MACKIE PROFESSIONAL MIC/LINE MIXERS WITH FX AND USB I/O PROFX16 - Manual (Page 24)

24 ProFX16 and ProFX22
Whatever the selection, the control room outputs may
also be used for other applications. The sound quality is
just as impeccable as the main outputs. It may be used
as an additional main mix output and this one will have
its own level control. However, be aware that if a solo
switch [22] is engaged, the mix will be interrupted:
When a channel's solo switch [22] is engaged, any
existing selection is replaced by the solo signal,
appearing at the control room outputs [31], phones
[33] and at the left meter [40]. The audible solo levels
are then controlled by the control room knob [53]. The
solo levels appearing on the meters are not controlled
by the control room knob [53] - you would not want
that, anyway. What you do want to see is the actual
channel level on the meters regardless of how loud the
control room and phones output levels might be.
Solo signals reaching the headphones and
monitor outputs are not affected by the
channel level or main level; therefore, turn
down the phones level [53] and monitor level [42] first,
as soloed channels may be loud.
54. SUBS ASSIGN Switches
One popular use of the subs is to use them as
master faders for a group of channels on their way to
the main mix fader [56]. Let us say you have a drum kit
hogging up seven channels and you are going to want to
control their group volume more conveniently. You do
not want to try that with seven hands or seven fingers,
so just unassign these channels from the main mix and
reassign them to subs 1-2, engage the assign to main mix
left on sub 1 and assign to main mix right on sub 2.
Now you may ride the entire drum mix with two
faders – subs 1 and 2.
If you engage just one assign to main mix button per
group (left or right), the signal sent to the main mix
fader [56] will be the same level as the sub outs [32].
If you want the subgroup to appear in the center of the
main mix, engage both the assign to main mix left and
right buttons. The signal will be sent to both sides, and
reduced in level by 3 dB like a pan pot, so the overall
level is the same, whether the group is assigned to main
left, main right, or both.
55. SUB 1-4 FADERS
As you might expect, these faders control the levels of
the signals sent to the sub outs [32]. All channels that
are assigned to subs, not muted, and not turned fully
down will appear at the sub outs.
The sub signal is off when its fader is fully down, the
“U” marking is unity gain, and fully up provides 10 dB
additional gain. Remember that if you are treating two
subs as a stereo pair, sub 1 and 2 for example, make sure
that both sub faders “ride” together to maintain the left/
right balance.
56. MAIN MIX
This stereo fader allows you to adjust the levels of the
main mix signals sent to the XLR and 1/4" main
line-level outputs [30] and the tape outputs [34].
This gives you the ultimate feeling of power and
control over the sound levels sent to your audience.
Adjust this control carefully, with your good eye on the
meters to check against overloading, and your good
ear to the levels to make sure your audience (if any) is
happy.
The main mix signals are off with the fader fully down,
the “U” marking is unity gain, and fully up provides 10
dB of additional gain. This additional gain will typically
never be needed, but once again, it’s nice to know that
it’s there. The fader is stereo, as it affects both the left
and right of the main mix equally. This is the ideal
control to slowly bring down at the end of a song (or
quickly in the middle of a song if the need ever arises).
This control does not affect the mon send or FX send
outputs [26, 27]. This does, however, conclude the main
portion of the owner's manual. From here on out it's all
appendices.