MACKIE ProFX12 - Manual (Page 15)

15
Owner’s Manual
Owner’
s Manual
12. MON SEND
Stage monitors allow the talented musicians to hear
themselves clearly on stage, and this can often be a
good thing. The monitor mix may be carefully adjusted
in level using the aux mon controls [25]. These tap a
portion of each channel's signal to provide a 1/4" TRS
output here to feed external stage monitors. These
could either be passive stage monitors powered by an
external amplifier, or powered stage monitors with their
own amplifier built in.
The monitor signal is the sum (mix) of all the
channels whose aux mon control is set to more than
minimum. If they want “more me, and less Keith,” you
should turn up their channel's aux mon control, and
turn down Keith's.
The overall output level may be adjusted with the
monitor fader [46] and its EQ tweaked with the graphic
EQ [36] if the main mix/mon switch [37] is pressed in.
Alternatively, an external graphic EQ may be added
between this output and the powered monitors. This
allows you to adjust the EQ and minimize the chance of
feedback from nearby microphones.
The monitor output is not affected by the main fader
[47] or the channel faders [30]. This allows you to set
up the monitor mix and level just right, and not have it
change when a channel fader or the main mix fader is
adjusted. This is known as “pre-fader.”
13. FX SEND
This 1/4" TRS line-level output may be used to feed
an external effects processor (FX), such as a nice
sound effect or delay unit. The output from this jack
is an exact copy of what goes into the internal FX
processor, being the careful mix of all channels whose
aux FX control [26] is turned to more than minimum.
(The processed output of the internal FX does not
come out of this output, but is added internally to the
main mix or monitor mix.)
The overall output level may be adjusted with the
FX master knob [51]. (This knob also effects the
level going into the internal FX.)
The output is “post-fader,” so any changes to the
channel faders [30] will also affect the level going to
the external processor.
The processed output from the effects processor is
usually returned to the stereo returns [11] or a spare
channel where you may carefully mix the original
unprocessed channel (dry) and the processed channel
(wet). Altering the original channel fader increases
both the wet and dry signals and keeps them at the
same delicate ratio. (For example, the reverb remains
at the same level relative to the original.)
14. 1/4" MAIN OUTS
These outputs feed the main mix out into the waiting
world. Amplifiers may be fed this way or through the
XLR main outputs [3].
To use these outputs to drive balanced inputs,
connect 1⁄4" TRS (Tip–Ring–Sleeve) phone plugs like
this:
Tip = + (hot)
Ring = –(cold)
Sleeve = Ground
To use these outputs to drive unbalanced inputs,
connect 1⁄4" TS (Tip-Sleeve) phone plugs like this:
Tip = + (hot)
Sleeve = Ground
15. FX FOOTSWITCH
This 1/4" TRS connector is where to connect a
footswitch. This will allow you to easily mute or
un-mute the internal effects, while stamping your
foot and looking like you were mad about something.
Any latching one-button on/off footswitch will work.
If the internal effects have already been muted with
the internal FX mute switch [50], then the footswitch
has no effect, but you can still stamp your foot and pout
if that helps any. Cultivate that bad-boy image.
16. PHONES
This 1⁄4" TRS stereo jack will drive any standard
headphone to very loud levels. The wiring follows
standard conventions:
Tip = Left channel
Ring = Right channel
Sleeve = Common ground
The headphones output is the stereo main mix, not
affected by the main fader [47], or the graphic EQ [36].
Warning: When we say the headphone
output is loud, we’re not kidding. It can cause
permanent ear damage. Even intermediate
levels may be painfully loud with some earphones. Be
careful! Always turn the phones level control [41] all
the way down before connecting headphones, adding
new sources, or making any other changes. Keep it down
until you’ve put the phones on. Then turn it up slowly.