PPM1012 User Manual Part 2
PPM1012
10 11 13 14
L
5
1
MIC 1
6
9
MIC 2
LINE
MIC 3
LINE
MIC 4
LINE
MIC 5
LINE
MIC 6
LINE
LINE
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
1
2
U
3
U
IC GAIN
M
4
U
IC GAIN
M
5
U
IC GAIN
M
7
HI-Z
LINE
(BAL/UNBAL)
7
HI-Z
LINE
(BAL/UNBAL)
+50
+30dB
0
-20dB
GAIN
+50
+30dB
0
-20dB
GAIN
LOW CUT
100 Hz
+50
+30dB
LOW CUT
100 Hz
COMP
0
-20dB
GAIN
+50
+30dB
LOW CUT
100 Hz
COMP
0
-20dB
GAIN
+50
+30dB
LOW CUT
100 Hz
COMP
0
-20dB
GAIN
+50
+30dB
LOW CUT
100 Hz
COMP
0
-20dB
GAIN
LOW CUT
100 Hz
COMP
8
+50
+30dB
0
-20dB
MAX
OFF
EQ
U
MAX
OFF
EQ
U
HI
12kHz
100
FREQ
8k
U
100
100
LOW
80Hz
LOW CUT
100 Hz
-15 +15
MON
MON
1
100
100
This knob controls the ­level of the signal going to your
stereo headphones.
OO
+15
U
OO
+15
U
OO
MON
MON
2
OO
+15
U
OO
OO
+15
U
OO
+15
U
OO
+15
U
OO
OO
+15
U
OO
OO
1
+15
U
OO
+15
U
OO
FX
OO
FX
R
L
OO
OO
+15
OO
L
+15
OO
L
L
OO
L
dB
10
dB
10
U
OL
+10
5
dB
10
U
OL
+10
0
5
-20
dB
10
+10
30
5
dB
10
U
+10
+15
OO
+15
L
6
OO
30
+10
U
R
L
7
dB
10
+10
30
+10
U
-20
2
30
PHANTOM
EQ ASSIGN
MAIN
MON 2
POWER AMP
LIMITER
10
MAIN
METERS
5
5
0
0
5
5
10
10
15
0dB = 0dBu
OL
15
10
6
3
0
2
4
7
10
20
30
15
63
125
250
500
1K
2K
4K
8K
16K
-15 +15
U
LOW
MID
400Hz
-15 +15
U
HI
MID
2.5kHz
15
15
10
10
5
5
LOW
MID
400Hz
5
5
LOW
80Hz
10
10
15
15
0
L
RUDE
SOLO
0
-15 +15
63
AUX
SEND
U
125
250
500
1K
1
OO
4K
8K
16K
POWER AMP
MON
+15
U
2K
FX 1
+15
U
FX 2
SIG/OL
U
SIG/OL
U
01
02
03
04
05
06
07
08
09
10
11
12
PLATE REVERB
VOCAL PLATE
WARM ROOM
BRIGHT ROOM
WARM LOUNGE
SMALL STAGE
WARM THEATER
BRIGHT STAGE
WARM HALL
CONCERT HALL
CATHEDRAL
GATED REVERB
13
14
15
16
17
18
19
20
21
22
23
24
CHORUS
CHORUS + REVERB
DOUBLER
TAPE SLAP
DLY 1 BRIGHT (350ms)
DLY 1 WARM (300ms)
DLY 2 BRIGHT (250ms)
DLY 2 WARM (200ms)
DLY 3 BRIGHT (175ms)
DLY 3 WARM (150ms)
CHORUS + DLY (300ms)
REVERB + DLY (200ms)
MODE
MON 1
MAINS
MON 2
MON 1
A (L)
B (R)
STEREO
MAIN
Not available on Earth models, this control actually
slows down time, especially lunchtimes. Use this wisely,
and only engage it after receiving your food and beverages, or you may be in for a long wait.
MON
MON
2
2
+15
U
OO
OO +15
SEND MASTER
+15
U
FX
1
OO
100
FX
2
2
+15
OO
TAP
DELAY
TAP
DELAY
INT FX
MUTE
INT FX
MUTE
MUTES
CH 1-12
+15
PAN
120
U
BREAK
+15
U
FX
OO
LPF
TAP TO EDIT
1
+15
U
PAN
OO +15
SEND MASTER
FX
+20
TAPE IN
FX 1
PAN
FX 1
TO MON 1
U
180
75Hz
OO
Do not engage during drum solos or scats.
R
L
8
OL
+10
dB
10
5
U
0
R
L
9/10
OL
+10
5
U
0
5
-20
11/12
OL
+10
20
SOLO
FX RTN 1
dB
10
FX RTN 2
dB
10
OO
MON 1
dB
10
+15
OO
MON
2
dB
10
5
5
5
5
5
U
U
U
U
U
5
5
5
5
5
10
10
10
10
10
-20
10
20
dB
10
+15
0
-20
30
OO
5
10
SOLO
dB
10
R
30
20
SOLO
30
20
SOLO
30
20
SOLO
30
20
SOLO
30
200Hz
MONO OUT
TO MON 2
U
20
SOLO
30
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
PPM1012
R
LEVEL
SET
40
50
60
The footswitch only affects the internal FX. It has no
effect on the output-to and input-from external effects
processors.
B
A
15
10
40
50
60
If the internal effects have already been muted with
the FX mute switches [64] then the footswitch has no
effect. It cannot un-mute or mute it.
MAX
LEVEL
40
50
60
The output is wired so the tip affects FX1, and the
ring affects FX2.
14
FX
OO
M
-15 +15
U
HI
MID
2.5kHz
1
20
SOLO
M
MAIN OUT
R
22.LUNCH-TIME DECOUPLER
10
20
30
2
PHONES
15
HI
12kHz
MON
5
10
SOLO
5
FX RTN
17
POWER
EQ
U
AUX
SEND
U
OO
dB
10
0
-20
20
SOLO
U
OL
5
10
20
5
0
-20
30
OL
5
10
SOLO
5
1
+15
PAN
R
dB
10
0
-20
20
SOLO
U
OL
5
10
20
5
0
-20
30
OL
5
10
SOLO
5
0
-20
20
SOLO
OL
5
10
20
30
U
0
5
10
5
FX
2
R
L
(MONO)
+20
LOW
80Hz
OO
+15
U
This is where you connect a footswitch. (Any two-button on/off footswitch will do). This allows you to easily
mute or un-mute the two internal effect processors
independently, while stamping your foot and looking
like you were mad about something.
5
2
FX
PAN
R
1
2
4
3
20.FX FOOTSWITCH
CONNECTOR
OO
2
PAN
R
+15
U
FX
+15
PAN
R
OO
2
MON
1
+15
U
FX
2
PAN
R
OO
TIP: FX1
RING: FX2
MON 1 EQUALIZER
It will cast a light in the
dark, so you can work your
audio magic like an ancient wizard. It will also attract
all the mosquitoes, moths, and other hungry flying critters within a one mile radius. Have fun with that.
OO
FX
1
+15
U
FX
2
PAN
1
+15
U
FX
+15
PAN
L
OO
2
+15
1
+15
U
FX
2
OO
1
1
+15
U
Make sure this is fully down whenever you are
making connections in your system, or putting
on the headphones, or before you press any
solo switch [41]. Bring up the level slowly and carefully
to protect your hearing.
1
FX
FOOTSWITCH
R
12
L
(MONO)
FX RTN 1
GAIN
-15 +15
+15
U
2
+15
U
FX
OO
MON
2
+15
U
FX
OO
MON
2
+15
U
FX
OO
MON
2
+15
U
FX
OO
MON
2
+15
U
FX
+15
U
MON
2
+15
U
OO
16
MAIN INSERT
2 X 800W PROFESSIONAL POWERED MIXER
HI
12kHz
-15 +15
U
MON
1
-20
EQ
U
AUX
SEND
U
MON
1
LAMP
12V 0.5A
L
Located in the top right corner of the mixer, this
12V socket will drive any standard BNC-type lamp, for
example, a Littlite® #12G or #12G-HI (high-intensity).
FREQ
8k
U
-15 +15
AUX
SEND
U
1.5k
LOW
80Hz
-15 +15
MON
1
FREQ
8k
U
16
R
OUT
L
11/12
+20
-15 +15
U
150
LOW
80Hz
AUX
SEND
U
MON
1
100
-15 +15
AUX
SEND
U
FREQ
8k
U
MID
-15 +15
600
1.5k
12
R
-15 +15
U
-15 +15
U
150
LOW
80Hz
-15 +15
MON
1
FREQ
8k
U
1.5k
R
TAPE
U
HI
12kHz
MID
-15 +15
600
150
LOW
80Hz
AUX
SEND
U
MON
1
100
-15 +15
AUX
SEND
U
FREQ
8k
U
1.5k
EQ
U
-15 +15
U
MID
-15 +15
600
150
LOW
80Hz
-15 +15
AUX
SEND
U
100
LOW
80Hz
-15 +15
AUX
SEND
FREQ
1.5k
HI-Z
HI
12kHz
-15 +15
U
MID
-15 +15
600
150
EQ
U
HI
12kHz
-15 +15
U
MID
8k
U
LOW
80Hz
19.LEVEL
U
FREQ
8k
U
1.5k
EQ
U
L
(MONO)
INPUT 11 / 12
GAIN
MAX
HI
12kHz
-15 +15
600
150
OFF
8
9/10
-20
COMP
EQ
U
-15 +15
U
-15 +15
600
1.5k
MAX
HI
12kHz
MID
-15 +15
600
150
OFF
EQ
U
-15 +15
U
MID
-15 +15
600
MAX
HI
12kHz
-15 +15
U
MID
1.5k
OFF
EQ
U
HI
12kHz
-15 +15
U
150
MAX
IN
L
MAIN EQUALIZER
21.BNC LAMP CONNECTION
+50
+30dB
GAIN
LOW CUT
100 Hz
2
FX SEND
U
HI-Z
OFF
R
IC GAIN
M
GAIN
L
(MONO)
INPUT 9/ 10
U
IC GAIN
M
WARNING: The headphone amp is loud, and
can cause permanent ear damage. Even
intermediate levels may be painfully loud with
some earphones. BE CAREFUL! Always turn the phones
level control [19] all the way down before connecting
headphones or pressing a solo switch, or doing anything
new that may affect the headphone volume. Then turn it
up slowly as you listen carefully.
0
-20dB
8
INSERT
U
IC GAIN
M
2
MON SEND
15
1
R
7
U
IC GAIN
M
MIC 8
INSERT
6
U
IC GAIN
M
MIC 7
21
MAX
MAIN
20
18
19
2 X 800W PROFESSIONAL POWERED MIXER
SPEAKER OUT
POWER
SPEAKER OUT
A
B
AVIS: RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR
WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC
Channel Controls
PIN
1+
1
SERIAL NUMBER
PIN
1+
1
CAUTION
HOT SURFACE,
AVOID CONTACT
REVISION
OUTPUT POWER: @ 4 OHMS,
800 WATTS PEAK PER CH
MINIMUM LOAD: 4 OHMS PER CHANNEL
The 10 vertical channel strips look very similar, and
have a only few differences between them. Each channel works independently, and just controls the signals
plugged into the inputs directly above it.
Stereo Channels 9/10 and 11/12
• Channels 9/10 and 11/12 are stereo channels,
and their controls affect signals coming into the
stereo line-level inputs
• The stereo channel EQ is a 4-band design with
shelving high, shelving low, and peaking lo-mid
and peaking hi-mid.
L
1
1
L
L
LAMP
12V 0.5A
L
MIC 1
MIC 2
MIC 3
MIC 4
MIC 5
MIC 6
MIC 7
MIC 8
2
MON SEND
2
FX SEND
IN
R
TAPE
R
OUT
FX
FOOTSWITCH
MAIN INSERT
TIP: FX1
RING: FX2
R
LINE
LINE
LINE
LINE
HI-Z
LINE
LINE
HI-Z
LINE
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(MONO)
(MONO)
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
R
R
2
3
U
U
0
-20dB
GAIN
0
-20dB
GAIN
COMP
0
-20dB
GAIN
COMP
0
-20dB
GAIN
COMP
0
-20dB
GAIN
GAIN
LOW CUT
100 Hz
COMP
0
-20dB
GAIN
LOW CUT
100 Hz
COMP
0
-20dB
+50
+30dB
GAIN
LOW CUT
100 Hz
OFF
EQ
U
MAX
OFF
EQ
U
HI
12kHz
8k
U
1.5k
100
OO
+15
U
+15
U
OO
+15
U
MON
+15
U
OO
OO
OO
L
R
L
1
dB
10
5
U
OL
+10
OO
L
2
5
U
OL
+10
L
3
OO
5
U
OL
+10
5
U
0
5
-20
L
OL
+10
5
U
0
5
-20
L
+15
U
OO
OL
+10
dB
10
5
U
0
5
-20
L
OO
OL
+10
dB
10
5
U
0
5
-20
L
OL
OO
+10
5
U
0
5
-20
L
+10
dB
10
5
U
0
5
-20
OO
+15
U
9/10
OL
+10
U
0
INT FX
MUTE
OL
+10
dB
10
5
U
0
5
5
-20
10
10
10
10
10
10
10
10
20
20
20
20
20
20
20
20
20
20
20
SOLO
30
SOLO
30
SOLO
30
SOLO
30
SOLO
30
SOLO
30
SOLO
30
SOLO
30
2K
4K
8K
16K
15
Signal Flow
L
10
R
LEVEL
SET
5
RUDE
SOLO
0
5
10
The block diagram on page 33 shows the signal flow,
but here is a short description of the flow through the
channel strip section:
15
125
250
500
1K
2K
FX 2
SIG/OL
SIG/OL
01
02
03
04
05
06
07
08
09
10
11
12
4K
8K
PLATE REVERB
VOCAL PLATE
WARM ROOM
BRIGHT ROOM
WARM LOUNGE
SMALL STAGE
WARM THEATER
BRIGHT STAGE
WARM HALL
CONCERT HALL
CATHEDRAL
GATED REVERB
13
14
15
16
17
18
19
20
21
22
23
24
16K
CHORUS
CHORUS + REVERB
DOUBLER
TAPE SLAP
DLY 1 BRIGHT (350ms)
DLY 1 WARM (300ms)
DLY 2 BRIGHT (250ms)
DLY 2 WARM (200ms)
DLY 3 BRIGHT (175ms)
DLY 3 WARM (150ms)
CHORUS + DLY (300ms)
REVERB + DLY (200ms)
MODE
MON 1
MAINS
MON 2
MON 1
A (L)
B (R)
STEREO
MAIN
LPF
The input signals from the mic, or line inputs go
through a preamplifier whose gain is set by the gain
control .
120
U
BREAK
TAP
DELAY
10
30
1K
TAP TO EDIT
10
SOLO
500
OO +15
SEND MASTER
10
30
250
TAP
DELAY
MUTES
CH 1-12
+20
TAPE IN
INT FX
MUTE
SOLO
30
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
Mono Channels 1 to 8
FX 1
OO
200Hz
MONO OUT
TO MON 2
U
+15
180
75Hz
OO
TO MON 1
U
OO
11/12
-20
125
OO +15
SEND MASTER
R
5
15
FX 1
PAN
dB
10
OL
15
10
6
3
0
2
4
7
10
20
30
5
U
+15
L
0dB = 0dBu
0
100
2
R
5
10
U
+15
U
FX
OO
B
A
MAIN
METERS
10
FX 1
1
+15
POWER AMP
LIMITER
POWER AMP
2
OO
LEVEL
PHANTOM
15
63
FX
+15
U
5
-20
15
MON
PAN
R
0
5
2
OO
OL
10
FX
+15
dB
10
LOW
80Hz
1
+15
U
8
+15
U
2
PAN
R
5
FX
2
OO
10
1
OO
EQ ASSIGN
MAIN
MON 2
15
LOW
MID
400Hz
MON
MON
FX
+15
7
+15
U
1
PAN
R
OO
2
2
OO
+15
U
M
MON 1 EQUALIZER
AUX
SEND
U
1
OO
2
MAX
Mackie mixers have a “U” symbol on almost every level
control. It stands for “unity gain,” meaning no change in
signal level. The labels on the controls are measured in
decibels (dB), so you’ll know what you’re doing levelwise if you choose to change a control’s settings.
63
HI
MID
2.5kHz
-15 +15
FX
+15
U
-15 +15
U
MON
MON
FX
+15
6
+15
U
1
PAN
R
OO
2
FX
2
OO
+15
U
-15 +15
U
LOW
MID
400Hz
AUX
SEND
U
1
OO
HI
12kHz
LOW
80Hz
MON
15
-15 +15
U
HI
MID
2.5kHz
-15 +15
AUX
SEND
U
MON
FX
+15
dB
10
+15
U
1
OO
5
OO
2
+15
U
LOW
80Hz
1
+15
U
-15 +15
U
8k
U
MON
OO
FREQ
-15 +15
FX
PAN
R
100
AUX
SEND
MON
2
OO
dB
10
+15
U
FX
+15
4
OO
1
PAN
R
dB
10
0
5
-20
OO
+15
U
1.5k
LOW
80Hz
U
HI
12kHz
-15 +15
U
150
EQ
U
-15 +15
U
MID
8k
U
1
OO
FREQ
EQ
U
HI
12kHz
-15 +15
MON
2
2
+15
100
FX
FX
1.5k
AUX
SEND
U
MON
+15
U
PAN
R
dB
10
0
5
OO
+15
U
1
2
PAN
OO
2
5
-15 +15
600
150
LOW
80Hz
1
+15
U
FREQ
8k
U
MON
OO
0
-15 +15
U
MID
-15 +15
FX
FX
+15
100
AUX
SEND
U
MON
+15
U
2
PAN
+15
U
1
FX
+15
OO
2
FX
+15
U
2
+15
U
1.5k
LOW
80Hz
1
HI
12kHz
-15 +15
600
150
8k
U
MON
OO
FREQ
-15 +15
AUX
SEND
U
MON
1
FX
OO
+15
U
FX
1
OO
OO
2
FX
100
LOW
80Hz
1
+15
U
1.5k
10
EQ
U
-15 +15
U
MID
-15 +15
600
150
8k
U
MON
OO
FREQ
15
HI-Z
EQ
HI
12kHz
-15 +15
U
MID
-15 +15
AUX
SEND
U
MON
2
100
LOW
80Hz
1
OO
1.5k
GAIN
5
U
FX RTN
OO
2 X 800W PROFESSIONAL POWERED MIXER
10
EQ
HI
12kHz
-15 +15
600
150
8k
U
MON
1
FREQ
-15 +15
AUX
SEND
U
MON
+15
U
100
LOW
80Hz
-15 +15
AUX
SEND
OO
1.5k
GAIN
PHONES
M
MAIN OUT
R
MAIN EQUALIZER
+20
MAX
U
-15 +15
U
-15 +15
600
150
8k
U
LOW
80Hz
-15 +15
U
FREQ
OFF
MID
-20
COMP
EQ
HI
12kHz
-15 +15
600
150
MAX
U
-15 +15
U
MID
-15 +15
600
FREQ
OFF
EQ
U
-15 +15
U
MID
-15 +15
600
MAX
HI
12kHz
-15 +15
U
MID
1.5k
OFF
EQ
U
HI
12kHz
-15 +15
U
150
MAX
U
+20
R
POWER
LOW CUT
100 Hz
HI-Z
MAX
-20
L
(MONO)
“U” like Unity gain
FX RTN 1
11/12
U
IC GAIN
M
+50
+30dB
L
(MONO)
INPUT 11 / 12
9/10
U
IC GAIN
M
+50
+30dB
INPUT 9/ 10
8
U
IC GAIN
M
+50
+30dB
LOW CUT
100 Hz
7
U
IC GAIN
M
+50
+30dB
LOW CUT
100 Hz
6
U
IC GAIN
M
+50
+30dB
LOW CUT
100 Hz
5
U
IC GAIN
M
+50
+30dB
LOW CUT
100 Hz
4
U
IC GAIN
M
+50
+30dB
100
L
(BAL/UNBAL)
IC GAIN
M
OFF
L
(BAL/UNBAL)
1
0
-20dB
LINE
R
Owner’s Manual
SHOCK, DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR
MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE
PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.
+15
OO
MAX
The signal then passes through the low-cut filter
(mono channels only) the compressor circuit (ch. 1 to 6
only), the insert jack (mono channels only), the channel EQ, channel fader, pan control, and then onto the
main mix.
FX RTN 1
dB
10
FX RTN 2
5
MON 1
5
U
SOLO
dB
10
dB
10
MON
2
5
U
dB
10
U
U
5
5
5
5
10
10
10
10
20
20
20
20
30
SOLO
30
SOLO
30
MAIN
5
SOLO
30
40
50
60
40
50
60
40
50
60
40
50
60
OO
OO
OO
OO
The mon 1 [33] and mon 2 controls [34] tap the
signal off just before (pre) the channel fader.
The FX 1 [35] and FX 2 controls [36] tap the signal
off after (post) the channel fader.
• Channels 1 to 8 are mono channels, and their
controls affect either the mono mic input or the
mono line-level input.
• Channels 1 to 6 each have an internal signal inline compressor circuit with adjustable threshold.
• Channels 7 and 8 each have a hi-z switch, so
you can connect guitars directly, without the
need for a DI box.
• The 3-band EQ has shelving high, shelving
low, and peaking mid EQ with adjustable mid
frequency.
Owner’s Manual
15
PPM1012
INSERT
INSERT
1
23
24
25
27
28
29
32
2
U
+50
+30dB
0
-20dB
+50
+30dB
COMP
OFF
OFF
EQ
MAX
OFF
100
FREQ
8k
U
100
U
+15
U
OO
OO
OO
1
OO
PAN
L
L
L
OO
OO
L
L
5
U
40
1
39
OL
+10
5
U
0
5
2
dB
10
OL
+10
10
5
U
0
5
-20
3
dB
10
OL
+10
10
5
U
0
5
-20
4
dB
10
R
L
OL
+10
10
5
U
0
5
-20
5
dB
10
OL
+10
10
dB
10
5
U
0
5
-20
10
20
20
20
20
20
20
30
30
30
30
30
OO
SOLO
41
SOLO
SOLO
SOLO
SOLO
1.5k
100
-20
15
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
OO
OO
OO
OO
OO
PPM1012
R
MAIN
R
U
HI
12kHz
HI
12kHz
-15 +15
U
MAIN EQUALIZER
10
5
0
U
IC GAIN
M
5
10
15
0
-20dB
+50
+30dB
125
250
63
500
GAIN
-15 +15
U
MID
FREQ
150
8k
U
-15 +15
U
1.5k
100
FREQ
-15 +15
U
8k
U
LOW
80Hz
HI
MID
2.5kHz
1K
2K
4
MON 1 EQUALIZE
-15 +15
U
LOW
MID
400Hz
-15 +15
U
LOW
80Hz
HI
MID
2.5kHz
15
10
LOW
MID
400Hz
5
LOW
80Hz
10
0
5
15
Through the 1⁄4" input, there is 20 dB of ­attenuation
AUX
AUX
AUX
AUX
SENDand 30SEND
fully down
dB of gainSEND
fully up SEND
(20 dB on stereo
channels),
with1unity gain1 at 12:00.1 This 20 dB of
1
1
FX 1
­attenuation can be very handy when you are ­inserting
2
a2 very hot 2signal, or2when you2 want to add
a lot of EQ
gain, or both. Without this ­“virtual pad,” this ­scenario
1
1
1
1
might
lead1 to channel
clipping
and distortion.
-15 +15
-15 +15
-15 +15
-15 +15
U
U
U
U
63
MON
OO
MON
+15
U
OO
+15
U
MON
OO
OO
+15
U
OO
OO
OO
+15
U
OO
OO
+15
U
OO
1K
FX 2
SIG/OL
U
U
OO +15
SEND MASTER
OO +15
SEND MASTER
+15
U
OO
L
OO
R
L
dB
10
OL
+10
FX
2
+15
5
U
OO
R
L
dB
10
OL
+10
5
U
0
5
OL
10
OO
R
L
OL
+10
20
5
U
0
SOLO
30
SOLO
OL
+10
BREAK
INT FX
MUTE
FX 1
TO MON
U
dB
10
OO
dB
10
5
5
5
U
U
U
0
20
SOLO
INT FX
MUTE
MUTES
CH 1-12
5
5
5
10
10
10
-20
10
20
30
TAP
DELAY
dB
10
5
24.LOW CUT (Channels 1–8 only)
SOLO
30
TAP
DELAY
R
-20
10
4
PLATE REV
VOCAL PLA
WARM ROO
BRIGHT RO
WARM LOU
SMALL STA
WARM THE
BRIGHT STA
WARM HAL
CONCERT
CATHEDRA
GATED REV
+15
dB
10
5
-20
10
20
5
U
0
5
-20
+15
dB
10
+10
FX
FX
+15
01
02
03
04
05
06
07
08
09
10
11
12
+15
U
Clipping occurs
when
the peaks
of the audio
2
2
2
signal
passing
through
the
preamplifier
are
PAN
PAN
PAN
PAN
PAN
too high, and can no longer be amplified in
a linear way. The audio signals reach a point
just below the preamp's supply voltages, and flatten out.
This is rather like a tall pointed volcano suddenly blowing its top, leaving behind a lower flatter top (clipped)
while
thousands
of tons
rock
8 of molten
FX RTNare
1
FX RTN 2
6
9/10
11/12and ashes
7
blasted into the earth's atmosphere to cause a kind of
global winter for thousands of years, leading to the disappearance of the dinosaurs and the appearance of jazz
drummers. Only not. Adjust the gain to prevent this.
FX
OO
2K
FX
FX
+15
U
500
MON
+15
U
FX
SIG/OL
+15
U
MON
+15
U
250
MON
+15
U
MON
FX
OO
MON
125
30
SOLO
20
20
20
30
30
30
SOLO
SOLO
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
OO
OO
OO
OO
OO
OO
OO
The mono channels each have a low-cut switch, often
referred to as a high-pass filter (all depends on how you
look at it). When engaged, this cuts the bass frequencies below 100 Hz at a rate of 18 dB per octave. The mic
and line inputs of channels 1–8 are affected.
We recommend that you use low-cut on ­every microphone application except kick drum, bass guitar, or
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, but low-cut can help reduce the possibility of feedback in live situations, and it helps to conserve
amplifier power.
16
2
2 X 800W PROFE
+20
GAIN
U
LOW
80Hz
-20
30
40
50
60
150
0
5
-20
10
FREQ
2
+15
PAN
R
+20
GAIN
-15 +15
600
FX
OO
38
dB
10
+15
U
2
+15
PAN
R
+15
U
FX
OO
-20
-15 +15
U
FX
+15
U
2
+15
PAN
R
+15
U
FX
OO
FX RTN
U
HI
12kHz
MID
MON
1
OO
2
+15
+15
U
FX
+15
U
FX
OO
PAN
R
OO
+50
+30dB
U
MON
OO
1
OO
U
2
+15
U
R
If the signal originates through the
XLR jack of a mono channel (1 to 8), there will be 0 dB
of gain with the knob fully down, ramping to 50 dB of
gain fully up.
AUX
SEND
MON
FX
+15
U
2
+15
-15 +15
+15
U
2
OO
FX
OO
OO
1
+15
U
2
+15
+15
U
FX
U
1
MON
+15
U
1
OO
FX
37
OO
FX RTN 1
LOW CUT
100 Hz
-15 +15
600
8k
MON
1
U
GAIN
HI
12kHz
LOW
80Hz
AUX
SEND
U
R
INPUT 11 / 12
The gain knobs adjust the input sensitivity of the mic and line inputs. This
HI-Z
HI-Z
allows signals from the outside world to
EQ operatEQ
EQ
EQ to optimal
EQ internal
be adjusted
ing levels.
1.5k
100
-15 +15
MON
+15
U
FX
+15
U
U
0
-20dB
LOW CUT
100 Hz
-15 +15
U
150
8k
U
+50
+30dB
GAIN
MID
LOW
80Hz
AUX
SEND
2
OO
100
FREQ
U
IC GAIN
M
U
-15 +15
600
1.5k
0
-20dB
HI
12kHz
-15 +15
U
150
-15 +15
MON
+15
U
FREQ
LOW
80Hz
1
2
+15
U
U
U
MID
8k
MON
MON
FX
OO
U
+15
U
2
100
AUX
SEND
1
MON
OO
U
MON
1
OO
8k
1.5k
MAX
HI
12kHz
-15 +15
600
150
-15 +15
AUX
SEND
U
FREQ
LOW
80Hz
-15 +15
AUX
SEND
MON
OO
100
LOW
80Hz
-15 +15
33
34
35
36
1.5k
OFF
MID
INPUT 9/ 10
COMP
EQ
U
-15 +15
600
150
LOW CUT
100 Hz
-15 +15
U
MID
8k
LOW
80Hz
U
FREQ
+50
+30dB
GAIN
MAX
HI
12kHz
-15 +15
600
1.5k
EQ
U
0
-20dB
COMP
-15 +15
U
MID
150
+50
+30dB
LOW CUT
100 Hz
OFF
U
IC GAIN
M
IC GAIN
M
GAIN
MAX
HI
12kHz
-15 +15
600
1.5k
OFF
-15 +15
U
MID
0
-20dB
COMP
EQ
U
-15 +15
U
-15 +15
600
+50
+30dB
LOW CUT
100 Hz
R
INSERT
9/10 11/12
If you haven’t already, please read the level-setting
procedure on page 3.
U
IC GAIN
M
GAIN
MAX
HI
12kHz
-15 +15
U
0
-20dB
COMP
EQ
U
HI
12kHz
150
+50
+30dB
LOW CUT
100 Hz
INSERT
23.GAIN
6
7CONTROL8
U
IC GAIN
M
GAIN
COMP
MAX
U
0
-20dB
LOW CUT
100 Hz
INSERT
5
U
IC GAIN
M
GAIN
LOW CUT
100 Hz
INSERT
4
U
IC GAIN
M
GAIN
INSERT
3
U
IC GAIN
M
0
-20dB
INSERT
Another way to consider low-cut’s function is that it
actually adds flexibility during live performances. With
the ­addition of low-cut, you can safely use low equalization on vocals. Many times, bass shelving EQ can really
benefit voices. Trouble is, adding low EQ also boosts
stage rumble, mic handling clunks and breath pops
from way-down low. Applying low-cut ­removes all those
problems, so you can add low EQ without losing a woofer
out the window.
+15
MO
When the incoming signals exceed the threshold level
set by this knob, the signal level is automatically compressed. This reduces the dynamic range, and reduces
the chance of distortion due to overloading the input
signals.
Dynamic range is the difference in level between the quietest part of your song and the
loudest part. Using a compressor, you are able
to squeeze the dynamic range, resulting in
an overall steadier, more constant volume level for the
signal. It helps sources such as vocals "sit" properly in
the mix, and it is very useful for live sound as well.
The compression ratio is fixed at around 6:1, with
a soft knee response. The threshold can be adjusted
clockwise from off (no compression) to 0 dBu (max).
As an example, suppose the threshold is set to maximum. An incoming signal reaches the threshold of 0
dBu. As it increases beyond the threshold, it becomes
compressed at a ratio of 6:1. This means that even if the
input further increases by 6 dB, the actual output only
increases by 1 dB. This compresses the output signal, so
there is more protection to your system from distortion
and overload due to poor microphone technique (say
it ain't so) and general pops, bangs and heavy metal
screaming. The soft knee means that the compression
slowly ramps up to 6:1 from the threshold. It does not
jump abruptly to 6:1, as this would be hard knee compression, and harder on the ears too.
The graph on this page shows the input signal level
going into the compressor, versus the output level
coming out of it. It is the typical graph to see when
compressors are discussed, and is just the kind of thing
our engineers like to talk about during the company
Christmas party*.
If the compressor is off, then the input = output. For
example an input signal level of +5 dBu results in an
output level of +5 dBu. The diagonal line from lower left
to upper right represents x = y, that is, input = output.
+20
+15
OUTPUT SIGNAL STRENGTH dBu
Channels 1 to 6 have an in-line compressor circuit
with a variable threshold. This is very useful for compression of vocals, and snare drums for example, so you
might consider connecting your microphones and drum
mics to channels 1 to 6, rather than other channels.
Owner’s Manual
25.COMPRESSOR (Channels 1–6 only)
+10
+5
SLOPE 6:1
FT
SO
+0
-5
E
OP
SL
EE
KN
1:1
-10
-10
-5
+0
+5
+10
+15
+20
INPUT SIGNAL STRENGTH dBu
At the maximum compression, the threshold is set at
0 dBu, and the input to output relationship is represented by the lower curve. If the input is -5 dBu (that
is, below the threshold), the output is -5. As the input
reaches 0 dBu, the output is a bit less than 0 dBu. If the
input is +5 dBu, the output is about +2 dBu. If the input
reaches +10 dBu, then the output is +3 dBu. Notice the
shapely curve of the soft knee between the diagonal
slope of x = y and the compressor slope of 6:1 (the
compression ratio).
The other blue curves represent in-between positions
of the compressor knob, with higher thresholds before
compression begins.
Outboard compressors often have controls such as
compression ratio, threshold, soft knee/hard knee, attack time, and release time. These last two affect how
quickly the compressor kicks in when the input exceeds
the threshold, and how quickly it is released after it
drops below the threshold. In this powered mixer compressor, these parameters are specially chosen to give
you the best overall performance.
Adjust the threshold carefully, so your dynamic range
is still lovely, without distortion or overload during the
performance. Run through a few practice screams and
high-notes, and adjust the compression as required.
* Mr. Little, my math teacher thought that graphs
might come in handy for me one day. Finally!
Owner’s Manual
17
PPM1012
INSERT
INSERT
1
23
24
25
27
28
29
32
2
U
+50
+30dB
0
-20dB
+50
+30dB
0
-20dB
+50
+30dB
COMP
0
-20dB
+50
+30dB
COMP
0
-20dB
+50
+30dB
COMP
0
-20dB
GAIN
LOW CUT
100 Hz
+50
+30dB
COMP
0
-20dB
GAIN
LOW CUT
100 Hz
COMP
+50
+30dB
0
-20dB
26
COMP
+50
+30dB
MAX
OFF
EQ
U
MAX
OFF
EQ
U
HI
12kHz
100
FREQ
8k
U
1.5k
100
U
+15
U
OO
OO
1
FX
OO
L
OO
L
OO
PAN
R
L
OO
PAN
R
L
OO
PAN
R
L
OO
R
L
OO
L
R
L
OO
+15
U
L
5
0
63
125
250
500
1K
FX 1
FX 2
SIG/OL
SIG/OL
U
U
OO +15
SEND MASTER
OO +15
SEND MASTER
TAP
DELAY
TAP
DELAY
INT FX
MUTE
INT FX
MUTE
2K
01
02
03
04
05
06
07
08
09
10
11
12
4
PLATE REV
VOCAL PLA
WARM ROO
BRIGHT RO
WARM LOU
SMALL STA
WARM THE
BRIGHT STA
WARM HAL
CONCERT
CATHEDRA
GATED REV
FX
1
+15
U
OO
FX
2
+15
OO
L
MUTES
CH 1-12
+15
FX 1
PAN
R
BREAK
+15
U
PAN
R
10
2
+15
U
PAN
4
MON 1 EQUALIZE
MON
2
OO
2K
15
+15
U
FX
+15
PAN
R
OO
2
+15
PAN
+15
U
FX
2
+15
1K
10
1
1
OO
500
5
FX
+15
U
250
MON
2
OO
FX
2
+15
U
MON
+15
U
125
15
AUX
SEND
1
OO
LOW
MID
400Hz
30
31
LOW
80Hz
MON
1
OO
-15 +15
U
HI
MID
2.5kHz
63
-15 +15
FX
+15
U
FX
2
+15
U
2
OO
-15 +15
U
LOW
MID
400Hz
AUX
SEND
MON
+15
U
HI
MID
2.5kHz
LOW
80Hz
+15
U
1
OO
-15 +15
U
-15 +15
U
-15 +15
FX
+15
U
FX
2
+15
PAN
R
FX
2
+15
PAN
37
FX
2
+15
OO
1
OO
FREQ
1
+15
U
FX
+15
U
-15 +15
U
MON
2
OO
30
31
15
HI
12kHz
-15 +15
U
AUX
SEND
U
EQ
U
HI
12kHz
-15 +15
MON
+15
U
1
OO
U
1
2
OO
8k
MON
OO
FX
+15
U
U
EQ
U
LOW
80Hz
AUX
SEND
MON
+15
U
1.5k
100
-15 +15
+15
U
2
OO
U
1
OO
150
8k
MON
+15
U
1
OO
U
FREQ
LOW
80Hz
AUX
SEND
MON
+15
U
1.5k
100
-15 +15
FX
+15
U
FX
2
OO
OO
2
OO
U
1
MON
15
5
MID
-15 +15
600
150
8k
MON
+15
U
1
OO
U
FREQ
LOW
80Hz
AUX
SEND
1
+15
U
1.5k
100
-15 +15
FX
+15
U
U
MID
-15 +15
600
150
8k
MON
OO
FREQ
MAIN EQUALIZER
+20
GAIN
0
HI
12kHz
-15 +15
U
MID
LOW
80Hz
AUX
SEND
U
+15
U
1
OO
100
LOW
80Hz
2
OO
1.5k
MAIN
10
EQ
U
-15 +15
U
-15 +15
600
150
-15 +15
FX
+15
U
U
MON
+15
U
FX
FREQ
R
5
HI
12kHz
-15 +15
U
MID
8k
1
2
OO
100
MON
MON
+15
U
1.5k
AUX
SEND
U
+15
U
2
OO
U
1
MON
OO
8k
MON
1
150
-15 +15
AUX
SEND
U
FREQ
LOW
80Hz
-15 +15
AUX
SEND
MON
OO
100
LOW
80Hz
-15 +15
33
34
35
36
1.5k
-20
HI-Z
EQ
U
HI
12kHz
-15 +15
600
2
10
EQ
U
FX RTN
2 X 800W PROFE
MAX
HI
12kHz
-15 +15
600
150
8k
LOW
80Hz
U
FREQ
EQ
U
MID
-15 +15
600
150
OFF
-15 +15
U
MID
-15 +15
600
MAX
HI
12kHz
-15 +15
U
MID
-15 +15
600
OFF
EQ
U
-15 +15
U
MID
MAX
HI
12kHz
-15 +15
U
1.5k
OFF
EQ
U
HI
12kHz
-15 +15
U
150
MAX
+20
GAIN
26
R
U
LOW CUT
100 Hz
HI-Z
OFF
-20
FX RTN 1
11/12
U
GAIN
LOW CUT
100 Hz
R
INPUT 11 / 12
9/10
U
IC GAIN
M
GAIN
LOW CUT
100 Hz
INPUT 9/ 10
8
U
IC GAIN
M
IC GAIN
M
R
INSERT
7
U
IC GAIN
M
GAIN
LOW CUT
100 Hz
INSERT
6
U
IC GAIN
M
GAIN
LOW CUT
100 Hz
INSERT
5
U
IC GAIN
M
GAIN
LOW CUT
100 Hz
INSERT
4
U
IC GAIN
M
GAIN
INSERT
3
U
IC GAIN
M
0
-20dB
INSERT
TO MON
U
R
OO
+15
38
dB
10
5
U
40
1
39
OL
+10
5
U
0
5
2
dB
10
OL
+10
10
5
U
0
5
-20
3
dB
10
OL
+10
10
5
U
0
5
-20
4
dB
10
OL
+10
10
5
U
0
5
-20
5
dB
10
OL
+10
10
5
U
0
5
-20
OL
+10
10
5
U
0
5
-20
7
dB
10
OL
+10
10
5
U
0
5
-20
8
dB
10
OL
+10
5
U
0
5
-20
10
dB
10
9/10
OL
+10
5
U
0
5
-20
10
dB
10
11/12
OL
+10
FX RTN 1
dB
10
FX RTN 2
dB
10
5
5
5
U
U
U
0
5
-20
10
dB
10
5
5
5
10
10
10
-20
10
20
20
20
20
20
20
20
20
20
20
20
20
20
30
30
30
30
30
30
30
30
30
30
30
30
30
40
50
60
OO
SOLO
41
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
26.HI-Z SWITCH (Ch. 7 and 8 only)
Engage this switch if you want to connect a guitar
directly to the 1/4" inputs of channels 7 or 8.
Without this switch, you need to use a DI box first,
before connecting guitars directly. If these switches are
not pressed in, guitars will not sound good, particularly
the high frequency response.
CHANNEL EQUALIZATION (EQ)
The PPM1012 mono channels have 3-band equalization: low shelving, mid peaking with adjustable frequency, and high shelving. The stereo channels have 4-band
EQ: low shelving, low-mid and high-mid peaking, and
high shelving.
18
6
dB
10
PPM1012
Shelving EQ means that the circuitry boosts or cuts
all frequencies past the specified frequency. For example, the low EQ boosts bass frequencies below 80 Hz and
continuing down to the lowest note you never heard.
Peaking EQ means that certain frequencies form a “hill”
around the center frequency.
With too much EQ, you can really upset things. We’ve
designed a lot of boost and cut into each equalizer
circuit, because we know that everyone will occasionally need that. But if you max the EQ on every channel,
you’ll get mix mush. Equalize subtly and use the left
sides of the knobs (cut), more than the right (boost).
If you find yourself repeatedly using full boost or cut,
consider altering the sound source, such as placing a
mic differently, trying a different kind of mic, changing
the strings, or gargling.
MO
The high EQ provides up to 15
dB of boost or cut above 12 kHz,
and it is also flat at the detent. 0
Use it to add sizzle to cymbals,
an overall sense of transparency, or an edge to keyboards,
vocals, guitar and bacon frying. Turn it down a little to
reduce sibilance or to mask tape hiss.
The low EQ provides up to 15
dB of boost or cut below 80 Hz.
0
The circuit is flat (no boost or
cut) at the center detent position. This frequency represents
the punch in bass drums, bass
guitar, fat synth patches, and some really serious male
singers who eat raw beef for breakfast.
28.MID EQ LEVEL (Ch. 1 to 8)
33.MON 1 AUX SEND and 34. MON 2 AUX SEND
+15
+10
+5
–5
–10
–15
20Hz
The mid EQ , or “midrange,”
has a fixed bandwidth. The mid
knob sets the amount of boost
0
or cut, up to 15 dB, and is effectively bypassed at the center
detent. The frequency at which
the cut or boost occurs is set by
the mid EQ frequency control [29].
100Hz
1kHz
10kHz 20kHz
+15
+5
–5
–10
–15
100Hz
1kHz
10kHz 20kHz
29.MID EQ FREQUENCY (Ch. 1 to 8)
This knob sets the center
frequency of the mid EQ level
control [28]. This is sweepable
from 100 Hz to 8 kHz.
+15
+10
+5
0
–5
–10
Once this is set, the mid EQ
level can be adjusted with the
mid EQ level control.
–15
20Hz
+5
–5
–10
–15
20Hz
100Hz
1kHz
10kHz 20kHz
These controls allow you set up two independent
mixes for running stage monitors.
+10
20Hz
+15
+10
Owner’s Manual
32.LOW EQ
27.HIGH EQ
100Hz
1kHz
10kHz 20kHz
Most of the root and lower harmonics that define
a sound are located in the 100 Hz–8 kHz frequency
range, and you can create drastic changes with these
two knobs. Many engineers use mid EQ to cut midrange
frequencies, not boost them. One popular trick is to set
the mid fully up, turn the frequency knob until you find
a point where it sounds just terrible, then back the mid
down into the cut range, causing those terrible frequencies to disappear. Sounds silly, but it works. Sometimes.
30.HIGH MID EQ LEVEL (Ch. 9/10 and 11/12)
The high mid EQ provides up to 15 dB of boost or cut
at 2.5 kHz, and it is also flat at the detent. This control
is only available on the stereo channels.
31.LOW MID EQ LEVEL (Ch. 9/10 and 11/12)
The low mid EQ provides up to 15 dB of boost or cut
at 400 Hz, and it is also flat at the detent. This control is
only available on the stereo channels.
Adjust these controls on each channel until your band
is happy with the stage monitor mix. The controls are
off when turned fully down, deliver unity gain at the
center, and can provide up to 15 dB of gain turned fully
up. Chances are you’ll never need this extra gain, but
it’s nice to know it’s there if you do. Adjustments to the
channel faders [40] or main mix fader [59] will not
affect the monitor output, but channel EQ [27–32] and
gain [23] will.
One or both of the powered mixer's internal amplifiers
can be used to power passive stage monitors if you set
the power amp mode switch [53].
Mon 1 and mon 2 send [10] are line-level outputs, and
are used if you want to connect powered stage monitors,
or external power amps with passive stage monitors.
35.FX1 AUX SEND and 36. FX2 AUX SEND
These controls allow you set up two independent
mixes for the internal effects processors, or external
effects processors.
Adjust these controls on each channel until you have
just the right level going to the internal processors. The
controls are off when turned fully down, deliver unity
gain at the center detent, and can provide up to 15 dB of
gain turned fully up. Adjustments to the channel fader
[40], gain [23] and channel EQ [27–32] will affect the
feed going to the internal effects processors.
The FX1 and FX2 send [11] outputs are line-level,
and are used if you want to connect external effects processors. If you plug something into these outputs, the
feed to the internal processors is disconnected, and the
FX1 and FX2 mixes feed the external processor(s) only.
Owner’s Manual
19
PPM1012
37.PAN
41.SOLO
For the mono channels (1 to 8) this control allows you
to adjust how much of the channel signal goes to the
left main mix, and how much goes to the right main mix.
It has no effect on the aux, as these are mono. In the
center position, the mono channel is split equally to the
left and right.
Whenever a solo switch is engaged, you will only hear
the soloed channel(s) in the headphones. This gives you
the opportunity to audition the channels before they are
added to the main mix.
For the stereo channels (9/10 and 11/12), pan acts in
a similar way to a home stereo balance control.
If you have a stereo source and the mixer's stereo
inputs are already taken, connect the source's left output into one mono channel, and the right into another.
Pan the first one fully left, and the second channel fully
right, then the source will appear in the main mix in full
stereo.
38.MUTE switch and LED
The mute switch cuts the signal from the channel
from reaching the main mix bus and the aux busses. The
LED acts as a reminder of its on-ness.
The mute switches near the FX RTN 1 and FX RTN 2
faders will stop the signals from the internal effects (or
any external effects) from reaching the main mix, or
monitor 1 or monitor 2.
39.–20, 0, +10, OL CHANNEL METER LEDs
The OL (overload) LED will come on when the channel’s input signal is too high. This should be avoided, as
distortion will occur.
If the OL LED is coming on regularly, check that the
gain control [23] is set correctly for your input device,
and that the channel EQ [27–32] is not set with too
much boost.
The –20, 0, and +10 LEDs show the channel signal
strength.
40.CHANNEL FADER
The channel faders adjust the level of each channel
onto the main mix. The “U” mark ­indicates unity gain,
meaning no increase or decrease of signal level. All the
way up provides an additional 10 dB, should you need
to boost a section of a song. If you find that the overall
level is too quiet or too loud with the level near unity,
check that the gain control [23] is set correctly.
20
PPM1012
You can also use solo to set the gain of each channel
correctly. When a channel is soled, you can adjust the
channel gain [23] until your input source reaches the
level of the 0 dB LED of the main meters [48].
Solo signals reaching the headphones are not
affected by the channel faders or main fader,
therefore turn down the phones level [19]
first, as soloed channels may be loud.
The rude solo light [49] will turn on as a reminder
that what you are listening to in the headphones is just
the soloed channel(s).
For stereo channels, the mono sum of the left and
right are heard in the headphones and the level seen on
the left meter.
The output from the FX processors can also be soled
and auditioned, as can the output to monitor 1 and
monitor 2.
R
/10
R
FX RTN 1
INPUT 11 / 12
FX RTN
2
M
MAIN OUT
R
42 43
11/12
EQ
U
HI
12kHz
10
5
5
0
0
5
5
10
10
125
250
-15 +15
U
LOW
80Hz
500
1K
2K
4K
8K
MAIN
METERS
0dB = 0dBu
OL
15
10
6
3
0
2
4
7
10
20
30
16K
MON 1 EQUALIZER
45
LOW
80Hz
15
15
10
10
5
5
0
0
5
5
10
10
15
48
L
R
LEVEL
SET
49
50
RUDE
SOLO
15
-15 +15
AUX
END
AUX
SEND
U
MON
MON
1
1
OO
+15
U
2
60
+15
U
62
63
64
1
1K
+15
U
FX
FX
2
2
OO
+15
PAN
PAN
L
R
FX 2
SIG/OL
SIG/OL
U
U
+15
SEND MASTER
+15
SEND MASTER
5
U
0
8K
16K
OO
01
02
03
04
05
06
07
08
09
10
11
12
PLATE REVERB
VOCAL PLATE
WARM ROOM
BRIGHT ROOM
WARM LOUNGE
SMALL STAGE
WARM THEATER
BRIGHT STAGE
WARM HALL
CONCERT HALL
CATHEDRAL
GATED REVERB
51
13
14
15
16
17
18
19
20
21
22
23
24
CHORUS
CHORUS + REVERB
DOUBLER
TAPE SLAP
DLY 1 BRIGHT (350ms)
DLY 1 WARM (300ms)
DLY 2 BRIGHT (250ms)
DLY 2 WARM (200ms)
DLY 3 BRIGHT (175ms)
DLY 3 WARM (150ms)
CHORUS + DLY (300ms)
REVERB + DLY (200ms)
TAP
DELAY
TAP
DELAY
INT FX
MUTE
INT FX
MUTE
+10
LPF
54
120
U
MUTES
CH 1-12
+20
TAPE IN
FX 1
FX 1
OO
FX RTN 1
dB
10
FX RTN 2
+15
OO
56
MON 1
dB
10
dB
10
200Hz
MONO OUT
TO MON 2
U
+15
180
75Hz
OO
TO MON 1
U
OO
53
B (R)
STEREO
MAIN
100
dB
10
OL
MON 2
MON 1
A (L)
52
56
11/12
MODE
MON 1
MAINS
TAP TO EDIT
BREAK
38
dB
10
4K
POWER AMP
61
OO
2K
1
OO
MON
2
dB
10
5
5
5
5
5
U
U
U
U
U
5
5
5
5
5
10
10
10
10
10
MAX
-20
20
20
30
30
SOLO
41
SOLO
20
20
20
20
30
30
30
30
SOLO
SOLO
SOLO
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
OO
OO
OO
OO
OO
OO
57
57
58
58
Press in this switch to add +48 VDC phantom power to all the XLR microphone inputs of the mixer. The
LED next to the switch will turn on as a reminder.
Most modern professional condenser mics require
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.
Never plug ­­single-ended (unbalanced)
micro­phones, or ribbon mics into the mic
input jacks if phantom power is on. Do not
plug instrument outputs into the mic input jacks
with phantom power on, ­unless you know for certain
it is safe to do so.
44.MAIN EQUALIZER
The 9-band stereo graphic equalizer allows you
to tailor the sound of your main mix to suit your extraordinarily-delicate sense of audio right and wrong.
Each slider allows up to 15 dB of boost and cut,
with 0 dB (no change in level) at the center. The
frequency bands are: 63, 125, 250, 500, 1 k, 2 k, 4 k,
8 k, and 16 kHz
The EQ affects the main mix line-level outputs
[16] and mono output [17], as well as the speakerlevel outputs [3] if the internal amplifiers are playing
the main mix.
-20
10
55
MAIN
0
5
SOLO
500
FX
FX
+10
250
2
OO
OL
FX 1
125
MON
MON
/10
63
47
B
15
63
HI
MID
2.5kHz
LOW
MID
400Hz
46
10
15
POWER AMP
LIMITER
A
15
-15 +15
U
-15 +15
U
MAIN
MON 2
15
HI
12kHz
LOW
MID
400Hz
EQ ASSIGN
MAIN EQUALIZER
+20
44
HI
MID
2.5kHz
43.48V PHANTOM SWITCH
PHANTOM
2 X 800W PROFESSIONAL POWERED MIXER
GAIN
EQ
MAX
LEVEL
POWER
U
-20
OO
M
Owner’s Manual
/10
R
59
Master Controls
42.POWER LED
This LED comes on when the powered mixer is
plugged into the correct-voltage AC mains supply, and
the power switch [2] is on.
If the LED is not on, then make sure the AC power is
live, and that both ends of the power cord are correctly
inserted. If Zombies have taken over the power station
again, and all the lights in town are off, this LED may
not come on. (This would be the least of your worries.)
The EQ section comes before the main fader [59],
and the main meters [48]. As you adjust the EQ,
keep an eye on the meters in case you overdo it and
take the levels into overload.
The main EQ assign switch (46) allows you to use
this EQ to adjust the monitor 2 output instead of the
main mix.
As with the channel EQ, just take it easy. There is a
large amount of adjustment, and if you are not careful, you can upset the delicate balance of nature. Remember that even the happiest audience of old ladies
can turn on you like a pack of wild dogs. Although it
may not seem cool to turn down controls, with EQ it
is often your best option. Turn down any offending
frequency range, rather than boost the wanted range.
Having many sliders will allow you to reduce the level
of some frequency bands where feedback occurs.
Owner’s Manual
21
/10
R
R
FX RTN 1
INPUT 11 / 12
PPM1012
R
/10
FX RTN
2
M
MAIN OUT
R
42 43
11/12
44
EQ
U
LOW
MID
400Hz
LOW
80Hz
46
10
10
5
5
0
0
5
5
10
10
15
MAIN
METERS
0dB = 0dBu
OL
15
10
6
3
0
2
4
7
10
20
30
125
250
500
1K
2K
4K
8K
16K
MON 1 EQUALIZER
45
LOW
80Hz
15
15
10
10
5
5
0
0
5
5
10
10
15
L
R
LEVEL
SET
49
50
RUDE
SOLO
15
-15 +15
MON
MON
1
1
OO
+15
U
2
60
+15
U
62
63
64
1
1K
+15
U
FX
FX
2
2
OO
+15
PAN
PAN
L
R
4K
8K
16K
POWER AMP
61
FX 2
SIG/OL
SIG/OL
U
U
+15
SEND MASTER
+15
SEND MASTER
OO
2K
OO
01
02
03
04
05
06
07
08
09
10
11
12
PLATE REVERB
VOCAL PLATE
WARM ROOM
BRIGHT ROOM
WARM LOUNGE
SMALL STAGE
WARM THEATER
BRIGHT STAGE
WARM HALL
CONCERT HALL
CATHEDRAL
GATED REVERB
1
OO
51
13
14
15
16
17
18
19
20
21
22
23
24
CHORUS
CHORUS + REVERB
DOUBLER
TAPE SLAP
DLY 1 BRIGHT (350ms)
DLY 1 WARM (300ms)
DLY 2 BRIGHT (250ms)
DLY 2 WARM (200ms)
DLY 3 BRIGHT (175ms)
DLY 3 WARM (150ms)
CHORUS + DLY (300ms)
REVERB + DLY (200ms)
MODE
MON 1
MAINS
MON 2
MON 1
A (L)
LPF
52
TAP TO EDIT
54
120
U
BREAK
100
TAP
DELAY
TAP
DELAY
MUTES
CH 1-12
+20
TAPE IN
FX 1
TO MON 1
U
INT FX
MUTE
OO
OO
56
200Hz
MONO OUT
TO MON 2
U
+15
180
75Hz
OO
FX 1
INT FX
MUTE
53
B (R)
STEREO
MAIN
+15
OO
56
MAX
55
dB
10
5
U
11/12
dB
10
OL
+10
FX RTN 1
dB
10
FX RTN 2
dB
10
MON 1
dB
10
MON
2
dB
10
5
5
5
5
5
U
U
U
U
U
5
5
5
5
5
MAIN
-20
-20
10
10
20
20
30
SOLO
41
30
SOLO
10
10
10
10
20
20
20
20
30
SOLO
30
SOLO
30
SOLO
30
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
OO
OO
OO
OO
OO
OO
57
57
58
58
PPM1012
46.MAIN EQ ASSIGN
This is useful in cases where your monitor 2 mix is
having feedback troubles or needs your special touch.
47.POWER AMP LIMITER LEDs
59
With this constant-Q graphic EQ, the bandwidth (and Q) of a frequency band doesn't
vary with the amount of boost or cut, and the
adjustment of one slider has minimal effect
on adjacent bands for all settings of the slider levels.
(There's always some effect on adjacent bands to avoid
too much variation or ripple between bands, but the
constant-Q design keeps this fairly constant for all settings.) The position of the sliders gives a good indication of the frequency response across the audio band.
With non-constant types of EQ (on other mixers), for
example, if you're boosting 500 Hz and 2 kHz slightly,
the 1 kHz band will also be boosted, even though the
1 kHz slider is in the flat position.
22
You will find this EQ useful for reducing feedback in
the stage monitors. Stage monitors point towards the
performers and their microphones, so feedback can
often occur. You can reduce the level of the problem
frequency band, by adjusting the graphic EQ sliders.
If you are not using the monitor 2 system, keep this
switch out. The EQ will then operate on your main
left and right mix.
0
5
The EQ comes before the monitor 1 fader [58].
Adjust the EQ carefully, in case you over-do it and
take the stage monitor 1 levels into overload. As with
the channel EQ, just take it easy. There are no prizes
for who can EQ the most (or is there?). If lots of EQ
seems to be needed, then chances are your system
can be improved by careful re-positioning of the microphones and other equipment.
This delightful little switch allows you to assign
the main equalizer [44] to either the main mix when
pressed out, or to monitor 2 when pressed in.
38
0
SOLO
500
FX
FX
OL
250
2
OO
+10
FX 1
125
MON
MON
/10
63
AUX
SEND
U
48
Each control allows up to 15 dB of boost and cut,
with 0 dB (no change in level) at the center. The
frequency bands are: 63, 125, 250, 500, 1 k, 2 k, 4 k,
8 k, and 16 kHz
B
15
63
HI
MID
2.5kHz
-15 +15
U
AUX
END
47
This 9-band, constant-Q, mono graphic equalizer
allows you to adjust the monitor 1 mix line-level
outputs [10] and the speaker-level output [3] if the
internal amplifier is playing the monitor 1 mix.
POWER AMP
LIMITER
A
15
-15 +15
U
-15 +15
U
MAIN
MON 2
15
HI
12kHz
LOW
MID
400Hz
EQ ASSIGN
MAIN EQUALIZER
+20
HI
12kHz
HI
MID
2.5kHz
45.MON 1 EQUALIZER
PHANTOM
2 X 800W PROFESSIONAL POWERED MIXER
GAIN
EQ
MAX
LEVEL
POWER
U
-20
OO
M
These independent LEDs turn on when power amplifier channel A or B is being overloaded internally
and its internal automatic limiter is actively working.
The LED will pulse in time with how much the limiter
is being used.
If the limiter LEDs come on and stay on for more
than a second or two, it means the power supply has
overheated and the limiter is holding the amp signal
down to 1/4 power until the power supply cools down
enough to release the limiter. If this happens, check
there is good ventilation around the mixer, and that
you are not cranking it too much. Also make sure that
your speakers are OK, and are not less than 4 ohms
impedance.
Developed from professional hamster drag-racing association (PHDRA) starting lights, these stereo meters
show the level of the left and right main mix, after the
main fader [59] and graphic EQ [44] sections.
Use the nearby tape in control [52] to turn up the
level of the tape input to play in your system during the
break(age).
52.TAPE IN
The top LEDs are marked OL (overload), and you
should adjust the levels to avoid these coming on too often, if at all. Check the levels after changing the graphic
EQ, the main fader, or any channel settings.
When the break switch [51] is pressed in, this knob
allows you to turn up the level of the tape input. This
will then play in your main system instead of the main
mix. Fully down is off, U is unity gain, and fully up gives
20 dB of gain.
When a channel is soloed, the left meter indicates the
soloed channel level, and the 0 dB mark shows the optimum level for adjustment of the channel gain control.
See page 3 for details.
Keep this control fully down, until a break is required,
then press the break switch and carefully bring up the
level, while you play the tape or CD.
Please remember: Audio meter displays are
just tools to help assure you that your levels
are “in the ballpark.” You don’t have to stare at
them (unless you want to).
49.RUDE SOLO LIGHT
This rather impertinent LED will light whenever a
solo button [41] is pressed. This acts as a reminder that
one or more channels is soloed, so the headphones play
one or more soloed channels, and the left meter [48]
indicates the soloed level, not the main mix level.
50.PRECISION PASSIVE EQ
If you are using Mackie passive speakers such as the
C200, C300z, S215, and S225, then press this switch in
for enhanced clarity and low-frequency response. If
you are not using Mackie speakers, then press it and
listen for any improvement. The passive EQ circuit is
added just before the internal power amplifiers, so only
loudspeakers connected to the rear panel speaker-level
outputs [3] will be affected.
Any line-level source can be connected to the tape
inputs [13], including iPod docks, CD/DVD players and
so forth.
53.POWER AMP MODE SWITCH
This three-position switch lets you choose which
signal paths from the mixer section are sent to the
internal power amplifiers. This allows considerable flexibility in the use of the powered mixer. For example, if
you already have powered main loudspeakers, you could
use the PPM1012 power amplifiers to run passive stage
monitors.
Stereo Mains
The monitor 1 and monitor 2 outputs are not affected
by the break switch, so you could turn down the monitor
faders [58] if needed.
The output from channel A is the left side of
the main mix, and the output from channel B
is the right side of the main mix. Choose this
position to play a straight stereo show.
Mains/Monitor 1
51.BREAK SWITCH and LED
This important "take-a-break" switch quickly disconnects the main mix from playing in the main loudspeakers [3] and line-level outputs [16, 17], and allows the
tape input [13] to play instead. For example, you could
play a soothing CD to restore order while the band is
hiding, and before the police arrive. As the audience
is trashing the stage, there will be no upsetting microphone yells, noise, thumps or rumbles heard in the main
speakers.
Owner’s Manual
48.MAIN MIX METERS
Channel A is the mono main mix, and channel
B is the monitor 1 mix. In this setup, you could
run a mono PA system on one channel, and a
passive stage monitor on the other.
Monitor 1/Monitor 2
Channel A is the monitor 1 mix, and channel B
is the monitor 2 mix. In this setup, the internal
power amplifiers could power two passive stage
monitors (or sets of monitors).
Note: This switch does not affect any line
level output, it just affects what is sent to the
internal power amplifiers.
The break LED will come on as a reminder that the
break switch is engaged. Check this LED first, if you are
not hearing any sound in your system.
Owner’s Manual
23
/10
R
R
FX RTN 1
INPUT 11 / 12
PPM1012
R
/10
FX RTN
2
M
MAIN OUT
R
42 43
11/12
44
EQ
HI
12kHz
10
5
5
0
0
5
5
10
10
15
15
125
250
-15 +15
U
LOW
80Hz
500
1K
2K
4K
8K
MAIN
METERS
0dB = 0dBu
OL
15
10
6
3
0
2
4
7
10
20
30
16K
45
LOW
80Hz
15
15
10
10
5
5
0
0
5
5
10
10
15
48
L
R
LEVEL
SET
49
50
RUDE
SOLO
15
-15 +15
AUX
END
AUX
SEND
U
MON
MON
1
1
OO
+15
U
2
60
+15
U
62
63
64
1
1K
+15
U
FX
FX
2
2
OO
+15
PAN
PAN
L
R
4K
8K
16K
POWER AMP
61
FX 2
SIG/OL
SIG/OL
U
U
+15
SEND MASTER
+15
SEND MASTER
OO
2K
OO
01
02
03
04
05
06
07
08
09
10
11
12
PLATE REVERB
VOCAL PLATE
WARM ROOM
BRIGHT ROOM
WARM LOUNGE
SMALL STAGE
WARM THEATER
BRIGHT STAGE
WARM HALL
CONCERT HALL
CATHEDRAL
GATED REVERB
1
OO
51
13
14
15
16
17
18
19
20
21
22
23
24
CHORUS
CHORUS + REVERB
DOUBLER
TAPE SLAP
DLY 1 BRIGHT (350ms)
DLY 1 WARM (300ms)
DLY 2 BRIGHT (250ms)
DLY 2 WARM (200ms)
DLY 3 BRIGHT (175ms)
DLY 3 WARM (150ms)
CHORUS + DLY (300ms)
REVERB + DLY (200ms)
MODE
MON 1
MAINS
MON 2
MON 1
A (L)
LPF
52
TAP TO EDIT
54
120
U
BREAK
100
TAP
DELAY
TAP
DELAY
MUTES
CH 1-12
+20
TAPE IN
FX 1
TO MON 1
U
INT FX
MUTE
OO
OO
56
200Hz
MONO OUT
TO MON 2
U
+15
180
75Hz
OO
FX 1
INT FX
MUTE
53
B (R)
STEREO
MAIN
+15
OO
56
MAX
55
38
dB
10
5
U
0
11/12
OL
+10
dB
10
FX RTN 1
dB
10
FX RTN 2
dB
10
MON 1
dB
10
MON
2
dB
10
5
5
5
5
5
U
U
U
U
U
MAIN
Press this switch in to add a low-pass filter to the
line-level mono outputs [17]. It turns them into linelevel subwoofer outputs that play the low frequency
range below the frequency setting of the LPF control
knob.
Most active subwoofers have their own
crossover, and you should keep the LPF
switch off in these cases. They usually
accept the full frequency range, and their crossover
filters out the unused mids and highs.
If you want to run an external power amplifier with
a passive subwoofer, connect the mono output to the
amplifier's line-level input. Press the LPF switch in,
and adjust the frequency knob to suit your subwoofer.
For example, if your sub is still good out to 150 Hz,
then set the frequency knob a little higher. The
amplifier will then just receive the lows, and will not
have to waste energy and reserves powering the mids
and highs.
When LPF is engaged, the adjacent LED will light
as a reminder. The LPF frequency is adjustable from
75 Hz to 200 Hz, with 100 Hz straight up.
Whatever you use the mono outputs for, remember
that the mono out knob [55] allows you to balance
the level compared to the main left and right outputs
[16] and speaker-level outputs [3].
The low pass filter only affects the mono line-level
outputs. The main outputs and the internal amplifiers still receive the full frequency range.
0
5
5
5
5
5
5
10
10
10
10
10
10
20
20
20
20
20
20
-20
SOLO
500
FX
FX
OL
250
2
OO
+10
FX 1
125
MON
MON
/10
63
47
B
MON 1 EQUALIZER
HI
MID
2.5kHz
LOW
MID
400Hz
46
10
63
POWER AMP
LIMITER
A
15
-15 +15
U
-15 +15
U
MAIN
MON 2
15
HI
12kHz
LOW
MID
400Hz
EQ ASSIGN
MAIN EQUALIZER
+20
U
HI
MID
2.5kHz
54.LPF (Low-Pass-Filter)
PHANTOM
2 X 800W PROFESSIONAL POWERED MIXER
GAIN
EQ
MAX
LEVEL
POWER
U
-20
OO
M
55.MONO OUT
-20
30
SOLO
41
30
SOLO
30
SOLO
30
SOLO
30
SOLO
30
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
OO
OO
OO
OO
OO
OO
57
24
PPM1012
57
58
58
59
This knob allows you to adjust the level of the
mono line-level outputs [17]. Adjust it to make your
powered subwoofer, or mono loudspeaker match the
level of the other loudspeakers in your system.
The mono output can be the full frequency range to
run a mono PA for example, or just the low frequencies to run a subwoofer if the LPF [54] is engaged.
Either way, this mono out control will let you adjust
the level.
59.MAIN FADER
These knobs let you adjust the level of the internal
effects processor 1 output (summed mono) being added
to the monitor 1 mix and the monitor 2 mix.
This stereo fader controls the levels of ­the main mix
signals sent to the main line-level outputs [16, 17], and
the main speaker-level outputs [3] if the internal power
amplifiers are playing the main mix. The fader comes
after the EQ [44] and before the meters [48].
Adjust the level carefully, compared to the other channels playing in the monitor 1 and 2 stage monitors.
At the fully-down position, no FX 1 effects are added,
the center U mark is unity gain, and there is 15 dB of
effects gain fully up.
57.FX RTN 1 FADER and FX RTN 2 FADER
These stereo faders let you adjust how much of the internal effects from processor 1 and processor 2 is added
to the main mix. (The output from the internal effects
processors is in stereo, and is added to the main left and
right mix.) The faders also allow you to adjust the level
of signals coming into the FX 1 and FX 2 return inputs
[12] from external processors (for example), being
added to the main mix.
Adjust each fader and listen to the effects compared
to the other channels playing in the main mix.
This gives you the ultimate feeling of power and control over the sound levels sent to your audience. Adjust
it carefully, with your good eye on the meters to check
against overloading, and your good ear to the levels to
make sure your audience is happy.
The fader does not affect the monitor 1 or monitor 2
outputs [10], or the internal power amp if it is playing a
monitor.
Owner’s Manual
56.FX 1 TO MON 1 and FX 1 TO MON 2
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 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).
At the fully-down position, no effects are added, the
U mark is unity gain, and there is 10 dB of effects gain
fully up.
The solo buttons [41] next to these faders
allow you to listen to the output of the effects
processor in your headphones. These faders
have no effect on the solo level, so protect your hearing
by making sure the phones knob [19] is turned down
before you press solo.
The mute buttons [38] above these faders allow you
to quickly turn off the effects being added to the main
mix and monitors. (You can still solo them.)
58.MONITOR 1 FADER and MONITOR 2 FADER
These faders control the level of ­the monitor 1 mix
and monitor 2 signals sent to the mon 1 and mon 2
line-level outputs [10], and the monitor speaker-level
outputs [3] if the internal power amplifiers are playing
monitor 1 or 2.
These give you ultimate control over your stage monitors. Adjust them carefully to prevent overloading, and
check to see that your band are happy with the levels.
The controls do not affect the main mix level.
The monitor signals are off with the levels fully down,
the “U” marking is unity gain, and fully up provides 10
dB of additional gain.
The solo buttons [41] next to these faders allow you to listen to the monitor output in your
headphones. These faders have no effect on
the solo level, so to protect your hearing, make sure the
phones knob [19] is turned down before you press solo.
Owner’s Manual
25
/10
R
FX RTN 1
INPUT 11 / 12
PPM1012
R
/10
R
FX RTN
2
M
MAIN OUT
R
42 43
11/12
44
EQ
U
LOW
MID
400Hz
10
5
5
0
0
5
5
10
10
125
250
-15 +15
U
LOW
80Hz
500
1K
2K
4K
8K
MAIN
METERS
0dB = 0dBu
OL
15
10
6
3
0
2
4
7
10
20
30
16K
MON 1 EQUALIZER
45
LOW
80Hz
15
15
10
10
5
5
0
0
5
5
10
10
15
48
L
R
LEVEL
SET
49
50
RUDE
SOLO
15
-15 +15
AUX
END
AUX
SEND
U
MON
MON
1
1
OO
+15
U
2
60
+15
U
62
63
64
1
1K
+15
U
FX
FX
2
2
OO
+15
PAN
PAN
L
R
FX 2
SIG/OL
SIG/OL
U
U
+15
SEND MASTER
+15
SEND MASTER
5
U
0
8K
16K
OO
01
02
03
04
05
06
07
08
09
10
11
12
PLATE REVERB
VOCAL PLATE
WARM ROOM
BRIGHT ROOM
WARM LOUNGE
SMALL STAGE
WARM THEATER
BRIGHT STAGE
WARM HALL
CONCERT HALL
CATHEDRAL
GATED REVERB
51
13
14
15
16
17
18
19
20
21
22
23
24
CHORUS
CHORUS + REVERB
DOUBLER
TAPE SLAP
DLY 1 BRIGHT (350ms)
DLY 1 WARM (300ms)
DLY 2 BRIGHT (250ms)
DLY 2 WARM (200ms)
DLY 3 BRIGHT (175ms)
DLY 3 WARM (150ms)
CHORUS + DLY (300ms)
REVERB + DLY (200ms)
OL
+10
MON 2
MON 1
A (L)
LPF
54
120
U
100
TAP
DELAY
TAP
DELAY
MUTES
CH 1-12
+20
TAPE IN
FX 1
TO MON 1
U
INT FX
MUTE
OO
+15
OO
dB
10
FX RTN 1
dB
10
FX RTN 2
dB
10
+15
OO
56
MON 1
dB
10
200Hz
MON
2
dB
10
5
5
5
5
5
U
U
U
U
U
MAX
5
5
5
5
5
10
10
10
10
10
55
MAIN
0
5
-20
The stereo output from each processor can be
added to the main mix using the FX return faders
[57]. The output from FX1 can also be added to the
monitor 1 mix or monitor 2 mix by adjusting the FX1
to mon1 and FX1 to mon 2 [56] controls.
Very careful thought and lots of audio love has
gone into the design of the 24 presets. The engineers
spent a lot of time lounging about in warm lounges,
visiting theaters, bright rooms and stages, going to
concerts, and visiting cathedrals on Sundays, just to
get these sounds right for you. Initially, they wanted
to investigate "warm beach in Hawaii," but had to
make do with "cold beach in Washington" instead.
60.FX1 SEND MASTER and FX2 SEND MASTER
MONO OUT
TO MON 2
U
There are two identical Mackie Running-Man
32-bit internal effects processors. They are mono-in,
stereo-out effects processors, with 24 presets each.
Signals to these effects processors come from adjusting the FX1 aux send [35] and the FX2 aux send
[36] on each channel.
180
75Hz
OO
FX 1
INT FX
MUTE
53
B (R)
STEREO
MAIN
52
56
11/12
MODE
MON 1
MAINS
TAP TO EDIT
BREAK
38
dB
10
4K
POWER AMP
61
OO
2K
1
OO
These knobs control the level of ­the signals going
into each internal effects processor. Adjust them
carefully, with your inner magical eye on the adjacent SIG/OL LED [61] to prevent overloading the
effects processor.
These knobs also affect the levels going out of
the FX send line-level outputs [11], so you can use
them to adjust the level going to external effects
processors.
-20
10
SOLO
500
FX
FX
OL
250
2
OO
+10
FX 1
125
MON
MON
/10
63
47
B
15
63
HI
MID
2.5kHz
LOW
MID
400Hz
46
15
15
POWER AMP
LIMITER
A
10
-15 +15
U
-15 +15
U
MAIN
MON 2
15
HI
12kHz
HI
MID
2.5kHz
EQ ASSIGN
MAIN EQUALIZER
+20
HI
12kHz
Stereo Effects Processors
PHANTOM
2 X 800W PROFESSIONAL POWERED MIXER
GAIN
EQ
MAX
LEVEL
POWER
U
-20
OO
M
20
20
20
20
20
20
30
30
30
30
30
30
SOLO
SOLO
SOLO
SOLO
SOLO
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
OO
OO
OO
OO
OO
OO
57
57
58
58
61.SIG/OL LED
59
These dual-LEDs illuminate in green when the
signal level going into each effects processor is in a
good operating range (SIG). They illuminate in red
if the effects processor is being overloaded with too
strong a signal (OL). Turn down the send master
levels [60] if these come on regularly.
The signals going into the processors are affected
by the channel FX 1 and 2 aux sends [35, 36], and
the channel gain [23], EQ [27–32], and channel
faders [40]. If the OL LEDs come on after you adjust
any of these controls, turn down the send master
levels [60].
If you have an external processor connected (and
so the internal FX processors are not used) you can
still use these LEDs to judge the level going out.
26
PPM1012
64.INTERNAL FX MUTE
These displays show the number of the currently
selected effects preset, as shown in the list of presets
silkscreened to the right. Rotate the preset selector
knob to choose a preset.
When engaged, the internal effects processor is muted, and its output will not appear on the main mix or
monitor 1 mix (or anywhere). The adjacent mute LED
will come on as a reminder that the effects are muted.
The footswitch connection [20] becomes disabled, and
you will not be able to use the footswitch to mute or
unmute the effects.
The new preset will be loaded approximately 1/4 of
a second after you stop turning the knob, and will be
stored into the FX memory after about one second.
When the powered mixer is turned on, the FX section
will load up the last-used preset.
63.PRESET SELECTOR, TAP DELAY and LED
Rotate these endless controls to select one of the 24
preset effects. When you stop the rotation, that preset
will be loaded and become operational. The current preset number is shown in the display [62]. The different
presets are shown in this table and marked on the panel
silkscreen. Further details of each preset are shown in
Appendix D on page 34.
1
Plate Reverb
13
Chorus
2
Vocal Plate
14
Chorus + Reverb
3
Warm Room
15
Doubler
4
Bright Room
16
Tape Slap
5
Warm Lounge
17
Delay 1 Brt 350ms
6
Small Stage
18
Delay 1 Wrm 300ms
7
Warm Theater
19
Delay 2 Brt 250ms
8
Bright Stage
20
Delay 2 Wrm 200ms
9
Warm Hall
21
Delay 3 Brt 175ms
10
Concert Hall
22
Delay 3 Wrm 150ms
11
Cathedral
23
Chorus + Dly 300ms
12
Gated Reverb
24
Reverb + Dly 200ms
If this switch is not engaged, then the internal effects
are set free and can be added as required to the main
mix and monitor 1 mix, and can be muted or unmuted
with the footswitch.
Owner’s Manual
62.PRESET DISPLAY
Congratulations! You’ve just read about all the features of your powered mixer. Time for a cold one.
The knob also offers a tap delay function for the presets 17 to 24. This works as follows:
1. Use the knob to select a preset from 17 to 24.
2. Press the knob in at least two times.
The DSP processor will calculate the time delay
between the last two pushes, and it will assign
this time interval to the echoes of the current
digital delay.
The minimum tap delay is 50 ms and the maximum is 500 ms.
• If your taps are faster than 50 ms, they will
be set to 50 ms.
• If taps are between 500 ms and 1 second,
they will be set to 500 ms.
• If taps are greater than 1 second apart,
they will be ignored. Try again a bit faster.
3. The LED will flash in time with the new tap
delay time.
Owner’s Manual
27
PPM1012
Appendix A: Service Information
If you think your powered mixer has a problem, please
check out the following troubleshooting tips and do your
best to confirm the problem. Visit the Support section of
our website (www.mackie.com) where you will find lots
of useful information such as FAQs, and documentation.
You may find the answer to the problem without having
to send your mixer away.
Troubleshooting
Bad Channel
• Is the channel EQ set up nicely?
• Is the channel gain set correctly?
• Is the channel fader up enough?
• Is the channel OL led on?
• Is the channel pan set in the middle?
• Is there too much compression on channels
1-6?
• Are the hi-z instrument switches set OK for
guitars connected to channels 7 and 8?
• Try unplugging any insert devices from the
insert jacks on channels 1 to 8.
• Try the same source signal in another channel,
set up exactly like the suspect channel.
• Is phantom power required for your microphones?
Bad Output
• Is the main fader turned up?
• Check the power amp mode switch is set correctly.
• Are the graphic EQs set to reasonable levels?
• Is the FX level going to the main mix, too high?
• If it’s one of the main speaker-level outputs,
try unplugging its companion. For example, if
it’s the 1/4" left main output, unplug the left
Speakon output. If the problem goes away, it’s
not the powered mixer.
• If a left speaker is presumed dead, connect it
to the right output instead. If the problem stays
with the same speaker, check the speaker wiring, or any speaker fuses.
28
PPM1012
• Unplug anything from the main line-level outputs, main inserts, or other line-level outputs,
such as mono out, mon 1 send, mon 2 send, FX1
and FX2 send, just in case one of your external
pieces has a problem.
• If the power amp limiter lights come on often,
you may be overdriving the amplifiers. Check
the loudspeaker average load impedance is not
less than 4 ohms. Check the speaker wiring.
Noise
• Turn the channel gains down, one by one. If the
sound disappears, it’s either that channel or
whatever is plugged into it, so unplug whatever
that is. If the noise disappears, it’s from your
whatever.
Power
• The power LED should come on if the powered
mixer is connected to a suitable live AC mains
outlet, and the power switch is on. Check the
power cord is securely plugged in.
Levitation
• The heavy combined weight of all the loudspeaker electrons is balanced by the fans and
warm air that make things lighter. During
louder moments when all the electrons are sent
rushing out to your loudspeakers, you may find
that the powered mixer will rise in the air and
hover up and down in sync with the music. This
is perfectly normal.
Repair
For warranty service, refer to the warranty information on page 35.
Non-warranty service for Mackie products is available at a factory-authorized service center. To locate
your nearest service center, visit www.mackie.com, click
“Support” and select “Locate a Service Center.” Service
for Mackie products living outside the United States can
be obtained through local dealers or distributors.
If you do not have access to our website, you can call
our Tech Support department at 1-800-898-3211, Monday-Friday, normal business hours, PST, to explain the
problem. Tech Support will tell you where the nearest
factory-authorized service center is located in your area.
“XLR” Connectors
Mackie mixers use 3-pin female “XLR” connectors on
all microphone inputs, with pin 1 wired to the grounded
(earthed) shield, pin 2 wired to the “high” (”hot” or
positive polarity) side of the audio signal and pin 3
wired to the “low” (“cold” or negative polarity) side of
the signal. See Figure A.
Use a male “XLR”-type connector, usually found on the
nether end of what is called a “mic cable,” to connect to
a ­female XLR jack.
2
SHIELD
HOT
COLD
SHIELD
You can cook up your own adapter for a stereo
microphone adapter. “Y” two cables out of a
female 1⁄4" TRS jack to two male XLR plugs,
one for the Right signal and one for the Left.
• Unbalanced Send/Return circuits. When wired
as send/return “Y” connector, a 1⁄4" TRS jack
or plug is connected tip to signal send (output
from mixer), ring to signal return (input back
into mixer), and sleeve to ground (earth).
1⁄4"
TS Phone Plugs and Jacks
“TS” stands for Tip-Sleeve, the two connections available on a “mono” 1⁄4" phone jack or plug. See Figure C.
1
3
1
SLEEVE
COLD 3
HOT
1
3
SLEEVE
TIP
SHIELD
SLEEVE
HOT
Figure C: TS Plug
SLEEVE
TIP
TRS Phone Plugs and Jacks
TIP
TIP
SLEEVE
“TRS” stands for Tip-Ring-Sleeve, the three
1
­connections available on a “stereo” ⁄4" or ­“balanced”
phone jack or plug. See Figure B.
RING SLEEVE
TIP
TIP
2
Figure A: XLR Connectors
1⁄4"
SLEEVE
COLD
2
Owner’s Manual
Appendix B: Connections
SLEEVE RING TIP
TS jacks and plugs are used in many different
RING SLEEVE
SLEEVE RING TIP
a­ pplications, always unbalanced.
The
tip is connected to
the audio signal and the sleeve
to ground (earth). Some
TIP
examples:
RING
• Unbalanced microphones
TIP
SLEEVE
• Electric guitars and electronic instruments
• Unbalanced line-level connections
• Speaker connections
TIP
RING
TIP
SLEEVE
Don’t use guitar cords for speaker cables!
They’re not designed to handle speaker-level
signals and could overheat.
Figure B: 1⁄4" TRS Plugs
RCA Plugs and Jacks
TRS jacks and plugs are used in several ­­different applications:
• Balanced mono circuits. When wired as a balanced connector, a 1⁄4" TRS jack or plug is connected tip to signal high (hot), ring to signal
low (cold), and sleeve to ground (earth).
• Stereo Headphones, and rarely, stereo microphones and stereo line connections.
When wired for stereo, a 1⁄4" TRS jack or plug
is connected tip to left, ring to right and sleeve
to ground (earth). Mackie mixers do not
directly accept 1-plug-type stereo micro­phones.
They must be separated into a left cord and a
right cord, which are plugged into the two mic
preamps.
RCA-type plugs (also known as phono plugs) and
jacks are often used in home ­stereo and video equipment and in many other applications (Figure D). They
are ­unbalanced and electrically identical to a 1⁄4" TS
phone plug or jack. See Figure C. Connect the signal to
the center post and the ground (earth) or shield to the
surrounding “basket.”
SLEEVE TIP SLEEVE TIP
Figure D: RCA Plug
Owner’s Manual
29
PPM1012
Speakons
MONO PLUG
When using the Speakon outputs to connect your loudspeakers, wire the Speakon connectors as shown below:
Channel Insert jack
Direct out with no signal interruption to master.
Insert only to first “click.”
1–
MONO PLUG
1+
Channel Insert jack
COLD
HOT
1–
Direct out with signal interruption to master.
Insert all the way in to the second “click.”
1+
2+
2–
Figure E
TRS Send/Receive Insert Jacks
Mackie’s single-jack inserts are the three-­conductor,
TRS-type 1⁄4" phone. They are unbalanced, but have
both the mixer output (send) and the mixer input
­(return) signals in one connector. See Figure F.
tip
ring
SEND to processor
sleeve
(TRS plug)
This plug connects to one of the
mixer’s Channel Insert jacks.
“tip”
“ring”
RETURN from processor
Figure F
The sleeve is the common ground (earth) for both
signals. The send from the mixer to the ­external unit is
carried on the tip, and the return from the unit to the
mixer is on the ring.
Using the Send-only on an Insert Jack
If you insert a TS (mono) 1⁄4" plug only ­partially (to
the first click) into a Mackie ­insert jack, the plug will
not activate the jack switch and will not open the insert
loop in the ­circuit (thereby allowing the channel signal
to continue on its merry way through the mixer).
This allows you to tap out the channel signal without
interrupting normal operation.
If you push the 1⁄4" TS plug in to the second click, you
will open the jack switch and create a ­direct out, which
does interrupt the signal in that channel. See Figure G.
NOTE: Do not overload or short-circuit the signal you
are tapping from the mixer. That will affect the internal
signal.
30
STEREO
PLUG
Channel Insert jack
For use as an effects loop.
(TIP = SEND to effect, RING = RETURN from effect.)
Figure G
Loudspeaker Cable
Use loudspeaker cables with a minimum conductor
size for the length you need as listed in these tables.
This will minimize
power losses to less
than 0.5 dB. The cable
lengths listed are “up
to” lengths. For inbetween lengths, use
the next larger conductor gauge. Using
larger than the recommended conductor
size is always permissible. Using smaller
than recommended
conductor size will
result in higher power
losses.
Minimum AWG
4 ohm
8 ohm
18
10 ft
25 ft
16
25
50
14
25
75
12
50
125
10
100
200
Min Metric WG 4 ohm
8 ohm
12
3m
8m
14
8
15
16
8
25
20
15
40
25
30
60
The recommended conductor gauges are listed for
AWG (American Wire Gauge) and Metric WG (Metric
Wire Gauge). Note that smaller AWG numbers = larger
conductors and smaller Metric WG numbers = smaller
conductors. The Metric WG is equal to ten times the
nominal conductor diameter in millimeters.
Longer Lengths
For cable lengths over 200 feet / 60 m at 8 ohms, and
over 100 feet / 30 m at 4 ohms, the conductor sizes needed for less than 0.5 dB power losses are rarely practical
for physical and cost reasons. As a practical compromise
for these situations the recommended conductor gauge
is 10 AWG or 25 metric.
PPM1012
Specifications
9-Band Graphic EQ
Distortion (THD + N)
Mic mono: <0.003%
<0.003%
Main and Monitor 1: Line mono:
<0.005%
Connections
Line stereo
<0.003% at main out
Mic input:
XLR balanced
Line mono input:
1/4" TRS balanced
(1 kHz, 30 kHz bandwidth)
Line stereo input:
1/4" TRS balanced
Main mix level down, all channel levels down: –95 dBu
Main outputs:
1/4" TRS balanced
Main mix level 0 dB, all channel levels down:
–89 dBu
Monitor outputs:
1/4" TRS balanced
Main mix level 0 dB, all channel levels 0 dB:
–84 dBu
Inserts:
1/4" TRS unbalanced
Loudspeaker outputs:
1/4" TS and Neutrik Speakon
(1 kHz, 30 kHz bandwidth)
Main mix output noise
Frequency Response
(+0 dB/–3 dB)
Mic mono input:
< 10 Hz–100 kHz
Line mono inputs: < 10 Hz–32 kHz
Line stereo inputs: < 10 Hz–80 kHz
Equivalent Input Noise (EIN)
Mic input (20 Hz – 20 kHz)
150 ohm termination: –128 dBu
Gain
Mic mono input: Line mono inputs: Line stereo inputs: 0 dB to +50 dB
–20 dB to +30 dB
–20 dB to +20 dB
Maximum Levels
Mic mono input: Line mono inputs: Line stereo inputs: Preamp main and monitor outputs: +21 dBu minimum gain
+21 dBu
+21 dBu
+21 dBu
Impedances
Loudspeaker outputs
(Both channels loaded and driven at 1 kHz.)
Peak output power @ 4 ohms:
2 x 800 watts peak
Average output power @ 4 ohms:
2 x 400 Wrms, 1% THD
2 x 500 Wrms, 3% THD
Average output power @ 8 ohms:
2 x 250 Wrms, 1% THD
2 x 300 Wrms, 3% THD
Recommended load impedance:
4 – 8 ohms per side
Running Man Effects
Type:
Two 32-bit internal processors, mono in, stereo out
Effects presets:
24 Mackie-designed presets
Power Consumption
100–120 VAC, 50/60 Hz:
250 watts
220–240 VAC, 50/60 Hz:
250 watts
Mic mono input: 3.6 kilohms balanced
Dimensions (H x W x D)
Line mono input: 20 kilohms balanced
Line mono input, Ch 7, 8 Hi-Z:
500 kilohms unbalanced
Line stereo inputs:
20 kilohms balanced
Main and monitor outputs:
240 ohms balanced
120 ohms unbalanced
Weight
Channel EQ
High Shelving (all channels)
±15 dB @ 12 kHz
Mid Mono Channels:
Mid Peaking, sweepable
±15 dB
Mid sweep range:
100 Hz to 8 kHz
Mid Stereo Channels:
Hi Mid Peaking:
±15 dB @ 2.5 kHz
Lo Mid Peaking:
±15 dB @ 400 kHz
Low Shelving (all channels)
±15 dB @ 80 Hz
Phantom Power
+48 VDC, globally switchable to all Mic inputs
±15 dB @ 63, 125, 250, 500, 1k, 2k, 4k, 8k and 16 kHz
Owner’s Manual
Appendix C: Technical Information
19.2" x 17.4" x 5.2"
(487 mm x 442 x 133)
29 lb (13.2 kg)
LOUD Technologies Inc. is always striving to improve our products by incorporating new and improved materials, components,
and manufacturing methods. Therefore, we reserve the right to
change these specifications at any time without notice.
“Mackie,” and the “Running Man” are registered trademarks of
LOUD Technologies Inc. All other brand names mentioned are
trademarks or registered trademarks of their respective holders, and are hereby acknowledged.
The technical writer responsible for this manual tends to fade
in and out of various different realities, depending on how
many cups of tea he has had. Please check our website for any
updates to this manual: www.mackie.com.
©2009 LOUD Technologies Inc. All Rights Reserved.
Owner’s Manual
31
PPM1012
Dimensions
WEIGHT
29.0 lb
13.2 kg
These
shorts are
killing me!
11 Rack Spaces
19.2 in/ 487 mm
5.2 in/
133 mm
17.4 in/ 442 mm
19.0 in/ 483 mm
(with rack ears)
Correct disposal of this product. This symbol indicates that this product should not be disposed of with your household waste, according to the WEEE Directive (2002/96/EC) and your national law. This product
should be handed over to an authorized collection site for recycling waste electrical and electronic equipment (EEE). Improper handling of this type of waste could have a possible negative impact on the environment and
human health due to potentially hazardous substances that are generally associated with EEE. At the same time, your cooperation in the correct disposal of this product will contribute to the effective usage of natural
resources. For more information about where you can drop off your waste equipment for recycling, please contact your local city office, waste authority, or your household waste disposal service.
32
PPM1012
R
L
FX1 sum
Stereo Channels
(9-12)
Line
Mic
48V
-
+
-
+
Gain
-
+
OL
display
(Ch. 1-6 only)
Comp
FX 1
FX1 out
12K
HI
12K
HI
to FX2 bypass
bypass
-
+
R
-
+
FX return 1
2.5K
MID
2.5K
MID
Insert
L
400
MID
LO
80
400
MID
80
LO
4-Band EQ
(Ch. 7-8 only)
footswitch
tap
delay
Sig
select/tap
FX1
level
HI-Z
LINE
Hi-Z
100Hz
HPF
Mic: 0 ~ +50dB
Line: -20 ~ +30dB
Gain
-20dB ~ +20dB
phtm
phtm
80
100~8K
MID
FX2
identical to
FX1 except
as noted
PK
+10
0
-20
12K
HI
3-Band EQ
LO
PK
+10
0
-20
Mute
Mute
FX2
FX1
Pan
* FX1 to Mon2
* FX1 only
* FX1 to Mon1
FX1 to Main
Solo (pfl)
Mon1
Mon2
Fader
Solo (pfl)
Mon2
FX2
FX1
Pan
Mon1
Mute Fader
Solo (pfl)
L
R
Mon 1
Mon 2
FX1
FX2
Solo
Solo logic
L
R
Mon 1
Mon 2
FX1
FX2
Solo
Solo logic
Global phantom power
Mono
Channels
(1-8)
Solo
Mon2
Solo
Mon1
Solo
Mon 2
Mon 1
L
Solo
level
Solo
Logic
Main
meters
R
9-band
Graphic EQ
R
L
Tape out
Break
Phones
Limiter
Mon2
level
Mon1
level
Main level
Thermal
power limit
Precision
Passive EQ
Phones level
Rude
Solo
Main
Mon2
9-band
Graphic EQ
©2008 Loud Technologies Inc. All rights reserved
Note: all switches are shown in their default (out) position
All twoggles are stowed amidships, abaft of the leeward gunnels
R Insert
L
Tape in
R
R sum
L sum
L Insert
Power Amps
Amp Mode
Low Pass
75Hz ~ 200Hz
Mono level
B
out
A
Mon2 Out
Mon1 Out
Right
Main Out
Mono Out
Left
Main Out
Owner’s Manual
Block Diagram
Owner’s Manual
33
PPM1012
Appendix D: Table of Effects Presets
No. Title
Description
Example of its use
01 Plate Reverb
This preset emulates vintage mechanical reverberation
that was generated with a metal plate. Its sound is characterized by lots of early reflections and no pre-delay.
Perfect for thickening percussive instruments, such
as a snare drum, or tight vocal arrangements.
02 Vocal Plate
This vintage plate emulation is warmer than your
standard plate, with a long reverberant tail, lots of fast
reflections and a very short pre-delay.
Particularly suited for vocal signals, but can also
be used for extra-thick drum tracks.
03 Warm Room
This preset is characterized by lots of fast early reflections Useful for adding a tight and controlled
with a short pre-delay to simulate the sound of a small,
ambient effect to vocals and acoustic instruments.
wood paneled room.
04 Bright Room
This room has a bright tone with lots of scattered reflections to simulate harder, more reflective surfaces.
05
Warm Lounge
Useful on vocals that require a brighter reverb to
cut through the mix, or for giving acoustic instruments a livelier vibe.
This preset features a medium sized room sound, with
Useful for vocals on songs that require a larger,
just enough enhancement of the lower mids to produce a more “wet” sound, or for giving dimension to
warm tone.
bright horns without adding harshness.
06 Small Stage
This preset simulates the sound of a small concert stage,
with a medium reverb time and reverberant space.
Useful for vocals or guitars in fast paced, highenergy songs that call for a “live” sounding
reverberation.
07 Warm Theater
This reverb has a warm bodied tone and medium long
reverb time to simulate the live acoustics of a theater
space.
Perfect for vocals, drums, acoustic and electric
guitars, keyboards, and more.
08 Bright Stage
This preset emulates the sound of a large performance
stage, characterized by medium long reverb time and
pre-delay, plus a touch of sizzle.
Great for adding life and dimension to drums and
other acoustic instruments, and for that big live
vocal sound.
09 Warm Hall
This reverb simulates the sound of a spacious, yet cozy,
heavily draped and carpeted concert hall with an especially warm tone.
Perfect for adding natural concert hall ambience
to close-mic’ed orchestral instruments.
10 Concert Hall
This hall reverb is characterized by its large, spacious
sound, long pre-delay, and vibrant tone.
Adds life to acoustic instruments and vocals from
solos to full-on symphonies and choirs.
11 Cathedral
This reverb emulates the extremely long tails, dense dif- Gives amazing depth to choirs, wind instruments,
fusion and long pre-delays and reflections that would be organs, and soft acoustic guitars.
found in a very large, stone walled house of worship.
12 Gated Reverb
This preset incorporates an age-old trick whereby an
extremely dense reverb is processed through a fast gate
for an interesting, albeit artificial, sound.
13 Chorus
This preset provides a soft, ethereal sweeping effect that Perfect for enhancement of electric and acoustic
is useful for thickening and for making a particular sound guitar and bass, or to add a dramatic effect to
pop out of the mix.
vocals, particularly group harmonies and choirs.
14 Chorus + Reverb
This preset perfectly combines the chorus effect above
with a large, roomy reverb.
This lets you both thicken your sound with the
chorus effect while adding warmth and spaciousness thanks to the smooth reverb.
15 Doubler
This effect simulates the sound of a vocal or instrument
being recorded twice (double tracked) on a multi-track
recorder.
Provides a vibe that is similar to chorus without
the subtle swirl.
16 Tape Slap
This effect provides a single, relatively rapid delay of the Often used on vocals for a 1950’s era feel, or on
original signal, with the added warmth that vintage tape- guitars for a surf-type tone. Often used by people
based echo units provided.
whose favorite number is 16.
17
18
19
20
21
22
DLY 1 Bright (350ms)
DLY 1 Warm (300ms)
DLY 2 Bright (250ms)
DLY 2 Warm (200ms)
DLY 3 Bright (175ms)
DLY 3 Warm (150ms)
Most often used to fatten snare drums and toms
without clutter.
These 6 delay presets provide one (delay 1), three (delay
2), or six (delay 3) repeats of the original signal. The
default delay time for each preset is shown in mS - the
smaller the time, the faster the delay. Delay times can
easily be customized to suit the moment by tapping the
knob [63] more than once.
These work best with full, up-beat music like rock
where the delay needs to cut through the mix.
Warm delays get progressively softer and warmer
in tone with each repetition and work great with
slow, mellow music. Bright delays have repeats
that are consistent in tone with the original sound.
23 Chorus + DLY (300ms)
This effect combines the thickening effect of the chorus
with the echoes of the 3-repeat delay effect.
Delay times can easily be customized to suit the moment
by using the Tap feature.
Useful on a clean electric guitar that needs a
mildly swirling, ethereal tone.
24 Reverb + DLY (200ms)
This effect combines the Warm Theater reverb effect with Perfect for thickening vocals while adding dimenthe echoes of the 3-repeat delay effect.
sions, it can also be used as a spacey effect on
Delay times can easily be customized to suit the moment electric guitars.
by using the Tap feature.
For presets 17 to 24, the delay can be entered by tapping the preset selector knobs [63] more than once.
34
PPM1012
Please keep your sales receipt in a safe place.
This Limited Product Warranty (“Product Warranty”) is provided by LOUD Technologies Inc. (“LOUD”)
and is applicable to products purchased in the United States or Canada through a LOUD-authorized
reseller or dealer. The Product Warranty will not extend to anyone other than the original purchaser of
the product (hereinafter, “Customer,” “you” or “your”).
For products purchased outside the U.S. or Canada, please visit www.mackie.com/warranty to find
contact information for your local distributor, and information on any warranty coverage provided by the
distributor in your local market.
Owner’s Manual
Mackie Limited Warranty
LOUD warrants to Customer that the product will be free from defects in materials and workmanship
under normal use during the Warranty Period. If the product fails to conform to the warranty then LOUD
or its authorized service representative will at its option, either repair or replace any such nonconforming
product, provided that Customer gives notice of the noncompliance within the Warranty Period to the
Company at: www.mackie.com/support or by calling LOUD technical support at 1.800.898.3211 (tollfree in the U.S. and Canada) during normal business hours Pacific Time, excluding weekends or LOUD
holidays. Please retain the original dated sales receipt as evidence of the date of purchase. You will need it
to obtain any warranty service.
For full terms and conditions, as well as the specific duration of the Warranty for this product, please visit
www.mackie.com/warranty.
The Product Warranty, together with your invoice or receipt, and the terms and conditions located
at www.mackie.com/warranty constitutes the entire agreement, and supersedes any and all prior
agreements between LOUD and Customer related to the subject matter hereof. No amendment,
modification or waiver of any of the provisions of this Product Warranty will be valid unless set forth in a
written instrument signed by the party to be bound thereby.
Owner’s Manual
35
16220 Wood-Red Road NE • Woodinville, WA 98072 • USA
United States and Canada: 800.898.3211
Europe, Asia, Central and South America: 425.487.4333
Middle East and Africa: 31.20.654.4000
Fax: 425.487.4337 • www.mackie.com
E-mail: [email protected]
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