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PPM608

1. be affected 44 POWER AMP LIMITER LEDs These independent LEDs turn on when power amplifier channel A or B is being overloaded internally and its internal automatic limiter which is always in the signal path is actively working The LED will pulse in time with how much the limiter is being used in the signal path stay on for more than a second or two it means the power supply has overheated and the limiter is holding If the Limiter LEDs come on and VERY IMPORTANT ens ava BRPgvanowagZQ ORM En ex PLATE REVERB 13 CHORUS VOCAL PLATE 14 CHORUS REVERB 03 WARM ROOM 15 DOUBLER 16 TAPE SLAP 7 DLY 04 BRIGHT ROOM P FX MON 2 SEND MASTER FX SEND POST PHANTOM 9 42 PRECISION PASSIVE EQ the amp signal down to 1 4 power until the power supply cools down enough to release the limiter If this happens check there is good ventilation around the mixer and that you are not cranking it too much Also make MON 2 SEND PRE WARM HALL 10 O TAP TO EDIT 42 PHANTOM SWITCH Press in this switch to add phantom power to all the XLR microphone inputs of the mixer This lets the mixer send low current DC voltage to the mic s electronics through the same wires that carry audio The LED will turn on as a reminder that phantom power is engaged Most modern professional condenser mics are equipp
2. 10 5 0 5 10 5 20 INPUT SIGNAL STRENGTH dBu The other blue curves represent in between positions of the compressor knob with higher thresholds before compression begins Separate compressors often have controls such as compression ratio threshold soft knee hard knee attack time and release time These last two affect how quickly the compressor kicks in when the input exceeds the threshold and how quickly it is released after it drops below the threshold In this powered mixer compressor these parameters are specially chosen to give you the best overall performance Adjust the threshold carefully so your dynamic range is still lovely without distortion or overload during the performance Run through a few practice songs and adjust the compression as required 30 2 SWITCH Channels 5 and 6 are the only place to plug in guitars and basses directly to the powered mixer These switches must be pressed in first VERY IMPORTANT If you connect a line level device such as a keyboard or drum machine make sure these switches are out They only affect the 1 4 line inputs of channels 5 or 6 not the XLR mic 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 these switches are not pressed in guitars will sound dull and muddy Owner s Manual PPM608 Master Con
3. o D 15 FX MON 2 SEND OUTPUT This 1 4 TRS line level output can be used to feed an external effects processor FX or a second set of stage monitors mon 2 The output from here is a copy of what goes into the internal FX processor being the careful mix of all channels whose FX mon 2 control 22 is turned more than minimum 5 The overall output level can be adjusted with the FX mon 2 send control 45 and it can be either post or pre channel level depending on the setting of the FX send mon 2 send switch 47 as follows The processed output of the internal FX does not come out of here but is added internally to the main mix or monitor 1 mix MONITOR 2 or FX To run one set of stage monitors use the monitor 1 system because it has its own graphic EQ 87 master level 39 and meter 41 To run another set of monitors set the FX send mon 2 send switch to mon 2 Stage monitors allow the talented musicians in your band to hear themselves clearly on stage and this can often be a good thing The monitor output can be carefully adjusted in level using the channel FX mon 2 controls 22 and not change if the channel levels or main mix levels are adjusted This is known as pre fader PR E comp Switch in Mon 2 Send Pre A SRM450v2 Powered Stage Monitore plays mon 2 output Using the output to feed a pair of powered stage monitors PPM608 If
4. EVER PHANTOM 7 RUNNING MAN RMS o PLATE REVERB 13 CHORUS 02 VOCAL PLATE PRECISION 0 PASSIVE EG LA 04 BRIGHT ROOM DE n om 06 SMALL STAGE COMP UR Hiz HZ AFXSEND POST OB BRIGHTSTAGE 20 DLY 2 WARM if INPUT Hee ON EE DE POWER AMP LIMITER 11 CATHEDRAL 4 1 12 GATED REVERB gt gt gt e e e am em gt 5 Um INSERT INSERT INSERT LEFT MONO LEFT MONO LINE OUTPUTS POWER AMP e wr MONG INET FX MON 2 MON 1 MAIN 4 A N RIGHT SEND SEND LEFT Q rS ah TAPE OUT 6 4 mic5 5 7 MAIN FOOT SWITCH SUB RIGHT 100Hz Patchbay section This is where you plug in things such as microphones line level instruments guitars and effects a recorder PA system powered monitors powered subwoofer etc The speaker level outputs from the internal power amplifiers are on the rear panel Check out the hookup diagrams for some connection ideas See Appendix B page 25 for further details and some rather lovely drawings of the connectors you can use with your mixer 7 MIC INPUTS We use phantom powered balanced microphone inputs just like the big studio mega consoles for exactly the same reason This kind of circuit is excellent at rejecting hum and noise You can plug in almo
5. 2 SEND PRE 09 WARM HALL 10 CONCERT HALL 11 CATHEDRAL 12 GATED REVERB FX MON 2 SEND MASTER stereo channel EQ is a 8 band design just like the mono channel EQ U like Unity gain Mackie mixers have a U symbol on almost every level control It stands for unity gain meaning no change in signal level The labels on the controls are measured in decibels dB so you ll know what you re doing level wise if you choose to change a control setting Signal Flow The block diagram on page 29 shows the signal flow but here is a short description of the flow through the channel strip section The mic inputs and mono line inputs each feed a preamplifier whose gain is set by the gain switch 28 The stereo channel line inputs and RCA inputs do not go through a gain selectable preamp The signal then passes through the compressor circuit ch 1 to 4 only then through the channel EQ and the channel level 27 The mon 1 control 21 taps the signal off just before pre the channel level The FX mon 2 control 22 taps the signal off before pre and after post the channel level The FX send mon 2 send switch 47 lets you choose which is used Post is used for FX and pre is for monitor 2 21 MON 1 This control allows you set up a nice monitor mix independent of the main mix or the monitor 2 mix Adjust these controls on each channel until your band is happy with the stage mon
6. C300z Fassive Speakers plays stereo main mix HD1801 Fowered Subwoofers plays main mix below 100 Hz This diagram shows microphones attached to channels 1 and 2 electric guitars connected directly to channels 5 and 6 with hi z switch pressed in and a keyboard attached to channel 7 s stereo inputs A portable recorder is attached to the stereo tape outputs to record the performance Mackie SRM450v2 powered speakers are connected to the monitor 1 send and are set up as stage monitors The mon 1 controls of each channel allow you to create a stage monitor mix that is independent of the main mix Use the monitor 1 graphic EQ to adjust the stage monitor EQ as desired C300z passive speakers are connected to the speaker level power output of the powered mixer and they play the main stereo mix to your audience HD1801 powered subwoofers are connected to the main mix sub out to reinforce the low end in your system Small Club System ET 4 Acoustic Guitar and Mic Front Fanel Fower Amp Mode switch set to Mains Mon 1 Rear Fanel Adjust Vocal Compression POWER AMP i A E E 4 TAPE OU 1 NN 1 Ce e 14 S w Drum Machine Fower Amplifier C200 Fassive Stage Monitors dual mono plays mon 1 output mode Keyboards Powered Monitor plays mon 1 output C300z Passive Speaker
7. DLY Warm 300ms DLY 2 Bright 250ms DLY 2 Warm 200ms DLY 3 Bright 175ms DLY 3 Warm 150ms Chorus DLY 300ms This vintage plate emulation is warmer than your standard plate with a long reverberant tail lots of fast reflections and a very short pre delay with a short pre delay to simulate the sound of a small wood paneled room This room has a bright tone with lots of scattered reflec tions to simulate harder more reflective surfaces This preset features a medium sized room sound with just enough enhancement of the lower mids to produce a warm tone This preset simulates the sound of a small concert stage with a medium reverb time and reverberant space This reverb has a warm bodied tone and medium long reverb time to simulate the live acoustics of a theater space This preset emulates the sound of a large performance stage characterized by medium long reverb time an pre delay plus a touch of sizzle This reverb simulates the sound of a spacious yet cozy heavily draped and carpeted concert hall with an espe cially warm tone This preset incorporates an age old trick whereby an extremely dense reverb is processed through a fast gate for an interesting albeit artificial sound This preset provides a soft ethereal sweeping effect that pop out of the mix This preset perfectly combines the chorus effect above with a large roomy reverb This effect simulates the sound of a vocal or instrume
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9. apop dwy wyd _ r lt x e I lt q Jemod jeqojo vus os B err 28001 ann pining B 9A9 LUON i ZW yh EASE EAE YU 79 M q D E7 kbd D 4 1 1 jno X wel 08 S qns amp 1 SET som 9 dwog 1 52 aes 7 4 0 01 Jeuueu 3 MIRI 2 001 amp O3 pueg e A 4o 809 ouo U SS no ol EB 4 zzz 28858 ad mm xeeig Sno as Owner s Manual 5 Appendix D Table of Effects Presets This preset emulates vintage mechanical reverberation Plate Reverb that was generated with a metal plate Its sound is char A acterized by lots of early reflections and no pre delay Vocal Plate nm a Bright Room Small Stage rn Bright Stage Warm Hall Concert Hall This hall reverb is characterized by its large spacious sound long pre delay and vibrant tone Cathedral This reverb emulates the extremely long tails dense dif fusion and long pre delays and reflections that would be found in a very large stone walled house of worship Gated Reverb Chorus Reverb Tape Slap 17 DLY 1 Bright 350ms 18
10. steady go 1 Turn channel level mon 1 and FX mon 2 controls fully down 2 Turn down the compressor controls ch 1 4 0 8 Set all the EQ controls to the center including the graphic EQ sliders lt 4 Turn down the main level and monitor 1 level D controls and turn on the powered mixer 5 For each channel press the gain switch in low 7 gain if you are using a line level source Press it out high gain if you are using microphone or other low level source 6 For condenser mics push in the phantom power switch If you are using both condenser and dynamic mics don t worry Phantom power will not hurt most dynamic mics Check the microphone s user manual if you re not sure Play something into an input at real world levels and turn up the channel level to U unity 8 Innormal playing the channel s OL LED should only light occasionally If it stays on for a large portion of your performance check that the gain switch is set correctly 9 Slowly turn up the main level control until you hear the signal in your speakers 10 Repeat steps 5 to 8 for the remaining channels 11 If needed apply some EQ wisely 12 Adjust the levels to get the best mix Keep the level controls fully down on unused channels Other Notes Only connect the powered mixer s speaker level outputs to passive loudspeakers When shutting down turn off any external amplifiers or powered loudspeakers first Wh
11. DI box 3 band EQ on each channel e Monitor 1 send e Main mix stereo line outputs e Main mix mono sub out e Amplifier line level inputs allow the connection of external mixers if more channels are needed e Footswitch connection for FX mute unmute FX monitor 2 send selectable pre post e 448v Phantom power can be applied to all mics e Built in compressors on the first 4 mono inputs dedicated in line compression e 24 built in Running Man 82 bit effects with input gain tap delay and a footswitch mute unmute e Independent 7 band graphic EQs with constant Q filters on the main and monitor outputs Tape CD stereo RCA outputs ES us e 2 segment stereo output meters on main mix and mono meter on monitor 1 e Break switch mutes all mono channels e Speakon and 1 4 power amp outputs e Precision passive switch for enhanced clarity and low frequency response with Mackie passive speakers e Rugged design with polycarbonate sides and built in metal handles e Modern and stylish design from our modern and stylish hip and trendy design team runners up in the coveted Golden Lock Washer of Walton on Naze design award How To Use This Manual The first pages after the table of contents are the hookup diagrams These show typical setups for fun times with your powered mixer Next is a detailed tour of the entire mixer The descriptions are divided into sections just as your mixer is organized into distinc
12. delightfully modern in styling and good looks and truly represent the perfect accessory to accent your busy work schedule Use the handles to carefully lift and move the powered mixer Better yet have someone else lift it for you They will be remarkably pleased with its light weight and high power ideal for all sorts of road trips Owner s Manual PPM608 Front Panel Features 1 2 3 4 y Oa wis 7 5 6 POWER 8 PPMS 2 500W 1608 POWERED MIXER MAIN MASTER RUMBLE REDUCTION o E EQ EQ EQ 6 ps E E EQ CN 5 15 EX px pu EX n i MON 2 MON 2 MON 2 5 4 MAIN H M O D 10 HI 12kHz 5 EQ 10 15 HI 12kHz O00000000008 O00000000000 888 9248 LEVEL 45 sis s Hs 15 115 Mss 75 Ms ts sns y u y y oN MONITOR 1 MASTER 2 5kHz 2 5kHz 2 5kHz 2 5kHz 2 5kHz 2 5kHz 2 5kHz 2 5kHz EE oL 15 HIS EE 15 15 EE A5 915 5 8 15 15 15 15 15 y y y y SN 10 10 LOW LOW LOW Low Low Low 5 5 mm 3 80Hz 80Hz 80Hz 80Hz 80Hz 3 80Hz a mmo 45 H5 45 15 15 H5 45 5 45 H5 45 H5 mm 2 5 5 mm 4 10 10 7 1208 30 125 250 50
13. different presets are shown in this table and marked on the panel silkscreen Further details of each preset are shown in Appendix D on page 30 16 Small Stage The knob also offers a tap delay function for the presets 17 to 24 This works as follows SASUMO S Bright Stage 9 Warm Hall 1 Use the knob to select a preset from 17 to 24 2 Press the knob in at least two times The DSP processor will calculate the time delay between the last two pushes and it will assign this time interval to the echoes of the current digital delay The minimum tap delay is 50 ms and the maximum is 500 ms If taps are faster than 50 ms they will be set to 50 ms If taps are between 500 ms and 1 second they will be set to 500 ms If taps are greater than 1 second apart they will be ignored Try again a bit faster 3 The LED will flash in time with the new tap delay time 50 INTERNAL FX MUTE When engaged the internal effects processor is muted at its output and the adjacent LED will come on The footswitch connection 16 becomes disabled and you will not be able to use the footswitch to mute or unmute the effects If this switch is not engaged then the internal effects can be muted or unmuted with the footswitch Congratulations You ve just read about all the features of your powered mixer Time for a cold one Owner s Manual 2 PPM608 Appendix A Service Information If you think your powered
14. down as well as up 10 206 25 LOW EQ The low EQ provides up to 15 of boost or cut below 80 Hz The circuit is flat no boost or cut at the center detent position This frequency represents the punch in bass drums bass guitar fat synth patches and some really serious male singers who eat raw beef for breakfast Owner s Manual O S JOUAA yenuey PPM608 7 IO MAIN MASTER 15 10 5 5 10 15 125 250 500 1K 2 MONITOR 1 MASTEF o a 26 OVERLOAD OL LED This LED will come on when the channel s input signal is too high This should be avoided as distortion will occur If the LED is coming on regularly check that the gain switch 28 is set correctly for your input and that the channel EQ 23 25 is not set with too much boost 27 CHANNEL LEVEL This 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 20 dB should you need to boost a section of the band If you find that the overall level is too quiet or too loud with the level near unity you ll want to confirm the gain switch
15. main master level 34 or the channel level controls 27 This allows you to set up the monitor mix and level just right and not have it change every time a channel level or the main mix level is adjusted This is the main aim of a monitor mix independence from the main mix 18 MAIN SUB This 1 4 TRS connector supplies a copy of the mono main mix below 100 Hz This is usually patched to the inputs of an external power amplifier running a passive subwoofer or directly to a powered subwoofer Whatever adjustments you make to the main mix will affect this output below 100 Hz The main mix still plays the full frequency range this sub output is just a mono copy of the range below 100 Hz for external subwoofers 19 MAIN OUTPUTS These 1 4 balanced TRS outputs supply the stereo main mix at line level You can connect these outputs to the line level inputs of external power amplifiers running passive loudspeakers or to the inputs of powered loudspeakers or not use them at all if you don t have the external gear These outputs play the same signal as the rear panel speaker level outputs 3 when set to stereo mains only at line level These outputs can also be used to feed an external stereo effects processor or other device and have the processed output of that device feed the power amp inputs 20 This places the device in line and it will affect the main mix 29 high frequency line level output of the cros
16. mixer has a problem please check out the following troubleshooting tips and do your best to confirm the problem Visit the Support section of our website www mackie com where you will find lots of useful information such as FAQs and documentation You may find the answer to the problem without having to send your mixer away Troubleshooting Bad Channel 15 the EQ set up nicely e 5 the gain switch set correctly e 5 the level up enough e 5 the channel OL led on e Is there too much compression on channels 1 4 Arethe hi z instrument switches set OK for guitars connected to channels 5 and 6 e Try unplugging any insert devices from the insert jacks e Try the same source signal in another channel set up exactly like the suspect channel e 15 phantom power required for your microphones Bad Output e 15 main master level control turned up e Are the graphic EQs set to reasonable levels 5 FX level going to the main mix too high e If it s one of the main speaker level outputs try unplugging its companion For example if it s the 1 4 left main output unplug the left Speakon output If the problem goes away it s not the powered mixer fa left speaker is presumed dead connect it to the right output instead If the problem stays with the same speaker check the speaker wiring or any speaker fuses e Unplug anything from the main line level outputs or other line level outputs
17. side of the main mix Choose this position to play a straight stereo show Mains Monitor 1 Channel A is the mono main mix and channel B is the monitor 1 mix In this setup you could run a mono PA system on one channel and a passive stage monitor system on the other Monitor 1 Monitor 2 Channel A is the monitor 1 mix and channel is the monitor 2 mix In this setup the internal power amplifiers are powering two independent passive stage monitor systems O S JOUAA Make sure that the front panel FX send mon 2 send switch 47 is pressed in mon 2 or there will be no monitor 2 signal to the internal power amplifier channel B If anything is plugged into the front panel power amp inputs 20 then this switch has no effect The internal power amplifier will play whatever signals are coming into the power amp inputs yenuew VERY IMPORTANT VERY IMPORTANT 5 VENTILATION and REAR PANEL Ventilation holes in the rear panel and the bottom panel allow the internal fans to flow breezy and minty fresh cooling air over the internal power amplifiers Do not obstruct these holes or the amplifiers may overheat and shut down Do not remove the feet as these keep the powered mixer off the ground for ventilation Do not place the powered mixer on a carpeted or similar soft and fuzzy surface that may obstruct the ventilation holes in the bottom panel VERY IMPORTANT 6 HANDLES These metal handles are
18. such as the sub out FX mon 2 send or mon 1 send just in case one of your external pieces has a problem e Ifthe power amp limiter lights come on often you may be overdriving the amplifiers Check the loudspeaker average load impedance is not less than 4 ohms Check the speaker wiring PPM608 Noise e Turn the channel levels down one by one If the sound disappears it s either that channel or whatever is plugged into it so unplug whatever that is If the noise disappears it s from your whatever Power e The power LED should come on if the powered mixer is connected to a suitable live AC mains outlet and the power switch is on Check the power cord is securely plugged in Repair For warranty service refer to the warranty information on page 31 Non warranty service for Mackie products is available at factory authorized service center To locate your nearest service center visit www mackie com click Support and select Locate a Service Center Service for Mackie products living outside the United States can be obtained through local dealers or distributors If you do not have access to our website you can call our Tech Support department at 1 800 898 3211 Monday Friday normal business hours Pacific Time to explain the problem Tech Support will tell you where the nearest factory authorized service center is located in your area Appendix B Connections XLR Connectors Mackie mixers us
19. the lunch time portion of it 45 FX MON 2 SEND MASTER Use this knob to control the level of the signals going into the internal effects processor Adjust it carefully with your inner magical eye on the adjacent SIG OL LED 46 to prevent overloading the effects processor It also affects the level going out of the FX mon 2 line level output 15 and the internal power amplifier if it is playing monitor 2 46 SIG OL LED This dual LED illuminates in green when the signal level going into the effects processor is in a good operating range SIG It illuminates in red when the effects processor is being overloaded with too strong a signal OL Turn down the level 45 if it is The signals going into the processor are affected by the channel FX mon 2 controls 22 and the channel level controls 27 if the FX send mon 2 send switch 47 is out post Check the LED if you alter these controls 47 SEND POST MON 2 SEND PRE This switch lets you choose which signal path is used to feed the internal effects processor and the FX mon 2 output 15 as follows FX SEND POST Choose this out position when you want to use the internal effects processor or if you want to set up an external processor The FX mon 2 control 22 on each channel samples the channel signals after post the channel level controls 27 Any changes to the channel level will also affect the level feeding the internal effects You can
20. they want more me and less Keith you can turn up their channel s FX mon 2 control and turn down Keith s If you were using monitor 1 to feed the stage monitor then you would adjust the mon 1 control 21 on each channel To channel 5 or 6 instrument inpute From mon 1 or mon 2 line level output SRM450v2 Powered Stage Monitor To feed an external effects processor such as a nice sound effect or delay the feed should be post fader In this way any changes to the channel level 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 can carefully mix the original unprocessed channel dry and the processed channel wet Altering the original channel level 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 POST Switch out FX Send Fost Stereo effects processor Using the output to feed a stereo effects processor In this example the stereo outputs go to ch 7 stereo inputs EFFECTS SERIAL OR PARALLEL 5 23 Serial means that the entire channel signal leaves the mixer insert 12 send is routed through the effects device and returns to the mixer insert return Examples compressor limiter graphic equalizer Line level sources can also be patched through a serial effects device befor
21. with your good eye on the monitor 1 meter 41 to guard against overloading Check that your band are happy with the levels The control does not affect the main mix level The monitor 1 mix signals are off with the level fully down the U marking is unity gain and fully up provides 12 dB of additional gain 40 100 Hz RUMBLE REDUCTION SWITCH This switch is used to reduce the level of the frequency range below 100 Hz from the monitor 1 mix It only affects the monitor 1 mix and does not affect any effects being added from the internal FX processor Use this to reduce the amount of low frequency problems such as mic handling stage rumble bangs and thumps that might affect the stage monitors Additionally utilize this switch to reduce low frequency feedback through the monitors This switch should almost always be engaged unless the performing artists request more low end from the monitors 41 MONITOR 1 METER This meter shows you the level of the monitor 1 mix after it has passed through the monitor 1 level 39 and graphic EQ 37 The top LED is marked OL overload and you should adjust the levels to avoid this coming on too often if at all Owner s Manual In PPM608 PPM608 2 X 500W PROFESSIONAL POWERED MIXER POWER amplifiers so only loudspeakers connected to the rear panel speaker level outputs 3 will MAIN MASTER 100Hz RUMBLE REDUCTION
22. A outputs allow you to record the main stereo mix onto a tape deck hard disk recorder automatic CD burner or a computer for example This allows you to make a recording for posterity archive legal purposes whenever the band gets back together again The tape output is the stereo main mix not affected by the main level 34 or the main graphic EQ 32 14 BREAK SWITCH and LED This important take a break switch quickly mutes all the microphones and the mono channel line level inputs when the band is between sets This will prevent protestors or rogue karaoke singers from storming the stage at the interval The monitor 1 and FX monitor 2 outputs and the drive signal to the internal effects are also muted The LED will come on as a reminder that the break switch is engaged Check this LED first if you are having trouble with no sound in your system You can still play the stereo channel line inputs 10 and RCA inputs 11 in the main stereo mix For example you could play a soothing CD to restore order before the police arrive Owner s Manual PPM608 5 03 WARMROOM 15 DOU co UMS SEND MASTER 06 SMALL STAGE AFXSEND POST 08 BRIGHT STAGE MON 2 SEND PRE 09 WARM HALL POWER AMP LIMITER e LINE OUTPUTS POWER AMP BREAK INPUT MUTES ALL MIC UNBAL MONO INPUTS FX MO MON 1 MAIN SEND LEFT TAPE OUT MAIN M FOOT SWITCH SUB RIGI
23. FOOTSWITCH 15 APPENDIX SERVICE 24 17 MON 1 SEND 15 APPENDIX B 0 25 18 MAIN 5 1 15 APPENDIX C TECHNICAL INFORMATION 7 19 MAIN OUTPUTS 15 APPENDIX D TABLE OF EFFECTS PRESETS 30 20 POWER AMP INPUTS 15 608 LIMITED 31 CHANNEL CONTROLS 21 MON 17 22 FX MON 2 nnnc 17 25 pester an potent 17 lg m 17 Need help with your mixer 25 17 26 OVERLOAD OL 18 e Visit www mackie com and click 27 CHANNEL LEVEL nnns 18 Support to find FAQs manuals 28 GAIN SWITCH eene 18 addendums and documentation 29 5505 1 1 19 30 SWITCH 19 Email us at techmail mackie com Telephone 1 800 898 3211 to speak with one of our splendid technical support chaps Monday through Friday normal business hours Pacific Time Owner s Manual 5 Hookup Diagrams Front Panel Fower Amp Mode switch set to Stereo Main Rear Panel PPM608 1 w Microphones T press HI Z button press 2 button POWER SRM450v2 Fowered Stage Monitors plays mon 1 output
24. OUD Technologies Inc All other brand names mentioned are trademarks or registered trademarks of their respective holders and are hereby acknowledged Please check our website in case there are any corrections and updates to this manual www mackie com 2011 LOUD Technologies Inc All Rights Reserved Owner s Manual Dimensions PPM608 4 12 3 in 314mm 260905606 266666 G 666606 20909605666 50909060 ovolo 5550566 EI 4 lt 19 3 in 490 mm mE dM 4 11 4 in 290 mm Correct disposal of this product This symbol indicates that this product should not be disposed of with your household waste according to the WEEE Directive 2002 9 6 EC and your national law This product should be handed over to an authorized collection site for recycling waste electrical and electronic equipment EEE Improper handling of this type of waste could have a possible negative impact on the environment and human health due to potentially hazardous substances that are generally associated with EEE At the same time your cooperation in the correct disposal of this product will contribute to the effective usage of natural resources For more information about where you can drop off your waste equipment for recycling please contact your local city office waste authority or your household waste disposal service
25. PPM608 8 Channel 2 x 500 W Professional Powered Mixer OWNER S MANUAL PPM608 2 X 500W PROFESSIONAL POWERED MIXER MAIN MASTER s gm 125 29 50 REDUCTION MAIN sae 100000000000 000000000000 MONITOR 1 MASTER m on s 15 sae DB E ww IR us o1 purenevers oe OCA RATE L 04 BRIGHT ROOM FX MON 2 05 WARM LOUNGE POST SEND PRE RUNNING MAN 32 BIT FX 13 CHORUS 34 CHORUS REVERB 16 TAPE SLAP 7 DLY T BRIGHT SO PRECISION PASSIVE POWER AMP LIMITER LEFT MONO 9 LINE OUTPUTS BREAK MONO POWER AMP e PPM608 NOUS WN 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 Do not install near any heat sources such as radiators heat registers stoves or other apparatus including amplifiers that produce eat Do not defeat the safety purpose of the polarized or grounding ty plug A polarized
26. Peaking 15 dB 2 5 kHz Low Shelving 15 dB 80 Hz Line mono input Line stereo input 7 Band Graphic EQ Main and Monitor 1 15 dB 125 250 500 1k 2k 5 4k and 8 kHz VAM Connections lt Mic input XLR balanced QU J Preamp main outputs Monitor outputs Inserts Loudspeaker outputs Loudspeaker outputs 1 4 TRS balanced 1 4 TRS unbalanced 1 4 TRS balanced 1 4 TRS balanced 1 4 TRS unbalanced 1 4 TS and Neutrik Speakon Both channels loaded and driven at 1 kHz Peak output power 4 ohms RMS output power 4 ohms RMS output power 8 ohms Recommended load impedance 2 x 500 W peak 2 x 250 rms 1 THD 2 x 300 W rms 3 THD 2 x 150 W rms 1 THD 2 x 180 W rms 3 THD 4 8 Q per channel Digital Effects Processor 32 bit 0 Mono input Stereo output Number of presets 24 Power Consumption US 100 120 VAC 50 60 Hz 160 watts EU 200 240 VAC 50 60 Hz 160 watts AC Connector 3 pin IEC 250 VAC Dimensions Height 12 3 in 314mm Width 19 3 in 490 mm Depth 11 4in 290 mm Net weight 24 8 lb 11 2 kg LOUD Technologies Inc is always striving to improve our prod ucts by incorporating new and improved materials components and manufacturing methods Therefore we reserve the right to change these specifications at any time without notice Mackie and the Running Man are registered trademarks of L
27. Please review the gain switch settings on page 18 for more information 11 RCA INPUTS CH 7 and 8 Channel 7 and 8 also have RCA line inputs suitable for connecting the line level unbalanced output from CD players tape decks iPod docks etc They are not suitable for direct connection of phono level outputs from turntables as a phono preamp is required unless you know for certain it is safe to do so 12 INSERT CH 1 to 6 These unbalanced 1 4 jacks on channels 1 to 6 are for connecting serial effects processors such as compressors equalizers de essers or filters The insert point is after the gain switch 28 and compressor circuits on channels 1 4 but before the channel s EQ and level 27 controls The channel signal can go out of the insert jack to an external device be processed or whatever and come back in on the same insert jack To do this requires a special insert cable that must be wired thusly O S JOUAA yenuew dis SEND to pecen TRS plug This plug connects to one of the mixer s Channel Insert jacks E e RETURN from processor Tip send output to effects device Ring return input from effects device Sleeve common ground Insert jacks can be used as channel direct outputs post gain and pre EQ See the connector section on page 26 Figure F showing three ways to use insert connections 13 TAPE OUTPUTS These stereo unbalanced RC
28. allows you to adjust the level of its frequency band with up to 15 dB of boost or cut and no change in level at the center 0 dB position The frequency bands are 125 250 500 1k 2k 4k and 8kHz The EQ section comes after the monitor 1 level 39 and just before the monitor 1 meter 41 Therefore as you adjust the EQ keep an eye on the meter in case you over do it and take the levels into overload As with the channel EQ just take it easy The sliders will help you reduce frequencies in the stage monitors that could cause feedback from nearby O microphones gt 38 FX TO MON 1 0 This knob lets you control how much of the internal nN effects is added to the mono monitor 1 mix The output from the internal effects processor is stereo summed to lt mono and added to the mono monitor 1 mix CU Adjust the FX level being added compared to the other channels playing in the monitor 1 mix QU At the fully down position no effects are added the center U mark is unity gain and there is 10 dB of effects gain at the fully clockwise position 39 MONITOR 1 LEVEL This knob controls the level of the monitor 1 mix and affects the monitor 1 meter 41 mon 1 line level outputs 17 and the monitor 1 speaker level output if the internal amplifier is playing the monitor 1 mix The level adjustment occurs before the monitor 1 EQ 87 This gives you ultimate control over your monitor 1 stage monitors Adjust it carefully
29. also set up an external effects processor by 1 the internal effects processor 2 Connecting the FX mon 2 output to an external processor 3 Returning the processed signal back to a free mono or stereo channel line input MON 2 SEND PRE In this position in the FX mon 2 control on each channel samples the channel signals before pre the channel level controls This is ideal for using the FX mon 2 output to feed a stage monitor 2 setup or to use the internal power amp to power it power amp mode switch 4 in the mon mon 2 position You might want to mute the internal effects processor with the FX mute switch 54 E For more details please see page 14 or the 4 E rather lovely block diagram on page 29 48 PRESET DISPLAY This display shows the number of the currently selected effects preset as shown in the list of presets silkscreened to the left of the display Rotate the preset selector knob to choose a preset The new preset will be loaded approximately 1 4 of second after you stop turning the knob and will be stored into the FX memory after about one second When the powered mixer is turned on the FX section will load up the last used preset 49 PRESET SELECTOR TAP DELAY and LED Rotate this endless control to select one of the 24 preset effects When you stop the rotation that preset will be loaded and become operational The current preset number is shown in the display 48 The
30. basket VERY IMPORTANT SLEEVE TIP SLEEVE TIP gt Owner s Manual 5 Figure D RCA Plug PPM608 TRS Send Receive Insert Jacks Mackie s single jack inserts are the three conductor TRS type 1 4 phone They are unbalanced but have both the mixer output send and the mixer input return signals in one connector See Figure E SEND to processor ring TRS plug tip ti sleeve pua ____ il nsi gt This plug connects to one of the rina mixer e Channel Insert jacks RETURN from processor Figure The sleeve is the common ground earth for both signals The send from the mixer to the external unit is carried on the tip and the return from the unit to the mixer is on the ring Using the Send only on an Insert Jack If you insert a TS mono 1A plug only partially to the first click into a Mackie insert jack the plug will not activate the jack switch and will not open the insert loop in the circuit thereby allowing the channel signal to continue on its merry way through the mixer This allows you to tap out the channel signal without interrupting normal operation If you push the 1A TS plug in to the second click you will open the jack switch and create a direct out which does interrupt the signal in that channel See Figure NOTE Do not overload or short circuit the signal you are tapping from the mixer That will affect the internal si
31. e connection to the mixer Parallel means that a portion of the signal in the mixer is tapped off to the device processed and returned to a spare channel of the mixer to be mixed with the original dry signal This way multiple channels can all make use of the same effects device Examples reverb digital delay The internal effects are parallel as all channels can make use of it and the processed output is added to the main mix 16 FX FOOTSWITCH This 1 4 TRS connector is where you can connect a footswitch This will allow you to easily mute or un mute the internal effects while stamping your foot and looking like you were mad about something Any one button on off footswitch will work If the internal effects have already been muted with the front panel mute switch 50 then the footswitch has no effect but you can still stamp your foot and pout if that helps any Cultivate that bad boy image 17 MON 1 SEND This 1 4 TRS connector allows you to send the monitor 1 line level output to stage monitors These could either be passive stage monitors powered by an external amplifier or powered stage monitors with their own amplifier built in The monitor signal is the sum mix of all the channels whose mon 1 control 21 is set to more than minimum The overall output level can be adjusted with the mon 1 master level 39 and its EQ tweaked with the monitor graphic EQ 37 The monitor 1 output is not affected by the
32. e 3 pin female XLR connectors on all microphone inputs with pin 1 wired to the grounded earthed shield pin 2 wired to the high hot or positive polarity side of the audio signal and pin 3 wired to the low cold or negative polarity side of the signal See Figure A This is all totally above board and in full accord with the hallowed standards dictated by the AES Audio Engineering Society Use a male XLR type connector usually found on the nether end of what is called a mic cable to connect to a female XLR jack Figure A XLR Connectors V4 TRS Phone Plugs and Jacks TRS stands for Tip Ring Sleeve the three connections available on a stereo 1 4 or balanced phone jack or plug See Figure B RING IEEE SLEEVE RING TIP met RING r SLEEVE Figure TRS Plugs TRS jacks and plugs are used in several different applications e Balanced mono circuits When wired as a balanced connector 14 TRS jack or plug is connected tip to signal high hot ring to signal low cold and sleeve to ground earth e Stereo Headphones and rarely stereo microphones and stereo line connections When wired for stereo a 1 4 TRS jack or plug is connected tip to left ring to right and sleeve to ground earth Mackie mixers do not directly accept 1 plug type stereo microphones O They must be separated into a left cord and a right cord which are plug
33. e 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 hearing loss if exposure is in excess of the limits set forth ere Typical Example Duration _ Sound Level a day in dBA Slow ours Ho Duoinsmalldub o 42 et ssi ruse o ery loud classical music Greg Ben screaming at Troy deadlines r I parts at a rock concert WARNING To reduce the risk of fire or electric shock do not expose this apparatus to rain or moisture Read This Page We realize that you must be really keen to try out your new powered mixer but please read the safety instructions on page 2 and this page first Setup The PPM608 powered mixer is designed for ease of operation and to be set up quickly and easily Place the powered mixer in a position where it is easy to reach the controls All the controls and input connection points are located on the front panel so you can make quick adjustments and connections on stage Make sure there is at least 6 inches of airspace behind the powered mixer for ventilation There are two fans inside the cabinet to cool the power amplifier section Use the powered mixers in a nice clean and dry environment free from dryer lint and dust bunnies Connections 1 Be sure rear panel power sw
34. ed for phantom power 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 5 57 5 58 for instance which don t need external power and aren t affected by it anyway Never plug single ended unbalanced microphones or ribbon mics into the mic input jacks if phantom power is on Do not plug instrument outputs into the mic input jacks with phantom power on unless you know for certain it is safe to do so VERY IMPORTANT VERY IMPORTANT 43 PRECISION PASSIVE EQ If you are using Mackie passive speakers such as the C200 63002 5408 5215 and 5225 then press this switch for enhanced clarity and low frequency response If you are not using Mackie speakers then press it anyway and listen for an improvement The passive EQ circuit is added just before the internal power eee sure that your speakers are OK and are not less than 4 ohms impedance Stereo Effects Processor The Mackie Running Man 82 bit internal effects processor is a mono in stereo out effects processor with 24 presets It is fed by adjusting the FX mon 2 control 22 on each channel The output from the processor can be added to the main mix or monitor 1 mix by adjusting the FX to main 88 and FX to mon 1 38 controls This processor is also doing the calculations that hold together the very fabric of the space time continuum or at least
35. en powering up turn on any external amplifiers or powered loudspeakers last Save the shipping box Please write your serial number here for future reference i e insurance claims tech support return authorization make dad proud etc Purchased at Date of purchase Owner s Manual E PPM608 Introduction Thank you for choosing a Mackie professional powered mixer These powerful mixers are designed to meet the needs of almost any small to medium sized club meeting room sanctuary or outdoor gathering At Mackie we know what it takes to be roadworthy After all our mixers have traveled all over the world under the worst of conditions and the best of conditions and we ve applied what we ve learned to the mechanical design of our powered mixers Reliability is paramount to sound reinforcement That s why our engineers have subjected our powered mixers to the most rigorous and fiendish tests imaginable to fine tune the design and extend its limits beyond those of ordinary powered mixers Features e Two internal power amplifiers each rated at 500 watts peak into 4 ohms e Three selectable amplifier modes stereo mains mono main monitor 1 mon 1 mon 2 e channels 6 mono 2 stereo e Mic inputs on all channels e ine level inputs 6 mono 2 stereo e RCA inputs on stereo channels e Insert jacks on mono channels e Channels 5 and 6 allow direct connection of guitars and basses without a
36. for the connected device mic or line The channel level controls 27 are more for fine tuning to balance the channels appropriately for the song 29 COMPRESSOR Channels 1 to 4 have an in line compressor circuit with a variable threshold This is very useful for compression of vocals for example When the incoming signals exceed the threshold level set by this knob the signal level is automatically compressed This reduces the dynamic range and reduces the chance of distortion due to overloading the input signals E Dynamic range is the difference in level 4 between quietest part of your song and the loudest part Using a compressor you are able to squeeze the dynamic range resulting in an overall steadier more constant volume level for the signal It helps sources such as vocals sit properly in the mix and it is very useful for live sound as well A CLOSER The compression ratio is fixed at around 6 1 with a soft knee response The threshold can be adjusted clockwise from off no compression to 0 dBu max As an example suppose the threshold is set to maximum An incoming signal reaches the threshold of 0 dBu As it increases beyond the threshold it becomes compressed at a ratio of 6 1 This means that even if the input further increases by 6 dB the actual output only increases by 1 dB This compresses the output signal so there is more protection to your system from distortion and overload due to po
37. ged into the two mic preamps S JOUAA You can cook up your own adapter for a stereo microphone adapter Y two cables out of a female 1 4 TRS jack to two male XLR plugs one for the Right signal and one for the Left e Unbalanced Send Return circuits When wired as send return Y connector a 1 4 TRS jack or plug is connected tip to signal send output from mixer ring to signal return input back into mixer and sleeve to ground earth TS Phone Plugs and Jacks TS stands for Tip Sleeve the two connections available on a mono 1 4 phone jack or plug See Figure C yenueyy SLEEVE SLEEVE v TIP SLEEVE TS jacks and plugs are used in many different applications always unbalanced The tip is connected to the audio signal and the sleeve to ground earth Some examples Figure C TS Plug e Unbalanced microphones e Electric guitars and electronic instruments e Unbalanced line level connections Speaker connections Don t use guitar cords for speaker cables They re not designed to handle speaker level signals and could overheat RCA Plugs and Jacks RCA type plugs also known as phono plugs and jacks are often used in home stereo and video equipment and in many other applications Figure D They are unbalanced and electrically identical to a VA TS phone plug or jack Connect the signal to the center post and the ground earth or shield to the surrounding
38. gnal MONO PLUG gt Channel Insert jack Direct out with no signal interruption to master Insert only to first click MONO PLUG Direct out with signal interruption to master Insert all the way in to the second click Eg EREO Eg Channel Insert RI v use as an effects loop TIP SEND to effect RING RETURN from effect M Channel Insert jack Figure F PPM608 Speakons When using the Speakon outputs to connect your loudspeakers wire the Speakon connectors as shown below 1 TN 93 1 COLD 1 Hor GS Figure G Loudspeaker Cable Use loudspeaker cables with a minimum conductor size for the length you need as listed in these tables This will minimize power losses to less than 0 5 dB The cable lengths listed are up to lengths For in between lengths use the next larger 10 r conductor gauge Using larger than the recommended Min Metric WG conductor size is E always permissible Using smaller than recommended conductor size will result in higher power losses The recommended conductor gauges are listed for AWG American Wire Gauge and Metric WG Metric Wire Gauge Note that smaller AWG numbers larger conductors and smaller Metric WG numbers smaller conductors The Metric WG is equal to ten times the nominal conductor diameter in millimeters Longer Lengths For cable lengths ove
39. h repetition and work great with slow mellow music Bright delays have repeats that are consistent in tone with the original sound Useful on a clean electric guitar that needs a mildly swirling ethereal tone Perfect for thickening vocals while adding dimen sions it can also be used as a spacey effect on electric guitars For presets 17 to 24 the delay can be entered by tapping the preset selector knob 49 more than once PPM608 Mackie Limited Warranty Please keep your sales receipt in a safe place This Limited Product Warranty Product Warranty is provided by LOUD Technologies Inc LOUD and is applicable to products purchased in the United States or Canada through a LOUD authorized reseller or dealer The Product Warranty will not extend to anyone other than the original purchaser of the product hereinafter Customer you or your Jenuey For products purchased outside the U S or Canada please visit www mackie com warranty to find contact information for your local distributor and information on any warranty coverage provided by the distributor in your local market 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 prod
40. iPod Docking Station Wireless Mic Receiver Mackie 4 2 Pro DJ Production Console Fower Amplifier dual mono mode C300z Fassive Speakers plays stereo main mix Turntables with phono level output Passive Subwoofers plays main mix below 100 Hz This diagram shows a wireless microphone receiver connected to the channel 1 line input a graphic EQ connected to channel 1 s insert jack to help control feedback in the wireless mic a microphone connected to channel 2 and an iPod docking station attached to channel 8 s RCA inputs A Mackie d 2 Pro is connected to two turntables and its RCA output connects to the powered mixer s channel 7 stereo RCA inputs Use the d 2 Pro s advanced DJ controls to get the best performance from your records Use the powered mixer to play the d 2 Pro output and control the mics and iPod The power amp mode switch is set to play the stereo main mix in the Mackie C300z passive speakers connected to the speaker level power outputs Passive subwoofers are powered by an amplifier connected to the main mix sub out to reinforce the low end in the main mix DJ System PPM608 Front Panel Power Amp Mode switch set to Mon 1 Mon 2 Rear Panel HD1531 Fowered Speaker itar Processor Return esas to INSERT C200 Fassive Stags Monitors plays mon 2 output Keyboards C300z Fassive Stage Monit
41. ided for your convenience Speakons and 1 4 TS Mono Speakon Connection e Speakon outputs are wired Pin 1 positive hot and Pin 1 negative cold 09700 2 1 4 TS Connection e 1 4 TS outputs are wired Tip positive and Sleeve negative SLEEVE SLEEVE La S Jl SELL TIP SLEEVE These two types of outputs are wired in parallel and it is possible to use both types at once cu The minimum impedance that the powered mixers can handle is 4 ohms per channel and we recommend that you do not go below this If you are using both outputs per channel make sure each loudspeaker is 8 ohms impedance or greater Do not connect or disconnect cables to the speaker level outputs when the mixer is powered on 4 POWER AMP MODE SWITCH POWER AMP This three position switch lets ac you choose which signal paths MAINS MIB MON from the mixer section are sent Al ple to the internal power amplifiers L STEREO J This allows considerable flexibility in the use of the powered mixer For example if you already have powered loudspeakers you could use the PPM608 power amplifiers to run passive stage monitors Stereo Mains Do not change the position of the power amp mode switch when the mixer is powered on VERY IMPORTANT The output from channel A is the left side of the main mix and the output from channel B is the right
42. ion point within an equilateral triangle is intended to alert the user of the presence of important operating and maintenance servicing instructions in the literature accompanying the appliance Le point d exclamation l int rieur d un triangle quilat ral est employ pour alerter les utilisateurs de la pr sence d instructions importantes pour le fonctionnement et l entretien service dans le livret d instruction accompagnant l appareil ES us 19 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 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 television reception which can be determined by turning the equipment off and on the user is encouraged to try 10 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 e the equipment into an outlet on a circuit different from that to which the receiver is co
43. is is the control to turn down at the end of the song when you want The Great Fade Out 35 100 Hz RUMBLE REDUCTION SWITCH This switch is used to reduce the level of the frequency range below 100 Hz It operates only on the mono channel 1 to 6 mix not the stereo channel mix Engage it to remove excess low end from the mic inputs while still keeping the full range stereo inputs full of meaty low end Use this to reduce the amount of low frequency problems such as mic handling stage rumble bangs and thumps in your main mix 5 This switch is the audio electronic 4 E equivalent of taking anti gas medication It relieves low end rumble and the whole room sounds better 36 MAIN MIX METERS Developed from a harmless ex NATO hamster hypnotizer these stereo meters show the level of the left and right main mix after it has passed through the main level 34 and graphic EQ 82 The top LEDs are marked OL overload and you should adjust the levels to avoid these coming on too often if at all Please remember Audio meter displays are just tools to help assure you that your levels are in the ballpark You don t have to stare at them unless you want to 37 MONITOR 1 MASTER GRAPHIC EQ This 7 band constant Q graphic equalizer adjusts the monitor 1 mix output It affects the line level mon 1 outputs 17 and the monitor 1 speaker level output if the internal amplifier is playing the monitor 1 mix Each slider
44. is set correctly PPM608 a 125 250 500 1K 2 CR 01 PLATE REVERB 02 VOCAL PLATE 03 WARM ROOM 04 BRIGHT ROOM 05 WARM LOUNGE 06 SMALL STAGE 07 WARM THEATER SEND POST 08 BRIGHT STAGE 2 SEND PRE 09 WARM HALL 10 CONCERT HALL 11 CATHEDRAL 12 GATED REVERB FX MON 2 SEND MASTER 28 GAIN SWITCH Engage this switch low on channels that have louder instrumentation connected For example loud singing or yelling or other loud voiced instruments such as bass guitar or horns whether connected via DI or mic d Disengage this switch high on channels that have quieter instrumentation connected For example spoken word shows poetry readings stand up comedy or other quieter voiced instruments such as finger picked acoustic guitar cello djembe bouzouki and cats Switch MIC XLR LINE TRS position Inputs Inputs IN LOW Gain 25dB Gain 04 OUT HIGH Gain 45 dB Gain 20 dB Note that the gain switch has no effect on the line level inputs and RCA inputs of channels 7 or 8 This is the first control that the input signals meet It allows you to choose the level depending on the type of input source you have connected If it is set incorrectly then the input signals may overload the mixer causing distortion or it may come in too low and be lost in noise The gain switch allows you to make the initial level adjustment appropriate
45. itch is off before making any connections 2 Push the line cord securely into the IEC connector on the rear panel and plug the other end into a 8 prong AC outlet that is properly configured for the voltage of your powered mixer 3 Plug a balanced microphone into one of the mic XLR 8 pin connectors on the front panel Or you can connect any line level signal keyboard or guitar preamp to a line input jack using a TS or a TRS 1 4 plug 4 You can connect a guitar directly to inputs 5 or 6 without need for a DI box if you press the hi z switch on these channels 5 The insert jacks are used if you want to connect an external effects or dynamics processor into the signal chain See page 19 for more details 6 Plug the speakers 4 ohms or greater into the speaker output jacks on the rear panel If you plug two speakers into a side each speaker must be 8 ohms or greater to maintain a 4 ohm minimum load on the amplifier Use at least 18 gauge speaker cable with 1 4 TS plugs or Speakon plugs For now set the rear panel power amp mode switch to stereo mains Don t use guitar cords for speaker cables They re not designed to handle speaker level signals and could overheat Part No SW0681 Rev F 09 2011 2011 LOUD Technologies Inc All Rights Reserved Loosely based on a dream sequence in which the entire Mackie marketing department tap dance their way into downtown Woodinville for lunch VERY IMPORTANT Ready
46. itor mix The controls are off when turned fully down deliver unity gain at the center detent and can provide up to 15 dB of gain turned fully up Adjustments to the channel level or main mix level will not affect the monitor output but channel EQ and gain 28 will One of the powered mixer s internal amplifiers can power passive stage monitors if you set the power amp mode switch 4 on the rear panel Mon 1 send 17 isa line level output if you want to connect external power amplifiers and passive stage monitors or powered stage monitors 22 FX MON 2 These controls allow you to send a sample of each channel s signal to the internal FX processor and to the FX mon 2 line level output 15 to run external processors or a second set of stage monitors Carefully adjust each control to set up the FX or monitor 2 mix The controls are off when turned fully down deliver unity gain at the center detent and can provide up to 15 dB of gain turned fully up The dual nature of this knob FX or mon 2 is determined by the setting of the FX send mon 2 send switch 47 More FX mon 2 details are shown on page 14 and page 23 item 47 CHANNEL EQUALIZATION EQ The PPM608 channels have 3 band equalization low shelving mid peaking and high shelving It s probably all the EQ you ll ever need Shelving means that the circuitry boosts or cuts all frequencies past the specified frequency For example the low EQ boosts bass frequencie
47. nnected the dealer or an experienced radio TV technician for elp CAUTION Changes or modifications to this device not expressly approved by LOUD Technologies Inc could void the user s authority to operate the equipment under FCC rules 20 This apparatus does not exceed the Class A Class B whichever is alit limits for radio noise emissions trom digital apparatus as set out in the radio interference regulations of the Canadian Department of Communications ATTENTION Le pr sent num rique n met pas de bruits radio lectriques evi i limites oli aux appareils num riques de class A de class B selon le cas prescrites dans le r glement sur le brouillage radio lectrique dict par les ministere des communications du Canada 21 Exposure to extremely high noise levels may cause permanent hearing loss Individuals vary considerably in susceptibility 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 10 equipment capable of producing high sound pressur
48. nt being recorded twice double tracked on a multi track recorder This effect provides a single relatively rapid delay of the original signal with the added warmth that vintage tape based echo units provided These 6 delay presets provide one delay 1 three delay 2 or six delay 3 repeats of the original signal The default delay time for each preset is shown in mS the smaller the time the faster the delay Delay times can easily be customized to suit the moment by tapping the knob 49 more than once This effect combines the thickening effect of the chorus with the echoes of the 3 repeat delay effect Delay times can easily be customized to suit the moment by using the Tap feature Reverb DLY 200ms This effect combines the Warm Theater reverb effect with the echoes of the 3 repeat delay effect Delay times can easily be customized to suit the moment by using the Tap feature No Tile Description Example of its use Perfect for thickening percussive instruments such as a snare drum or tight vocal arrangements Particularly suited for vocal signals but can also be used for extra thick drum tracks This preset is characterized by lots of fast early reflections Useful for adding a and controlled ambient effect to vocals and acoustic instruments Useful on vocals that require a brighter reverb to cut through the mix or for giving acoustic instru ments a livelier vibe Useful for vocals on s
49. ome on at full volume Owner s Manual VERY IMPORTANT O S JOUAA yenuew 5 PPM608 8 MAIN MASTER 15 10 5 5 10 15 125 250 500 1K 2 MONITOR 1 MASTEF a a a Channel Controls The eight vertical channel strips look very similar with only a few differences between them Each channel works independently and just controls the signals plugged into the inputs directly below it Mono Channels 1 to 6 e Channels 1 to 6 are mono channels and their controls affect either the mono mic input or the mono line level input e Channels 1 to 4 have a built in signal in line compressor circuit with adjustable threshold e Channels 5 and 6 have a hi z switch 30 so you can connect guitars directly The 3 band EQ has shelving high shelving low and peaking mid EQ e The mono signals are split equally to the left and right of the main mix Stereo Channels 7 to 8 e Channels 7 and 8 are stereo channels and their controls affect either the mono mic input stereo line level input or stereo RCA inputs The mono mic input of each stereo channel is split equally to left and right PPM608 a 125 250 500 1K 2 CR 01 PLATE REVERB 02 VOCAL PLATE 03 WARM ROOM 04 BRIGHT ROOM 05 WARM LOUNGE 06 SMALL STAGE 07 WARM THEATER SEND POST 08 BRIGHT STAGE
50. ongs that require a larger more wet sound or for giving dimension to bright horns without adding harshness Useful for vocals or guitars in fast paced high songs that call for a live sounding reverberation Perfect for vocals drums acoustic and electric guitars keyboards and more Great for adding life and dimension to drums and other acoustic instruments and for that big live vocal sound Perfect for adding natural concert hall ambience to close mic ed orchestral instruments Adds life to acoustic instruments and vocals from solos to full on symphonies and choirs Gives amazing depth to choirs wind instruments organs and soft acoustic guitars Most often used to fatten snare drums and toms without clutter Perfect for enhancement of electric and acoustic is useful for thickening and for making a particular sound guitar and bass or to add a dramatic effect to vocals particularly group harmonies and choirs This lets you both thicken your sound with the chorus effect while adding warmth and spacious ness thanks to the smooth reverb Provides a vibe that is similar to chorus without the subtle swirl Often used on vocals for a 19505 era feel or on guitars for a surf type tone Often used by people whose favorite number is 16 These work best with full up beat music like rock where the delay needs to cut through the mix Warm delays get progressively softer and warmer in tone with eac
51. ontrol as the output from the internal effects processor is stereo and is added to the left and right main mix Adjust the FX level being added compared to the other channels playing in the main mix At the fully down position no effects are added the center U mark is unity gain and 10 dB of effects gain is available at the fully clockwise position 34 MAIN LEVEL This knob controls the level of the main mix and affects the meters 36 main line level outputs 19 main sub out 18 and the main speaker level outputs if the internal power amplifiers are playing the main mix The level adjustment occurs before the EQ 32 This gives you ultimate control over your audience Adjust it carefully with your good eye on the meters to check against overloading and your good ear on the levels to make sure your audience is happy The control does not affect the monitor 1 output 17 monitor 2 output 15 or the internal power amp if it is playing a monitor For stage monitor work it is good that the main mix level does not affect the monitor outputs so they can be set up nicely and stay that way The main mix signals are off with the level fully down the U marking is unity gain and fully up provides 12 dB of additional gain This additional gain will typically never be needed but once again it s nice to know it s there The level control is stereo as it affects both the left and right of the main mix equally Th
52. or 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 hard on the ears too E The following graph shows the input signal i level going into the compressor versus the output level coming out of it It is the typical graph to see when compressors are discussed and is just the kind of thing our engineers like to talk about during the company Christmas party If the compressor is off then the input output For example an input signal level of 5 dBu results in an output level of 5 dBu The diagonal line from lower left to upper right represents x y that is input output At the maximum compression the threshold is set at 0 dBu and the input to output relationship is represented by the lower blue curve If the input is 5 dBu that is below this threshold the output is 5 As the input reaches 0 dBu the output is a bit less than 0 dBu If the input is 5 dBu the output is about 2 dBu If the input reaches 10 dBu then the output is 3 dBu Notice the shapely curve of the soft knee between the diagonal slope of x and the compressor slope of 6 1 the compression ratio O 15 S JOUAA 10 OFF MAX yenuew OUTPUT SIGNAL STRENGTH dBu
53. ors plays mon 1 output HD1801 HD1801 Fowered Subwoofer Fowered Subwoofer plays right main mix plays left main mix Electronic Drum Kit This diagram shows microphones attached to the mic inputs of channels 1 to 4 electric guitars connected directly to ch 5 and 6 with hi z switch pressed in a guitar processor connected to ch 6 insert a keyboard attached to channel 7 s stereo inputs and an electronic drum kit attached to channel 8 Add vocal compression as required by tweaking the compression knobs on channels 1 to 4 The power amp mode switch is set to play the monitor 1 mix on channel A and monitor 2 mix on channel B Note Press in the front panel FX send mon 2 send switch or monitor 2 will not play C200 passive stage monitors are connected to the channel B speaker level power output of the powered mixer These play the stage monitor mix 2 to your performers C300z passive stage monitors are connected to the channel A speaker level power output and play stage monitor mix 1 Mackie HD1531 powered speakers and HD1801 powered subwoofers are connected to the line level main mix outputs and play the stereo main mix to the audience Large System Owner s Manual S JOUAAQ yenuew PPM608 Rear Panel Features 2 X 500W PROFESSIONAL POWERED MIXER POWER AMP MODE 1 POWER CONNECTION This jack accepts the supplied 3 prong IEC AC p
54. ower cord Before you plug the AC power cord into the powered mixer make sure that the voltage of your unit is the same voltage as your local AC mains supply Use only the power cord supplied Also disconnecting the plug s ground pin is dangerous Please don t do it VERY IMPORTANT 2 POWER SWITCH Press the top of this rocker switch inwards to turn on the mixer The front panel power LED 31 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 off the mixer whenever you feel that this would be a safe thing to do Half way through a heavy metal guitar solo might not be such a good time As a general guide you should turn on your mixer first before any external power amplifiers or powered speakers and turn it off last This will reduce the possibilities of any turn on or turn off thumps in your speakers 5 PPM608 3 SPEAKER LEVEL OUTPUTS These output connections provide speaker level output power from the internal power amplifiers to your passive speakers The power output of the PPM608 is 300 watts rms per channel into 4 ohms The outputs can be selected with the amp mode switch 4 to be either the stereo main mix mono main mix monitor 1 or monitor 1 monitor 2 Only passive loudspeakers should be connected to these speaker level outputs Two common types of connector are prov
55. plug has two blades with one wider than the groundin plug has two blades and a third grounding prong The wide e 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 10 Protect the power cord from being walked on or pinched particularly at plugs convenience receptacles and the point where they exit from the apparatus 11 Only use attachments accessories specified by the manufacturer 12 Use only with a cart stand tripod bracket or table specified by the manufacturer or sold with the apparatus When a cart is used use caution when the cart apparatus combination to avoid injury trom tip over 13 Unplug this apparatus during lightning storms or when unuse Br long periods of time 14 Refer all servicing to qualified service personnel Servicing is required when the apparatus has been damaged in any way such as power spel cord or plug is damaged liquid has been spilled or objects have fallen into the apparatus the apparatus has been exposed 10 rain or moisture does not operate normally or has been dropped 15 Do not overload wall outlets and extension cords as this can result a risk of fire or electric shock 16 This apparatus shall not be exposed to dripping or splashing and no object with liquids such as vases or beer glasses shall be placed on the apparatus 17 This apparatu
56. r 200 feet 60 m at 8 ohms and over 100 feet 30 m at 4 ohms the conductor sizes needed for less than 0 5 dB power losses are rarely practical for physical and cost reasons As a practical compromise for these situations the recommended conductor gauge is 10 AWG or 25 metric Appendix C Technical Information Specifications Distortion THD 1 kHz 30 kHz bandwidth Mic mono lt 0 005 lt 0 007 Line mono lt 0 005 Line stereo Main mix output noise lt 0 01 at main out 1 kHz 30 kHz bandwidth Main mix level down all channel levels down 95 dBu Main mix level 0 dB all channel levels down 86 dBu Main mix level 0 dB all channel levels 0 dB 77 dBu Frequency Response 0 dB 3 dB Mic mono input Line mono inputs Line stereo inputs Equivalent Input Noise EIN lt 10 Hz 80 kHz lt 10 Hz 40 kHz 10 Hz 75 kHz Mic input 20 Hz 20 kHz 150 Q termination 128 dBu Gain Mic mono input 25 dB 45 dB Line mono inputs 0 dB 20 dB Line stereo inputs 0 dB Maximum Levels Mic mono input 5 25 dBu Line mono inputs 21 1 dBu Line stereo inputs 21 dBu Preamp main and monitor outputs 21 dBu Impedances Mic mono input 3 6 KQ balanced Line mono input 20 KQ balanced Line mono input Ch 5 6 Hi Z 500 KQ unbalanced Main and monitor preamp outputs 240 Q balanced 120 Q unbalanced Channel EQ High Shelving 15 dB 12 kHz Mid
57. rit 20 lt 1 POWER 10 35 100 HZ RUMBLE REDUCTION SWITCH 21 D 2 POWER 10 36 MAIN MIX METERS 1 21 J 3 SPEAKER LEVEL 5 10 37 MONITOR 1 MASTER GRAPHIC EQ 21 C 4 POWER AMP MODE SWITCH n 38 FX TO 21 Y 5 VENTILATION AND REAR PANEL 11 39 MONITOR 1 LEVEL 21 6 HANDLES ciet n 40 100 HZ RUMBLE REDUCTION SWITCH 21 FRONT PANEL 5 12 41 MONITOR 1 21 PATCHBAY 42 PHANTOM 5 22 7 MIC INPUTS nnt 12 43 PRECISION PASSIVE 0 22 8 LINE INPUTS CH 1 TO 4 13 44 POWER AMP LIMITER LEDS 22 9 LINE INSTRUMENT INPUTS CH 5 6 13 STEREO EFFECTS PROCESSOR 10 STEREO LINE INPUTS CH 7 AND 8 13 45 FX MON 2 SEND 5 22 11 INPUTS CH 7 AND 8 13 46 SIG OL LED nnne 22 12 INSERT CH 1 TO 6 13 47 FX SEND POST MON 2 SEND PRE 23 13 OUTPUTS 13 48 PRESET DISPLAY nnne 23 14 BREAK SWITCH AND LED 13 49 PRESET SELECTOR TAP DELAY AND LED 23 15 FX MON 2 SEND OUTPUT 14 50 INTERNAL FX 4 23 16 FX
58. s Passive Subwoofers House System plays main mix below 100 Hz plays mono main mix This diagram shows microphones attached to the mic inputs of channels 1 to 4 an electric guitar connected directly to channel 5 with hi z switch pressed in an acoustic guitar microphone connected to channel 6 mic in a keyboard attached to channel 7 s stereo inputs and a drum machine to channel 8 A Mackie SRM150 powered monitor is connected to the monitor 1 send and acts as a personal stage monitor to the keyboard player The mon 1 knobs of each channel allow you 10 set up a monitor mix that is independent of the main mix Use the monitor 1 graphic EQ to adjust the stage monitor EQ as desired The power amp mode switch is set to play the mono main mix on ch A and monitor 1 mix on ch B Mackie C300z passive speakers are connected to the channel A speaker level power output of the powered mixer and they play the main mono mix to your audience C200 passive stage monitors are connected to the channel B speaker level power output of the powered mixer These play the stage monitor mix 1 fo your performers Passive subwoofers are powered by a power amplifier connected to the main mix sub out to reinforce the low end in your main mix House of Worship System Owner s Manual Wireless Microphone Microphones B Front Fanel Amp Mode i switch set to A 7 5 Stereo Mains Rear Panel Graphic EQ
59. s below 80 Hz and continues down to the lowest note you never heard Peaking means that certain frequencies form a hill around the center frequency 5 With too much EQ you can really upset 4 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 full boost or cut consider altering the sound source such as placing a mic differently trying a different kind of mic changing the strings or gargling 23 HIGH EQ The high EQ provides upto 15 dB of boost or cut above 12 kHz and is flat at the center detent Use it to add sizzle to 5 cymbals an overall sense of transparency or an edge to x x keyboards vocals guitar and bacon frying Turn it down a little to reduce sibilance or to mask tape hiss 1Oke 20 24 MID EQ The mid EQ provides up to 5 15 dB of boost or cut at 2 5 kHz and is flat at the center detent Midrange EQ is often thought of as the most dynamic because the frequencies that x define any particular sound are almost always found in this range You can create many interesting and useful EQ changes by turning this knob
60. s has been designed with Class construction and must be connected to a mains S outlet with a protective earthing connection the third grounding prong 18 This apparatus has been equipped with an all pole rocker style AC mains power switch This switch is located on the rear pane and should remain readily accessible to the user PORTABLE CART WARNING CAUTION AVIS RISK OF ELECTRIC SHOCK DO NOT OPEN RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR A CAUTION TO REDUCE THE RISK OF ELECTRIC SHOCK DO NOT REMOVE COVER OR BACK NO USER SERVICEABLE PARTS INSIDE REFER SERVICING TO QUALIFIED PERSONNEL ATTENTION POUR EVITER LES RISQUES DE CHOC ELECTRIQUE NE PAS ENLEVER LE COUVERCLE AUCUN ENTRETIEN DE PIECES INTERIEURES PAR L USAGER CONFIER L ENTRETIEN AU PERSONNEL QUALIFIE AVIS POUR EVITER LES RISQUES D INCENDIE OU D ELECTROCUTION N EXPOSEZ PAS CET ARTICLE A LA PLUIE OU A L HUMIDITE The lightning flash with arrowhead symbol within an equilateral triangle is intended to alert the user to the presence of uninsulated dangerous voltage within the product s enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons Le symbole clair avec point de fl che l int rieur d un triangle quilat ral est utilis pour alerter l utilisateur de la pr sence l int rieur du coffret de voltage dangereux non isol d ampleur suffisante pour constituer un risque d l ctrocution The exclamat
61. sover could be connected to the power amp inputs 20 so the internal amplifiers will power your top frequency range loudspeakers The active crossover s low frequency outputs could connect directly to powered subwoofers In this way you can take some of the strain off your powered mixer s internal amplifiers and have the powered subwoofers crank out the bass Another super idea is to use an external active crossover This splits the line level main output into two or three frequency bands The 20 POWER AMP INPUTS These 1 4 TS unbalanced inputs allow you to connect line level signals directly to the input of the internal power amplifiers The amplifiers will only play what you put in and only the precision passive EQ switch 48 and limiters 44 will affect the output The power amp mode switch 4 has no effect and the meters will not show the levels Plugging anything in here does not affect any of the line level outputs You could patch a device between the main outputs 19 and these inputs in which case the controls and meters will work except for the power amp mode switch These inputs are also useful when you need more channels then the PPM608 provides You could connect the line level outputs from another mixer and use it to control the mix and levels playing in loudspeakers attached to the powered mixer The external mixer or device will control the volume so turn it down at first or the powered mixer may c
62. st any kind of mic that has a standard XLR type male mic connector Professional ribbon dynamic and condenser mics all sound excellent through these inputs The mic inputs will handle any kind of mic level you can toss at them without overloading Channels 1 to 4 have the extra benefit of built in signal in line compressors 29 These may be adjusted to add just the right amount of compression to your vocals and help prevent distortion and the effects of tonsillitis The mic inputs may employ high or low gain based upon the setting of the switch 28 Please review the gain switch settings on page 18 for more information PHANTOM POWER Most modern professional condenser mics are equipped for 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 8M58 for instance which don t need external power and aren t affected by it anyway The mixer s phantom power is globally controlled by the phantom 42 switch on the front panel The phantom power for all channels is turned on and off together 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 phan
63. t zones e Rear panel The AC input power switch speaker level outputs and amplifier mode switch Patchbay The lower front section where you connect microphones and guitars etc e Channel Strip The channel strips where you adjust and control each channel e Master Section The section on the right with graphic EQ and main level controls e Stereo Effect Processor Throughout these sections you ll find illustrations with each feature numbered and described in the nearby paragraphs This icon marks information that is critically important or unique to the powered mixer For your own good read them and remember them 5 This icon will lead you to some explanations of 4 8 features and practical tips Go ahead and skip these if you really need to go VERY IMPORTANT Appendix A Service information Appendix B Connectors Appendix C Technical information Appendix D Table of Effects Presets The thickness of the manual makes it ideal for fitting under wobbly table legs or for defending yourself against packs of angry ferrets O Contents IMPORTANT SAFETY INSTRUCTIONS 2 MASTER CONTROLS 5 READ THIS 3 31 POWER LED nnne 20 0 Oa 4 32 MAIN MASTER GRAPHIC EQ 20 ao HOOKUP DIAGRAMS ssccccocccccscceccccssnesceccerececeee 6 33 FX TO MAIN 20 A REAR PANEL FEATURES 1 2 10 34 MAIN LEVEL acciaio te
64. ter 0 dB position The frequency bands are 125 250 500 1k 2k 4k and 8kHz The EQ section comes after the main level 84 and just before the main meters 36 Therefore as you adjust the EQ you can keep an eye on the meters in case you over do it and take the levels into overload PPM608 mm EJ PHANTOM 4m _ PRECISION PASSIVE EQ With this constant Q graphic EQ the bandwidth and Q of a 18 10 feedback occurs frequency band doesn t vary with the amount of boost or cut and it has minimal effect on adjacent bands for all settings of the slider levels There s always some effect on adjacent bands to avoid too much variation or ripple between bands but the constant Q design keeps this fairly constant for all settings The position of the 820 FX MON2 7 p dn sliders gives a good indication of the Z KON ZSEND Pe POWER AMP LIMITER frequency response across the audio band O lt DES b Non constant types of EQ on other mixers give a wider bandwidth for lower levels of boost or cut and narrows as the level goes up or down For example if you re boosting 500 Hz and 2 kHz slightly the 1 kHz band will also be boosted even though the 1 kHz slider is in the flat position 33 FX TO MAIN This knob lets you adjust the level of the internal effects being added to the main mix It is a stereo c
65. tom power on VERY IMPORTANT VERY IMPORTANT 8 MONO LINE INPUTS CH 1 to 4 These 1 4 jacks share circuitry but not phantom power with the mic preamps and can be driven by balanced or unbalanced sources To connect balanced lines to these inputs use a 1A Tip Ring Sleeve TRS plug To connect unbalanced lines to these inputs use a 1 4 mono TS phone plug or instrument cable The mono line inputs may employ high or low gain based upon the setting of the switch 28 Please review the gain switch settings on page 18 for more information 9 LINE INSTRUMENT INPUTS CH 5 and 6 The line level inputs for channels 5 and 6 can also accept instrument level signals if the hi z switches 80 are pressed in This allows you to connect guitars directly to channels 5 and 6 without the need for a DI box The input impedance is optimized for direct connection and high frequency fidelity is assured The line instrument inputs may employ high or low gain based upon the setting of the switch 28 Please review the gain switch settings on page 18 for more information 10 STEREO LINE INPUTS CH 7 and 8 Channel 7 and 8 have stereo line inputs If you just have a mono source plug it into the left input of channel 7 or 8 labeled left mono and the signal will appear as if by magic equally on the left and right of the main mix The stereo line inputs may employ high or low gain based upon the setting of the switch 28
66. trols PPM 2 X 500W PROFESSIONAL POWERED MIXER MAIN MASTER 125 250 500 1K 2K 4k 8K 100Hz RUMBLE REDUCTION As with the channel EQ just take it easy There is a large amount of adjustment and if you are not careful you can upset the delicate balance of nature Although it may not seem cool to actually turn down controls with EQ it is often your best option Turn down the offending frequency range rather than boost the wanted range You can reduce the level of some frequency bands where MONITOR 1 MASTER 15 10 5 32 BIT FX 13 CHORUS 14 CHORUS REVERB 15 DOUBLER 16 TAPE SLAP R DUCTION PLATE REVERB VOCAL PLATE 03 WARM ROO 04 BRIGHT SOOM 31 POWER LED This LED comes on when the powered mixer is plugged into the correct voltage AC mains supply and the rear panel power switch 2 is on If the LED does not turn on make sure the AC power is live both ends of the power cord are correctly inserted your electricity bill has been paid the lights in town are on 32 MAIN MASTER GRAPHIC EQ This 7 band graphic equalizer adjusts the main mix output It affects the line level outputs 19 as well as the main speaker level outputs if the internal amplifiers are playing the main mix Each slider allows you to adjust the level of its frequency band with up to 15 dB of boost or cut and no change in level at the cen
67. uct provided that Customer gives notice of the noncompliance within the Warranty Period to the Company at www mackie com support or by calling LOUD technical support at 1 800 898 3211 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 warranty The Product Warranty together with your invoice or receipt and the terms and conditions located at www mackie com warranty constitutes the entire agreement and supersedes any and all prior agreements between LOUD and Customer related to the subject matter hereof No amendment modification or waiver of any of the provisions of this Product Warranty will be valid unless set forth in a written instrument signed by the party to be bound thereby Owner s Manual 3 e 16220 Wood Red Road NE Woodinville WA 98072 USA United States and Canada 800 898 3211 Europe Asia Central and South America 425 487 4333 Middle East and Africa 31 20 654 4000 Fax 425 487 4337 www mackie com E mail sales mackie com

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