels
Monitor 1 send
This icon marks information that is critically
important or unique to the mixer. For your own
good, read them and remember them.
Main mix stereo line outputs
Main mix mono sub out
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.
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
Appendix A: Service information.
Appendix B: Connectors.
Built-in compressors on the first 4 mono inputs
(dedicated in-line compression)
Appendix C: Technical information.
Appendix D: Table of Effects Presets
•
24 built-in Running Man 32-bit effects with
input gain, tap delay, and footswitch mute/un-
mute
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.
4
PPM1008
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Contents
PATCHBAY
MASTER CONTROLS
STEREO EFFECTS PROCESSOR
CHANNEL CONTROLS
Need help with your new mixer?
Support to find: FAQs, manuals,
addendums, and user forums.
• Telephone 1-800-898-3211 to speak
with one of our splendid technical
support chaps, (Monday through
Friday, from 7 a.m. to 5 p.m. PST).
5
Owner’s Manual
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Hookup Diagrams
Front Panel
Power Amp Mode
switch set to
Stereo Mains
Rear Panel
Microphones
press HI-Z
button
press HI-Z
button
Adjust
Vocal
Compression
Keyboards
Portable Recorder
SRM450 v2 Powered Stage Monitors
(plays mon 1 output)
SWA1801z Powered Subwoofers
(plays main mix below 100 Hz)
S225 Passive Speakers
(plays stereo main mix)
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.
Club System
6
PPM1008
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Microphones
Acoustic Guitar
and Mic
Front Panel
Power Amp Mode
switch set to
Mains/Mon 1
Rear Panel
press HI-Z
button
Adjust
Vocal
Compression
Drum
Machine
FRS2800
Amplifier
C300z Passive Stage Monitors
(plays mon 1 output)
dual-mono
mode
Keyboards
SRM150 Powered Monitor
(plays mon 1 output)
S215 Passive Speakers
House System
(plays mono main mix)
S218s Passive Subwoofers
(plays main mix below 100 Hz)
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.
House of Worship System
7
Owner’s Manual
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Wireless
Microphone
Microphones
Front Panel
Power Amp Mode
switch set to
Stereo Mains
Rear Panel
Graphic EQ
iPodTM Docking Station
Mackie d.2 Pro
Wireless Mic
Receiver
DJ Production Console
SA1521z
Powered
Speaker
SA1521z
Powered
Speaker
MAIN OUT
BOOTH
FX
PGM
PHONO
2
CD
PGM
PHONO
1
CD
MIC
SEND
L
R
L
L
R
R
L
L
L
L
LINE
MIC
R
R
R
LIV
REC
RETUR
L(MONO)
NE
HONO
N
GND
GND
~100-240 VAC 50-60Hz 20W
L
R
S225 Passive Speakers
(plays stereo main mix)
Turntables with phono-level output
SWA2801z
Powered Subwoofer
(right main mix)
SWA2801z
Powered Subwoofer
(left main mix)
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.
DJ System
8
PPM1008
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Microphones
Front Panel
Power Amp Mode
switch set to
Mon 1/Mon 2
Rear Panel
press HI-Z
buttons
Adjust
Vocal
Compression
Send
SA1532z
Powered
Speaker
SA1532z
Powered
Speaker
Return
Guitar Processor
(connected to INSERT)
C200z Passive Stage Monitors
(plays mon 2 output)
Keyboards
C300z Passive Stage Monitors
(plays mon 1 output)
SWA2801z
Powered Subwoofer
(plays right main mix)
SWA2801z
Powered Subwoofer
(plays left main mix)
Electronic Drum Kit
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.
Large Band System
9
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Rear Panel Features
2 X 800W PROFESSIONAL POWERED MIXER
4
2
6
3
6
1
OUTPUT POWER:
@
4
OHMS, 800 WATTS PEAK PER CH
MINIMUM LOAD:
4
OHMS PER CHANNEL
5
1. POWER CONNECTION
3. SPEAKER-LEVEL OUTPUTS
This jack accepts the supplied 3-prong IEC AC power
cord.
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.
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.
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.
2. POWER SWITCH
Two common types of connector are provided for your
convenience: Speakons and 1/4" TS.
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.
1–
1+
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.
COLD
1–
1+
2+
HOT
2–
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.
•
Speakon outputs are wired Pin 1+ positive
(hot) and Pin 1– negative (cold).
Mono Speakon Connection
10
PPM1008
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•
1/4" TS outputs are wired Tip positive, and
Sleeve negative.
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.
SLEEVE
SLEEVE
TIP
TIP
TIP
SLEEVE
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.
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.
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.
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.
11
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Front Panel Features
2 X 800W PROFESSIONAL POWERED MIXER
/
11
10
12
8
14
13
9
FX
FOOT SWITCH
7
Patchbay section
7. MIC INPUTS
This is where you plug in things such as: microphones,
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.
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.
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.
12
PPM1008
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PHANTOM POWER
12. INSERT (CH. 1 to 6)
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.
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:
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.)
SEND to processor
ring
“tip”
(TRS plug)
tip
sleeve
This plug connects to one of the
mixer’s Channel Insert jacks.
“ring”
RETURN from processor
Never plug single-ended (unbalanced) micro-
phones, or ribbon mics into the mic input
jacks if phantom power is on.
Tip = send (output to effects device)
Ring = return (input from effects device)
Sleeve = common ground
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.
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.
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.
13. TAPE OUTPUTS
To connect balanced lines to these inputs, use a 1⁄4"
Tip-Ring-Sleeve (TRS) plug.
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.
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 tape output is the stereo main mix, not affected
by the main level [38], or the main graphic EQ [36].
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.
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.
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.
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.
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.
13
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/
15
17
FX
FOOT SWITCH
19
20
16
18
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.)
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:
To channel 5 or 6
instrument inputs
From mon 1 or mon 2
MONITOR 2 SEND or FX SEND?
line-level output
SRM450v2
Powered Stage Monitor
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.
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).
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."
PRE
Switch in
Mon 2 Send (Pre)
POST
Switch out
FX Send (Post)
SRM450v2 Powered Stage Monitors
(plays mon 2 output)
Stereo effects processor
Using the output to feed a pair of powered stage monitors.
Using the output to feed a stereo effects processor. In this
example, the stereo outputs go to ch. 7 stereo inputs.
14
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(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.)
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.
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).
“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.
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.
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.
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
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.
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.
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.
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 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 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.
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.
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.
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 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.
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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.
“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.
Mono Channels 1 to 6
Signal Flow
•
Channels 1 to 6 are mono channels, and their
controls affect either the mono mic input or the
mono line-level input.
The block diagram on page 29 shows the signal flow,
but here is a short description of the flow through the
channel strip section:
•
•
•
•
Channels 1 to 4 have a built-in signal in-line-
compressor circuit with adjustable threshold.
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.
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 signal then passes through the compressor circuit
(ch. 1 to 4 only), then through the channel EQ, and the
channel level [31].
The mono signals are split equally to the left
and right of the main mix.
The mon 1 control [21] taps the signal off just before
(pre) the channel level.
Stereo Channels 7 to 8
•
Channels 7 and 8 are stereo channels, and their
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.
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.
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21. MON 1
23. HIGH EQ
+15
+10
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 and it is also flat at the detent.
happy with the stage monitor mix. The controls are off Use it to add sizzle to cymbals,
when turned fully down, deliver unity gain at the center an overall sense of transpar-
detent, and can provide up to 15 dB of gain turned fully ency, or an edge to keyboards,
The high EQ provides up to 15
dB of boost or cut above 12 kHz,
+5
0
–5
–10
–15
20
Hz
100
Hz
1kHz
10kHz 20kHz
up. Adjustments to the channel level or main mix level
will not affect the monitor output, but channel EQ and
gain [32] will.
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)
One of the powered mixer's internal amplifiers can
power passive stage monitors if you set the power amp
+15
The mid knob sets the
+10
mode switch [4] on the rear panel. Mon 1 send [17] is a amount of boost or cut, up to
line-level output if you want to connect external power 15 dB, and is effectively by-
amplifiers and passive stage monitors, or powered stage passed at the center detent.
+5
0
–5
–10
–15
monitors.
The frequency at which the cut
or boost occurs is set by the
frequency control [25].
20
Hz
100
Hz
1kHz
10kHz 20kHz
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.
25. MID EQ FREQUENCY (Ch. 1 to 6)
+15
This knob sets the center
+10
frequency of the mid EQ control
+5
[24]. This is sweepable from
100 Hz to 8 kHz.
0
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.
–5
–10
–15
Once this is set, the mid EQ
level can be adjusted with the
mid EQ level control [24].
20
Hz
100
Hz
1kHz
10kHz 20kHz
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).
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.
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!
26. HIGH MID EQ LEVEL (Ch. 7 and 8)
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.
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.
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
28. ICE CREAM DISPENSER
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.
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.
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29. LOW EQ
32. GAIN SWITCH
+15
+10
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
Press this in (low) if you are connecting a line-level
input source to channels 1 to 6.
+5
0
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).
–5
–10
–15
20
Hz
100
Hz
1kHz
10kHz 20kHz
guitar, fat synth patches, and some really serious male
singers who eat raw beef for breakfast.
Note that the gain switch has no effect on the line-
level inputs and RCA inputs of channels 7 or 8.
Gain switch MIC (XLR)
LINE (TRS)
Inputs
30. OVERLOAD (OL) LED
position
Inputs
This LED will come on when the channel’s input
signal is too high. This should be avoided, as distortion
will occur.
IN (LOW)
Gain = 25 dB
Gain = 0 dB
Gain = 20 dB
OUT (HIGH) Gain = 45 dB
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).
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.
31. CHANNEL LEVEL
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.
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.
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33. COMPRESSOR
+20
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.
+15
+10
+5
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.
+0
-5
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.
-10
-10
-5
+0
+5
+10
+15
+20
INPUT SIGNAL STRENGTH dBu
The other blue curves represent in-between positions
of the compressor knob, with higher thresholds before
compression begins.
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).
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.
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.
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
The following graph shows the input signal
level going into the compressor, versus the
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.
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 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.)
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.
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.
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).
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Master Controls
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.
35
40
2 X 800W PROFESSIONAL POWERED MIXER
37
36
41
38
39
42
With this constant-Q graphic EQ, the
bandwidth (and Q) of a frequency
band doesn't vary with the amount of
45
boost or cut. The adjustment of one
43
44
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
46
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53
50
49
51
/
47 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.
54
48
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.
37. FX TO MAIN
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.
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.)
36. MAIN MASTER GRAPHIC EQ
Adjust the FX level being added, compared to the
other channels playing in the main mix.
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.
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.
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.
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].
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.
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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The control does not affect the monitor 1 output [17],
monitor 2 output [15], or the internal power amp if it
is playing a monitor. (For stage monitor work, it is good
The EQ section comes after the monitor 1 level [43],
and just before the monitor 1 meter [45]. Therefore, as
you adjust the EQ, you can keep an eye on the meter in
that the main mix level does not affect the monitor out- case you over-do it and take the levels into overload. As
puts, so they can be set up nicely and stay that way.)
with the channel EQ, just take it easy.
The main mix signals are off with the level fully down,
the “U” marking is unity gain, and fully up provides 12
dB of additional gain. This additional gain will typically
never be needed, but once again, it’s nice to know it’s
there. The level control is stereo, as it affects both the
left and right of the main mix equally. This is the control
to turn down at the end of the song when you want “The
Great Fade-Out.”
Having many sliders will help you reduce the level of
frequency bands in the stage monitors that cause feed-
back from nearby microphones.
42. FX TO MON 1
This knob lets you adjust how much of the internal
effects is added to the mono monitor 1 mix. (The output
from the internal effects processor is stereo, summed to
mono and added to the mono monitor 1 mix.)
39. 100 Hz RUMBLE REDUCTION SWITCH
Adjust the FX level being added, compared to the
other channels playing in the monitor 1 mix.
This switch is used to reduce the level of the frequen-
cy range below 100 Hz. It operates on the mono channel
1 to 6 mix, not the stereo channel mix.
At the fully-down position, no effects are added, the
center U mark is unity gain, and there is 10 dB of effects
gain at the fully clockwise position.
Use this to reduce the amount of low frequency
problems such as mic handling, stage rumble, bangs and
thumps in your main mix.
43. MONITOR 1 LEVEL
This switch is the audio-electronic equiva-
lent of taking anti-gas medication. It relieves
low-end rumble, and the whole room sounds
better.
This knob controls the level of the monitor 1 mix, and
affects the monitor 1 meter [45], mon 1 line-level out-
puts [17], and the monitor 1 speaker-level output if the
internal amplifier is playing the monitor 1 mix. The level
adjustment occurs before the monitor 1 EQ [41].
40. MAIN MIX METERS
This gives you ultimate control over your monitor 1
stage monitors. Adjust it carefully, with your good eye
on the meter [45] to check against overloading, and
to make sure your band are happy with the levels. The
control does not affect the main mix level.
Developed from a harmless ex-NASA hamster
hypnotizer*, these stereo meters show the level of the
left and right main mix, after it has passed through the
main level [38] and graphic EQ [36]. The top LEDs are
marked OL (overload), and you should adjust the levels
to avoid these coming on too often, if at all.
The monitor 1 mix signals are off with the level fully
down, the “U” marking is unity gain, and fully up pro-
vides 12 dB of additional gain.
Please remember: Audio meter displays are just tools
to help assure you that your levels are “in the ballpark.”
You don’t have to stare at them (unless you want to).
44. 100 Hz RUMBLE REDUCTION SWITCH
*Tests have shown that it is possible to send hamsters
safely to Mars and back under deep hypnosis.
This switch is used to reduce the level of the frequen-
cy range below 100 Hz, playing in the monitor 1 mix. It
only affects the monitor 1 mix, and does not affect any
effects being added from the internal FX processor.
41. MONITOR 1 MASTER GRAPHIC EQ
This 9-band, constant-Q, graphic equalizer adjusts the
monitor 1 mix output. It affects the line-level monitor 1
outputs [17], and the monitor 1 speaker-level output if
the internal amplifier is playing the monitor 1 mix.
Use this to reduce the amount of low frequency
problems such as mic handling, stage rumble, bangs and
thumps, that might affect the stage monitors.
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.
45. MONITOR 1 METER
This meter shows you the level of the monitor 1 mix,
after it has passed through the monitor 1 level [43] and
graphic EQ [41].
The top LED is marked OL (overload), and you should
adjust the levels to avoid this coming on too often, if at all.
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fiers, so only loudspeakers connected to the
rear panel speaker-level outputs [3] will be
affected.
2 X 800W PROFESSIONAL POWERED MIXER
48. POWER AMP LIMITER LEDs
These independent LEDs turn on when
power amplifier channel A or B is being over-
loaded internally and its internal automatic
limiter (which is always in the signal path) is
actively working. The LED will pulse in time
with how much the limiter is being used in
the signal path.
If the limiter LEDs come on and
stay on for more than a second or
two, it means the power supply has
overheated and the limiter is holding the amp
signal down to 1/4 power until the power sup-
ply cools down enough to release the limiter.
If this happens, check there is good ventila-
tion around the mixer, and that you are not
cranking it too much. Also make sure that
your speakers are OK, and are not less than 4
ohms impedance.
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Stereo Effects Processor
46. PHANTOM SWITCH
The Mackie Running-Man 32-bit internal effects pro-
cessor is a mono-in, stereo-out effects processor, with 24
presets. It is fed by adjusting the FX/mon 2 control [22]
on each channel.
Press in this switch to add phantom power to all the
XLR microphone inputs of the mixer. This lets the mixer
send low-current DC voltage to the mic’s electronics
through the same wires that carry audio. The LED will
turn on as a reminder that phantom power is engaged.
The output from the processor can be added to the
main mix or monitor 1 mix by adjusting the FX to main
[37] and FX to mon 1 [42] controls.
Most modern professional condenser mics are
equipped for phantom power. 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.
Every time you select preset 15, someone in downtown
Woodinville, WA, orders a double cheese burger and
fries. Nobody knows why.
49. FX/ MON 2 SEND MASTER
Never plug single-ended (unbalanced) micro-
phones, or ribbon mics into the mic input
jacks if phantom power is on.
Use this knob to control the level of the signals going
into the internal effects processor. Adjust it carefully,
with your inner magical eye on the adjacent SIG/OL
LED [50] to prevent overloading the effects processor.
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.
This knob also affects the level going out of the FX/
mon 2 output [15], and the internal power amplifier if it
is playing monitor 2.
47. PRECISION PASSIVE EQ
50. SIG/ OL LED
If you are using Mackie passive speakers such as
the C200, C300z, S408, S215, and S225, then press this
switch for enhanced clarity and low-frequency response.
If you are not using Mackie speakers, then press it
anyway and listen for an improvement. The passive EQ
circuit is added just before the internal power ampli-
This dual-LED illuminates in green when the signal
level reaching the effects processor is in a good operat-
ing range (SIG). It illuminates in red when the effects
processor is being overloaded with too strong a signal
(OL). Turn down the level [49] if it is.
22
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The signals going into the processor are affected by
the channel FX/mon 2 controls [22], and the channel
level controls [31] (if the FX send/mon 2 send switch
[51] is out (post)). Check the LED if you alter these
controls.
53. PRESET SELECTOR, TAP DELAY and LED
Rotate this endless control to select one of the 24
preset effects. When you stop the rotation, that preset
will be loaded and become operational. The current pre-
set number is shown in the display [52]. The different
presets are shown in this table and marked on the panel
silkscreen. Further details of each preset are shown in
Appendix D on page 30.
51. FX SEND (POST)/ MON 2 SEND (PRE)
This switch lets you choose which signal path is used
to feed the internal effects processor (and the FX/mon 2
output [15]) as follows:
1
2
3
4
5
6
7
8
9
Plate Reverb
Vocal Plate
13 Chorus
14 Chorus + Reverb
15 Doubler
Warm Room
Bright Room
Warm Lounge
Small Stage
Warm Theater
Bright Stage
Warm Hall
FX SEND (POST)
16 Tape Slap
Choose this (out) position when you want to use the
internal effects processor, or if you want to set up an
external processor.
17 Delay 1 Brt 350ms
18 Delay 1 Wrm 300ms
19 Delay 2 Brt 250ms
20 Delay 2 Wrm 200ms
21 Delay 3 Brt 175ms
22 Delay 3 Wrm 150ms
23 Chorus + Dly 300ms
24 Reverb + Dly 200ms
The FX/mon 2 control [22] on each channel samples
the channel signals after (post) the channel level
controls [31]. Any changes to the channel level will also
affect the level feeding the internal effects.
10 Concert Hall
11 Cathedral
You can also set up an external effects processor by:
1. Muting the internal effects processor.
12 Gated Reverb
2. Connecting the FX/mon 2 output to an external
processor.
The knob also offers a tap delay function for presets
17 to 24. This works as follows:
3. Returning the processed signal back to a free
mono or stereo channel line input.
1. Use the knob to select a preset from 17 to 24.
2. Press the knob in at least two times.
MON 2 SEND (PRE)
The DSP processor will calculate the time delay
between the last two pushes, and it will assign
this time interval to the echoes of the current
digital delay. The minimum tap delay is 50 ms
and the maximum is 500 ms. If taps are faster
than 50 ms, they will be set to 50 ms. If taps
are between 500 ms and 1 second, they will be
set to 500 ms. If taps are greater than 1 sec-
ond apart, they will be ignored. Try again a bit
faster.
In this position (in), the FX/mon 2 control on each
channel samples the channel signals before (pre) the
channel level controls.
This is ideal for using the FX/mon 2 output to feed a
stage monitor 2 setup, or to use the internal power amp
to power it (power amp mode switch [4] in the mon
1/mon 2 position).
You might want to mute the internal effects processor
with the FX mute switch [54].
3. The LED will flash in time with the new tap
delay time.
For more details, please see page 14, or the
rather lovely block diagram on page 29.
54. INTERNAL FX MUTE
When engaged, the internal effects processor is muted
at its output, and the adjacent LED will come on. The
footswitch connection [16] becomes disabled, and you
will not be able to use the footswitch to mute or unmute
the effects.
52. PRESET DISPLAY
This display shows the number of the currently
selected effects preset, as shown in the list of presets
silkscreened to the left of the display. Rotate the preset
selector knob to choose a preset.
If this switch is not engaged, then the internal effects
can be muted or unmuted with the footswitch.
The new preset will be loaded approximately 1/4 of
a second after you stop turning the knob, and will be
stored into the FX memory after about one second.
When the powered mixer is turned on, the FX section
will load up the last-used preset.
Congratulations! You’ve just read about all the fea-
tures of your powered mixer. Time for a cold one.
23
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Appendix A: Service Information
If you think your powered mixer has a problem, please
check out the following troubleshooting tips and do your
Noise
best to confirm the problem. Visit the Support section of
•
Turn the channel levels down, one by one. If
our website (www.mackie.com) where you will find lots
of useful information such as FAQs, documentation and
user forums. You may find the answer to the problem
without having to send your mixer away.
the sound disappears, it’s either that channel or
whatever is plugged into it, so unplug whatever
that is. If the noise disappears, it’s from your
whatever.
Power
Troubleshooting
•
The power LED should come on if the powered
mixer is connected to a suitable live AC mains
outlet, and the power switch is on. Check the
power cord is securely plugged in.
Bad Channel
•
•
•
•
•
Is the EQ set up nicely?
Is the gain switch set correctly?
Is the level up enough?
Repair
Is the channel OL led on?
For warranty repair or replacement, please refer to
the warranty information on page 31.
Is there too much compression on channels
1-4?
Non-warranty repair for Mackie products is available
at a factory-authorized service center. To locate your
nearest service center, visit www.mackie.com, click
“Support” and select “Locate a Service Center.” Service
for Mackie products living outside the United States can
be obtained through local dealers or distributors.
•
•
•
•
Are the hi-z instrument switches set OK for
guitars connected to channels 5 and 6?
Try unplugging any insert devices from the
insert jacks.
Try the same source signal in another channel,
set up exactly like the suspect channel.
If you do not have access to our website, you can call
our Tech Support department at 1-800-898-3211, Mon-
day-Friday, 7 am to 5 pm Pacific Time, to explain the
problem. Tech Support will tell you where the nearest
factory-authorized service center is located in your area.
Is phantom power required for your micro-
phones?
Bad Output
•
•
•
•
Is the main master level control turned up?
Are the graphic EQs set to reasonable levels?
Is the FX level going to the main mix, too high?
If it’s one of the main speaker-level outputs,
try unplugging its companion. For example, if
it’s the 1/4" left main output, unplug the left
Speakon output. If the problem goes away, it’s
not the powered mixer.
•
•
•
If a left speaker is presumed dead, connect it
to the right output instead. If the problem stays
with the same speaker, check the speaker wir-
ing, or any speaker fuses.
Unplug anything from the main line-level
outputs, or other line-level outputs, such as the
sub out, FX/mon 2 send, or mon 1 send, just in
case one of your external pieces has a problem.
If the power amp limiter lights come on often,
you may be overdriving the amplifiers. Check
the loudspeaker average load impedance is not
less than 4 ohms. Check the speaker wiring.
24
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Appendix B: Connections
“XLR” Connectors
They must be separated into a left cord and a
right cord, which are plugged into the two mic
preamps.
Mackie mixers use 3-pin female “XLR” connectors on
all microphone inputs, with pin 1 wired to the grounded
(earthed) shield, pin 2 wired to the “high” (”hot” or
positive polarity) side of the audio signal and pin 3
wired to the “low” (“cold” or negative polarity) side of
the signal. See Figure A. This is all totally above board
and in full accord with the hallowed standards dictated
by the AES (Audio Engineering Society).
You can cook up your own adapter for a stereo
microphone adapter. “Y” two cables out of a
female 1⁄4" TRS jack to two male XLR plugs,
one for the Right signal and one for the Left.
•
Unbalanced Send/Return circuits. When wired
as send/return “Y” connector, a 1⁄4" TRS jack
or plug is connected tip to signal send (output
from mixer), ring to signal return (input back
into mixer), and sleeve to ground (earth).
Use a male “XLR”-type connector, usually found on the
nether end of what is called a “mic cable,” to connect to
a female XLR jack.
2
SHIELD
HOT
1⁄4" TS Phone Plugs and Jacks
“TS” stands for Tip-Sleeve, the two connections avail-
able on a “mono” 1⁄4" phone jack or plug. See Figure C.
1
3
1
COLD
SHIELD
SLEEVE
SLEEVE
TIP
3
COLD
2
HOT
TIP
SHIELD
COLD
HOT
1
2
TIP
SLEEVE
3
Figure A: XLR Connectors
Figure C: TS Plug
1⁄4" TRS Phone Plugs and Jacks
“TRS” stands for Tip-Ring-Sleeve, the three
connections available on a “stereo” 1⁄4" or “balanced”
phone jack or plug. See Figure B.
TS jacks and plugs are used in many different
applications, always unbalanced. The tip is connected to
the audio signal and the sleeve to ground (earth). Some
examples:
•
•
•
•
Unbalanced microphones
RING SLEEVE
SLEEVE RING TIP
Electric guitars and electronic instruments
Unbalanced line-level connections
Speaker connections
TIP
RING
TIP
Don’t use guitar cords for speaker cables!
They’re not designed to handle speaker-level
signals and could overheat.
SLEEVE
Figure B: 1⁄4" TRS Plugs
TRS jacks and plugs are used in several different ap-
plications:
RCA Plugs and Jacks
•
Balanced mono circuits. When wired as a bal-
anced connector, a 1⁄4" TRS jack or plug is con-
nected tip to signal high (hot), ring to signal
low (cold), and sleeve to ground (earth).
RCA-type plugs (also known as phono plugs) and
jacks are often used in home stereo and video equip-
ment and in many other applications (Figure D). They
are unbalanced and electrically identical to a 1⁄4" TS
phone plug or jack. Connect the signal to the center
post and the ground (earth) or shield to the surround-
ing “basket.”
•
Stereo Headphones, and rarely, stereo micro-
phones and stereo line connections.
When wired for stereo, a 1⁄4" TRS jack or plug
is connected tip to left, ring to right and sleeve
to ground (earth). Mackie mixers do not
directly accept 1-plug-type stereo microphones.
SLEEVE TIP SLEEVE TIP
Figure D: RCA Plug
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Speakons
MONO PLUG
Channel Insert jack
When using the Speakon outputs to connect your loud-
speakers, wire the Speakon connectors as shown below:
Direct out with no signal interruption to master.
Insert only to first “click.”
1–
1+
MONO PLUG
Channel Insert jack
COLD
1–
Direct out with signal interruption to master.
Insert all the way in to the second “click.”
1+
2+
HOT
2–
Figure E
STEREO
PLUG
Channel Insert jack
TRS Send/ Receive Insert Jacks
Mackie’s single-jack inserts are the three-conductor,
TRS-type 1⁄4" phone. They are unbalanced, but have
both the mixer output (send) and the mixer input
(return) signals in one connector. See Figure F.
For use as an effects loop.
(TIP= SEND to effect, RING = RETURN from effect.)
Figure G
Loudspeaker Cable
SEND to processor
ring
“tip”
(TRS plug)
tip
sleeve
Use loudspeaker cables with a minimum conductor
size for the length you need as listed in these tables.
This plug connects to one of the
mixer’s Channel Insert jacks.
“ring”
RETURN from processor
This will minimize
power losses to less
than 0.5 dB. The cable
lengths listed are “up
to” lengths. For in-
between lengths, use
the next larger con-
ductor gauge. Using
larger than the rec-
ommended conductor
size is always permis-
sible. Using smaller
than recommended
conductor size will
result in higher power
losses.
Minimum AWG 4 ohm 8 ohm
Figure F
18
16
14
12
10
10 ft
25
25 ft
50
The sleeve is the common ground (earth) for both
signals. The send from the mixer to the external unit is
carried on the tip, and the return from the unit to the
mixer is on the ring.
25
75
50
125
200
100
Using the Send-only on an Insert Jack
Min Metric WG 4 ohm 8 ohm
12
14
16
20
25
3 m
8
8 m
15
If you insert a TS (mono) 1⁄4" plug only partially (to
the first click) into a Mackie insert jack, the plug will
not activate the jack switch and will not open the insert
loop in the circuit (thereby allowing the channel signal
to continue on its merry way through the mixer).
8
25
15
30
40
60
This allows you to tap out the channel signal without
interrupting normal operation.
The recommended conductor gauges are listed for
AWG (American Wire Gauge) and Metric WG (Metric
Wire Gauge). Note that smaller AWG numbers = larger
conductors and smaller Metric WG numbers = smaller
conductors. The Metric WG is equal to ten times the
nominal conductor diameter in millimeters.
If you push the 1⁄4" TS plug in to the second click, you
will open the jack switch and create a direct out, which
does interrupt the signal in that channel. See Figure G.
NOTE: Do not overload or short-circuit the signal you
are tapping from the mixer. That will affect the internal
signal.
Longer Lengths
For cable lengths over 200 feet / 60 m at 8 ohms, and
over 100 feet / 30 m at 4 ohms, the conductor sizes need-
ed for less than 0.5 dB power losses are rarely practical
for physical and cost reasons. As a practical compromise
for these situations the recommended conductor gauge
is 10 AWG or 25 metric.
26
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Appendix C: Technical Information
Specifications
Distortion (THD + N)
(1 kHz, 30 kHz bandwidth)
Mic mono:
9-Band Graphic EQ
Main and Monitor 1:
±15 dB @
63, 125, 250, 500, 1k,
2k, 4k, 8k and 16 kHz
<0.007% high gain
<0.005% low gain
Connections
Mic input:
Line mono:
Line stereo
<0.005% low gain
<0.01% at main out
XLR balanced
Line mono input:
Line stereo input:
Preamp main outputs:
Monitor outputs:
Inserts:
1/4" TRS balanced
1/4" TRS unbalanced
1/4" TRS balanced
1/4" TRS balanced
1/4" TRS unbalanced
Main mix output noise
(1 kHz, 30 kHz bandwidth)
Main mix level down, all channel levels down: –95 dBu
Main mix level 0 dB, all channel levels down: –86 dBu
Main mix level 0 dB, all channel levels 0 dB:
–77 dBu
Loudspeaker outputs:
1/4" TS and Neutrik
Speakon
Frequency Response
(+0 dB/–3 dB)
Loudspeaker outputs
(Both channels loaded and driven at 1 kHz.)
Mic mono input:
Line mono inputs:
Line stereo inputs:
< 10 Hz–80 kHz
< 10 Hz–40 kHz
< 10 Hz–75 kHz
Peak output power @ 4 Ω:
2 x 800 W peak
Average output power @ 4 Ω:
2 x 400 W rms, 1% THD
2 x 500 W rms, 3% THD
Equivalent Input Noise (EIN)
Mic input (20 Hz – 20 kHz)
150 Ω termination:
Average output power @ 8 Ω:
2 x 250 W rms, 1% THD
2 x 300 W rms, 3% THD
–128 dBu
Recommended load impedance:
4 – 8 Ω per side
Gain
Running Man Effects
Type:
Mic mono input:
45 dB high gain
25 dB low gain
32-bit internal processor,
mono in, stereo out
Line mono inputs:
Line stereo inputs:
20 dB high gain
0 dB low gain
Effects presets:
24 Mackie-designed
presets
0 dB
Power Consumption
Maximum Levels
120 VAC, 50/60 Hz,
680 watts
Mic mono input:
–25 dBu high gain
–5 dBu low gain
Dimensions (H x W x D)
Line mono inputs:
+21 dBu low gain
+1 dBu high gain
12.3" x 19.3" x 11.4"
(314 mm x 490 x 290)
Line stereo inputs:
+21 dBu
+21 dBu
Weight
Preamp main and monitor outputs:
24.5 lb (11.1 kg)
13 knots
Impedances
Top Speed
Mic mono input, balanced:
Line mono input, balanced:
Line mono input, Ch 5, 6 Hi-Z:
Main and monitor preamp outputs:
3.6 kΩ balanced
20 kΩ balanced
500 kΩ unbalanced
240 Ω balanced
120 Ω unbalanced
LOUD Technologies Inc. is always striving to improve our prod-
ucts by incorporating new and improved materials, components,
and manufacturing methods. Therefore, we reserve the right to
change these specifications at any time without notice.
Channel EQ
High Shelving (all channels)
Mid Mono Channels:
Mid Peaking, sweepable
Mid sweep range:
±15 dB @ 12 kHz
“Mackie,” and the “Running Man” are registered trademarks of
LOUD Technologies Inc. All other brand names mentioned are
trademarks or registered trademarks of their respective hold-
ers, and are hereby acknowledged.
±15 dB
100 Hz to 8 kHz
Mid Stereo Channels:
Hi Mid Peaking:
±15 dB @ 2.5 kHz
±15 dB @ 400 kHz
±15 dB @ 80 Hz
Please check our website in case there are any corrections and
updates to this manual: www.mackie.com.
Lo Mid Peaking:
©2008 LOUD Technologies Inc. All Rights Reserved.
Low Shelving (all channels)
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Dimensions
WEIGHT
24.5 lb
11.1 kg
19.3 in/ 490 mm
11.4 in/ 290 mm
Correct disposal of this product. This symbol indicates that this product should not be disposed of with your household waste, according to the WEEE Directive (2002/ 96/ EC) and your national law. This product
should be handed over to an authorized collection site for recycling waste electrical and electronic equipment (EEE). Improper handling of this type of waste could have a possible negative impact on the environment and
human health due to potentially hazardous substances that are generally associated with EEE. At the same time, your cooperation in the correct disposal of this product will contribute to the effective usage of natural
resources. For more information about where you can drop off your waste equipment for recycling, please contact your local city office, waste authority, or your household waste disposal service.
28
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BlockDiagram
R
L
R
L
)
)
o s t f x E ( p
( p x o s E t f
n 2 M ( p o r e )
) r e p ( n 2 M o
n 1 M o
1 n M o
M i c s
M i c s
29
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Appendix D: Table of Effects Presets
No . Tit le
De scr ip t io n
Ex a m p le o f it s u se
0 1 Plate Reverb
This preset emulates vintage mechanical reverberation
Perfect for thickening percussive instruments, such
that was generated with a metal plate. Its sound is char- as a snare drum, or tight vocal arrangements.
acterized by lots of early reflections and no pre-delay.
0 2 Vocal Plate
0 3 Warm Room
0 4 Bright Room
This vintage plate emulation is warmer than your
standard plate, with a long reverberant tail, lots of fast
reflections and a very short pre-delay.
Particularly suited for vocal signals, but can also
be used for extra-thick drum tracks.
This preset is characterized by lots of fast early reflections Useful for adding a tight and controlled
with a short pre-delay to simulate the sound of a small,
wood paneled room.
ambient effect to vocals and acoustic instruments.
This room has a bright tone with lots of scattered reflec- Useful on vocals that require a brighter reverb to
tions to simulate harder, more reflective surfaces.
cut through the mix, or for giving acoustic instru-
ments a livelier vibe.
0 5
Warm Lounge
This preset features a medium sized room sound, with
Useful for vocals on songs that require a larger,
just enough enhancement of the lower mids to produce a more “wet” sound, or for giving dimension to
warm tone. bright horns without adding harshness.
0 6 Small Stage
0 7 Warm Theater
0 8 Bright Stage
0 9 Warm Hall
This preset simulates the sound of a small concert stage, Useful for vocals or guitars in fast paced, high-
with a medium reverb time and reverberant space.
energy songs that call for a “live” sounding
reverberation.
This reverb has a warm bodied tone and medium long
reverb time to simulate the live acoustics of a theater
space.
Perfect for vocals, drums, acoustic and electric
guitars, keyboards, and more.
This preset emulates the sound of a large performance
stage, characterized by medium long reverb time and
pre-delay, plus a touch of sizzle.
Great for adding life and dimension to drums and
other acoustic instruments, and for that big live
vocal sound.
This reverb simulates the sound of a spacious, yet cozy, Perfect for adding natural concert hall ambience
heavily draped and carpeted concert hall with an espe- to close-mic’ed orchestral instruments.
cially warm tone.
1 0 Concert Hall
This hall reverb is characterized by its large, spacious
sound, long pre-delay, and vibrant tone.
Adds life to acoustic instruments and vocals from
solos to full-on symphonies and choirs.
1 1 Cathedral
This reverb emulates the extremely long tails, dense dif- Gives amazing depth to choirs, wind instruments,
fusion and long pre-delays and reflections that would be organs, and soft acoustic guitars.
found in a very large, stone walled house of worship.
1 2 Gated Reverb
1 3 Chorus
This preset incorporates an age-old trick whereby an
extremely dense reverb is processed through a fast gate without clutter.
for an interesting, albeit artificial, sound.
Most often used to fatten snare drums and toms
This preset provides a soft, ethereal sweeping effect that Perfect for enhancement of electric and acoustic
is useful for thickening and for making a particular sound guitar and bass, or to add a dramatic effect to
pop out of the mix.
vocals, particularly group harmonies and choirs.
1 4 Chorus + Reverb
1 5 Doubler
This preset perfectly combines the chorus effect above
with a large, roomy reverb.
This lets you both thicken your sound with the
chorus effect while adding warmth and spacious-
ness thanks to the smooth reverb.
This effect simulates the sound of a vocal or instrument
being recorded twice (double tracked) on a multi-track
recorder.
Provides a vibe that is similar to chorus without
the subtle swirl.
1 6 Tape Slap
This effect provides a single, relatively rapid delay of the Often used on vocals for a 1950’s era feel, or on
original signal, with the added warmth that vintage tape- guitars for a surf-type tone. Often used by people
based echo units provided.
whose favorite number is 16.
1 7 DLY 1 Bright (350ms)
1 8 DLY 1 Warm (300ms)
1 9 DLY 2 Bright (250ms)
2 0 DLY 2 Warm (200ms)
2 1 DLY 3 Bright (175ms)
2 2 DLY 3 Warm (150ms)
These 6 delay presets provide one (delay 1), three (delay These work best with full, up-beat music like rock
2), or six (delay 3) repeats of the original signal. The
default delay time for each preset is shown in mS - the
smaller the time, the faster the delay. Delay times can
easily be customized to suit the moment by tapping the
knob [53] more than once.
where the delay needs to cut through the mix.
Warm delays get progressively softer and warmer
in tone with each repetition and work great with
slow, mellow music. Bright delays have repeats
that are consistent in tone with the original sound.
2 3 Chorus + DLY (300ms)
This effect combines the thickening effect of the chorus
with the echoes of the 3-repeat delay effect.
Delay times can easily be customized to suit the moment
by using the Tap feature.
Useful on a clean electric guitar that needs a
mildly swirling, ethereal tone.
2 4 Reverb + DLY (200ms)
This effect combines the Warm Theater reverb effect with Perfect for thickening vocals while adding dimen-
the echoes of the 3-repeat delay effect. sions, it can also be used as a spacey effect on
Delay times can easily be customized to suit the moment electric guitars.
by using the Tap feature.
For presets 17 to 24, the delay can be entered by tapping the preset selector knob [53] more than once.
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PPM1008 Limited Warranty
Please keep your sales receipt in a safe place.
IMPORTANT: Make sure that the Service Request
Number is plainly written on the shipping carton. No
receipt, no warranty service.
A. LOUD Technologies Inc. warrants all materials,
workmanship and proper operation of this product for a period
of three years from the original date of purchase. You may
purchase an additional 24-month Extended Warranty (for a
total of 60 months of coverage). Visit our website and follow
the “Product Registration” links for details (www.mackie.com).
If any defects are found in the materials or workmanship or
if the product fails to function properly during the applicable
warranty period, LOUD Technologies, at its option, will
repair or replace the product. This warranty applies only to
equipment sold and delivered within the U.S. and Canada
by LOUD Technologies Inc. or its authorized dealers.
or you may mail in the product registration card included with
this manual.
C. Unauthorized service, repairs, or modification of Mackie
products will void this warranty. To obtain repairs or
replacement under warranty, you must have a copy of your
sales receipt from the authorized Mackie dealer where you
purchased the product. It is necessary to establish purchase
date and determine whether your Mackie product is within
the warranty period.
E. LOUD Technologies reserves the right to inspect
any products that may be the subject of any warranty
claims before repair or replacement is carried out. LOUD
Technologies may, at our option, require proof of the original
date of purchase in the form of a dated copy of the original
dealer’s invoice or sales receipt. Final determination of
warranty coverage lies solely with LOUD Technologies.
F. Any products returned to one of the LOUD Technologies
factory-authorized service centers, and deemed eligible
for repair or replacement under the terms of this warranty
will be repaired or replaced. LOUD Technologies and its
authorized service centers may use refurbished parts for
repair or replacement of any product. Products returned
to LOUD Technologies that do not meet the terms of this
Warranty will not be repaired unless payment is received
for labor, materials, return freight, and insurance. Products
repaired under warranty will be returned freight prepaid by
LOUD Technologies to any location within the boundaries of
the USA or Canada.
G. LOUD Technologies warrants all repairs performed
for 90 days or for the remainder of the warranty period.
This warranty does not extend to damage resulting from
improper installation, misuse, neglect or abuse, or to
exterior appearance. This warranty is recognized only if
the inspection seals and serial number on the unit have not
been defaced or removed.
H. LOUD Technologies assumes no responsibility for the
timeliness of repairs performed by an authorized service
center.
D. To obtain warranty repair or replacement:
1. Call Mackie Technical Support at 800/ 898-3211, 7
AM to 5 PM Monday through Friday (Pacific Time) to get
authorization for repair or replacement. Alternately, go
com/ support), and follow the instructions for reporting
a warranty issue and submitting a request for an advance
replacement.
2. Advance Replacement: Mackie will ship a replacement
unit to you along with an invoice for the suggested retail
price of the replacement unit. You must return the defective
unit immediately to cancel the invoice. If you do not return
the defective unit within 30 days, you must pay the full
amount stated in the invoice to satisfy your debt.
3. Repair: When you call Mackie Technical Support, explain
the problem and obtain a Service Request Number. Have
your Mackie product’s serial number ready. You must have
a Service Request Number before you can obtain factory-
authorized service.
• Pack the product in its original shipping carton. Also
include a note explaining exactly how to duplicate the
problem, a copy of the sales receipt with price and date
showing, your daytime phone number and return street
address (no P.O. boxes or route numbers, please!), and
the Service Request Number. If we cannot duplicate the
problem or establish the starting date of your Limited
Warranty, we may, at our option, charge for service time
and parts.
I. This warranty is extended to the original purchaser.
This warranty may be transferred to anyone who may
subsequently purchase this product within the applicable
warranty period for a nominal fee (extended warranties
are not transferable). A copy of the original sales receipt is
required to obtain warranty repairs or replacement.
J. This is your sole warranty. LOUD Technologies does
not authorize any third party, including any dealer or
sales representative, to assume any liability on behalf of
LOUD Technologies or to make any warranty for LOUD
Technologies Inc.
K. THE WARRANTY GIVEN ON THIS PAGE IS THE SOLE
WARRANTY GIVEN BY LOUD TECHNOLOGIES INC.
AND IS IN LIEU OF ALL OTHER WARRANTIES, EXPRESS
AND IMPLIED, INCLUDING THE WARRANTIES OF
MERCHANTABILITY AND FITNESS FOR A PARTICULAR
PURPOSE. THE WARRANTY GIVEN ON THIS PAGE
SHALL BE STRICTLY LIMITED IN DURATION TO THREE
YEARS FROM THE DATE OF ORIGINAL PURCHASE
FROM AN AUTHORIZED MACKIE DEALER. UPON
EXPIRATION OF THE APPLICABLE WARRANTY PERIOD,
LOUD TECHNOLOGIES INC. SHALL HAVE NO FURTHER
WARRANTY OBLIGATION OF ANY KIND. LOUD
TECHNOLOGIES INC. SHALL NOT BE LIABLE FOR ANY
INCIDENTAL, SPECIAL, OR CONSEQUENTIAL DAMAGES
THAT MAY RESULT FROM ANY DEFECT IN THE MACKIE
PRODUCT OR ANY WARRANTY CLAIM. Some states do
not allow exclusion or limitation of incidental, special,
or consequential damages or a limitation on how long
warranties last, so some of the above limitations and
exclusions may not apply to you. This warranty provides
specific legal rights and you may have other rights which
vary from state to state.
• Ship the product in its original shipping carton, freight
prepaid to the authorized service center. Write the Service
Request Number in BIG PRINT on top of the box. The
address of your closest authorized service center will be
given to you by Technical Support, or it may be obtained
from our website. Once it’s repaired, the authorized service
center will ship it back by ground shipping, pre-paid (if it
qualified as a warranty repair).
Note: Under the terms of the warranty, you must ship or drop-
off the unit to an authorized service center. The return ground
shipment is covered for those units deemed by us to be under
warranty.
You must have a sales receipt from an authorized Mackie
dealer for your unit to be considered for warranty repair.
Note:
31
Owner’s Manual
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16220 Wood-Red Road NE • Woodinville, WA 98072 • USA
United States and Canada: 800.898.3211
Europe, Asia, Central and South America: 425.487.4333
Middle East and Africa: 31.20.654.4000
E-mail: [email protected]
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