MACKIE ProFX12 - Manual (Page 18)

18
ProFX8 and ProFX12
Pr
oFX8 and Pr
oFX12
For hybrid channels (mic input and
stereo line input), the gain control just
affects the microphone input.
For stereo channels (no mic input) the
gain control just affects the line-level
inputs, with 20 dB of gain, and 20 dB of
attenuation. There is no level set LED.
20. LEVEL SET LED
These LEDs are used with the gain control [19] to set
the channel preamplifier gain just right for each source.
If one or more channels are distorting, check the level
set LEDs. If they are on continuously, turn down the
gain.
21. LOW CUT
Each channel with a mic input has a low cut switch
that cuts the bass frequencies below 100 Hz, at a rate of
18 dB per octave. All mic inputs are affected, as well as
the line inputs of the mono channels.
We recommend using low cut on every microphone
application except kick drum, bass guitar, and bassy
synth patches. These aside, there isn’t much down there
that you want to hear, and filtering it out makes the low
stuff you do want much more crisp and tasty. Not only
that, low cut can help reduce the possibility of feedback
in live situations and help to conserve the amplifier
power.
19. GAIN
If you haven’t already, please read the gain-setting
procedure on page 3. The gain adjustment allows the
various source signals from the outside world to be
adjusted to the same optimal internal operating levels.
Setting the gain correctly will ensure that the pre-
amplifier’s gain is not too high, where distortion could
occur, and not too low, where the quieter, exquisitely-
delicate passages might be lost in background noise.
For mono channels (mic input with a
mono line input), the gain knob adjusts
the input sensitivity of the mic and line
inputs.
Adjust the gain control so the level set LEDs [20]
illuminate occasionally during the louder moments and
are off during the quieter moments.
If the signal comes through the mic XLR jack, there
will be 0 dB of gain (“U” for unity) with the knob fully
down, ramping to 50 dB of gain fully up.
Through the 1⁄4" mono input, there is 20 dB of
attenuation fully down and 30 dB of gain fully up,
with a “U” (unity gain) mark at 12:00. This 20 dB of
attenuation can be very handy when inserting a very
hot signal, need to add a lot of EQ boost, or both.
Without this “virtual pad,” this scenario might lead
to channel clipping.
MAIN
RIGHT
(BALANCED)
MAIN
LEFT
USB
(BALANCED)
8K 4K 2K 1K 500 250 125
15
15
10
10
5
5
0
15
15
10
10
5
5
0
TAPE
IN
ST RETURN MAIN OUT PHONES
FOOTSWITCH
PHONES
TAPE
OUT
L
R
L
(UNBALANCED)
R
STEREO GRAPHIC EQ
FX SEND
MID
2.5kHz
MID
2.5kHz
MID
2.5kHz
MID
2.5kHz
MID
2.5kHz
80Hz
LOW
U
+15 -15
U
+15 -15
U
+15 -15
LINE IN 4
INSERT
R L
LOW CUT
100 Hz
U
GAIN
MI C GAIN
U +50
-20dB +30dB
4
12kHz
HI
MID
2.5kHz
80Hz
LOW
U
+15 -15
U
+15 -15
U
+15 -15
12kHz
HI
MID
2.5kHz
80Hz
LOW
U
+15 -15
U
+15 -15
U
+15 -15
12kHz
HI
MID
2.5kHz
80Hz
LOW
U
+15 -15
U
+15 -15
U
+15 -15
12kHz
HI
PAN
AUX U
+15 O O
MON
FX
U
+15 O O
R L
PAN
AUX U
+15 O O
MON
FX
U
+15 O O
R L
PAN
AUX U
+15 O O
MON
FX
U
+15 O O
R L
PAN
AUX U
+15 O O
MON
FX
U
+15 O O
80Hz
LOW
U
+15 -15
U
+15 -15
U
+15 -15
R L
LOW CUT
100 Hz
12kHz
HI
PAN
AUX U
+15 O O
MON
FX
U
+15 O O
80Hz
LOW
U
+15 -15
U
+15 -15
U
+15 -15
BAL /
UNBAL
(MONO) (MONO) (MONO) (MONO)
LINE IN 7
LINE IN 8
BAL /
UNBAL LINE IN 9
R L
LOW CUT
100 Hz
GAIN
7/8 5/6
12kHz
HI
PAN
AUX U
+15 O O
MON
FX
U
+15 O O
80Hz
LOW
U
+15 -15
U
+15 -15
U
+15 -15
R L
MIC GAIN
U +50
GAIN
MIC GAIN
U +50
9/10
12kHz
HI
LEVEL
SET
LEVEL
SET
LEVEL
SET
LOW CUT
100 Hz
U
GAIN
MI C GAIN
U +50
-20dB +30dB
LEVEL
SET
LEVEL
SET
LEVEL
SET
LOW CUT
100 Hz
U
GAIN
MI C GAIN
U +50
-20dB +30dB
LOW CUT
100 Hz
U
GAIN
MI C GAIN
U +50
-20dB +30dB
PAN
AUX U
+15 O O
MON
FX
U
+15 O O
GAIN
MIC MIC MIC MIC MIC MIC
80Hz
LOW
U
+15 -15
U
+15 -15
U
+15 -15
U
+20 -20
GAIN
U
+20 -20
R L
11/12 ST RTN FX RTN
EQ EQ EQ EQ EQ EQ EQ EQ
12kHz
HI
PAN
AUX U
+15 O O
MON
FX
U
+15 O O
U
+15
FX TO MON FX MASTER
U
+15 O O O O
dB
30
20
10
10
O O
40
50
5
5
U
60
dB
30
20
10
10
O O
40
50
5
5
U
60
dB
30
20
10
10
O O
40
50
5
5
U
60
dB
30
20
10
10
O O
40
50
5
5
U
60
dB
30
20
10
10
O O
40
50
5
5
U
60
dB
30
20
10
10
O O
40
50
5
5
U
60
dB
30
20
10
10
O O
40
50
5
5
U
60
dB
30
20
10
10
O O
40
50
5
5
U
60
dB
30
20
10
10
O O
40
50
5
5
U
60
dB
30
20
10
10
O O
40
50
5
5
U
60
dB
30
20
10
10
O O
40
50
5
5
U
60
dB
30
20
10
10
O O
40
50
5
5
U
60
L
R
(MONO)
LINE IN 5
LINE IN 6
BAL /
UNBAL
L
R
LINE IN 10
BAL /
UNBAL
L
R
LINE IN 11
LINE IN 12
BAL /
UNBAL
L
R
BAL /
UNBAL
L
R
BAL /
UNBAL
L
R
MON SEND
BAL /
UNBAL
BAL /
UNBAL
PRESETS
FX PRESETS
01 BRIGHT ROOM
02 WARM LOUNGE
03 SMALL STAGE
04 WARM THEATER
05 WARM HALL
06 CONCERT HALL
13 DELAY 1 (300ms)
14 DELAY 2 (380ms)
15 DELAY 3 (480ms)
16 REVERB + DLY (250ms)
07 PLATE REVERB
08 CATHEDRAL
09 CHORUS
10 CHORUS + REV
11 DOUBLER
12 TAPE SLAP
MON MAIN
4
LINE IN 3
INSERT
3
BAL /
UNBAL
3
LINE IN 2
INSERT
2
BAL /
UNBAL
BAL /
UNBAL
2
LINE/HI-Z IN 1
INSERT
1 5/6 7/8 9/10 11/12
POWER
ON
0dB=0dBu
MAIN
METERS
OL
4
6
3
10
15
7
10
20
30
0
2
BREAK
(MUTES ALL CHANNELS)
PHANTOM
POWER
POWER
O O +10
U
TAPE LEVEL
O O +20
U
USB THRU
LINE
HI-Z
O O MAX
1
OL OL OL OL OL OL OL OL OL
OL
MAIN MIX
MON
EQ IN
BYPASS
R L INPUT LEVEL
USB
MUTE
MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE
48V
19
20
21
22
23
24
25
26
27
28
29
30
GAIN
MIC
GAIN
U +50
LEVEL
SET
GAIN
U
+20 -20
GAIN
MIC
GAIN
U +50
LEVEL
SET
GAIN
U
+20 -20
GAIN
MIC
GAIN
U +50
LEVEL
SET
GAIN
U
+20 -20