MACKIE PROFESSIONAL MIC/LINE MIXERS WITH FX AND USB I/O PROFX16 - Manual (Page 11)

Owner's Manual 11
Front Panel - Connections
and Channel Strip
The vertical channel strips look very similar, and
have only a few differences between them. Each
channel works independently, and just controls the
signals plugged into the inputs directly above them.
5. MIC INPUTS
This is a female XLR connector that accepts a
balanced mic or line level input from almost any type of
source. The mic preamps feature our XDR2 design, with
higher fidelity and headroom rivaling any standalone
mic preamp on the market today.
The XLR inputs are wired as follows:
Pin 1 = Shield or ground
Pin 2 = Positive (+ or hot)
Pin 3 = Negative (– or cold)
We use phantom-powered, balanced inputs just like
the big mega-consoles, for exactly the same reason: This
kind of circuit is excellent at rejecting hum and noise.
Professional ribbon, dynamic, and condenser mics all
sound excellent through these inputs. The mic/line
inputs will handle any kind of 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.
See Appendix B (page 26) for further details and
some rather lovely drawings of the connectors you can
use with your mixer.
PHANTOM POWER
Most modern professional condenser mics require
48V 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.
ProFX Features
Mono Channels Stereo Channels
Channels 1-8 on ProFX16
Channels 1-14 on ProFX22
Channels 9-16 on ProFX16
Channels 15-22 on ProFX22
MUTE MUTE MUTE MUTE MUTE
MIC MIC MIC
GAIN GAIN
+20 -20
GAIN
(MONO)
L
R
(MONO)
BAL /UNBAL
BAL /UNBAL
BAL /UNBAL
BAL /UNBAL
BAL /UNBAL
BAL /UNBAL BAL /UNBAL BAL /UNBAL
L
R
(MONO)
L
R
LINE IN XX
LINE IN XX
LINE IN XX
LINE IN XX
LINE IN XX
LINE IN XX
XX / XX XX / XX XX / XX
LINE IN LINE IN
XX XX
U +50
MI
C GAIN U
LOW CUT
SOURCE
LINE
USB
XX XX XX / XX XX / XX XX / XX
1
2
U
GAIN
MI
C GAIN
U +50
-20dB +30dB
AUX
LINE IN
OL
R L
PAN
dB
30
20
10
10
O O
40
50
5
5
U
60
PFL
SOLO
L-R
1-2
3-4
80Hz
LOW
MID
FREQ
600
1.5k 150
8k 100
EQ
12kHz
HI
MON
1
MON
2
U
+15 O O
U
+15 O O
U
+15 O O
-15
U
+15
-15
U
+15
-15
U
+15
LOW CUT
U
GAIN
MI
C GAIN
U +50
-20dB +30dB
AUX
OL
R L
PAN
dB
30
20
10
10
O O
40
50
5
5
U
60
PFL
SOLO
L-R
1-2
3-4
80Hz
LOW
MID
FREQ
600
1.5k 150
8k 100
EQ
12kHz
HI
MON
1
MON
2
U
+15 O O
U
+15 O O
U
+15 O O
-15
U
+15
-15
U
+15
-15
U
+15
LOW CUT
OL OL OL
dB
30
20
10
10
O O
40
50
5
5
U
60
PFL
SOLO
L-R
1-2
3-4
dB
30
20
10
10
O O
40
50
5
5
U
60
PFL
SOLO
L-R
1-2
3-4
dB
30
20
10
10
O O
40
50
5
5
U
60
PFL
SOLO
L-R
1-2
3-4
EQ EQ EQ
AUX
R L
PAN
MON
1
MON
2
U
+15 O O
U
+15 O O
U
+15 O O
AUX
R L
PAN
MON
1
MON
2
U
+15 O O
U
+15 O O
U
+15 O O
AUX
R L
PAN
MON
1
MON
2
U
+15 O O
U
+15 O O
U
+15 O O
-15
U
+15
-15
U
+15
-15
U
+15
-15
U
+15
-15
U
+15
-15
U
+15
-15
U
+15
-15
U
+15
-15
U
+15
INSERT
OFF MAX
COMP
12kHz
HI
80Hz
LOW
MID
2.5kHz
12kHz
HI
80Hz
LOW
MID
2.5kHz
12kHz
HI
80Hz
LOW
MID
2.5kHz
FX SEND
FOOTSWITCH
MON SEND
+20 -20
U
100Hz 100Hz 100Hz
FX FX FX FX FX
5
6
8
9
10 24
11
12
14
13
15
16
17
18
19
23
20
21
21
21
22
25
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