Mackie ProFXv3 Series Owner's manual

Mackie ProFXv3 Series Owner's manual
OWNER’S MANUAL
LINE IN 3
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USB 3-4
USB 3-4
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ONYX MIC PRE
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MIC
ONYX MIC PRE
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MIC
ONYX MIC PRE
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UNBAL
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TO PHONES/
CONTROL ROOM
MUTE
MIC
ONYX MIC PRE
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UNBAL
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MUTE
MIC
ONYX MIC PRE
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UNBAL
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MIC
ONYX MIC PRE
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ONYX MIC PRE
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ONYX MIC PRE
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ONYX MIC PRE
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ONYX MIC PRE
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MIC
ONYX MIC PRE
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UNBAL
LINE IN 22
USB 3-4
LEVEL
SET
C GAI
MI
U
+60
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LEVEL
SET
C GAI
MI
N
+60
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C GAI
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U
U
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SET
+60
GAIN
USB 1-2
BLEND
MUTE
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TO PHONES/
CONTROL ROOM
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TO PHONES/
CONTROL ROOM
ProFXv3 Professional Effects Mixer with USB
Important Safety Instructions
Read these instructions.
Keep these instructions.
Heed all warnings.
Follow all instructions.
Do not use this apparatus near water.
Clean only with a dry cloth.
Do not block any ventilation openings. Install in accordance with the manufacturer’s
instructions.
8. Do not install near any heat sources such as radiators, heat registers, stoves, or other
apparatus (including amplifiers) that produce heat.
9. No naked flame sources, such as lighted candles, should be placed on the apparatus.
10. Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized
plug has two blades with one wider than the other. A grounding-type plug has two
blades and a third grounding prong. The wide blade or the third prong are provided
for your safety. If the provided plug does not fit into your outlet, consult an electrician
for replacement of the obsolete outlet.
11. Protect the power cord from being walked on or pinched particularly at plugs,
convenience receptacles, and the point where they exit from the apparatus.
12. Only use attachments/accessories specified by the manufacturer.
13. Use only with a cart, stand, tripod, bracket, or table specified
PORTABLE CART
by the manufacturer, or sold with the apparatus. When a cart
WARNING
is used, use caution when moving the cart/apparatus
combination to avoid injury from tip-over.
14. Unplug this apparatus during lightning storms or when unused
for long periods of time.
15. Refer all servicing to qualified service personnel. Servicing
is required when the apparatus has been damaged in any way,
such as power-supply cord or plug is damaged, liquid has been
spilled or objects have fallen into the apparatus, the apparatus has been exposed
to rain or moisture, does not operate normally, or has been dropped.
16. This apparatus shall not be exposed to dripping or splashing, and no object filled
with liquids, such as vases or beer glasses, shall be placed on the apparatus.
17. Do not overload wall outlets and extension cords as this can result in a risk of fire
or electric shock.
1.
2.
3.
4.
5.
6.
7.
CAUTION
RISK OF ELECTRIC SHOCK! DO NOT OPEN!
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK DO NOT
REMOVE COVER (OR BACK). NO USER-SERVICEABLE PARTS INSIDE.
REFER SERVICING TO QUALIFIED PERSONNEL.
The lightning flash with arrowhead symbol within an equilateral
triangle is intended to alert the user to the prescence of uninsulated
“dangerous voltage” within the product’s enclosure, that may be of
significant magnitude to constitute a risk of electric shock to persons.
The exclamation point within an equilateral triangle is intended
to alert the user of the prescence of important operating and
maintaining (servicing) instructions in the literature accompanying
the appliance.
18. This apparatus has been designed with Class-I construction and must be connected
to a mains socket outlet with a protective earthing connection (the third grounding
prong).
19. This apparatus has been equipped with a rocker-style AC mains power switch. This
switch is located on the rear panel and should remain readily accessible to the user.
20. The MAINS plug or an appliance coupler is used as the disconnect device,
so the disconnect device shall remain readily operable.
21. The use of apparatus is in tropical and/or moderate climates.
WARNING — To reduce the risk of fire or electric shock, do not
expose this apparatus to rain or moisture.
Laite on liitettävä suojakoskettimilla varustettuun pistorasiaan.
Apparatet må tilkoples jordet stikkontakt.
Apparaten skall anslutas till jordat uttag.
22. NOTE: This equipment has been tested and found to comply with the limits for a Class
B digital device, pursuant to part 15 of the FCC Rules. These limits are designed
to provide reasonable protection against harmful interference in a residential
installation. This equipment generates, uses, and can radiate radio frequency
energy and, if not installed and used in accordance with the instructions, may
cause harmful interference to radio communications. However, there is no
guarantee that interference will not occur in a particular installation.
If this equipment does cause harmful interference to radio or television reception,
which can be determined by turning the equipment off and on, the user is encouraged
to try to correct the interference by one or more of the following measures:
• Reorient or relocate the receiving antenna.
• Increase the separation between the equipment and the receiver.
• Connect the equipment into an outlet on a circuit different from
that to which the receiver is connected.
• Consult the dealer or an experienced radio/TV technician for help.
CAUTION: Changes or modifications to this device not expressly approved by LOUD
Audio, LLC could void the user’s authority to operate the equipment under FCC rules.
23. This device complies with FCC radiation exposure limits set forth for an uncontrolled
environment. This device should be installed and operated with minimum distance
20cm between the radiator & your body.
24. This apparatus does not exceed the Class A/Class B (whichever is applicable) limits
for radio noise emissions from digital apparatus as set out in the radio interference
regulations of the Canadian Department of Communications.
ATTENTION — Le présent appareil numérique n’émet pas de bruits radioélectriques
dépassant las limites applicables aux appareils numériques de class A/de class B
(selon le cas) prescrites dans le réglement sur le brouillage radioélectrique édicté
par les ministere des communications du Canada.
25. This device complies with Industry Canada’s licence-exempt RSSs.
Operation is subject to the following two conditions:
(1) this device may not cause interference, and
(2) this device must accept any interference, including interference that may cause
undesired operation of the device.
Le présent appareil est conforme aux CNR d’Industrie Canada applicables aux
appareils radio exempts de licence. L’exploitation est autorisée aux deux conditions
suivantes:
(1) l’appareil ne doit pas produire de brouillage, et
(2) l’utilisateur de l’appareil doit accepter tout brouillage radioélectrique subi,
même si le brouillage est susceptible d’en compromettre le fonctionnement.
26. Exposure to extremely high noise levels may cause permanent hearing loss.
Individuals vary considerably in susceptibility to noise-induced hearing loss,
but nearly everyone will lose some hearing if exposed to sufficiently intense
noise for a period of time. The U.S. Government’s Occupational Safety and Health
Administration (OSHA) has specified the permissible noise level exposures shown
in the following chart.
According to OSHA, any exposure in excess of these permissible limits could result
in some hearing loss. To ensure against potentially dangerous exposure to high sound
pressure levels, it is recommended that all persons exposed to equipment capable
of producing high sound pressure levels use hearing protectors while the equipment
is in operation. Ear plugs or protectors in the ear canals or over the ears must
be worn when operating the equipment in order to prevent permanent hearing loss
if exposure is in excess of the limits set forth here:
Duration, per
day in hours
Sound Level dBA,
Slow Response
Typical Example
8
6
4
3
2
1.5
1
0.5
0.25 or less
90
92
95
97
100
102
105
110
115
Duo in small club
Subway Train
Very loud classical music
Chaz screaming at Troy about deadlines
Loudest parts at a rock concert
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
(2012/19/EU) 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.
2
ProFXv3 Professional Effects Mixer with USB
Features
Important Safety Instructions....................................................... 2
Contents / Features........................................................................ 3
Introduction / Getting Started....................................................... 4
Hookup Diagrams........................................................................... 5
ProFXv3 Rear Panel Features........................................................ 7
1. Power Connection............................................................... 7
2. Power Switch...................................................................... 7
3. USB Input / Output............................................................. 7
4. Main Outputs......................................................................8
ProFXv3 Front Panel Features.......................................................9
5. XLR and 1/4" Combo Inputs [Chs. 1 and 2].......................9
6. Line / Hi-Z Switches [Chs. 1 and 2]...................................9
7. Mic Ins............................................................................... 10
8. Line Ins.............................................................................. 10
9. Stereo Line Inputs............................................................ 10
10. 1/8" Stereo Input............................................................. 10
11. Insert Jacks...................................................................... 11
12. Low Cut Switches............................................................ 11
13. Gain Knobs and Level Set LEDs...................................... 11
14. Compressor Knobs..........................................................12
15. Hi EQ Knobs......................................................................13
16. Mid EQ Knobs...................................................................13
17. Mid Freq Knobs.................................................................13
18. Mid EQ Knobs...................................................................13
19. Low EQ Knobs..................................................................13
20. Aux Mon Knobs...............................................................14
21. Pre-Fader Switches.........................................................14
22. Aux FX Knobs...................................................................14
FX Switches (Chs. 1-2) [ProFX6v3]....................................14
Stereo Pan Switch (Chs. 1-2) [ProFX6v3]..........................14
23. Pan Knobs........................................................................14
24. Mute Switches.................................................................15
25. Assign Switches..............................................................15
26. PFL Solo Switches...........................................................15
27. Channel Faders................................................................15
28. USB Switch......................................................................15
29. Aux Out / Mon Send....................................................... 16
30. FX Send........................................................................... 16
31. FX Footswitch.................................................................. 16
32. Sub Out Jacks.................................................................17
33. Control Room Out Jacks.................................................17
34. Phones Out Jack.............................................................17
35. Pencil Sharpener.............................................................17
36. 48V Phantom Power Switch.......................................... 18
37. Power LED....................................................................... 18
38. Main Meters................................................................... 18
39. Rude Solo LED................................................................ 18
40. Aux Master Knobs.......................................................... 19
41. FX to Mon Knobs............................................................. 19
42. Preset Selector............................................................... 19
43. Preset Display................................................................ 19
44. FX Mute Switch and LED............................................... 19
45. Theremin.........................................................................20
46. Blend Knob.....................................................................20
47. To Phones / Control Room Switch.................................20
48. Control Room Knob........................................................20
49. Phones Knob...................................................................20
50. Break Switch and LED...................................................20
51. Break Switch and LED.....................................................21
52. FX to Sub Switches.........................................................21
53. Sub 1-4 Faders.................................................................21
54. Sub Assign Switches.......................................................21
55. Main Mix Fader................................................................21
Appendix A: Service Information.................................................22
Appendix B: Technical Information.............................................24
ProFXv3 Dimensions............................................................26
ProFXv3 Block Diagrams.....................................................30
ProFXv3 Track Sheets..........................................................35
Appendix C: USB 3/4 Return Setup.............................................40
Appendix D: Table of Effects Presets...........................................41
Limited Warranty..........................................................................42
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Mix / Record / Create
•
We’ve taken our most popular mixer series
and given it major upgrades that will take
your sound quality to the next level
•
Perfect for live sound, home recording, content creation, and live streaming
•
With models available in 6, 10, 12, 16, 22,
and 30 channels, you can get the perfect mixer
for your application or go big and be ready when the need comes
Owner’s Manual
Contents
Renowned Onyx Mic Preamps
•
With up to 60 dB of gain and ultra-low noise, ProFXv3 mixers allow you to sound better than ever
•
Perfect for microphones popular with content creators that require high-gain preamps
High-Resolution GigFX™ Effects Engine
•
With 24 different FX options, from reverbs
to delays, adding some drama to your sound is
easy easy… easy….. easy…….. easy (Delay, get it?)
24-Bit / 192kHz 2x4 USB Recording Interface
•
Lay down your tracks in incredible 24-Bit / 192kHz
quality for the cleanest recordings possible
•
2x4 USB I/O allows you to create two custom mixes
on your computer to send back into your ProFXv3 mixer, great for situations when you need
to monitor specific tracks during playback
in addition to the full mix
Effortless Latency-Free Monitoring
•
With a single knob, you can blend between monitoring your computer’s output and a direct
feed from the mixer
•
Great for recording overdubs alongside
a pre-recorded track
Single-Knob Compression *
•
Keep your input levels in check and get maximum channel headroom with the quick turn of a knob
•
Great for giving vocals the finishing touch in live, recording, and even streaming applications
Record and Produce Like a Pro
•
ProTools® | First and Waveform™ OEM professional
software and plugin packages included
•
The Musician Collection for ProTools | First includes 23 plugins like BBD Delay, Eleven Lite, 304 EQ, and 304C Compressor
•
The DAW Essentials™ Bundle for Waveform™ OEM
includes 16 powerful plugins like Equaliser, Compressor, Reverber8, and Limiter
Signature Rugged Design
•
Legendary Built-Like-A-Tank™ design
•
Solid steel chassis protects your investment
•
Tough ABS side protection
Accessories
•
Protective dust cover (sold separately) *
•
Protective bag (sold separately) **
* Not available for ProFX6v3
** Not available for ProFX30v3
Watch our dang videos
Part No. SW1278 Rev. D 10/20
©2020 LOUD Audio, LLC. All Rights Reserved.
Owner’s Manual
3
ProFXv3 Professional Effects Mixer with USB
Introduction
Mackie ProFXv3 Series Effects Mixers with USB
are the ultimate affordable solution for live sound,
home recording, and content creators available
in 6, 10, 12, 16, 22, and 30 channels.
Now with our renowned Onyx™ mic preamps that offer 60 dB
of headroom, everything from gain hungry mics to guitars
will sound better than ever. And you can keep it all in check
with easy single-knob compression.
Getting Started
The following steps will help you set up the ProFXv3 mixer
quickly.
1. Turn down all knobs except the channel EQ and pan knobs,
and set all the faders fully down.
2. Set all channel EQ knobs and pan knobs at their center detent.
3. Set all buttons to the “out” position.
The new GigFX™ effects engine offers 24 built-in FX
for even more options for adding the finishing touch.
4. Connect cords from the main outs to powered speakers
(or to an amplifier connected to passive speakers).
Record your tracks in 24-Bit/192kHz quality with 2x4 USB
I/O with zero-latency hardware monitoring for easy overdubs.
Both ProTools® | First and Waveform™ OEM recording
software/plugin packages are included.
5. Plug in the mixer’s power cord to a live AC outlet and turn
on the mixer.
How to Use This Manual:
After this introduction, a getting started guide will help
you get things set up fast. The hookup diagrams show
some typical setups, while the remaining sections provide
details of the ProFXv3 Series mixers.
This icon marks information that is critically
important or unique to ProFXv3. For your own
good, read and remember them.
This icon leads you to in-depth explanations
of features and practical tips. They usually
have some valuable nuggets of information.
This icon draws attention to certain features
and functions relating to the usage of ProFXv3.
6. If you have powered speakers, turn them on. Otherwise, hook
up your passive speakers to your amp with speaker cables,
and turn it on. Adjust your powered speaker or amplifier level
controls to however the manufacturer recommends.
7. Plug signal sources into the mixer, such as:
• Microphones plugged into the mic inputs.
Engage phantom power if your mics need it.
• Line-level sources such as keyboards, drum machines,
or CD players plugged into the line-level inputs.
8. Be sure that the volume of the input is the same as it would
be during normal use.
9. Turn the channel's gain knob clockwise until the level set LED
begins to illuminate.
10. Engage the channel’s L-R assign switch (ProFX12v3 /
ProFX16v3 / ProFX22v3 / ProFX30v3) and turn up
that channel’s fader to the “U” (unity gain) position.
11. Slowly bring up the main fader to a comfortable listening
level.
12. Repeat steps 7 to 10 for the other channels.
Things to Remember:
• Never listen to loud music for prolonged periods.
Please see the Safety Instructions on page 2
for information on hearing protection.
• Save the shipping box and packing materials! You may
need them someday. Besides, the cats will love playing
in them and jumping out at you unexpectedly. Remember
to pretend like you are surprised!
• Save your sales receipt in a safe place.
4
ProFXv3 Professional Effects Mixer with USB
Please write the serial numbers here for future reference
(i.e., insurance claims, tech support, return authorization,
make dad proud, etc.)
Purchased at:
Date of purchase:
MIC
ONYX MIC PRE
MIC
ONYX MIC PRE
BAL/
UNBAL
LINE IN 3
MIC
ONYX MIC PRE
BAL/
UNBAL
LINE IN 4
MIC
ONYX MIC PRE
BAL/
UNBAL
LINE IN 5
MIC
ONYX MIC PRE
BAL/
UNBAL
LINE IN 6
MIC
ONYX MIC PRE
BAL/
UNBAL
LINE IN 7
MIC
ONYX MIC PRE
MIC
ONYX MIC PRE
Owner’s Manual
Hookup Diagrams
MIC
ONYX MIC PRE
BAL/
UNBAL
LINE IN 8
USB 3-4
MIC GA
GAIN
MIC GA
LEVEL
SET
U
+60
GAIN
MIC GA
LEVEL
SET
IN
+60
IN
IN
U
U
LEVEL
SET
+60
GAIN
USB 1-2
BLEND
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
TO PHONES/
CONTROL ROOM
This diagram shows a bass and guitar attached to the channel 1 and 2 line-level inputs, each
via a mono effects processor. The Hi-Z switch is engaged on both channels. A mic'd up drum
kit utilizes the next four channels of the mixer. Microphones are connected to the following five
channels and will handle lead and background vocal duties. A phone is connected to the last
channel on the board, the 1/8" stereo input.
DRM18S powered subwoofers are connected to the left and right main outputs. Those are then
connected to a pair of DRM215 loudspeakers to complete the PA. Two DRM212 loudspeakers
are also set up as stage monitors and connect to the mixer's aux (monitor) output via a graphic
EQ. The aux mon controls of each channel allow you to create a stage monitor mix as desired.
Headphones are used for monitoring and a footswitch allows you to mute/unmute the internal
effects as desired.
It's not shown, but a laptop may connect to the USB port on the rear panel of the mixer.
It allows the main mix of the performance to be recorded to a DAW, as well as playback
from the computer to the main mix.
Typical Live Sound System
Owner’s Manual
5
MIC
ONYX MIC PRE
MIC
ONYX MIC PRE
BAL/
UNBAL
LINE IN 3
MIC
ONYX MIC PRE
BAL/
UNBAL
LINE IN 4
MIC
ONYX MIC PRE
BAL/
UNBAL
LINE IN 5
MIC
ONYX MIC PRE
BAL/
UNBAL
LINE IN 6
MIC
ONYX MIC PRE
BAL/
UNBAL
LINE IN 7
MIC
ONYX MIC PRE
MIC
ONYX MIC PRE
MIC
ONYX MIC PRE
BAL/
UNBAL
LINE IN 8
USB 3-4
MIC GA
+60
GAIN
MIC GA
LEVEL
SET
U
+60
GAIN
MIC GA
LEVEL
SET
IN
U
IN
IN
ProFXv3 Professional Effects Mixer with USB
Hookup Diagrams Continued...
U
LEVEL
SET
+60
GAIN
USB 1-2
BLEND
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
TO PHONES/
CONTROL ROOM
Like the previous hookup diagram, this one also starts with a bass and guitar attached
to the channel 1 and 2 line-level inputs, each via a mono effects processor. The Hi-Z switch
is engaged on both channels. Microphones are attached to channels 3, 4 and 5, a keyboard
to stereo channels 11/12 and an electronic drum kit to stereo channels 13/14.
MR Series powered reference subwoofers and monitors are connected to the left and right
control room outputs for careful and accurate monitoring of the performance. Headphones
connected to aux out 1 via a headphone amp are available for the talent to utilize when tracking.
A desktop computer connects to the USB port to record the main mix to the DAW, as well
as play back from the DAW.
Typical Recording System
6
ProFXv3 Professional Effects Mixer with USB
POWER
ProFX6v3 • ProFX10v3
≥2.0 A
12 VDC IN
2
1
ProFX12v3
POWER
3
USB
POWER
2
USB
4
ON
1
2
3
BAL/
UNBAL
R
L
ProFX16v3 • ProFX22v3 • ProFX30v3
ON
1
MAIN OUTS
USB
ON
Owner’s Manual
ProFXv3 Rear Panel Features
3
1. Power Connection
ProFX6v3, ProFX10v3:
A locking barrel connector resides at one
end of the line cord. Attach it to the power connector on the mixer and rotate the ring
clockwise to lock. Do not over-tighten!
Screw until there is resistance, then stop.
Connect the other end into a live grounded
AC outlet.
ProFX12v3, ProFX16v3, ProFX22v3, ProFX30v3:
This is a standard 3-prong IEC power
connector. Connect the detachable line
cord (included in the box with your mixer)
to the power receptacle, and plug the other
end of the line cord into an AC outlet.
ProFXv3 Series mixers have a universal power
supply that accepts any AC voltage ranging from
100 VAC to 240 VAC. No need for voltage select
switches. It will work virtually anywhere in the world.
That’s why we call it a “Planet-Earth” power supply!
It is less susceptible to voltage sags or spikes,
compared to conventional power supplies,
and provides greater electromagnetic isolation
and better protection against AC line noise.
Disconnecting the plug’s ground pin is
dangerous. Don’t do it.
2. Power Switch
Press the top of this rocker switch inwards to turn
on the mixer. The front panel power LED will glow
with happiness...or at least it will if you have the mixer
plugged into a suitable live AC mains supply.
Press the bottom of this switch to turn the mixer
off. It will not work at this point, but makes a handy
paperweight.
As a general guide, you should turn
on the mixer first, before any external
power amplifiers or powered speakers,
and turn it off last. This will reduce the possibility
of any turn-on, or turn-off thumps in your speakers.
3. USB Input / Output
The built-in USB interface allows for some powerful
and flexible routing. It is a 2x4, 24-bit / 192 kHz
high-resolution interface allowing you to record
a stereo signal to the computer via USB, and/or return
two independent audio streams of stereo playback
from a computer.
The USB routing capabilities are as follows:
USB input TO the mixer – playback:
(1) A USB 3-4 switch is located on the last stereo
channel – the one with the 1/8" input – of each mixer,
so one may route computer output (such as Spotify®,
Apple Music®, Pandora®, YouTube®, etc.) down the last
stereo channel of the board. This stereo signal may
then be EQ’d, sent to auxiliaries (i.e. to feed monitors,
headphones or effects) and is routable to mains
and/or subgroups via the fader routing features that
are available on all other channels. In short, this signal
may be sent to nearly any desired output or pair of
outputs. Additionally, the associated gain knob adjusts
the USB input level to the mixer to achieve an optimal
signal level.
(2) A USB 1-2 blend knob and To Phones / Control
Room switch is located near the lower-right side
of each mixer so one may route the computer’s DAW
output (such as Pro Tools®, Tracktion®, Cubase®,
Reaper®, etc.) to the mixer and blend that signal
with the live inputs of the mixer in the headphones
for latency-free monitoring.
USB output FROM the mixer – recording, etc:
It is possible to record the main mix to take home
a copy of the live show. These levels are pre-main fader.
Therefore, levels may be mixed up or down in the DAW
later depending on the needs of the recording versus
the live show. The end result is that fade-ins and/or
fade-outs made during the show do not affect recorded
levels.
Owner’s Manual
7
ProFXv3 Professional Effects Mixer with USB
4. Main Outputs
1/4" TRS Balanced Mono Wiring:
The main outputs provide a line-level signal
that represents the end of the mixer chain, where
the fully mixed stereo signal enters the real world.
Connect these to the left and right inputs of your
main power amplifiers, powered speakers, or
serial effects processor (like a graphic equalizer
or compressor/limiter).
RING
SLEEVE
SLEEVE
RING
TIP
TIP
RING
TIP
SLEEVE
The male XLR connectors provide a balanced
line-level signal and is wired as follows, according
to standards specified by the AES (Audio Engineering
Society):
To connect unbalanced lines to these outputs,
use a 1/4" mono (TS) phone plug, wired as follows:
1/4" TS Unbalanced Mono Wiring:
XLR Balanced Wiring:
Sleeve = Shield
Tip = Hot (+)
Pin 1 = Shield (ground)
Pin 2 = Positive (+ or hot)
Pin 3 = Negative (– or cold)
SLEEVE
SLEEVE
TIP
TIP
SHIELD
1
TIP
SLEEVE
COLD 3
HOT
2
1
3
SHIELD
COLD
2
HOT
In addition to accepting balanced XLR connectors,
the main outputs may also accept 1/4" connectors
driven by balanced or unbalanced sources.
To connect balanced lines to these outputs, use
a 1/4" Tip-Ring-Sleeve (TRS) plug. “TRS” stands
for Tip-Ring-Sleeve, the three connection points
available on a stereo 1/4" or balanced phone jack
or plug. TRS jacks and plugs are used for balanced
signals and are wired as follows:
8
Sleeve = Shield
Tip = Hot (+)
Ring = Cold (–)
ProFXv3 Professional Effects Mixer with USB
The main outputs are located on the front
panel of the ProFX6v3, ProFX10v3 and
ProFX12v3 and on the rear panel of the
ProFX16v3, ProFX22v3 and ProFX30v3.
The XLR outputs are 6 dB hotter than
the TRS outputs. When the meters read “0”,
the TRS outputs are at 0 dBu.
Connections and Channel Strip
Phantom Power
The ProFXv3 mixer’s phantom power is
globally ­controlled by the phantom power
switch (meaning that phantom power for
all mic inputs is turned on and off together.)
Never plug ­­single-ended (unbalanced)
micro­phones or ribbon microphones 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.
The vertical channel strips look very similar between
each model and have only a few differences between
them. Each channel works independently, and just
controls the signals plugged into the inputs directly
above them.
5. XLR and 1/4" Combo Inputs [Chs. 1 and 2]
5
8
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MUTE
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MUTE
MUTE
MUTE
MUTE
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HOT
1
10
GAIN
24
3
9
USB 3-4
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3
LINE IN
12
XLR Balanced Wiring:
COLD
BAL/
UNBAL
11
22
SHIELD
MIC
ONYX MIC PRE
7
6
Input channels 1 and 2 on all ProFXv3 models
may accept a balanced mic or line-level signal using
an XLR connector. They are wired as follows, according
to standards specified by the AES (Audio Engineering
Society).
Pin 1 = Shield (ground)
Pin 2 = Positive (+ or hot)
Pin 3 = Negative (– or cold)
MIC
ONYX MIC PRE
N
Most modern professional condenser mics require
48V 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.
MIC
ONYX MIC PRE
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ProFXv3 Front Panel Features
1
SHIELD
27
COLD
2
HOT
Both channels may also accept 1/4" line-level
signals driven by balanced or unbalanced sources.
Additionally, both channels may accept Hi-Z sources
(such as guitars) via the 1/4" input without the need
for a separate DI box. Don't forget to engage the Hi-Z
switch, though!
26
Owner’s Manual
9
ProFXv3 Professional Effects Mixer with USB
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. Wiring diagrams for both connectors
are presented on page 8.
NEVER connect the output of an amplifier
directly to a ProFXv3’s input jack. This could
damage the input circuitry and we wouldn’t
want that now, would we?
8. Line Ins
These 1/4" jacks share circuitry (but not phantom
power) with the mic preamps, and can be driven by
balanced or unbalanced sources at a­ lmost any level.
You can use these inputs for v­ irtually any signal you’ll
come across.
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.
Wiring diagrams for both connectors are presented on
page 8.
NEVER connect the output of an amplifier
directly to a ProFXv3’s input jack. This could
damage the input circuitry and we wouldn’t
want that now, would we?
6. Line / Hi-Z Switch [Chs. 1 and 2]
To connect a guitar directly to the mixer without
using a DI Box, press this switch in first; then connect
the output from the guitar to the channel’s 1/4" TRS
input. The input impedance is optimized for direct
connection and high-frequency fidelity is assured.
In the out position, the channel’s 1/4" TRS input
becomes a line input just like the other mono line
inputs.
To use guitars or other instruments on other
channels, you will need to use an external DI box first.
Without the DI box – or if this switch is not pressed
in – guitars may sound dull and muddy.
MIC
MIC
ONYX MIC PRE
MIC
ONYX MIC PRE
ONYX MIC PRE
7
5
6
8
BAL/
UNBAL
LINE IN
11
BAL/
UNBAL
LINE IN
10
9
12
This is a female XLR connector that accepts a
balanced mic or line level input from almost any type
of source. These Onyx mic preamps feature higher
fidelity and headroom rivaling any standalone mic
preamp on the market today. These circuits are­
­excellent at rejecting hum and noise.
Professional ribbon, dynamic, and condenser
mics all sound excellent through these inputs.
The mic / line inputs will handle any kind of level
you can toss at them, without overloading.
Wiring diagrams for these XLR connectors
are presented on the previous page.
NEVER connect the output of an amplifier
directly to a ProFXv3’s input jack. This could
damage the input circuitry and we wouldn’t
want that now, would we?
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USB 3-4
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9. Stereo Line Inputs
The stereo line inputs are designed for 1/4" TRS balanced or 1/4" TS unbalanced signals. They may accept any line-level instrument, effects device, CD
player, etc.
If you are connecting a mono source, use the left
(mono) input, and the mono signals will appear
on both sides of the main mix.
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.
Wiring diagrams for both connectors are presented on
page 8.
NEVER connect the output of an amplifier
directly to a ProFXv3’s input jack. This could
damage the input circuitry and we wouldn’t
want that now, would we?
10. 1/8" Stereo Input
This stereo input may accept an 1/8" line-level signal
from a phone, MP3 player, or other signal source.
10
Last one! NEVER connect the output of an
amplifier directly to a ProFXv3’s input jack.
This could damage the input circuitry and
we wouldn’t want that now, would we?
ProFXv3 Professional Effects Mixer with USB
12. Low Cut Switches
The insert point is after the gain control and low
cut filter, but before the channel’s EQ and level.
The channel signal can go out of the insert jack
to an external device, be processed and come back
in on the same insert jack.
We recommend that you use low-cut on e­ very
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.
These unbalanced 1/4" jacks are for connecting serial ­effects processors such as compressors,
equalizers, de-essers, or filters.
All channels with a mic input have a low-cut switch
(often referred to as a high-pass filter) that cuts bass
frequencies below 100 Hz at a rate of 18 dB per octave.
To do this requires a standard insert cable that must
be wired thusly:
Tip = send (output to effects device)
Ring = return (input from effects device)
Sleeve = common ground
tip
ring
SEND to processor
sleeve
(TRS plug)
This plug connects to one of
the mixer’s channel insert jacks.
RETURN from processor
tip
ring
Insert jacks may be used as channel direct outputs;
post-gain, and pre-EQ. If you insert a TS (mono) 1/4"
plug only ­partially (to the first click) into an 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 illustration below.
Do not overload or short-circuit the signal
you are tapping from the mixer. That will
affect the internal signal.
MONO PLUG
Channel Insert jack
Direct out with no signal interruption to master.
Insert only to first “click.”
Owner’s Manual
11. Insert Jacks
Another way to consider low-cut’s function
is that it actually adds flexibility during live
performances. With the a­ ddition 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 blowing the woofers.
“U” like Unity gain
ProFXv3 Series 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 level-wise if you choose to change a
control’s settings.
13. Gain Knobs and Level Set LEDs
If you haven’t already, please read the "Getting
Started" section on page 4. Setting the gain correctly
will ensure that the preamplifier’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.
The gain knobs – in conjunction with the level set
LEDs – adjust the input sensitivity of the mic and line
inputs. This allows signals from the outside world
to be adjusted to run through each channel at optimal
internal operating levels.
For mono channels (mic input with
a mono line input), the gain knob
adjusts the input sensitivity of the
mic and line inputs.
MONO PLUG
Channel Insert jack
Direct out with signal interruption to master.
Insert all the way in to the second “click.”
STEREO
PLUG
Channel Insert jack
For use as an effects loop.
(TIP = SEND to effect, RING = RETURN from effect.)
If the signal originates through the mic XLR jack,
there will be 0 dB of gain with the knob fully down,
ramping to 60 dB of gain fully up.
Through the 1/4" mono line inputs, there is –20 dB
of attenuation fully down and 40 dB of gain fully up,
with unity gain “U” at 12:00.
This 20 dB of ­attenuation can be very handy when
you are i­nserting a hot signal, or when you want to add
EQ gain, or both. Without this ­“virtual pad,” there is
more chance of channel clipping.
Owner’s Manual
11
U
+60
For hybrid channels (mic input and stereo
line input), the gain control just affects
the microphone input.
GAIN
+20
Hybrid Channels:
• ProFX6v3 – Channels 3/4 (no gain knob)
• ProFX10v3 – Channels 5/6 – 7/8 (no gain knobs)
• ProFX12v3 – Channels 5/6 – 9/10
• ProFX16v3 – Channels 9/10 – 13/14
• ProFX22v3 – Channels 15/16 – 19/20
• ProFX30v3 – Channels 23/24 – 27/28
The gain control on the 1/8" stereo input
channel has 20 dB of gain and 20 dB
of attenuation.
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1/8" Stereo Channels:
• ProFX6v3 – Channels 5/6 (no gain knob)
• ProFX10v3 – Channels 9/10 (no gain knobs)
• ProFX12v3 – Channels 11/12
• ProFX16v3 – Channels 15/16
• ProFX22v3 – Channels 21/22
• ProFX30v3 – Channels 29/30
Next to every gain knob – except the 1/8" stereo input
gain knob – lies a level set LED. These LEDs are used
with the gain control 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.
14. Compressor Knobs
The following channels of each ProFXv3 mixer has
an in-line compressor circuit with a variable threshold.
• ProFX6v3 – No compressor knobs
• ProFX10v3 – Channels 1 – 2
• ProFX12v3 – Channels 1 – 4
• ProFX16v3 – Channels 1 – 8
• ProFX22v3 – Channels 1 – 12
• ProFX30v3 – Channels 1 – 16
This is very useful for compression of vocals,
and snare drums, for example, so you might consider
connecting your vocal and drum mics to these
channels, rather than one of the other channels.
When the incoming signal exceeds 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 and loudest parts of a
song. A compressor “squeezes” 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; it is very useful
for live sound.
12
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).
OUTPUT SIGNAL STRENGTH dBu
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INPUT SIGNAL STRENGTH dBu
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 above shows the input signal level
going into the compressor, versus the output level
coming out of it. It is the typical graph to view when
compressors are discussed, and is just the kind
of thing our engineers like to discuss during the
company Christmas party1.
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.
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 dBu.
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).
1 My High School math teacher, Mr. Marvin, thought that graphs might come
in handy for me one day. Finally!
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 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.
Channel Equalization (EQ)
All ProFXv3 mixers – except for the ProFX6v3 – have
3-band EQ with shelving hi, peaking mid with adjustable
mid frequency [ProFX16v3, ProFX22v3, ProFX30v3]
and shelving low.
The ProFX6v3 has 2-band EQ: shelving hi
and shelving low.
Shelving 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 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), as well as the right (boost).
If you find yourself repeatedly using a lot of boost
or cut, consider altering the sound source, such
as placing a mic differently, trying a different kind
of mic, a different vocalist, changing the strings,
or gargling.
15
16
17
19
15. Hi EQ Knobs
The hi EQ provides up
to 15 dB of boost or cut above
12 kHz, and it is also flat
(no boost or cut) at the
detent. 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.
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–5
–10
–15
20 Hz
100 Hz
1 kHz
10 k 20 k
Owner’s Manual
The other green curves represent in-between
positions of the compressor knob, with higher
thresholds before compression begins.
16. Mid EQ Knobs
17. Freq Knobs
[ProFX16v3, ProFX22v3, ProFX30v3]
The ProFX16v3, ProFX22v3
and ProFX30v3 mixers employ
a semi-parametric mid-sweep
EQ. The gain (up to 15 dB
of boost or cut) is set via
the mid EQ, and then “aimed”
at a specific frequency, from
100 Hz to 8 kHz, via the freq
control.
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–5
–10
–15
20 Hz
100 Hz
1 kHz
10 k 20 k
100 Hz
1 kHz
10 k 20 k
100 Hz
1 kHz
10 k 20 k
18. Mid EQ Knobs
Short for “midrange,” this
knob provides up to 15 dB
of boost or cut, centered
at 2.5 kHz, also flat
at the center detent.
Midrange EQ is often thought
of as the most dynamic,
because the frequencies
that define any particular
sound are almost always
found in this range. You can
create many interesting and
useful EQ changes by turning
this knob down as well as up.
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+5
0
–5
–10
–15
20 Hz
19. Low EQ Knobs
18
The low EQ provides up
to 15 dB of boost or cut below
80 Hz. The circuit is flat
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.
+15
+10
+5
0
–5
–10
–15
20 Hz
Owner’s Manual
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ProFXv3 Professional Effects Mixer with USB
20. Aux Mon Knobs
These knobs tap a portion of each channel's signal
to set up a nice monitor mix feeding stage monitors,
independent of the main mix. Adjust these controls
on each channel until the band is happy with the stage
monitor mix.
The controls are off when fully turned down, deliver
unity gain at the center detent, and can provide up
to 10 dB of gain turned fully up.
The pan, mute and channel fader do not affect
the monitor output, but the other channel controls will.
The aux mon is pre-fader.
The overall output level may be adjusted with the aux
master FX knob. FX are then added to the main mix
and subs 1-4 by raising the level of the FX fader.
FX Switches (Chs. 1–2) [ProFX6v3]
With this switch out, no FX are added to the mix.
With this switch in, the channel is assigned to the FX
send post-channel level knob.
The overall output level may be adjusted with the aux
master mon controls. Internal FX may also be added
to the monitor mix with the GigFX master mon knobs.
ProFX6v3
21. Pre-Fader Switches
Aux sends 1-2 are always
pre-fader, designed for stage
monitor applications. Aux send 3
may be set to pre- or post-fader,
so they may be used for monitors
or effects.
Pre-fader: with the pre switch
engaged (pressed in, not
commited to marriage), aux 3
delivers signals post-insert,
post-low cut, post EQ, post-mute
and pre-fader. Any changes made
to the channel controls, except
the fader, will affect the aux send
signal.
Post-fader: with the pre switch
disengaged (up), aux 3 delivers
signals post-insert, post-low cut,
post-mute, post-EQ and
post-fader. Any changes made
to the channel controls will affect
the aux send signal.
Stereo Pan Switch (Chs. 1–2) [ProFX6v3]
With this switch out, each mono channel feeds
both the left and right sides of the main mix equally.
For example:
20
• Playing a mono source: If you talk into a microphone
connected to input 1, your sweet tones will be heard
in both the left and right loudspeakers.
21
22
23
22. Aux FX Knobs
These knobs tap a portion of each channel’s signal to
set up a nice FX mix feeding the internal FX processor,
and to feed external processors via the FX send.
The controls are off when fully turned down, deliver
unity gain at the center detent, and can provide up
to 10 dB of gain turned fully up.
The mute, channel fader and other channel controls
affect the FX output, but pan does not. The aux FX is
post-fader.
14
The FX signal reaching the internal FX processor
and the FX send output jack is the sum (mix) of all
the channels whose aux FX control is set to more than
minimum.
ProFXv3 Professional Effects Mixer with USB
• Overdubbing a mono source: if you are
monitoring directly through the headphones,
you can hear the overdub signal in both ears
while you are playing.
With this switch pressed in, channel 1 will play only
in the left side of the main mix, and channel 2 will play
in the right side. For example:
• Recording a stereo source: If you have a stereo
microphone connected to the mic inputs, or if you
are playing a stereo source into the line inputs,
each side of the source can be recorded discretely
onto a recorder connected to the main outputs.
The pan switch does not affect the other channels.
23. Pan Knobs
This control allows you to adjust how much of
the channel signal is sent to the left versus the right
outputs.
The pan control employs a design called “Constant
Loudness.” If you have a channel panned hard left
(or right) and then pan to the center, the signal is
attenuated about 3 dB to maintain the same apparent
loudness. Otherwise, it would make the sound appear
much louder when panned center.
Mute switches do just what they sound like they do.
They turn off the signal by “routing” it into oblivion.
Engaging a channel’s mute switch (almost) provides
the same results as turning the fader all the way down
(a pre-aux send is not affected by the channel fader,
but it is by the mute switch).
Any channel assignments to the main mix, subgroup
1-2 or subgroup 3-4 will be interrupted and all of the
aux sends will be silenced (both pre- and post-fader).
The channel insert will continue to provide a
signal when a channel is muted. The mute button will
illuminate when a channel's mute switch is engaged.
Mute switches are available on all ProFXv3
mixers except the ProFX6v3.
25. Assign Switches
[ProFX12v3, ProFX16v3,
ProFX22v3, ProFX30v3]
Alongside each channel fader are buttons referred
to as channel assignment switches. Used in conjunction
with the channel’s pan knob, they are used to determine
the destination of the channel’s signal.
With the pan knob at the center detent, the left
and right sides receive equal signal levels (main
mix L/R, sub 1-2 and sub 3-4). To feed only one
side or the other, turn the pan knob accordingly.
If you are doing a mixdown
to a 2-track, for example,
simply engage the main mix
switch on each channel that
you want to hear, and they will
be sent to the main mix bus.
If you want to create a group
of certain channels, engage
either the 1-2 or 3-4 switches
instead of the main mix,
and they will be sent to
the appropriate subgroup
faders. From there, the groups
may be sent back to the main
mix (using the group assign
switches above the group
faders), allowing you to use
the group faders as a master
control for those channels.
24
26. PFL Solo Switches
[ProFX12v3, ProFX16v3,
ProFX22v3, ProFX30v3]
When a channel’s solo switch is engaged, any existing
selection is replaced by the solo signal, appearing
at the control room outputs, phones and at the left
meter. The audible solo levels are then controlled
by the CR and phones knobs. The solo levels appearing
on the meters are not controlled by the CR and phones
knob – you would not want that, anyway. What you
do want to see is the actual channel level on the meters
regardless of how loud the control room and phones
output levels might be.
Owner’s Manual
24. Mute Switches
PFL means Pre-Fader Listen (post-EQ). With the PFL
Solo switch engaged, solo will not be affected by a
channel's mute switch position.
Remember, PFL taps the channel signal before
the fader. If you have a channel’s fader set
way below “U” (unity gain), solo will not know
that and will send a unity gain signal to the CR outs,
phones output and meter display, which may raise some
eyebrows.
27. Channel Faders
This is the last control in a channel’s signal path, and
it adjusts 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 is set correctly.
MUTE
The “Channel Faders” on the ProFX6v3
and ProFX10v3 are actually "Channel Knobs".
But they behave similarly.
27
If you are creating new
tracks or bouncing existing
ones, you will also use the 1-2
and 3-4 switches, but not
the main mix switch. Here you
do not want the groups sent
back into the main mix bus, but sent out,
via the sub out jacks, to your multitrack inputs.
25
26
28. USB Switch
When engaged, this switch
overrides the 1/8" input and allows
the USB return – stereo playback
USB 3-4
of iTunes® or a DAW via the USB
connection, for example – to flow
through the signal path instead. Like any other input,
this signal may also be EQ’d, sent to an aux bus,
or mixed in with the other signals and assigned
to subgroups or main outs.
There is additional information about the USB
3/4 Return Switch, including setup help and
other tips and tricks in Appendix C on page
40.
Owner’s Manual
15
ProFXv3 Professional Effects Mixer with USB
Additional Inputs and Outputs
31
29
30
This 1/4" TRS line-level output may be used to feed
an external effects processor (FX), such as a nice
sound effect or delay unit. The output from this jack
is an exact copy of what goes into the internal FX
processor, being the careful mix of all channels whose
aux FX control is turned to more than minimum.
(The processed output of the internal FX does
not come out of this output, but is added internally
to the main mix or monitor mix.)
34
32
33
35
PENCIL SHARPENER
29. Aux Out / Mon Send
[ProFX12v3, ProFX16v3,
ProFX22v3, ProFX30v3]
The overall output level may be adjusted with the aux
master FX knob. (This knob also affects the level going
into the internal FX.)
The output is “post-fader,” so any changes
to the channel faders will also affect the level
going to the external processor.
The processed output from the effects processor
is usually returned to a spare channel, and you may
carefully mix the original unprocessed channel (dry)
and the processed channel (wet). Altering the original
channel fader increases both the wet and dry
signals and keeps them at the same delicate ratio.
For example, the reverb remains at the same level
relative to the original.
Stage monitors allow the talented musicians
in the band to hear themselves clearly on stage.
This can be a good thing! The monitor mix may be
carefully adjusted in level using the aux mon controls.
These tap a portion of each channel's signal to provide
a 1/4" TRS output here to feed external stage monitors.
These could either be passive stage monitors powered
by an external amplifier, or powered stage monitors
with their own built-in amplifier.
31. FX Footswitch
[ProFX10v3, ProFX12v3, ProFX16v3,
ProFX22v3, ProFX30v3]
The monitor signal is the sum (mix) of all
the channels whose aux mon control is set to more
than minimum. If they want “more me and less Brian,”
you may turn up their channel's aux mon control,
and turn down Brian’s.
If the internal FX have already been muted
with the internal FX mute switch, then the footswitch
has no effect.
The overall output level may be adjusted with
the aux master mon knob. Additionally, you could
add an external graphic EQ between this output
and your powered monitors. This will allow you
to adjust the EQ, and minimize the chance of feedback
from nearby microphones.
The monitor output is not affected by the main
mix fader or the channel faders. This allows you
to set up the monitor mix and level just right, and not
have it change when a channel fader or the main mix
fader is adjusted. This is known as “pre-fader.”
There is one mon send jack on the ProFX12v3
and three aux out jacks on the ProFX16v3,
ProFX22v3 and ProFX30v3.
16
30. FX Send
[ProFX10v3, ProFX12v3, ProFX16v3,
ProFX22v3, ProFX30v3]
ProFXv3 Professional Effects Mixer with USB
This 1/4" TRS connector is where to connect your
favorite footswitch. This allows you to easily mute
or un-mute the internal effects at will. Any one-button
on/off footswitch will work.
Main Outputs
The main outputs are located on the front
panel of the ProFX6v3, ProFX10v3 and ProFX12v3
and on the rear panel of the ProFX16v3, ProFX22v3
and ProFX30v3. Please check out page 8 for more
information about the main outputs.
These 1/4" jacks are usually patched to the inputs
of a multitrack deck or to secondary amplifiers in
a complex installation.
There are two sub out jacks on the ProFX12v3
and four sub out jacks on the ProFX16v3,
ProFX22v3 and ProFX30v3.
33. Control Room Out Jacks
[ProFX10v3, ProFX12v3, ProFX16v3,
ProFX22v3, ProFX30v3]
These 1/4" jacks are usually patched to the inputs
of a control room amplifier or a headphone distribution
amplifier.
The control room outputs may also be used for other
applications. The sound quality is just as impeccable
as the main outputs. It may be used as an additional
main mix output and this one will have its own level
control. However, be aware that if a solo switch
is engaged, the mix will be interrupted:
When a channel’s solo switch is engaged, any
existing selection is replaced by the solo
signal, appearing at the control room outputs,
phones and at the left meter. The audible solo
levels are then controlled by the control room knob.
The solo levels appearing on the meters are not
controlled by the control room knob – you would
not want that, anyway. What you do want to see
is the actual channel level on the meters regardless
of how loud the control room output level might be.
The signal leaving the CR outs may
also accept a post-blend mix of the inputs
and USB return if the “To Phones / Control
Room” switch is engaged. More information about
this switch (and the “Blend” knob) may be found
on page 20. Because there are no control room outputs
on the ProFX6v3, there is a “To Phones” only switch.
34. Phones Jack
This 1/4" TRS connector supplies the output to stereo
headphones.
The phones volume is controlled with the phones
knob located above the main mix fader (except
for the ProFX6v3, in which case it’s directly
to the left of the main mix knob).
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. (Solo signals reaching
the headphones are not affected by the channel level or
main level, therefore turn down the phones level first,
as soloed channels may be loud.)
Owner’s Manual
32. Sub Out Jacks
[ProFX12v3, ProFX16v3,
ProFX22v3, ProFX30v3]
The phones output follows ­standard conventions:
Tip = Left channel
Ring = Right channel
Sleeve = Common ground
WARNING: The headphone amp is loud
and can cause permanent hearing damage.
Even intermediate levels may be painfully
loud with some headphones. BE CAREFUL! Always
turn the phones level control 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.
The signal leaving the phones jack may
also accept a post-blend mix of the inputs
and USB return if the “To Phones / Control
Room” switch is engaged. More information about
this switch (and the “Blend” knob) may be found
on page 20.
35. Pencil Sharpener
Need to take notes during a recording or live
performance, but the pencil needs to be sharpened?
This works like any ’ol electric pencil sharpener. Place
your pencil in here to sharpen it and start writing notes!
Owner’s Manual
17
ProFXv3 Professional Effects Mixer with USB
48V Phantom Power, Power LED, Main Meters and Rude Solo!
36. 48V Phantom Power Switch
Most modern professional condenser mics require
48V 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.
37. Power LED
This LED will illuminate green when the mixer is
turned on, as a reminder of how on it really is. If it is
not on, then it is off, and the mixer becomes a rather
nice weight for keeping your morning newspaper from
blowing away in the wind.
If it does not turn on, make sure the power cord is
correctly inserted at both ends, the local AC mains
supply is active, and the power switch is on.
Press this switch in if your microphone requires
phantom power. (Always check the position
of this switch before connecting microphones.)
The accompanying LED will illuminate red to indicate
that phantom power is active. This is a global switch
that affects all mic channels’ XLR jacks at once.
38. Main Meters
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 XLR input jacks with phantom power
on ­unless you know for certain it is safe to do so.
Be sure the main mix fader is turned down when
connecting microphones to the mic inputs when
phantom power is turned on to prevent pops from
getting through to the speakers.
When a channel is soloed [ProFX12v3, ProFX16v3,
ProFX22v3, ProFX30v3], the right meter shows
no reading, and the left meter shows the level
of that channel’s signal level, pre-fader.
36
37
These peak meters are made up of two columns
of twelve LEDs, with three colors to indicate different
ranges of signal level, traffic light style. They range
from –30 at the bottom, to 0 in the middle, to OL at
the top.
You can get a good mix with peaks flashing anywhere
between –20 and +10 dB on the meters. Most amplifiers
clip at about +10 dBu, and some recorders aren’t so
forgiving either. For best real-world results, try to keep
your peaks between “0” and “+6.” Remember, audio
meters 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).
The meters on the ProFX6v3 are slightly
different. It has only eight LEDs and they
range from –24 to OL. Here you can get
a good mix with peaks flashing anywhere
between –12 and +8 dB on the meters.
38
39
39. Rude Solo LED
[ProFX12v3, ProFX16v3,
ProFX22v3, ProFX30v3]
This large LED flashes red when one or more solo
switches are engaged. This acts as a reminder that
what you hear in the control room and headphones
is the soloed channel(s). If you forget that you are
in solo mode, you can easily be tricked into thinking
that something is wrong with your mixer. Hence,
the rude solo light. Please forgive its rudeness,
it is only trying to help, and wants to be your friend.
Because there are no solo switches
on the ProFX6v3 and ProFX10v3,
there are no Rude Solo LEDs, either.
18
ProFXv3 Professional Effects Mixer with USB
42. Preset Selector
43
40
41
42
44
50
THEREMIN
LOW HIGH
FREQUENCY
45
0
100
AMPLITUDE
40. Aux Master Knobs
[ProFX12v3, ProFX16v3,
ProFX22v3, ProFX30v3]
These provide overall control over the aux mon
and aux FX levels just before they are delivered
to the aux mon and aux FX outputs, as well
as internal FX in the case of the FX master.
Auxiliary is usually the control you turn up when
the lead singer glares at you, points at his stage
monitor, and sticks his thumb up in the air. (It would
follow that if the singer stuck his thumb down, you’d
turn the knob down, but that never happens.)
The ProFX12v3 has a single aux master
and no aux FX master.
Rotate this endless control to select one of the 24
preset effects. When the rotation stops, that preset
number will flash for 10 seconds. Push the control
in prior to that in order to select the preset or let
it revert back to the previously selected preset.
The current preset number is shown in the display.
The different presets are shown in the table below
and on the mixer’s silkscreen near the main meters.
Further details of each preset are explained in Appendix
C on page 41. Only one preset may be selected at
a time.
1
Bright Room
13
Doubler
2
Warm Lounge
14
Echo
3
Small Stage
15
Delay 1 (Fast)
4
Warm Theater
16
Delay 2 (Medium)
5
Warm Hall
17
Delay 3 (Slow)
6
Concert Hall
18
Ping-Pong Delay
7
Cathedral
19
Overdrive / Distortion
8
Small Plate
20
Spring Reverb
9
Large Plate
21
Early Reflections
10
Chorus 1
22
Auto-Wah
11
Chorus 2
23
Flange
12
Delay + Reverb
24
Slapback Reverb
Owner’s Manual
Aux Masters and Internal FX
43. Preset Display
This display shows the number of the currently
selected effects preset, as shown in the list of presets
above. Rotate the preset selector knob right or left
to change a preset. When the mixer is turned on,
the FX section will load up the last-used preset.
44. FX Mute Switch and LED
41. FX to Mon Knobs
[ProFX12v3, ProFX16v3,
ProFX22v3, ProFX30v3]
These knobs route the effects output to the monitors.
Use the mon controls to provide effects to monitors.
Slowly add effects to the monitors by turning the mon
knobs clockwise. Use the aux master knobs (described
above) to monitor the amount sent.
The ProFX12v3 has a single FX to mon knob.
When engaged, the internal effects processor
is muted, and its output will not appear on the main mix
or monitor mix. The adjacent mute LED will illuminate
as a reminder that the effects are muted. When power
is first applied to the mixer, this LED will illuminate
and the FX will be muted for about 5 seconds while
the little FX gerbils inside settle down.
If this switch is not engaged, then the internal effects
are set free and may be added as required to the main
mix and/or monitor mix.
If this switch is not engaged, then the internal
effects may be muted or un-muted with a footswitch
[all ProFXv3 mixers except the ProFX6v3].
Owner’s Manual
19
ProFXv3 Professional Effects Mixer with USB
45. Theremin
A theremin is more of an instrument than an effect.
That said, it fits really well here in the FX section.
Additionally, theremins can be expensive, take up
a bit of space and can be unwieldy. But not here... just
a simple two knob “theremin” built right into the mixer!
The two knobs are frequency and amplitude.
Frequency is another word for “pitch”. The frequency
is at its lowest when the knob is fully counter-clockwise
and at its highest when fully clockwise. Amplitude
is another word for “volume”. The amplitude is at
its lowest when the knob is fully counter-clockwise
and at its highest when fully clockwise.
Don’t fret if your mixer doesn’t come with
built-in Theremin knobs. They do not exist...
yet. No doubt that would be a cool feature,
but perhaps on our next mixer series...
47. To Phones / Control Room Switch
By default, the control room and phones jacks
output the 2-track LR mix (or soloed channels,
if any are engaged). Push this switch in if you want
to interrupt this signal and hear the blended signals
instead.
Because there are no control room outputs
on the ProFX6v3, there is a “To Phones” only
switch.
48. Control Room Knob
This knob is used to adjust the volume at the control
room outputs, from (off) to maximum gain (max).
Make sure that this knob is fully off [counter-clockwise] before selecting or adding a new source.
Because there are no control room outputs
on the ProFX6v3, there is no control room
knob, either.
Blend, Control Room and Phones
46
48
49. Phones Knob
49
This knob is used to adjust the volume at the phones
output from (off) to maximum gain (max). Make sure
that this knob is fully off [counter-clockwise] before
selecting or adding a new source.
USB 1-2
BLEND
47TO PHONES/
50
CONTROL ROOM
46. Blend Knob
With the adjacent switch engaged, this knob sends
a blend between all inputs (except for the 1/8" input)
and the USB 1-2 Return to the Phones and Control
Room outputs. As an added bonus, this is all at
zero-latency!
Use this knob while recording overdubs alongside
a pre-recorded track, for example.
Knob position (L, C, R):
• Full Left – Inputs = Full Volume
USB Return = No Volume
• Center –
Inputs and USB Return = Equal Volume
• Full Right – Inputs = No Volume
USB Return = Full Volume
WARNING: The headphone amp is loud,
and can cause permanent hearing damage.
Even intermediate levels may be painfully
loud with some headphones. BE CAREFUL! Always
turn this control 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.
50. Break Switch and LED
This important “take-a-break” switch quickly mutes
all the microphones and line-level inputs to the main
outs, cr outs and phones when the band is between
sets. This will prevent protestors or rogue karaoke
singers from storming the stage at the interval.
The monitor send and FX send are not affected.
If there is no sound coming out of the system,
be sure to check this switch first.
It is possible to play audio coming in from
the computer via the USB inputs. For example,
a soothing CD may be played while the band is off stage.
The adjacent break LED will illuminate as a reminder
that the channels are muted.
20
ProFXv3 Professional Effects Mixer with USB
51. FX Knob / Fader
Stereo signals come through this FX fader – FX knob
on the ProFX6v3 and ProFX10v3 – and continue on
to the main mix fader. They contain the effects’ “wet”
signals and are mixed together with the channels’ “dry”
original signals. Turned fully up, it provides 10 dB
of additional gain, the “U” mark is unity gain,
and fully down is off.
52. FX to Subs Switches
[ProFX12v3, ProFX16v3,
ProFX22v3, ProFX30v3]
Fancy yourself adding FX to the sub groups
in addition to the main mix? Simply engage
the switch to route FX to subs 1-2 and/or subs 3-4.
Because the ProFX12v3 has a single sub
group (1-2), it also has a single FX-to-sub
(1-2) assign switch.
54. Subs Assign Switches
[ProFX12v3, ProFX16v3,
ProFX22v3, ProFX30v3]
One popular use of the subs is to use them as master
faders for a group of channels on their way to the main
mix fader. Let us say you have a drum kit hogging up
seven channels and you are going to want to control
their group volume more conveniently. You do not
want to try that with seven hands or seven fingers,
so just unassign these channels from the main mix
and reassign them to sub 1-2 and engage the main mix
L-R switch located above the fader. Now you may ride
the entire drum mix with a single fader – sub 1-2.
Owner’s Manual
FX, Sub and Main Faders and Switches!
Because the ProFX12v3 has a single sub 1-2
fader, it also has a single sub-to-L-R assign
switch.
55. Main Mix Fader
52
51
This stereo fader allows you to adjust the levels
of ­the main mix signals sent to the XLR and 1/4"
main line-level outputs.
54
53
55
53. Sub 1-4 Faders
[ProFX12v3, ProFX16v3,
ProFX22v3, ProFX30v3]
As you might expect, these faders control the levels
of the signals sent to the sub out jacks. All channels
that are assigned to subs, not muted, and not turned
fully down will appear at the sub outs.
This gives you the ultimate feeling of power and
control over the sound levels sent to your audience.
Adjust this control carefully, with your good eye on
the meters to check against overloading, and your
good ear to the levels to make sure your audience
(if any) is happy.
The main mix signals are off with the fader fully
down, the “U” marking is unity gain, and fully up
provides 10 dB of additional gain. This additional
gain will typically never be needed, but once again,
it’s nice to know that it’s there. The fader is stereo,
as it affects both the left and right of the main mix
equally. This is the ideal control to slowly bring down
at the end of a song (or quickly in the middle of a song
if the need ever arises).
This control does not affect the aux / mon send
or FX send outputs.
The “Main Mix Fader” on the ProFX6v3
and ProFX10v3 is actually a “Main Mix
Knob”. But they behave similarly.
The sub signal is off when its fader is fully down,
the “U” marking is unity gain, and fully up provides
10 dB additional gain. Each sub fader works as a stereo
pair; sub 1 and 2 on a single fader, for example, to easily
maintain the left/right balance.
The ProFX12v3 has a single sub 1-2 fader,
no sub 3-4 fader.
Owner’s Manual
21
ProFXv3 Professional Effects Mixer with USB
Appendix A: Service Information
If you think your 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, documentation and
any updated PC drivers etc. You may find the answer to
the problem without having to send your mixer away.
Bad Channel
• Try the same source signal in another
channel, set up exactly like the suspect
channel.
• Is phantom power required for your
microphone?
No sound
• Is the level knob for the input source turned
all the way down? Verify that all the volume
controls in the system are properly
adjusted. Look at the level set LEDs
and meters to ensure that the mixer
is receiving a signal.
Troubleshooting
No Power
• Our favorite question: Is it plugged in? Make sure the AC outlet is live [check
with a tester or lamp].
• Is the signal source working? Make sure
the connecting cables are in good repair
and securely connected at both ends.
Make sure the master volume level
is turned up sufficiently to drive the inputs
of the speaker.
• Our next favorite question: Is the power
switch on? If not, try turning it on.
• Make sure the line cord is securely seated
in the line cord socket and plugged all
the way into the AC outlet.
• Make sure the input source is not muted
or has a processor loop engaged. If you find
something like this, make sure the level
is turned down before disengaging
the offending switch.
• Is the power LED on the top panel
illuminated? If not, make sure the AC outlet
is live. If so, refer to “No sound” below.
• Is the main level turned up?
• The internal AC line fuse may be blown.
This is not a user serviceable part.
If you suspect the AC line fuse is blown,
please see the “Repair” section next.
• Are the EQs set to reasonable levels?
• Are any aux returns maxed out?
• Unplug anything from the other line-level
outputs, such as monitor out, just in case
one of the external pieces has a problem.
Hum
• Make sure that you are not overdriving
the amplifiers. Check the loudspeaker
average load impedance is not less than
the minimum the amplifier can handle.
Check the speaker wiring.
• Try disconnecting the cable connected
to the input jack. If the noise disappears,
it could be a “ground loop,” rather than
a problem with the mixer.
Try some of the following troubleshooting ideas:
• Use balanced connections throughout your
system for the best noise rejection.
• Whenever possible, plug all the audio equipment’s line cords into outlets which
share a common ground. The distance between the outlets and the common ground should be as short as possible.
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.
• Make sure none of the signal cables are
routed near AC cables, power transformers,
or other EMI-inducing devices.
• Is there a light dimmer or other SCR-based
device on the same AC circuit as the mixer?
Use an AC line filter or plug it into
a different AC circuit.
22
ProFXv3 Professional Effects Mixer with USB
• There is a lot of great information here,
including ASIO driver downloads, FAQs,
troubleshooting, a forum and more!
Please review before calling Technical
Support:
o http://www.asio4all.org/
The bottom panels of the ProFX6v3 and ProFX10v3
have three non-threaded holes that allow it to be
fitted with an optional microphone stand adapter.
This lets you support the mixer on a standard mic
stand, and adjust its height and level to whatever
suits your strangely-complex set of preferences.
Owner’s Manual
Microphone Stand
ASIO Blues?
Other Issues
• Please email or call Technical Support
if you are having any other issue not listed
here:
o mackie.com/support-contact
o 1-800-898-3211
Repair
For warranty service, refer to the warranty
information on page 42.
Non-warranty service is available at a factoryauthorized service center. To locate the nearest service
center, visit www.mackie.com/support/service-locator.
Service for ProFXv3 Series mixers 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 during normal business hours, Pacific
Time, to explain the problem. Tech Support will tell
you where the nearest factory-authorized service
center is located in your area.
1. Order the Atlas AD-11B mic stand adapter
available from many a fine music store.
(It is made and distributed by Atlas Sound.)
2. Use three Trilobular thread rolling screws
6-32 x 1/4" long to secure the adapter
to the bottom of the mixer [see below].
Do not use screws longer than 1/4" as these
could damage the circuit boards. Do not use
screws shorter than 1/4" or the adapter will
not be securely fixed to the mixer.
Owner’s Manual
23
ProFXv3 Professional Effects Mixer with USB
Appendix B: Technical Information
ProFXv3 Specifications
Equalization
Noise Characteristics
Equivalent Input Noise (EIN)
(150 Ω Source Impedance, 20 Hz to 20 kHz)
Mic in to Insert Send out, max gain
Residual Output Noise
All outputs, master levels off, all channel levels off
All outputs, master levels unity, one channel level unity
–126 dBu1
2
–128 dBu
–95 dBu
–80 dBu1
2
–85 dBu
Frequency Response
Mic input to any output (gain at unity, +0 dB / –1 dB )
20 Hz to 30 kHz
Distortion (THD+N)
(22 Hz to 80 kHz bandwidth)
Mic in to Main Out (+4 dBu output)
<0.03%1
<0.01%2
±15 dB @ 80 Hz
±15 dB @ 12 kHz
18 dB/octave @ 100 Hz
ProFX10v3 • ProFX12v3
Low Mid High Low Cut Filter
±15 dB @ 80 Hz
±15 dB @ 2.5 kHz
±15 dB @ 12 kHz
18 dB/octave @ 100 Hz
ProFX16v3 • ProFX22v3 • ProFX30v3
All Channels (except 1/8" stereo channel)
Low ±15 dB @ 80 Hz
Mid ±15 dB
100 Hz – 8 kHz
High ±15 dB @ 12 kHz
Low Cut Filter
18 dB/octave @ 100 Hz
1/8" Stereo Channel
Low ±15 dB @ 80 Hz
Mid ±15 dB @ 2.5 kHz
High ±15 dB @ 12 kHz
Maximum Voltage Gain (EQ Flat)
Attenuation and Crosstalk
Adjacent Inputs @1 kHz
Inputs to Outputs @1 kHz
Fader Off @1 kHz
Mute Switch / Break Switch Mute @ 1 kHz
Common Mode Rejection Ratio (CMRR)
Mic in to Main out, max gain, 1 kHz
Maximum Levels
All inputs
Main Mix XLR
All other outputs
Impedances
–90 dB
–80 dB
–75 dB
–90 dB1
–100 dB2
70 dB
+22 dBu
+28 dBu
+22 dBu
Mic in 3.3 kΩ
Channel Insert Return 10 kΩ
All other inputs ≥20 kΩ
Phones out 25 Ω
All other outputs 120 Ω Unbalanced,
240 Ω Balanced
1 ProFX6v3, ProFX10v3, ProFX12v3
2 ProFX16v3, ProFX22v3, ProFX30v3
24
ProFX6v3
Low High Low Cut Filter
ProFXv3 Professional Effects Mixer with USB
Mic Input Channel to
Insert Output
1/4" Main Output
XLR Main Output
1/4" Sub Output
Aux Output (Pre-Fader)
Aux Output (Post-Fader)
FX Send
FX Send [ProFX10v3]
USB Output
Mono Line Input Channel to
Insert Output
1/4" Main Output
XLR Main Output
1/4" Sub Output
Aux Output (Pre-Fader)
Aux Output (Post-Fader)
FX Send
FX Send [ProFX10v3]
USB Output
Stereo Line Input Channel to
1/4" Main Output
XLR Main Output
1/4" Sub Output
Aux Output (Pre-Fader)
Aux Output (Post-Fader)
FX Send
FX Send [ProFX10v3]
USB Output
1/8" Input to
1/4" Main Output
XLR Main Output
1/4" Sub Output
Aux Output (Pre-Fader)
Aux Output (Post-Fader)
FX Send
FX Send [ProFX10v3]
USB Output
USB Input to
XLR Main Output
60 dB
80 dB
86 dB
80 dB
80 dB
90 dB
90 dB
80 dB
70 dB
40 dB
60 dB
66 dB
60 dB
60 dB
70 dB
70 dB
60 dB
50 dB
20 dB
26 dB
20 dB
20 dB
30 dB
30 dB
20 dB
10 dB
40 dB
46 dB
40 dB
40 dB
50 dB
50 dB
40 dB
30 dB
46 dB
Digital Effects
ProFX16v3
Height
Width
Depth
Weight
4.4 in / 112 mm
17.7 in / 450 mm
17.1 in / 434 mm
15.2 lb / 6.9 kg
Main L/R Mix
ProFX6v3 – Two columns of 8 segments each:
OL, +14, +8, +4, 0 (0 dBu), –4, –12, –24
All other ProFXv3 mixers – Two columns of 12 segments each:
OL, +15, +10, +6, +3, 0 (0 dBu), –2, –4, –7, –10, –20, –30
ProFX22v3
Height
Width
Depth
Weight
4.4 in / 112 mm
24.1 in / 612 mm
17.1 in / 434 mm
19.8 lb / 9.0 kg
USB
ProFX30v3
Height
Width
Depth
Weight
4.4 in / 112 mm
32.3 in / 820 mm
17.1 in / 434 mm
26.5 lb / 12.0 kg
Number of Presets 24
Favorite Preset
25 [drats!]
Meters
Format
I/O
USB 2.0
1 Stereo Input,
2 Stereo Outputs
24 bit, 44.1 kHz, 48 kHz,
96 kHz, 192 kHz
A/D/A
Options
ProFX6v3
Phantom Power
Power Consumption Universal AC Power Supply
Power Connector
ProFX6v3, ProFX10v3
30 watts (ProFX12v3)
40 watts (ProFX16v3)
45 watts (ProFX22v3)
50 watts (ProFX30v3)
100 – 240 VAC, 50 – 60 Hz
12VDC @ 2A Class I Hard-Wired
Wall Mount Adapter
ProFX12v3, ProFX16v3,
ProFX22v3, ProFX30v3
3 Pin IEC Line Cord
Height
Width
Depth
Weight
ProFX12v3
Carry BagP/N 2051721
Dust Cover
P/N 2051727
Rack Ear Kit
P/N 2051623
ProFX16v3
Carry BagP/N 2051722
Dust Cover
P/N 2051728
Rack Ear Kit
P/N 2051634
ProFX22v3
Carry BagP/N 2051723
Dust Cover
P/N 2051729
ProFX30v3
Dust Cover
Physical Dimensions and Weight
ProFX6v3
Carry BagP/N 2051719
ProFX10v3
Carry BagP/N 2051720
Dust Cover
P/N 2051726
48 VDC to all Mic channels simultaneously
AC Power Requirements
Owner’s Manual
ProFXv3 Specifications continued...
2.9 in / 74 mm
7.5 in / 191 mm
8.4 in / 213 mm
2.6 lb / 1.2 kg
ProFX10v3
Height
Width
Depth
Weight
3.3 in / 84 mm
10.7 in / 272 mm
11.9 in / 302 mm
4.9 lb / 2.2 kg
ProFX12v3
Height
Width
Depth
Weight
4.0 in / 102 mm
13.0 in / 330 mm
14.8 in / 376 mm
7.9 lb / 3.6 kg
P/N 2051730
LOUD Audio, LLC 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.
The “Running Man” is a registered trademark of LOUD Audio, LLC.
All other brand names mentioned are trademarks or registered
trademarks of their respective holders, and are hereby
acknowledged.
Please check our website for any updates to this manual:
www.mackie.com.
©2020 LOUD Audio, LLC. All Rights Reserved.
Owner’s Manual
25
ProFXv3 Professional Effects Mixer with USB
ProFX6v3 Dimensions
2.9 in
74 mm
WEIGHT
2.6 lb
1.2 kg
8.4 in
213 mm
7.5 in / 191 mm
ProFX10v3 Dimensions
3.3 in
84 mm
MIC/LINE
MIC/LINE
ONYX MIC PRE
MIC
ONYX MIC PRE
MIC
ONYX MIC PRE
LINE
ONYX MIC PRE
(MONO)
L
OFF
OFF
FOOT
SWITCH
R
ON
HI-Z
ON
USB 3-4
OFF
ON
HI-Z
LINE IN 9/10
BAL/
UNBAL
LINE IN 5
BAL/
UNBAL
LINE IN 3
BAL/
UNBAL
LINE IN 4
BAL/
UNBAL
L
L
INSERT
ON
100Hz
ON
ON
LINE
(MONO)
ON
L
GA
MIC I
U
+40
BAL/
UNBAL
LINE IN 7
+60
-20
GAIN
LEVEL
SET
N
LEVEL
SET
+60
-20
OFF
U
GA
MIC I
U
+40
GAIN
INSERT
LOW CUT
100Hz
N
LEVEL
SET
+60
-20
OFF
U
GA
MIC I
U
+40
INSERT
LOW CUT
100Hz
N
LEVEL
SET
+60
GAIN
11.9 in
302 mm
OFF
U
GA
MIC I
U
-20
INSERT
LOW CUT
100Hz
U
N
WEIGHT
4.9 lb
2.2 kg
OFF
LOW CUT
R
+40
GAIN
LINE IN 8
OFF
MAX
OFF
COMP
MAX
COMP
U
U
U
HI
-15
U
+15
U
+15
MID
-15
U
+15
MID
-15
U
+15
U
-15
U
+10
-15
L
U
L
-15
U
+15
L
U
U
LOW
80Hz
80Hz
+15
-15
U
L
+10
R
USB 1-2
0dB=0dBu
OL
15
10
6
3
0
2
4
7
10
20
30
L
R
FX
+10
R
1-8
BLEND
U
FX
+10
48V
+15
LOW
FX
L
MID
2.5kHz
-15
+15
+15
-15
U
R
+15
MID
-15
FX
U
2.5kHz
80Hz
+10
12kHz
-15
LOW
+15
-15
U
R
+15
MID
80Hz
FX
U
PHONES
MAIN
METERS
HI
12kHz
-15
2.5kHz
LOW
+10
R
+15
+15
-15
U
+10
+15
MID
80Hz
FX
U
FX SEND
MUTE
HI
12kHz
-15
2.5kHz
LOW
U
R
+15
+15
-15
FX
+15
MID
80Hz
+15
-15
U
R
BAL/
UNBAL
CONTROL ROOM
U
HI
12kHz
-15
2.5kHz
LOW
80Hz
L
+15
2.5kHz
LOW
+15
U
BRIGHT ROOM
WARM LOUNGE
SMALL STAGE
WARM THEATER
WARM HALL
CONCERT HALL
CATHEDRAL
SMALL PLATE
LARGE PLATE
CHORUS 1
CHORUS 2
DELAY + REVERB
DOUBLER
ECHO
FX
DELAY 1
DELAY 2
DELAY 3
PING-PONG DELAY
OVERDRIVE/DISTORTION
SPRING REVERB
EARLY REFLECTIONS
AUTO-WAH
FLANGE
SLAPBACK REVERB
U
HI
12kHz
-15
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
U
HI
12kHz
-15
2.5kHz
-15
U
HI
12kHz
R
LINE IN 6
L
TO PHONES/CR
BREAK
MUTES ALL CHANNELS
R
MAX
CONTROL
ROOM
1
2
U
∞
3
U
+10
LEVEL
∞
4
U
+10
LEVEL
∞
5/6
U
+10
LEVEL
∞
U
+10
LEVEL
∞
+10
LEVEL
7/8
U
∞
+10
LEVEL
10.7 in / 272 mm
26
ProFXv3 Professional Effects Mixer with USB
9/10
FX
U
∞
+10
LEVEL
MAX
PHONES
MAIN
U
∞
U
+10
LEVEL
∞
+10
LEVEL
Owner’s Manual
ProFX12v3 Dimensions
4.0 in
102 mm
MIC/LINE
MIC/LINE
ONYX MIC PRE
MIC
ONYX MIC PRE
MIC
ONYX MIC PRE
ONYX MIC PRE
BAL/
UNBAL
BAL/
UNBAL
MIC
MIC
MIC
ONYX MIC PRE
ONYX MIC PRE
ONYX MIC PRE
(MONO)
(MONO)
(MONO)
L
L
L
BAL/
UNBAL
MON SEND
OFF
OFF
ON
HI-Z
ON
HI-Z
LINE IN 3
LINE IN 4
BAL/
UNBAL
LINE IN 5
BAL/
UNBAL
LINE IN 7
R
INSERT
INSERT
OFF
LOW CUT
100Hz
U
HI
HI
12kHz
+15
U
+15
U
U
U
+10
U
U
-15
48V
U
U
+10
+15
LOW
80Hz
-15
+15
U
MON
U
MON
+10
U
FX
+10
U
80Hz
+15
+10
FX
+15
MID
U
MON
+10
U
2.5kHz
-15
LOW
-15
+15
U
FX
-15
MID
+15
80Hz
-15
MON
POWER
MAIN
METERS
BRIGHT ROOM
WARM LOUNGE
SMALL STAGE
WARM THEATER
WARM HALL
CONCERT HALL
CATHEDRAL
SMALL PLATE
LARGE PLATE
CHORUS 1
CHORUS 2
DELAY + REVERB
DOUBLER
ECHO
DELAY 1
DELAY 2
DELAY 3
PING-PONG DELAY
OVERDRIVE/DISTORTION
SPRING REVERB
EARLY REFLECTIONS
AUTO-WAH
FLANGE
SLAPBACK REVERB
0dB=0dBu
OL
15
10
6
3
0
2
4
7
10
20
30
PRESETS
FX MUTE
L
R
RUDE SOLO
+10
U
FX
+10
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
12kHz
+15
2.5kHz
U
LOW
80Hz
+15
U
+10
U
-15
+15
LOW
-15
MON
+10
-15
MID
U
HI
12kHz
+15
2.5kHz
-15
80Hz
+15
U
U
MID
2.5kHz
+15
U
HI
12kHz
+15
U
U
+10
HI
12kHz
-15
-15
+15
FX
+10
U
LOW
-15
FX
PHONES
+20
U
HI
+15
MON
+10
FX
U
80Hz
+15
-20
GAIN
MID
U
MON
+10
U
LOW
-15
+15
U
MON
+60
GAIN
2.5kHz
-15
U
GAIN
12kHz
-15
MID
+15
80Hz
-15
U
U
+15
2.5kHz
U
LOW
80Hz
+15
U
-15
+15
+60
BAL/
UNBAL
SUB OUT
GAIN
HI
12kHz
-15
MID
2.5kHz
-15
LOW
-15
HI
12kHz
-15
MID
2.5kHz
+15
U
FOOT SWITCH
2
1
ON
LEVEL
SET
IN
COMP
U
U
IN
COMP
U
U
+60
USB 3-4
U
MIC GA
LEVEL
SET
R
MAX
OFF
COMP
U
-15
U
+40
GAIN
OFF
ON
100Hz
MIC GA
LEVEL
SET
IN
+60
-20
MAX
OFF
N
U
+40
GAIN
MAX
OFF
+60
-20
COMP
-15
14.8 in
376 mm
U
+40
GAIN
MAX
OFF
+60
-20
LOW CUT
100Hz
MIC GA
BAL/
UNBAL
CONTROL ROOM
OFF
ON
LOW CUT
100Hz
LEVEL
SET
R
BAL/
UNBAL
LINE IN 10
OFF
ON
LOW CUT
U
GA
MIC I
LEVEL
SET
L
L
LINE IN 11/12
R
LINE IN 8
OFF
ON
100Hz
GA
MIC I
N
U
+40
OFF
LOW CUT
U
LEVEL
SET
N
+60
GAIN
ON
100Hz
GA
MIC I
LINE IN 6
INSERT
OFF
LOW CUT
U
LEVEL
SET
N
WEIGHT
7.9 lb
3.6 kg
U
ON
100Hz
U
GA
MIC I
-20
INSERT
OFF
ON
LOW CUT
BAL/
UNBAL
FX SEND
BAL/
UNBAL
LINE IN 9
R
FX
+10
+10
1-10
+10
AUX MASTER
MAX
USB 1-2
PHONES
BLEND
U
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
FX TO MON
TO PHONES/
CONTROL RM
FX
SUB
1-2
+10
1
2
3
4
5/6
7/8
9/10
11/12
1-2
1-2
1-2
1-2
1-2
1-2
1-2
1-2
L-R
L-R
L-R
L-R
L-R
L-R
L-R
L-R
PFL
SOLO
PFL
SOLO
PFL
SOLO
PFL
SOLO
PFL
SOLO
PFL
SOLO
PFL
SOLO
PFL
SOLO
MAX
CONTROL
ROOM
BREAK
MUTES ALL CHANNELS
MAIN
L-R
1-2
13.0 in / 330 mm
ProFX16v3 Dimensions
4.4 in
112 mm
MIC/LINE
MIC/LINE
ONYX MIC PRE
MIC
ONYX MIC PRE
MIC
MIC
MIC
MIC
MIC
ONYX MIC PRE
ONYX MIC PRE
ONYX MIC PRE
ONYX MIC PRE
ONYX MIC PRE
ONYX MIC PRE
BAL/
UNBAL
BAL/
UNBAL
BAL/
UNBAL
BAL/
UNBAL
BAL/
UNBAL
BAL/
UNBAL
MIC
MIC
MIC
ONYX MIC PRE
ONYX MIC PRE
ONYX MIC PRE
(MONO)
(MONO)
(MONO)
L
L
L
BAL/
UNBAL
1
OFF
OFF
ON
HI-Z
ON
HI-Z
BAL/
UNBAL
LINE IN 3
LINE IN 4
LINE IN 5
LINE IN 6
LINE IN 7
LINE IN 8
LINE IN 9
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
LINE IN 10
BAL/
LINE IN 11 UNBAL
R
INSERT
INSERT
OFF
LOW CUT
ON
100Hz
ON
+60
-20
U
+40
ON
OFF
LOW CUT
C GAI
MI
U
+40
U
+40
GAIN
OFF
LOW CUT
ON
100Hz
MIC GA
LEVEL
SET
+60
-20
GAIN
ON
100Hz
U
LEVEL
SET
+60
-20
GAIN
OFF
LOW CUT
100Hz
C GAI
MI
+60
U
LINE IN 15/16
OFF
LOW CUT
ON
100Hz
MIC GA
LEVEL
SET
BAL/
UNBAL
1
FOOT SWITCH
3
+60
U
OFF
USB 3-4
ON
BAL/
UNBAL
2
4
PHONES
SUB OUT
MIC GA
LEVEL
SET
+60
GAIN
GAIN
GAIN
U
U
U
U
LEVEL
SET
IN
U
+40
GAIN
ON
U
LEVEL
SET
R
4
FX
AUX OUT
LINE IN 14
IN
+60
-20
OFF
LOW CUT
100Hz
C GAI
MI
IN
U
+40
GAIN
ON
U
LEVEL
SET
N
+60
-20
OFF
LOW CUT
100Hz
C GAI
MI
N
U
+40
GAIN
ON
U
LEVEL
SET
N
+60
-20
OFF
LOW CUT
100Hz
C GAI
MI
N
U
+40
GAIN
ON
U
LEVEL
SET
N
+60
-20
OFF
LOW CUT
100Hz
C GAI
MI
N
LEVEL
SET
N
+40
ON
U
C GAI
MI
U
+60
GAIN
OFF
LOW CUT
100Hz
U
LEVEL
SET
N
U
-20
OFF
LOW CUT
100Hz
U
C GAI
MI
BAL/
LINE IN 13 UNBAL
R
LINE IN 12
3
BAL/
UNBAL
2
L
-20
R
BAL/
UNBAL
+20
POWER
CONTROL ROOM
GAIN
48V
MAIN
METERS
OFF
MAX
OFF
COMP
MAX
OFF
COMP
U
U
+15
U
+15
FREQ
100Hz 8kHz
U
17.1 in
434 mm
-15
U
MON 1
U
U
MON 1
+10
U
U
MON 3
U
U
U
U
MON 3
+10
U
U
MON 3
+10
U
U
MON 3
+10
U
U
MON 3
+10
U
U
U
U
U
U
POST
POST
POST
POST
POST
POST
POST
POST
POST
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
U
U
U
U
U
U
U
U
MON 1
+10
U
+10
MON 2
U
MON 2
+10
U
+10
MON 3
+10
POST
U
U
+10
MON 3
+10
POST
U
MON 1
+10
MON 2
+10
MON 3
+10
U
MON 1
+10
POST
U
U
MON 2
U
R
AUX
MASTER
+15
U
MON 3
+10
-15
+15
U
+10
MON 3
+10
80Hz
MON 1
+10
L
RUDE SOLO
LOW
U
MON 2
+10
+15
0dB=0dBu
OL
15
10
6
3
0
2
4
7
10
20
30
BRIGHT ROOM
WARM LOUNGE
SMALL STAGE
WARM THEATER
WARM HALL
CONCERT HALL
CATHEDRAL
SMALL PLATE
LARGE PLATE
CHORUS 1
CHORUS 2
DELAY + REVERB
DOUBLER
ECHO
DELAY 1
DELAY 2
DELAY 3
PING-PONG DELAY
OVERDRIVE/DISTORTION
SPRING REVERB
EARLY REFLECTIONS
AUTO-WAH
FLANGE
SLAPBACK REVERB
U
80Hz
MON 1
+10
MON 3
+10
2.5kHz
-15
LOW
-15
+15
+15
U
MID
FREQ
80Hz
MON 2
+10
12kHz
-15
100Hz 8kHz
U
LOW
MON 1
+10
MON 2
+10
+15
+15
600
U
MON 1
+10
U
MID
-15
FREQ
-15
+15
HI
12kHz
-15
100Hz 8kHz
U
80Hz
U
MON 2
+10
+15
+15
600
LOW
-15
+15
U
MID
-15
FREQ
U
HI
12kHz
-15
100Hz 8kHz
U
80Hz
MON 1
+10
+15
+15
600
LOW
-15
+15
U
MID
-15
FREQ
U
MON 2
+10
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
U
HI
12kHz
-15
100Hz 8kHz
U
80Hz
MON 1
+10
+15
+15
600
LOW
-15
+15
MON 2
+10
MON 3
+10
-15
U
MID
-15
FREQ
80Hz
HI
12kHz
-15
100Hz 8kHz
U
LOW
MON 1
+10
MON 2
+10
MON 3
+10
U
MON 2
+10
+15
MID
U
MON 1
+10
MON 2
+10
U
+15
600
FREQ
U
HI
12kHz
-15
100Hz 8kHz
U
+15
HI
-15
MID
80Hz
U
MON 1
+10
MON 2
U
+15
LOW
-15
+15
U
+15
600
FREQ
100Hz 8kHz
U
80Hz
U
12kHz
-15
MAX
COMP
HI
-15
MID
LOW
-15
+15
+15
FREQ
100Hz 8kHz
U
80Hz
U
U
+15
600
OFF
U
12kHz
-15
MAX
COMP
HI
-15
MID
LOW
-15
+15
+15
FREQ
100Hz 8kHz
U
80Hz
U
U
+15
600
OFF
U
12kHz
-15
MAX
COMP
HI
-15
MID
LOW
80Hz
+15
+15
FREQ
100Hz 8kHz
U
LOW
-15
U
+15
600
OFF
U
12kHz
-15
+15
600
MAX
COMP
HI
-15
MID
-15
+15
600
OFF
U
12kHz
-15
MID
-15
MAX
COMP
HI
12kHz
-15
OFF
U
HI
WEIGHT
15.2 lb
6.9 kg
MAX
COMP
U
U
PRESETS
MON 3
+10
+10
FX MUTE
FX
U
+10
FX
FX
+10
FX
+10
FX
+10
FX
+10
FX
+10
FX
+10
FX
+10
FX
+10
FX
+10
FX
+10
FX
+10
+10
INPUTS
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
MAX
USB 1-2
BLEND
R
MAX
CONTROL
ROOM
PHONES
TO PHONES/
CONTROL ROOM
1
2
1-2
3-4
3
1-2
3-4
4
1-2
3-4
5
1-2
3-4
6
1-2
3-4
7
1-2
3-4
8
1-2
3-4
9/10
1-2
3-4
11/12
1-2
3-4
13/14
1-2
3-4
1-2
3-4
15/16
1-2
3-4
FX
BREAK
MUTES ALL CHANNELS
L-R
SUB1-2
L-R
SUB3-4
MAIN
1-2
3-4
L-R
L-R
L-R
L-R
L-R
L-R
L-R
L-R
L-R
L-R
L-R
L-R
PFL
SOLO
PFL
SOLO
PFL
SOLO
PFL
SOLO
PFL
SOLO
PFL
SOLO
PFL
SOLO
PFL
SOLO
PFL
SOLO
PFL
SOLO
PFL
SOLO
PFL
SOLO
17.7 in / 450 mm
Owner’s Manual
27
WEIGHT
19.8 lb
9.0 kg
4.4 in
112 mm
MIC/LINE
MIC/LINE
ONYX MIC PRE
MIC
ONYX MIC PRE
MIC
ONYX MIC PRE
MIC
ONYX MIC PRE
MIC
ONYX MIC PRE
MIC
ONYX MIC PRE
MIC
ONYX MIC PRE
MIC
ONYX MIC PRE
MIC
ONYX MIC PRE
MIC
ONYX MIC PRE
MIC
ONYX MIC PRE
MIC
ONYX MIC PRE
ONYX MIC PRE
MIC
ONYX MIC PRE
MIC
ONYX MIC PRE
(MONO)
OFF
ON
BAL/
UNBAL
ON
HI-Z
LINE IN 3
BAL/
UNBAL
LINE IN 4
BAL/
UNBAL
LINE IN 5
BAL/
UNBAL
LINE IN 6
BAL/
UNBAL
LINE IN 7
BAL/
UNBAL
LINE IN 8
BAL/
UNBAL
LINE IN 9
BAL/
UNBAL
BAL/
UNBAL
BAL/
UNBAL
BAL/
UNBAL
MIC
ONYX MIC PRE
LINE IN 11
LINE IN 12
LINE IN 13
LINE IN 14
INSERT
INSERT
INSERT
INSERT
INSERT
(MONO)
L
BAL/
UNBAL
LINE IN 10
BAL/
LINE IN 15 UNBAL
BAL/
UNBAL
LOW CUT
OFF
LOW CUT
LOW CUT
LOW CUT
ON
100Hz
R
LOW CUT
ON
100Hz
LINE IN 21/22
OFF
IN
U
+40
GAIN
LOW CUT
ON
100Hz
CG
MI
LEVEL
SET
+60
U
GAIN
BAL/
UNBAL
1
FOOT SWITCH
3
OFF
USB 3-4
U
GAIN
ON
BAL/
UNBAL
2
4
PHONES
SUB OUT
CG
MI
LEVEL
SET
+60
U
LEVEL
SET
AIN
CG
MI
LEVEL
SET
+60
-20
4
FX
AUX OUT
LINE IN 20
OFF
AIN
IC GA
U
+40
GAIN
BAL/
UNBAL
2
U
LEVEL
SET
+60
-20
L
BAL/
LINE IN 19 UNBAL
R
LINE IN 18
OFF
AIN
U
+40
GAIN
ON
100Hz
IC GA
IN
LEVEL
SET
+60
-20
LINE IN 16
OFF
U
IC GA
U
+40
GAIN
ON
100Hz
U
LEVEL
SET
+60
-20
IN
U
+40
GAIN
ON
100Hz
IC GA
IN
IN
IN
IN
IN
IN
LEVEL
SET
+60
-20
LOW CUT
U
IC GA
U
+40
GAIN
ON
100Hz
U
LEVEL
SET
+60
-20
ON
100Hz
IC GA
U
+40
GAIN
OFF
M
LOW CUT
U
LEVEL
SET
+60
-20
ON
100Hz
IC GA
U
+40
GAIN
OFF
M
LOW CUT
U
LEVEL
SET
+60
-20
ON
100Hz
IC GA
U
+40
GAIN
OFF
M
LOW CUT
U
LEVEL
SET
+60
-20
ON
100Hz
IC GA
U
+40
GAIN
OFF
M
LOW CUT
U
LEVEL
SET
+60
-20
ON
100Hz
IC GA
U
+40
GAIN
INSERT
OFF
M
LOW CUT
U
LEVEL
SET
+60
-20
IN
U
+40
GAIN
ON
100Hz
IC GA
IN
M
LOW CUT
U
LEVEL
SET
+60
-20
ON
100Hz
IC GA
U
+40
GAIN
INSERT
OFF
M
LOW CUT
U
IN
M
ON
100Hz
LEVEL
SET
+60
-20
INSERT
OFF
M
LOW CUT
U
IC GA
U
+40
IN
M
ON
100Hz
LEVEL
SET
+60
INSERT
OFF
M
LOW CUT
U
IC GA
GAIN
INSERT
OFF
M
ON
100Hz
U
INSERT
OFF
M
LOW CUT
-20
INSERT
OFF
M
INSERT
OFF
3
(MONO)
L
BAL/
LINE IN 17 UNBAL
R
INSERT
+60
L
-20
GAIN
R
BAL/
UNBAL
+20
POWER
CONTROL ROOM
GAIN
48V
MAIN
METERS
OFF
MAX
OFF
COMP
MAX
OFF
COMP
U
-15
U
+15
-15
U
+15
-15
17.1 in
434 mm
LOW
U
+10
U
U
PRE
U
+10
U
U
PRE
U
U
U
PRE
U
U
U
PRE
U
U
U
PRE
U
U
U
PRE
U
U
U
PRE
U
U
PRE
U
U
U
U
+10
U
U
U
U
U
U
U
U
U
U
PRE
+10
U
U
+10
U
U
+10
+10
PRE
U
+10
MON 2
+10
U
+10
MON 3
U
POST
U
MON 1
MON 2
+10
MON 3
+10
PRE
U
MON 1
MON 2
+10
POST
U
U
MON 1
MON 3
+10
R
AUX
MASTER
U
MON 2
+10
L
RUDE SOLO
80Hz
+15
MON 1
+10
POST
U
2.5kHz
LOW
-15
U
MON 3
+10
PRE
MID
+15
0dB=0dBu
OL
15
10
6
3
0
2
4
7
10
20
30
BRIGHT ROOM
WARM LOUNGE
SMALL STAGE
WARM THEATER
WARM HALL
CONCERT HALL
CATHEDRAL
SMALL PLATE
LARGE PLATE
CHORUS 1
CHORUS 2
DELAY + REVERB
DOUBLER
ECHO
DELAY 1
DELAY 2
DELAY 3
PING-PONG DELAY
OVERDRIVE/DISTORTION
SPRING REVERB
EARLY REFLECTIONS
AUTO-WAH
FLANGE
SLAPBACK REVERB
U
80Hz
MON 2
+10
+15
U
-15
LOW
+15
MON 1
+10
POST
-15
FREQ
U
MON 3
+10
+15
+15
600
-15
+15
MON 2
+10
U
MID
-15
80Hz
-15
MON 1
+10
U
-15
12kHz
100Hz 8kHz
U
LOW
80Hz
+15
MON 3
PRE
+15
FREQ
U
POST
U
U
+15
600
HI
12kHz
MID
-15
100Hz 8kHz
U
LOW
-15
MON 2
+10
+10
PRE
-15
FREQ
MON 1
+10
POST
+15
HI
12kHz
MID
U
MON 3
+10
U
+15
600
80Hz
+15
MON 2
+10
U
-15
-15
100Hz 8kHz
U
LOW
-15
MON 1
MON 3
PRE
+15
FREQ
U
POST
U
U
+15
600
80Hz
MON 2
+10
+10
PRE
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
U
HI
12kHz
MID
-15
+15
MON 1
+10
POST
-15
100Hz 8kHz
U
LOW
U
MON 3
+10
+15
FREQ
-15
+15
MON 2
+10
U
+15
600
U
U
HI
12kHz
MID
-15
80Hz
-15
MON 1
+10
U
-15
100Hz 8kHz
U
LOW
80Hz
MON 3
PRE
+15
FREQ
U
POST
U
U
+15
600
U
HI
12kHz
MID
-15
+15
MON 2
U
+10
U
-15
100Hz 8kHz
U
LOW
-15
MON 1
+10
POST
+15
U
HI
12kHz
FREQ
U
MON 3
+10
U
+15
600
80Hz
+10
U
HI
MID
-15
+15
MON 2
+10
POST
-15
100Hz 8kHz
U
LOW
-15
MON 1
+10
U
12kHz
FREQ
U
MON 3
+10
+15
+15
600
80Hz
MON 2
+10
U
MAX
COMP
HI
MID
-15
+15
MON 1
+10
POST
-15
100Hz 8kHz
U
LOW
-15
OFF
U
12kHz
FREQ
U
MON 3
+10
+15
+15
600
80Hz
MON 2
+10
U
MAX
COMP
HI
MID
-15
+15
MON 1
+10
POST
-15
100Hz 8kHz
U
LOW
-15
OFF
U
12kHz
FREQ
U
MON 3
+10
+15
+15
600
80Hz
MON 2
+10
U
MAX
COMP
HI
MID
-15
+15
MON 1
+10
POST
-15
100Hz 8kHz
U
LOW
-15
OFF
U
12kHz
FREQ
U
MON 3
+10
+15
+15
600
80Hz
MON 2
+10
U
MAX
COMP
HI
MID
-15
+15
MON 1
+10
POST
-15
100Hz 8kHz
U
LOW
-15
OFF
U
12kHz
FREQ
U
MON 3
+10
POST
+15
+15
600
80Hz
MON 2
+10
U
MAX
COMP
HI
MID
-15
+15
MON 1
MON 3
+10
POST
-15
100Hz 8kHz
U
LOW
-15
OFF
U
12kHz
FREQ
80Hz
MON 2
U
+15
+15
600
U
MON 3
+10
POST
PRE
U
+10
U
MAX
COMP
HI
MID
-15
LOW
MON 1
+10
MON 3
-15
100Hz 8kHz
U
+15
OFF
U
12kHz
FREQ
U
MON 2
+10
+15
+15
600
-15
+15
MON 1
MON 2
U
U
MAX
COMP
HI
MID
-15
80Hz
U
MON 1
U
-15
100Hz 8kHz
U
LOW
-15
+15
OFF
U
12kHz
FREQ
80Hz
-15
+15
+15
100Hz 8kHz
U
LOW
80Hz
-15
U
+15
600
FREQ
100Hz 8kHz
U
MAX
COMP
HI
MID
-15
+15
600
FREQ
OFF
U
12kHz
MID
-15
MAX
COMP
HI
12kHz
MID
+15
600
100Hz 8kHz
U
OFF
U
HI
12kHz
-15
MAX
COMP
U
HI
PRESETS
MON 3
+10
+10
FX MUTE
FX
U
+10
FX
FX
+10
FX
+10
FX
+10
FX
+10
FX
+10
FX
+10
FX
+10
FX
+10
FX
+10
FX
+10
FX
+10
FX
+10
FX
+10
FX
+10
FX
+10
FX
+10
FX
+10
+10
INPUTS
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
MAX
USB 1-2
BLEND
R
MAX
PHONES
CONTROL
ROOM
TO PHONES/
CONTROL ROOM
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15/16
17/18
19/20
21/22
1-2
1-2
1-2
1-2
1-2
1-2
1-2
1-2
1-2
1-2
1-2
1-2
1-2
1-2
1-2
1-2
1-2
1-2
3-4
3-4
3-4
3-4
3-4
3-4
3-4
3-4
3-4
3-4
3-4
3-4
3-4
3-4
3-4
3-4
3-4
3-4
L-R
L-R
L-R
L-R
L-R
L-R
L-R
L-R
L-R
L-R
L-R
L-R
L-R
L-R
L-R
L-R
L-R
L-R
PFL
SOLO
PFL
SOLO
PFL
SOLO
PFL
SOLO
PFL
SOLO
PFL
SOLO
PFL
SOLO
PFL
SOLO
PFL
SOLO
PFL
SOLO
PFL
SOLO
PFL
SOLO
PFL
SOLO
PFL
SOLO
PFL
SOLO
PFL
SOLO
PFL
SOLO
PFL
SOLO
24.1 in
612 mm
28
MIC
ONYX MIC PRE
1
OFF
HI-Z
IN
ProFXv3 Professional Effects Mixer with USB
ProFX22v3 Dimensions
ProFXv3 Professional Effects Mixer with USB
1-2
3-4
FX
BREAK
MUTES ALL CHANNELS
L-R
SUB1-2
L-R
SUB3-4
MAIN
Owner’s Manual
ProFX30v3 Dimensions
WEIGHT
26.5 lb
12.0 kg
4.4 in
112 mm
MIC/LINE
MIC/LINE
ONYX MIC PRE
MIC
ONYX MIC PRE
MIC
ONYX MIC PRE
MIC
ONYX MIC PRE
MIC
ONYX MIC PRE
MIC
ONYX MIC PRE
MIC
ONYX MIC PRE
MIC
ONYX MIC PRE
MIC
ONYX MIC PRE
MIC
ONYX MIC PRE
MIC
ONYX MIC PRE
MIC
ONYX MIC PRE
MIC
ONYX MIC PRE
MIC
ONYX MIC PRE
MIC
ONYX MIC PRE
MIC
ONYX MIC PRE
MIC
ONYX MIC PRE
MIC
ONYX MIC PRE
MIC
ONYX MIC PRE
MIC
ONYX MIC PRE
MIC
ONYX MIC PRE
ONYX MIC PRE
MIC
MIC
ONYX MIC PRE
ONYX MIC PRE
(MONO)
(MONO)
MIC
ONYX MIC PRE
BAL/
UNBAL
1
OFF
OFF
ON
HI-Z
BAL/
UNBAL
ON
HI-Z
BAL/
UNBAL
BAL/
UNBAL
BAL/
UNBAL
BAL/
UNBAL
BAL/
UNBAL
BAL/
UNBAL
BAL/
UNBAL
BAL/
UNBAL
BAL/
UNBAL
BAL/
UNBAL
BAL/
UNBAL
BAL/
UNBAL
BAL/
UNBAL
BAL/
UNBAL
BAL/
UNBAL
BAL/
UNBAL
BAL/
UNBAL
BAL/
UNBAL
L
BAL/
UNBAL
LINE IN 3
LINE IN 4
LINE IN 5
LINE IN 6
LINE IN 7
LINE IN 8
LINE IN 9
LINE IN 10
LINE IN 11
LINE IN 12
LINE IN 13
LINE IN 14
LINE IN 15
LINE IN 16
LINE IN 17
LINE IN 18
LINE IN 19
LINE IN 20
LINE IN 21
LINE IN 22
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
BAL/
LINE IN 23 UNBAL
R
OFF
LOW CUT
ON
R
OFF
LOW CUT
ON
100Hz
GAIN
CG
MI
LEVEL
SET
+60
-20
U
+40
LINE IN 29/30
OFF
LOW CUT
ON
100Hz
CG
MI
LEVEL
SET
+60
U
4
FOOT SWITCH
FX
AUX OUT
BAL/
UNBAL
1
3
LINE IN 28
OFF
USB 3-4
U
GAIN
GAIN
GAIN
U
U
U
U
BAL/
UNBAL
2
4
PHONES
U
LEVEL
SET
+60
GAIN
ON
SUB OUT
CG
MI
LEVEL
SET
+60
AIN
GAIN
OFF
LOW CUT
100Hz
IC GA
U
+40
BAL/
UNBAL
2
U
LEVEL
SET
+60
-20
ON
100Hz
IC GA
U
+40
L
BAL/
LINE IN 27 UNBAL
R
LINE IN 26
AIN
GAIN
OFF
LOW CUT
U
LEVEL
SET
+60
-20
ON
100Hz
IC GA
U
+40
IN
GAIN
OFF
LOW CUT
U
LEVEL
SET
+60
-20
ON
100Hz
IC GA
U
+40
LINE IN 24
AIN
GAIN
OFF
LOW CUT
U
LEVEL
SET
+60
-20
ON
100Hz
IC GA
U
+40
IN
GAIN
ON
U
LEVEL
SET
+60
-20
M
OFF
LOW CUT
100Hz
IC GA
U
+40
IN
GAIN
ON
U
LEVEL
SET
+60
-20
M
OFF
LOW CUT
100Hz
IC GA
U
+40
IN
GAIN
ON
U
LEVEL
SET
+60
-20
M
OFF
LOW CUT
100Hz
IC GA
U
+40
IN
GAIN
ON
U
LEVEL
SET
+60
-20
M
OFF
LOW CUT
100Hz
IC GA
U
+40
IN
GAIN
ON
U
LEVEL
SET
+60
-20
M
OFF
LOW CUT
100Hz
IC GA
U
+40
IN
GAIN
ON
U
LEVEL
SET
+60
-20
M
OFF
LOW CUT
100Hz
IC GA
U
+40
IN
GAIN
ON
U
LEVEL
SET
+60
-20
M
OFF
LOW CUT
100Hz
IC GA
U
+40
IN
GAIN
ON
U
LEVEL
SET
+60
-20
M
OFF
LOW CUT
100Hz
IC GA
U
+40
IN
GAIN
ON
U
LEVEL
SET
+60
-20
M
OFF
LOW CUT
100Hz
IC GA
U
+40
IN
GAIN
ON
U
LEVEL
SET
+60
-20
M
OFF
LOW CUT
100Hz
IC GA
U
+40
IN
GAIN
ON
U
LEVEL
SET
+60
-20
M
OFF
LOW CUT
100Hz
IC GA
U
+40
IN
GAIN
ON
U
LEVEL
SET
+60
-20
M
OFF
LOW CUT
100Hz
IC GA
U
+40
IN
GAIN
ON
U
LEVEL
SET
+60
-20
M
OFF
LOW CUT
100Hz
IC GA
U
+40
IN
GAIN
ON
U
LEVEL
SET
+60
-20
IN
M
OFF
LOW CUT
100Hz
IC GA
U
+40
IN
GAIN
ON
U
LEVEL
SET
+60
-20
IN
M
OFF
LOW CUT
100Hz
IC GA
U
+40
IN
IN
GAIN
ON
U
LEVEL
SET
+60
-20
M
OFF
LOW CUT
100Hz
IC GA
U
+40
IN
IN
M
ON
U
LEVEL
SET
+60
M
OFF
LOW CUT
U
IC GA
M
ON
100Hz
U
M
OFF
LOW CUT
-20
M
INSERT
M
INSERT
3
(MONO)
L
BAL/
LINE IN 25 UNBAL
L
-20
R
BAL/
UNBAL
+20
POWER
CONTROL ROOM
GAIN
48V
MAIN
METERS
OFF
OFF
MAX
COMP
MAX
OFF
COMP
U
U
+15
U
+15
17.1 in
434 mm
+15
600
100Hz 8kHz
U
100Hz 8kHz
U
LOW
+15
U
U
U
U
MON 3
U
U
U
U
U
MON 3
+10
U
U
MON 3
+10
U
U
MON 3
+10
U
U
MON 3
+10
U
U
U
U
U
MON 3
+10
U
U
MON 3
+10
U
U
MON 3
+10
U
U
MON 3
+10
U
U
U
U
MON 3
+10
U
U
U
U
U
U
MON 3
+10
U
U
MON 3
+10
U
U
U
U
U
POST
POST
POST
POST
POST
POST
POST
POST
POST
POST
POST
POST
POST
POST
POST
POST
POST
POST
POST
POST
POST
POST
POST
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
MON 1
+10
U
+10
MON 2
U
MON 2
+10
U
+10
MON 3
+10
POST
PRE
U
U
+10
MON 3
+10
POST
U
MON 1
+10
MON 2
+10
MON 3
+10
U
MON 1
+10
PRE
U
U
MON 2
U
R
AUX
MASTER
+15
-15
MON 1
+10
+10
MON 3
+10
80Hz
U
MON 2
U
L
RUDE SOLO
LOW
U
MON 3
+10
2.5kHz
+15
-15
0dB=0dBu
OL
15
10
6
3
0
2
4
7
10
20
30
BRIGHT ROOM
WARM LOUNGE
SMALL STAGE
WARM THEATER
WARM HALL
CONCERT HALL
CATHEDRAL
SMALL PLATE
LARGE PLATE
CHORUS 1
CHORUS 2
DELAY + REVERB
DOUBLER
ECHO
DELAY 1
DELAY 2
DELAY 3
PING-PONG DELAY
OVERDRIVE/DISTORTION
SPRING REVERB
EARLY REFLECTIONS
AUTO-WAH
FLANGE
SLAPBACK REVERB
U
80Hz
MON 1
U
+10
MON 3
+10
MID
+15
LOW
U
+10
+15
U
-15
100Hz 8kHz
U
+15
-15
12kHz
-15
FREQ
80Hz
MON 2
+10
+15
+15
600
LOW
MON 1
+10
U
MID
-15
FREQ
U
HI
12kHz
-15
MID
100Hz 8kHz
U
+15
-15
MON 2
+10
+15
80Hz
MON 1
+10
U
+15
600
LOW
U
MON 3
+10
+15
-15
MON 2
U
100Hz 8kHz
U
HI
12kHz
-15
-15
FREQ
80Hz
MON 1
U
+10
+15
+15
600
LOW
U
+10
U
MID
-15
FREQ
POST
U
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
U
HI
12kHz
-15
MID
100Hz 8kHz
U
+15
-15
MON 2
+10
+15
80Hz
MON 1
+10
U
+15
600
LOW
U
MON 3
+10
+15
-15
MON 2
+10
100Hz 8kHz
U
HI
12kHz
-15
-15
FREQ
80Hz
MON 1
+10
+15
+15
600
LOW
U
MON 3
+10
+15
-15
U
MID
-15
100Hz 8kHz
U
HI
12kHz
-15
FREQ
80Hz
MON 2
+10
+15
+15
600
LOW
MON 1
+10
U
MID
-15
FREQ
U
HI
12kHz
-15
MID
100Hz 8kHz
U
+15
-15
MON 2
+10
+15
80Hz
MON 1
+10
U
+15
600
LOW
U
MON 3
+10
+15
-15
MON 2
+10
100Hz 8kHz
U
HI
12kHz
-15
-15
FREQ
80Hz
MON 1
+10
+15
+15
600
LOW
U
MON 2
+10
100Hz 8kHz
U
+15
-15
U
MID
-15
FREQ
U
HI
12kHz
-15
MID
80Hz
MON 1
+10
+15
LOW
U
MON 2
+10
100Hz 8kHz
U
+15
-15
U
+15
600
U
HI
12kHz
-15
-15
FREQ
80Hz
MON 1
+10
+15
+15
600
LOW
U
MON 2
+10
100Hz 8kHz
U
+15
-15
U
MID
-15
FREQ
U
HI
12kHz
-15
MID
80Hz
MON 1
+10
+15
LOW
U
MON 2
+10
MON 3
+10
+15
-15
U
+15
600
U
HI
12kHz
-15
FREQ
100Hz 8kHz
U
U
HI
-15
MID
80Hz
MON 1
+10
+15
LOW
U
MON 2
+10
MON 3
+10
+15
-15
U
+15
600
FREQ
100Hz 8kHz
U
U
12kHz
-15
MAX
COMP
HI
-15
MID
80Hz
MON 1
+10
+15
LOW
U
MON 2
U
100Hz 8kHz
U
+15
-15
U
+15
600
FREQ
OFF
U
12kHz
-15
MAX
COMP
HI
-15
MID
80Hz
MON 1
+10
+10
+15
LOW
U
MON 2
+10
100Hz 8kHz
U
+15
-15
U
+15
600
FREQ
OFF
U
12kHz
-15
MAX
COMP
HI
-15
MID
80Hz
MON 1
+10
+15
LOW
U
MON 2
+10
100Hz 8kHz
U
+15
-15
U
+15
600
FREQ
OFF
U
12kHz
-15
MAX
COMP
HI
-15
MID
80Hz
MON 1
+10
+15
LOW
U
MON 2
+10
100Hz 8kHz
U
+15
-15
U
+15
600
FREQ
OFF
U
12kHz
-15
MAX
COMP
HI
-15
MID
80Hz
MON 1
+10
+15
LOW
U
MON 2
+10
100Hz 8kHz
U
+15
-15
U
+15
600
FREQ
OFF
U
12kHz
-15
MAX
COMP
HI
-15
MID
80Hz
MON 1
+10
MON 3
+10
+15
+15
LOW
U
MON 2
+10
100Hz 8kHz
U
80Hz
-15
U
+15
600
FREQ
OFF
U
12kHz
-15
MAX
COMP
HI
-15
MID
LOW
MON 1
+10
MON 3
+10
+15
MON 2
+10
100Hz 8kHz
U
80Hz
-15
+15
+15
600
OFF
U
12kHz
U
MAX
COMP
HI
-15
-15
FREQ
LOW
MON 1
+10
+15
MID
U
MON 2
+10
MON 3
+10
+15
MON 1
+10
100Hz 8kHz
U
80Hz
-15
U
+15
600
FREQ
OFF
U
12kHz
-15
MAX
COMP
HI
-15
MID
U
MON 2
U
+15
LOW
U
MON 2
+10
100Hz 8kHz
U
+15
-15
U
+15
600
FREQ
OFF
U
12kHz
-15
MAX
COMP
HI
-15
MID
80Hz
MON 1
+10
+15
LOW
U
MON 1
U
100Hz 8kHz
U
+15
-15
U
+15
600
FREQ
OFF
U
12kHz
-15
MAX
COMP
HI
-15
MID
80Hz
U
U
+15
LOW
80Hz
-15
U
+15
600
FREQ
OFF
U
12kHz
-15
MAX
COMP
HI
-15
MID
-15
FREQ
OFF
U
12kHz
-15
MID
+15
600
MAX
COMP
HI
12kHz
-15
OFF
U
HI
-15
MAX
COMP
U
U
PRESETS
MON 3
+10
+10
FX MUTE
FX
U
+10
FX
FX
+10
FX
+10
FX
+10
FX
+10
FX
+10
FX
+10
FX
+10
FX
+10
FX
+10
FX
+10
FX
+10
FX
+10
FX
+10
FX
+10
FX
+10
FX
+10
FX
+10
FX
+10
FX
+10
FX
+10
FX
+10
FX
+10
FX
+10
FX
+10
FX
+10
+10
INPUTS
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
MAX
USB 1-2
BLEND
R
MAX
CONTROL
ROOM
PHONES
TO PHONES/
CONTROL ROOM
1
2
1-2
3-4
3
1-2
3-4
4
1-2
3-4
5
1-2
3-4
6
1-2
3-4
7
1-2
3-4
8
1-2
3-4
9
1-2
3-4
10
1-2
3-4
11
1-2
3-4
12
1-2
3-4
13
1-2
3-4
14
1-2
3-4
15
1-2
3-4
16
1-2
3-4
17
1-2
3-4
18
1-2
3-4
19
1-2
3-4
20
1-2
3-4
21
1-2
3-4
22
1-2
3-4
23/24
1-2
3-4
1-2
3-4
25/26
1-2
3-4
27/28
1-2
3-4
29/30
1-2
3-4
FX
BREAK
MUTES ALL CHANNELS
L-R
SUB1-2
L-R
SUB3-4
MAIN
1-2
3-4
L-R
L-R
L-R
L-R
L-R
L-R
L-R
L-R
L-R
L-R
L-R
L-R
L-R
L-R
L-R
L-R
L-R
L-R
L-R
L-R
L-R
L-R
L-R
L-R
L-R
L-R
PFL
SOLO
PFL
SOLO
PFL
SOLO
PFL
SOLO
PFL
SOLO
PFL
SOLO
PFL
SOLO
PFL
SOLO
PFL
SOLO
PFL
SOLO
PFL
SOLO
PFL
SOLO
PFL
SOLO
PFL
SOLO
PFL
SOLO
PFL
SOLO
PFL
SOLO
PFL
SOLO
PFL
SOLO
PFL
SOLO
PFL
SOLO
PFL
SOLO
PFL
SOLO
PFL
SOLO
PFL
SOLO
PFL
SOLO
32.3 in
820 mm
Owner’s Manual
29
ProFXv3 Professional Effects Mixer with USB
Mono Channel
2CH
Mic/Line/Line-Hi-Z
Line
Mic
LINE IN
5/6
4
5
2
3
1
AC 100-240V
USB4
USB3
Stereo Chancel
LINE IN 4
R
LINE IN 3
L (MONO)
Stereo Chancel
Combo
Phantom Power
Mono Channel
1CH
Mic/Line/Line-Hi-Z
Line
Mic
Combo
Phantom Power
POWER Adapter
TRS 1/8"
TRS 1/4"
Phantom Power
(To All Mics)
Line
Hi-Z
Line
Hi-Z
1
3
2
100Hz
low cut
low cut in
Level set
low cut in
POWER SWITCH
Mic: 0 to +60dB
Line: -20 to +40dB
Mic: 0 to +60dB
Line: -20 to +40dB
POWER JACK
Select
Gain
Gain
100Hz
low cut
Level set
80
Lo
80
2-Band EQ
12k
HI
2-Band EQ
12k
Hi
DC TO DC POWER BOARD
OFF
ON
OFF
ON
Lo
+15V
-15V
+48V
+5V
GND
CH LEVEL
CH LEVEL
CH LEVEL
CH LEVEL
CH LEVEL
VCC
GND
Power Led
FX
FX
OFF
ON
STEREO
PAN
OFF
ON
FX
FX
48V
OFF
ON
DIRECT MON
DIRECT MON
Global 48v
Switch/LED
Main R
Main R
Main L
Main L
CH1-4
USB2
USB1
USB4
USB3
USB2
USB1
USB IN R
USB IN L
FX LEVEL
VCC
OFF
ON
USB AUDIO
up to 192k/24bit
FX MUTE
VCC
OFF
ON
DIRECT MON
Main Meters
TO PHONES /CR
FX ByPass
Logic
OFF
ON
Main LEVEL
Out R
FX module
Out L
Note:Switch are shown in the default (out) position
Out
In
DIRECT MON BLEND
OFF
ON
BREAK
Mutcs all channcls
USB_IN_R
USB_IN_L
FX
Preset Selecter
Display
Preset Select
PHONES LEVEL
4
5
2
3
1
4
5
2
3
1
PHONES
Right
Main Output
Left
ProFXv3 Professional Effects Mixer with USB
In
30
ProFX6v3 Block Diagram
Line
5
2
3
1
POWER ADAPTER
USB4
USB3
TRS 1/8"
Stereo Channel
9-10CH
4
TRS 1/4"
R
4
5
2
3
1
5
2
3
1
Stereo Channel
5-8CH
4
L
AC 100-240V
Line
Mono Channel
3-4CH
Mic /Line
TRS
Mic
XLR
Phantom Power
Mono Channel
1-2CH
Mic/Line/Line-Hi-Z
Mic
Combo
Phantom Power
OFF
ON
select
Gain
POWER JACK
1
3
2
Mic: 0 to +60dB
Line: -20 to +40dB
Line
Hi-Z
100Hz
low cut
100Hz
low cut
4
5
2
3
1
2.5k
80
2.5k
80
12k
2.5k
Mid
2.5k
80
Hi
12k
CH LEVEL
+15V
-15V
+48V
+5V
GND
Mute Switch/LED
CH LEVEL
CH LEVEL
Mute Switch/LED
CH LEVEL
Mute Switch/LED
Mute Switch/LED
3-Band EQ
Mid
Lo
Hi
12k
3-Band EQ
INSERT
80
Lo
Power Led
CH FX
PAN
CH FX
PAN
CH FX
PAN
CH FX
PAN
Main L
Main L
INSERT
FX
FX
4
5
2
3
1
DC TO DC POWER BOARD
3-Band EQ
Mid
Lo
Hi
12k
3-Band EQ
Mid
Lo
Hi
COMP
low cut in
Level set
low cut in
POWER SWITCH
Line: -20 to +40dB
Mic: 0 to +60dB
Gain
Level set
Main R
Main R
Phantom Power
(To All Mics)
DIRECT MON
DIRECT MON
Global 48v
Switch/LED
CH 1-8
USB2
USB1
USB in R
USB in L
USB_in_R
USB_in_L
Out
In
USB AUDIO
up to 192k/24bit
FX LEVEL
DIRECT MON TO PHONES/CR
PHONES LEVEL
CR LEVEL
Main Meters
Note: Switch are shown in the default (out) position.
USB4
USB3
USB2
USB1
Main LEVEL
DIRECT MON BLEND
Break switch
FX MUTE
OFF
ON
FX Bypass
Logic
Out R
FX module
Out L
In
4
5
2
3
1
4
5
2
3
1
4
5
2
3
1
4
5
2
3
1
4
5
2
3
1
Phones
Right
Control Room
Out
Left
FX
Preset Select
Display
Preset Select
Footswitch
4
5
2
3
1
4
5
2
3
1
FX Send
Right
Main Output
Left
Owner’s Manual
ProFX10v3 Block Diagram
Owner’s Manual
31
ProFXv3 Professional Effects Mixer with USB
Line
Line
AC MALE
AC IN
AC 100-240V
USB4
USB3
TRS 1/8"
GAIN
4
5
2
3
1
4
5
2
3
1
4
5
2
3
1
G
Mic:0t o +60dB
Stereo Channel
11-12CH
TRS 1/4"
R
L
5-10CH
Stereo Channel
Mono Channel
3-4CH
Mic/Line
TRS
Mic
XLR
Phantom Power
Mono Channel
1-2CH
Mic/Line/Line-Hi-Z
Mic
Combo
Phantom Power
OFF
ON
OFF
ON
low cut In
OFF
ON
select
100Hz
low cut
100Hz
low cut
100Hz
low cut
COMP
COMP
80
Lo
80
Hi
Hi
12k
2.5k
Mid
12k
12k
Hi
Hi
POWER BOARD
Hi
VCC
+15V
-15V
+48V
+5V
GND
Mute Switch/LED
VCC
CH FADER
CH FADER
CH FADER
Mute Switch/LED
VCC
Mute Switch/LED
VCC
VCC
CH FADER
Mute Switch/LED
INSERT
3-Band EQ
2.5k
Mid
Hi
INSERT
3-Band EQ
12k
80
Lo
4
5
2
3
1
80
Lo
4
5
2
3
1
2.5k 12k
3-Band EQ
Mid
2.5k
Mid
2.5k 12k
3-Band EQ
Mid
2.5k
Mid
80
Lo
80
Lo
Level set
Lo
OFF
ON
low cut In
Level set
OFF
ON
low cut In
Level set
POWER SWITCH
Line: -20 to +20dB
Gain
Mic:0 to +60dB
Gain
Line
Hi-Z
Line: -20 to +40dB
Mic:0t o +60dB
Gain
Phantom Power
(To All Mics)
Power Led
PAN
PAN
PAN
PAN
SUB1_2
L/R
1
2 SUB
1
SUB 2
L Main
R
Main L
R
MON1
CH FX
SUB1_2
L/R
MON1
CH FX
SUB1_2
L/R
SOLO
SOLO
MON1
CH FX
SUB1_2
L/R
SOLO
MON1
CH FX
SOLO
USB2
USB1
CH 1-10
SOLO
SOLO
FX
FX
Global 48v
Switch/LED
MON1
DIRECT_MON
MON1
DIRECT_MON
USB4
USB3
USB2
USB1
USB_in_R
Out
In
FX TO MON1
USB_in_L
FX TO SUB1_2
DIRECT MON
BLEND
AUX MASTER
LEVEL
SUB1-2
FADER
Main
FADER
FX FADER
Main Meters
RUDE SOLO LED
PFL SOLO Logic
USB AUDIO
up to 192k/24bit
PFL_R
PFL_L
DIRECT MON
TO PHONES/CR
SUB1/2 TO L/R
Note: Switch are shown in the default (out) position.
VCC
Break switch
USB_in_R
USB_in_L
PHONES LEVEL
VCC
FX Bypass
Logic
CR LEVEL
FX MUTE
OFF
ON
Out L
FX module
Out R
Footswitch
4
5
2
3
1
FX SEND
Phones
Out
Right
Control Room
Out
Left
MON SEND
SUB2
SUB1-2 OUT
SUB1
Right
Main Output
Left
Preset Select
FX
Preset Select
Display
4
5
2
3
1
4
5
2
3
1
4
5
2
3
1
4
5
2
3
1
4
5
2
3
1
4
5
2
3
1
4
5
2
3
1
4
5
2
3
1
4
5
2
3
1
ProFXv3 Professional Effects Mixer with USB
In
32
ProFX12v3 Block Diagram
4
5
2
3
1
Phantom Power
(To All Mics)
Phantom Power
Gain
Combo
INSERT
SOLO
Mid
Lo
low cut
Hi
PAN
100Hz
OFF
ON
low cut in
80
SUB1/2
100Hz~8K 12k
Line
CH FX
3-Band EQ
Line: -20 to +40dB
MON3
MON1
Line
Hi-Z
MON2
Mute Switch/LED
Level set
4
5
2
3
1
Phantom Power
INSERT
SOLO
Gain
XLR
Mid
Lo
low cut
Hi
PAN
L/R
COMP
Mic
PROFX16v3
3-8CH
Mic/Line
POST
PRE
VCC
Mono Channel
1-2CH
Mic/Line/Line-Hi-Z
Mono Channel
100Hz
OFF
ON
low cut In
80
SUB1/2
100Hz~8K 12k
TRS
Mic: 0 to +60dB
Line
POST
PRE
VCC
PROFX22v3 only CH3-12 include COMP
PROFX30v3 only CH3-16 include COMP
PROFX30v3
3-22CH
Mic/Line
CH FX
3-Band EQ
Line: -20 to +40dB
M
SUB3/4
CH FADER
PROFX22v3
3-14CH
Mic/Line
VCC
SUB3/4
CH FADER
Mic: 0 to +60dB
Break sw
L/R
COMP
Mic
1
2 MON
3
DIRECT MON
SOLO
SUB
Level set
OFF
ON
FX
Main
L
R
1
2
3
4
Global 48v
Switch/LED
Owner’s Manual
ProFX16v3 • ProFX22v3 • ProFX30v3 Block Diagram
MON3
M
MON1
MON2
Mute Switch/LED
Level set
GAIN
Stereo Channel
Mic:0 to +60dB
Mono
R
PROFX30v3
23-28CH
Mic/Line
OFF
ON
low cut In
Mid
Lo
4
5
2
3
1
L
PROFX22v3
15-20CH
Mic/Line
SOLO
low cut
100Hz
PROFX16v3
9-14CH
Mic/Line
M
80
PAN
Hi
DIRE
BLEN
USB1
L/R
USB2
SUB1/2
100Hz~8K 12k
SUB3/4
CH FADER
4
5
2
3
1
Mid
Lo
80
TRS 1/4"
Hi
INPUTS
CH FX
MON3
POST
PRE
VCC
100Hz~8K 12k
MON1
3-Band EQ
MON2
Mute Switch/LED
SOLO
Stereo Channel
PROFX16v3
15-16CH
Line
select
4
5
2
3
1
OFF
ON
USB3
-20 to +20dB
USB4
PROFX30v3
29-30CH
Line
Mid
Hi
80
2.5k
12k
PAN
L/R
FX
SUB1/2
FX
SUB3/4
TRS 1/8"
PROFX22v3
21-22CH
Line
Lo
Gain
Lo
Mid
Hi
80
2.5k
12k
3-Band EQ
CH FADER
CH FX
POST
PRE
VCC
MON3
MON1
MON2
Mute Switch/LED
1
MON 2
3
DIRECT_MON
SOLO
Power Led
FX
VCC
1
2
3
4
POWER BOARD
SUB
AC MALE
G
+15V
-15V
+48V
+5V
GND
L
R
AC IN
AC 100-240V
Main
POWER SWITCH
Note: Sw
Owner’s Manual
33
SUB
FX
Main
L
R
1
2 MON
3
DIRECT MON
SOLO
Left
USB in R
SOLO
Break switch
L/R
Right
VCC
SUB3/4
4
5
2
3
1
CH FX
MON3
SUB1/2
FADER
MON1
SUB1/2 TO L/R
L/R
SUB3/4 TO L/R
MON1 LEVEL
CH FX
MON3
MON2 LEVEL
MON1
MON2
MON3 LEVEL
USB1
L/R
DIRECT MON
TO PHONES/CR
DIRECT MON
BLEND
RUDE SOLO LED
USB2
SUB3/4
INPUTS
PFL_R
PFL SOLO Logic
MON1
SUB3/4 OUT
Main Meters
4
5
2
3
1
AUX1 OUT
4
5
2
3
1
AUX2 OUT
4
5
2
3
1
AUX3 OUT
Left
Control Room
Out
Right
4
5
2
3
1
MON2
FX LEVEL
SUB4
4
5
2
3
1
CR LEVEL
PFL_L
MON3
POST
PRE
SUB3
4
5
2
3
1
SUB1/2
CH FX
SUB2
4
5
2
3
1
SUB1/2
SUB3/4
SUB1/2 OUT
4
5
2
3
1
SUB3-4
FADER
SOLO
SUB1
4
5
2
3
1
MON2
SOLO
PAN
Main Output
4
5
2
3
1
Main
FADER
SUB1/2
PAN
POST
PRE
4
5
2
3
1
USB in L
PAN
POST
PRE
1
2
3
4
ProFXv3 Professional Effects Mixer with USB
ProFX16v3 • ProFX22v3 • ProFX30v3 Block Diagram
PHONES LEVEL
Phones
Out
4
5
2
3
1
SOLO
AUX4/FX
OUT
FX FADER
L/R
Preset Select
FX TO SUB1/2
SUB1/2
Out L
FX TO SUB3/4
SUB3/4
FX module
Out R
FX TO MON1
CH FX
POST
PRE
In
PAN
FX
Preset Select
Display
FX TO MON2
MON3
FX Bypass
Logic
FX TO MON3
MON1
MON2
USB in L
USB in R
VCC
In
OFF
ON
Footswitch
FX MUTE
Power Led
USB AUDIO
up to 192k/24bit
1
2
3
DIRECT_MON
SOLO
SUB
MON
1
2
3
4
FX
L
R
Main
USB1
USB2
USB3
Out
USB4
Note: Switch are shown in the default (out) position.
34
ProFXv3 Professional Effects Mixer with USB
4
5
2
3
1
Owner’s Manual
ProFX6v3 Track Sheet
USB 3-4
USB 1-2
Owner’s Manual
35
ProFXv3 Professional Effects Mixer with USB
ProFX10v3 Track Sheet
USB 3-4
USB 1-2
MUTE
36
MUTE
MUTE
ProFXv3 Professional Effects Mixer with USB
MUTE
MUTE
MUTE
MUTE
LINE IN 3
Owner’s Manual
ProFX12v3 Track Sheet
LINE IN 4
USB 3-4
+60
GAIN
U
+60
GAIN
LEVEL
SET
C GAI
MI
N
U
LEVEL
SET
C GAI
MI
N
N
C GAI
MI
U
LEVEL
SET
+60
GAIN
USB 1-2
BLEND
TO PHONES/
CONTROL RM
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
Owner’s Manual
37
ProFXv3 Professional Effects Mixer with USB
ProFX16v3 • ProFX22v3 • ProFX30v3 Track Sheet
MIC
ONYX MIC PRE
BAL/
UNBAL
LINE IN 3
MUTE
38
MIC
ONYX MIC PRE
MUTE
MUTE
MIC
ONYX MIC PRE
BAL/
UNBAL
LINE IN 4
MUTE
MIC
ONYX MIC PRE
BAL/
UNBAL
BAL/
UNBAL
LINE IN 5
LINE IN 6
MUTE
MUTE
ProFXv3 Professional Effects Mixer with USB
MIC
ONYX MIC PRE
MIC
ONYX MIC PRE
BAL/
UNBAL
LINE IN 7
MUTE
MIC
ONYX MIC PRE
BAL/
UNBAL
LINE IN 8
MUTE
MIC
ONYX MIC PRE
BAL/
UNBAL
LINE IN 9
MUTE
MIC
ONYX MIC PRE
BAL/
UNBAL
MIC
ONYX MIC PRE
BAL/
UNBAL
MIC
ONYX MIC PRE
BAL/
UNBAL
MIC
ONYX MIC PRE
BAL/
UNBAL
MIC
ONYX MIC PRE
BAL/
UNBAL
MIC
ONYX MIC
BAL/
UNBAL
LINE IN 10
LINE IN 11
LINE IN 12
LINE IN 13
LINE IN 14
LINE IN 15
LINE IN 16
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MIC
ONYX MIC PRE
AL/
BAL
MIC
ONYX MIC PRE
BAL/
UNBAL
LINE IN 15
MIC
ONYX MIC PRE
BAL/
UNBAL
LINE IN 16
MIC
ONYX MIC PRE
BAL/
UNBAL
LINE IN 17
MIC
ONYX MIC PRE
BAL/
UNBAL
LINE IN 18
MIC
ONYX MIC PRE
BAL/
UNBAL
LINE IN 19
MIC
ONYX MIC PRE
BAL/
UNBAL
LINE IN 20
MIC
ONYX MIC PRE
BAL/
UNBAL
LINE IN 21
MIC
ONYX MIC PRE
MIC
ONYX MIC PRE
Owner’s Manual
E
ProFX16v3 • ProFX22v3 • ProFX30v3 Track Sheet
MIC
ONYX MIC PRE
BAL/
UNBAL
LINE IN 22
USB 3-4
+60
GAIN
LEVEL
SET
U
+60
GAIN
LEVEL
SET
C GAI
MI
N
U
C GAI
MI
N
N
C GAI
MI
U
LEVEL
SET
+60
GAIN
USB 1-2
BLEND
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
TO PHONES/
CONTROL ROOM
Owner’s Manual
39
ProFXv3 Professional Effects Mixer with USB
Appendix C: USB 3/4 Return Setup
Introduction
ProFXv3 mixers allow you to send audio from
the computer into either the USB 1/2 Blend Mix
or the 3/4 Main Mix. USB 1/2 is most useful for
overdubbing when recording, while 3/4 is typically
used for backing tracks, streaming or game audio.
When connected to a computer, the ProFXv3
defaults to USB 1/2. To change this to USB 3/4,
the computer's settings will need to be changed.
Here we cover basic Windows and Mac setup
applications that use the system's audio settings.
Some DAWs and other streaming applications
have their own settings that may override
system settings. If so, please review their
documentation on how to make changes
to the DAW / app.
Windows
1. Download the USB driver from the Mackie website.
2. Follow the installation instructions to install
the driver.
3. Right-click on the speaker icon located on the task
bar.
4. Select Sound Settings.
5. Under “Choose Your Output Device”, select
ProFX 3-4 from the dropdown menu.
6. On the mixer, be sure the USB 3/4 button
is engaged (down) on the last channel.
7. On the ProFX12v3 (and larger) mixers, engage
the LR routing button located next to the fader.
This will send the signal to the main mix.
8. Turn up the channel fader to unity, then slowly
turn up the main mix fader.
You will know this worked if the main meters
illuminate and you hear PC audio through the device
connected to the main outputs.
40
ProFXv3 Professional Effects Mixer with USB
Mac
A driver download is not necessary on a Mac. However, some parameters will still need to be changed
within macOS.
1. Open the Audio MIDI Setup app using the Spotlight
search (Command + Spacebar).
2. Right-click on the device and select the ProFXv3
mixer in “Use This Device For Sound Input”,
as well as “Use This Device For Sound Output”.
3. Select the ‘Configure Speakers’ button and be sure
it is set to ‘Stereo’.
4. Change the Left and Right options to Analog 3
and 4, then tap ‘Apply’.
5. On the mixer, be sure the USB 3/4 button
is engaged (down) on the last channel.
6. On the ProFX12v3 (and larger) mixers, engage
the LR routing button located next to the fader.
This will send the signal to the main mix.
7. Turn up the channel fader to unity, then slowly
turn up the main mix fader.
You will know this worked if the main meters
illuminate and you hear PC audio through the device
connected to the main outputs.
No. Title
Description
Example of its use
01
Bright Room
This room has a bright tone with lots of scattered reflections
to simulate harder, more reflective surfaces.
Useful on vocals that require a brighter reverb to cut
through the mix, or for giving acoustic instruments
a livelier vibe.
02
Warm Lounge
This preset features a medium sized room sound, with just
Useful for vocals on songs that require a larger,
enough enhancement of the lower mids to produce a warm tone. more “wet” sound, or for giving dimension to bright
horns without adding harshness.
03
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,
high-energy songs that call for a “live” sounding
reverberation.
04
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.
05
Warm Hall
This reverb simulates the sound of a spacious, yet cozy, heavily Perfect for adding natural concert hall ambience
draped and carpeted concert hall with an especially warm tone. to close-mic’ed orchestral instruments.
06
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.
07
Cathedral
This reverb emulates the extremely long tails, dense diffusion
and long pre-delays and reflections that would be found
in a very large, stone walled house of worship.
Gives amazing depth to choirs, wind instruments,
organs and soft acoustic guitars.
08
09
Small Plate
Large Plate
These presets emulate 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.
10
11
Chorus 1
Chorus 2
These presets provide a soft, ethereal sweeping effect that
is useful for thickening and for making a particular sound
pop out of the mix.
Perfect for enhancement of electric and acoustic
guitar and bass, or to add a dramatic effect to vocals,
particularly group harmonies and choirs.
12
Delay + Reverb
Don’t choose delay, don’t choose reverb! Get the best of both
worlds with effects preset #12!
Useful for bands that employ the alternative rock,
shoegaze and/or experimental rock sound.
13
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.
14
Echo
A single-repeat echo, not as fast as the Doubler. This effect
provides a single, relatively rapid delay of the original signal,
with the added warmth that vintage tape-based echo units
provided.
Also known as Slap Back Echo, use it to make a vocal
or guitar stand out in the mix without extra volume.
15
16
17
18
DLY 1 (Fast)
DLY 2 (Med)
DLY 3 (Slow)
Ping-Pong Delay
These three presets provide delay with delay times of fast,
medium and slow.
These work best with full, up-beat music like rock
where the delay needs to cut through the mix.
The ping-pong delay works by producing a bouncing sound as
the delayed signal bounces from left to right, with the feedback
routed to the opposite channels.
A guitarist may choose the ping-pong delay to create
an interesting – and steady – delay.
19
Overdrive / Distortion This effect increases the gain, resulting in a “fuzzy” – overdriven Useful in many situations, but typically used
/ distorted – tone.
with guitar, bass, piano / keyboard.
20
Spring Reverb
A spring reverb uses a transducer at one end of a spring
and a pickup at the other end to create and capture vibrations
in a metal spring. The longer the spring, the longer the decay
time of the reverberation.
Spring reverbs are typically used on guitar amplifiers
or organs in a rock band format.
21
Early Reflections
Early reflection is the sound that appears after one or two
reflections from the venue's walls, ceilings and floor.
Because of its "quickness", the early reflections
FX is a great way to create a stereo sound from
a mono source.
22
Auto-Wah
This effect adjusts a peaking filter that amplifies a specific
frequency, thereby cutting off all other frequencies.
Like a guitar player's wah pedal... but automatic!
Mostly used on guitars, bass and piano... but feel free
to experiment!
23
Flange
The flange effect is a modulated delay with feedback
(and shorter delay times than a chorus), which creates
the characteristic “whooshing” sound often used to describe
the flange sound.
Check out Heart’s “Barracuda”!
24
Slapback Reverb
This effect provides a single, relatively rapid delay of the original Slapback reverb is generally used to mimic vocals –
signal with no feedback.
and sometimes drums – on ’50s-era rock ’n roll.
Owner’s Manual
Owner’s Manual
Appendix D: Table of Effects Presets
41
ProFXv3 Professional Effects Mixer with USB
Limited Warranty
Please keep your sales receipt in a safe place.
This Limited Product Warranty (“Product Warranty”) is provided by LOUD Audio, LLC (“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 to find contact information for your local
distributor, and information on any warranty coverage provided by the distributor in your local market.
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 or by calling LOUD technical
support at 1.800.898.3211 (toll-free 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.
The Product Warranty, together with your invoice or receipt, and the terms and conditions located at www.mackie.com 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.
Need help with the mixer?
• Visit www.mackie.com/support to find: FAQs, manuals, addendums, and other documents.
• Email us at: www.mackie.com/support-contact
• Telephone 1-800-898-3211 to speak with one of our splendid technical support chaps
(Monday through Friday, normal business hours, Pacific Time).
42
ProFXv3 Professional Effects Mixer with USB
19820 North Creek Parkway #201
Bothell, WA 98011 • USA
Phone: 425.487.4333
Toll-free: 800.898.3211
Fax: 425.487.4337
www.mackie.com
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