MACKIE PPM1012 - Manual (Page 11)

11
Owner’s Manual
Owner’
s Manual
Never plug single-ended (unbalanced) micro-
phones, or ribbon mics into the mic input
jacks if phantom power is on. 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.
6. MONO LINE INPUTS (Ch. 1 to 6)
These 1/4" jacks share circuitry (but not phantom
power) with the mic preamps, and can be driven by bal-
anced or unbalanced sources.
To connect balanced lines to these inputs, use a 1⁄4"
Tip-Ring-Sleeve (TRS) plug.
To connect unbalanced lines to these inputs, use a
1⁄4" mono (TS) phone plug or instrument cable.
7. LINE/INSTRUMENT INPUTS (Ch. 7 and 8)
The line-level inputs for channels 7 and 8 can also
accept instrument-level signals if the hi-z switches
[26] are pressed in. This allows you to connect guitars
directly to channels 7 and 8, without the need for a DI
box. The input impedance is optimized for direct con-
nection, and high-frequency fidelity is assured.
8. STEREO LINE INPUTS (Ch. 9/10 and 11/12)
These channels have stereo line inputs. If you just
have a mono source, plug it into the left input channel
9 or 11 (labeled left/mono), and the signal will appear
(as if by magic) equally on the left and right of the main
mix.
Connection Section
This is where you plug in things such as: microphones,
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 29) for further details and some rather lovely
drawings of the connectors you can use with your mixer.
5. MIC INPUTS
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.
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.
Channels 1 to 6 have the extra benefit of dedicated
in-line compressors [25]. These can be adjusted to add
just the right amount of compression to your vocals and
help prevent distortion and overloading.
PHANTOM POWER
Most modern professional condenser mics require
48V phantom power, which lets the mixer send low-cur-
rent 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.
The mixer's phantom power is globally controlled by
the phantom [43] switch. (The phantom power for all
channels is turned on and off together.)
80Hz
LOW
MIC 1 MIC 2 MIC 3 MIC 4 MIC 5 MIC 6 MIC 7 MIC 8
INPUT
(BAL/UNBAL) (BAL/UNBAL) (BAL/UNBAL) (BAL/UNBAL) (BAL/UNBAL) (BAL/UNBAL) (BAL/UNBAL) (BAL/UNBAL)
INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT
GAIN
U
-20
LAMP
12V 0.5A
L
R
FX SEND TAPE
OUT IN
L
MON SEND
FX RTN
(MONO)
MID
FREQ
R L
U
GAIN
MI C GAIN
0 +50 -20dB +30dB
600
1.5k 150
8k 100
OFF MAX
U
GAIN
MI C GAIN
0 +50 -20dB +30dB
U
GAIN
MI C GAIN
0 +50 -20dB +30dB
U
GAIN
MI C GAIN
0 +50 -20dB +30dB
U
GAIN
MI C GAIN
0 +50 -20dB +30dB
U
GAIN
MI C GAIN
0 +50 -20dB +30dB
U
GAIN
MI C GAIN
0 +50 -20dB +30dB
U
GAIN
MI C GAIN
0 +50 -20dB +30dB
1 9/10 11/12 2 3 4 5 6 7 8
SOLO
OL
+10
0
-20
SOLO
OL
+10
0
-20
1 9/10 11/12 2 3 4 5 6 7 8
EQ EQ
OFF MAX OFF MAX OFF MAX OFF MAX OFF MAX
12kHz
HI
LOW CUT
100 Hz
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 -15
+20
12kHz
HI
80Hz
LOW
HI
MID
2.5kHz
LOW
MID
400Hz
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 -15
12kHz
HI
80Hz
LOW
HI
MID
2.5kHz
LOW
MID
400Hz
GAIN
U
-20
PAN
AUX
SEND
EQ
COMP COMP COMP COMP COMP COMP
+20
1
2
L
R
(MONO)
L
R
(MONO)
L
R
(MONO)
1
2
FX RTN
L
R
L
R
M
L
R
M
MON
1
MON
2
FX
1
FX
2
U
+15 O O
U
+15 O O
U
+15 O O
U
+15 O O
-15
U
+15
-15
U
+15
-15
U
+15
80Hz
LOW
MID
FREQ
R L
600
1.5k 150
8k 100
EQ
12kHz
HI
PAN
AUX
SEND
MON
1
MON
2
FX
1
FX
2
U
+15 O O
U
+15 O O
U
+15 O O
U
+15 O O
-15
U
+15
-15
U
+15
-15
U
+15
80Hz
LOW
MID
FREQ
R L
600
1.5k 150
8k 100
EQ
12kHz
HI
PAN
AUX
SEND
MON
1
MON
2
FX
1
FX
2
U
+15 O O
U
+15 O O
U
+15 O O
U
+15 O O
-15
U
+15
-15
U
+15
-15
U
+15
80Hz
LOW
MID
FREQ
R L
600
1.5k 150
8k 100
EQ
12kHz
HI
PAN
AUX
SEND
MON
1
MON
2
FX
1
FX
2
U
+15 O O
U
+15 O O
U
+15 O O
U
+15 O O
-15
U
+15
-15
U
+15
-15
U
+15
80Hz
LOW
MID
FREQ
R L
600
1.5k 150
8k 100
EQ
12kHz
HI
PAN
AUX
SEND
MON
1
MON
2
FX
1
FX
2
U
+15 O O
U
+15 O O
U
+15 O O
U
+15 O O
-15
U
+15
-15
U
+15
-15
U
+15
80Hz
LOW
MID
FREQ
R L
600
1.5k 150
8k 100
EQ
12kHz
HI
PAN
AUX
SEND
MON
1
MON
2
FX
1
FX
2
U
+15 O O
U
+15 O O
U
+15 O O
U
+15 O O
-15
U
+15
-15
U
+15
-15
U
+15
80Hz
LOW
MID
FREQ
R L
600
1.5k 150
8k 100
EQ
12kHz
HI
PAN
AUX
SEND
MON
1
MON
2
FX
1
FX
2
U
+15 O O
U
+15 O O
U
+15 O O
U
+15 O O
-15
U
+15
-15
U
+15
-15
U
+15
80Hz
LOW
MID
FREQ
R L
600
1.5k 150
8k 100
EQ
12kHz
HI
PAN
AUX
SEND
MON
1
MON
2
FX
1
FX
2
U
+15 O O
U
+15 O O
U
+15 O O
U
+15 O O
R L
PAN
AUX
SEND
MON
1
MON
2
FX
1
FX
2
U
+15 O O
U
+15 O O
U
+15 O O
U
+15 O O
R L
PAN
AUX
SEND
MON
1
FX
MON
2
FX
1
FX
2
U
+15 O O
U
+15 O O
U
+15 O O
U
+15 O O
-15
U
+15
-15
U
+15
-15
U
+15
1 FX 2
9 1 2 10 / INPUT 11 12 / MAIN OUT
MAIN INSERT
TAP DELAY
INT FX
MUTE
TAP DELAY
INT FX
MUTE
TAP TO EDIT
01 PLATE REVERB
02 VOCAL PLATE
03 WARM ROOM
04 BRIGHT ROOM
13 CHORUS
14 CHORUS + REVERB
15 DOUBLER
16 TAPE SLAP
05 WARM LOUNGE
06 SMALL STAGE
07 WARM THEATER
08 BRIGHT STAGE
09 WARM HALL
10 CONCERT HALL
11 CATHEDRAL
12 GATED REVERB
17 DLY 1 BRIGHT (350ms)
18 DLY 1 WARM (300ms)
19 DLY 2 BRIGHT (250ms)
20 DLY 2 WARM (200ms)
21 DLY 3 BRIGHT (175ms)
22 DLY 3 WARM (150ms)
23 CHORUS + DLY (300ms)
24 REVERB + DLY (200ms)
15
15
10
10
5
5
0
15
15
10
10
5
5
0
16K 8K 4K 2K 1K 500 250 125 63
HI-Z HI-Z
OL
4
6
3
10
15
7
10
20
30
0
2
U
+20 O O TAPE IN
BREAK
MUTES CH 1-12
U
+15 O O
U
+15 O O
TO MON 1 TO MON 2
FX 1 FX 1
MONO OUT
LPF
O O MAX
75Hz
100 180
120
200Hz
0dB = 0dBu
LEVEL
SET
RUDE
SOLO
MAIN
MON 2
EQ ASSIGN
MAIN
METERS
R L
PHANTOM POWER
MAIN EQUALIZER
MON 1 EQUALIZER
15
15
10
10
5
5
0
15
15
10
10
5
5
0
16K 8K 4K 2K 1K 500 250 125 63
SIG/OL SIG/OL
U
+15 O O SEND MASTER
U
+15 O O SEND MASTER
LOW CUT
100 Hz
LOW CUT
100 Hz
LOW CUT
100 Hz
LOW CUT
100 Hz
LOW CUT
100 Hz
LOW CUT
100 Hz
LOW CUT
100 Hz
dB
10
O O
5
5
U
dB
30
20
10
O O
40
50
5
5
U
60
SOLO
OL
+10
0
-20
dB
30
20
10
O O
40
50
5
5
U
60
SOLO
OL
+10
0
-20
dB
30
20
10
O O
40
50
5
5
U
60
SOLO
OL
+10
0
-20
dB
30
20
10
O O
40
50
5
5
U
60
SOLO
OL
+10
0
-20
dB
30
20
10
O O
40
50
5
5
U
60
SOLO
OL
+10
0
-20
dB
30
20
10
O O
40
50
5
5
U
60
SOLO
OL
+10
0
-20
dB
30
20
10
O O
40
50
5
5
U
60
SOLO
OL
+10
0
-20
dB
30
20
10
O O
40
50
5
5
U
60
SOLO
OL
+10
0
-20
dB
30
20
10
O O
40
50
5
5
U
60
SOLO
dB
30
20
10
O O
40
50
5
5
U
60
SOLO
dB
30
20
10
O O
40
50
5
5
U
60
SOLO
dB
30
20
10
O O
40
50
5
5
U
60
SOLO
dB
30
20
10
O O
40
50
5
5
U
60
dB
30
20
10
O O
40
50
5
5
U
60
FX RTN 1 FX RTN 2 MON 1 MON 2 MAIN
FOOTSWITCH
TIP: FX1
RING: FX2
PHONES
FX
LEVEL
2 X 800W PROFESSIONAL POWERED MIXER
O O MAX
30
20
40
50
60
10 10 10 10 10 10 10 10 10 10 10 10 10 10 10
(L) (R)
MON 1
MON 2
MAINS
MON 1
STEREO
MAIN
A B
LINE LINE LINE LINE LINE LINE LINE
HI-Z
LINE
HI-Z
POWER AMP
LIMITER
A B
POWER AMP
MODE
POWER
2 X 800W PROFESSIONAL POWERED MIXER
CAUTION
HOT SURFACE,
AVOID CONTACT REVISION
SERIAL NUMBER
WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC
SHOCK, DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR
MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE
PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.
AVIS: RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR
B
SPEAKER OUT
A
SPEAKER OUT
OUTPUT POWER: @ 4 OHMS,
800 WATTS PEAK PER CH
MINIMUM LOAD: 4 OHMS PER CHANNEL
PIN
1+
1
PIN
1+
1
R
14 13 11 10
11
6 7
8 8 12 12
15
16
17
16
7
5
21
20
18
19