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Mackie PPM1008 User's Manual

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3. Channel Insert jack STEREO MIA PLUG RT Channel Insert jack For use as an effects loop SEND to effect RING RETURN from effect Figure G Loudspeaker Cable Use loudspeaker cables with a minimum conductor size for the length you need as listed in these tables This will minimize power losses to less than 0 5 dB The cable lengths listed are up to lengths For in between lengths use the next larger con ductor gauge Using larger than the rec ommended conductor size is always permis sible Using smaller than recommended conductor size will result in higher power losses gt pr pn The recommended conductor gauges are listed for AWG American Wire Gauge and Metric WG Metric Wire Gauge Note that smaller AWG numbers larger conductors and smaller Metric WG numbers smaller conductors The Metric WG is equal to ten times the nominal conductor diameter in millimeters Longer Lengths For cable lengths over 200 feet 60 m at 8 ohms and over 100 feet 30 m at 4 ohms the conductor sizes need ed 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 N 1 kHz 30 kHz bandwidth Mic mono Line mono Line stereo Main mix output noise lt 0 007 high gain
4. 048 0 dB Gain switch HIN LOW OUT HIGH 45 48 Gain 20 dB 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 caus ing 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 for the connected device mic or line level for example The channel level controls 31 are more for fine tuning to balance the channels appropriately for the song 33 COMPRESSOR Channels 1 to 4 have an in line compressor circuit with a variable threshold This is very useful for com pression of vocals for example When the incoming signals exceed the threshold level set by this knob the signal level is automatically com pressed This reduces the dynamic range and reduces the chance of distortion due to overloading the input signals 5 Dynamic range is the difference in level be 4 tween the quietest part of your song and the loudest part Using a compressor you are able to squeeze the dynamic range resulting in an overall steadier more constant volume level for the signal It helps sources such as vocals sit properly in the mix and it is very useful for live sound as well A CLOSER The compression ratio is fixed at around 6 1 with a soft knee respo
5. 25 APPENDIX C TECHNICAL INFORMATION 27 APPENDIX D TABLE OF EFFECTS PRESETS 30 PPM1008 LIMITED 31 Need help with your new mixer Visit www mackie com and click Support to find FAQs manuals addendums and documentation 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 PST Owner s Manual 5 O 2 u c 4 nueyw s je Hookup Diagrams Front Fanel Fower Amp Mode switch set to Stereo Mains Rear Panel 1 2 3 4 Microphones POWER AMP 450 v2 Fowered Stage Mon plays mon 1 output Powered Subwoofers Api in Fassive Speakers plays main mix below 100 Hz plays 2 main mix 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 monitors are connected to the monitor 1 send and play as stage moni tors The mon 1 controls of each channel allow you to set up a stage monitor mix that is independent of the main mix Passive speakers are connected to the speaker level power output of the powered mixer and they play the main stereo
6. SF SF SF SF SF SF SF SF SF SF SF SF SF SB SG SB SF FF um 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 m 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 almost any kind of mic that has a standard XLR type male mic con nector Professional ribbon dynamic and condenser mics all sound excellent through these inputs The mic inputs will handle any kind of mic level you can toss at them without overloading Microphone level signals are passed through the mixer s splendid microphone preamplifiers to become line level signals Because more gain is required to boost the microphone level signals make sure the gain switch 32 is in the up position when you are using microphones Channels 1 to 4 have the extra benefit of built in sig nal in line com
7. 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 5 Another super idea is to use an external 5 active crossover This splits the line level main N E output into two or three frequency bands The high frequency output of the crossover 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 out puts could connect directly to powered subwoofers In this way you can take some of the strain off your pow ered mixer s internal amplifiers and have the powered subwoofers crank out the bass 20 POWER AMP INPUTS These unbalanced 1 4 TS 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 47 and limiters 48 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
8. e Is there too much compression on channels 1 4 e 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 5 phantom power required for your micro phones Bad Output e 5 main master level control turned up e Are the graphic EQs set to reasonable levels e 5 the FX level going to the main mix too high e fits 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 faleft speaker is presumed dead connect it to the right output instead If the problem stays with the same speaker check the speaker wir ing or any speaker fuses e Unplug anything from the main line level outputs or other line level outputs 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 PPM1008 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 dis
9. 2k 4k 8k and 16 kHz Mic input Line mono input Line stereo input Preamp main outputs Monitor outputs Inserts Loudspeaker outputs Loudspeaker outputs XLR balanced 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 Q Average output power 4 Q Average output power 8 Q Recommended load impedance Running Man Effects Type 2 x 800 W peak 2 x 400 W rms 1 THD 2 x 500 W rms 3 THD 2 x 250 W rms 1 THD 2 x 300 W rms 3 THD 4 8 per side 32 bit internal processor mono in stereo out Effects presets 24 Mackie designed presets Power Consumption 120 VAC 50 60 Hz 250 watts 240 VAC 50 60 Hz 250 watts Dimensions H x W x D 12 3 x 19 3 x 11 4 314 mm x 490 x 290 Weight 26 0 1 11 8 kg Top Speed 13 knots 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 LOUD Technologies Inc All other brand names mentioned are trademarks or registered trademarks of their respective hold ers and are hereby acknowledged Please check our website in case there are any co
10. after it has passed through the monitor 1 level 43 and graphic EQ 41 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 m MACKIE POWER fiers so only loudspeakers connected to the rear panel speaker level outputs 3 will be o PO0G00000008 E EEEE 15 15 oa 10 BM gl B B B B B 40 100Hz RUMBLE REDUCTION amp o H IH H H H H LH l 0 5 _ 8 8 8 8 8 8 8 5 NRNOWE 10 BM Bl IBB B B B B B 10 2 X 800W PROFESSIONAL POWERED MIXER MAIN MASTER 63 125 250 500 1K 2K 4K 8K 16K 8 8 8 8 B B B B 15 r V ens 50 affected 48 POWER AMP LIMITER LEDs These independent LEDs turn on when power amplifier channel A or B is being over loaded internally and its internal automatic limiter which is always in the signal path is MONITOR 1 MASTER 100Hz RUMBLE REDUCTION 63 125 250 500 1K 2K 8K 16K 2 RUNNING MAN N ORM ra LATE REVERB 13 CHORUS LATE 14 CHORUS REVERB BLEI 15 DOUBLER 16 TAPE SLAP oo 04 BRIGHT ROOM FX MON2 05 WARM LOUNGE SEND MASTER 17 DLY 1 BRIGHT 350ms 07 Wi 08 BRIGHT STAGE 09 WARM HALL 10 CONCERT HALL 22 DLv 3 WARM 150m 23 CHORUS DLY 300ms 24 R
11. lt 0 005 low gain lt 0 005 low gain 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 Frequency Response 77 dBu 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 termination 128 dBu Gain Mic mono input 45 dB high gain 25 dB low gain Line mono inputs 20 dB high gain 0 dB low gain Line stereo inputs 0 dB Maximum Levels Mic mono input Line mono inputs Line stereo inputs 25 dBu high gain 5 dBu low gain 21 dBu low gain 1 dBu high gain 21 dBu Preamp main and monitor outputs 21 dBu Impedances Mic mono input balanced 3 6 kQ balanced Line mono input balanced 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 all channels 15 dB 12 kHz Mid Mono Channels Mid Peaking sweepable Mid sweep range Mid Stereo Channels Hi Mid Peaking Lo Mid Peaking Low Shelving all channels 15 dB 100 Hz to 8 kHz 15 dB 2 5 kHz 15 dB 400 kHz 15 dB 80 Hz 9 Band Graphic EQ Main and Monitor 1 Connections 15 dB 63 125 250 500 1k
12. 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 PPM1008 provides You could con nect 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 pow ered mixer may come on at full volume 8 Owner s Manual L5 8 MACKIE nox MAIN MASTER 5 EEES E 8 8 8 8 E s gm M M 0 s EE E E EES 63 125 250 500 1K 2K MONITOR 1 MASTER 5 8 8 8 8 8 8 v EEEE s gm m M NN 0 m m v 8 8 8 8 E 5 EEES E 63 125 250 500 1K 2K x HRI 01 PLATE REVERB 02 VOCAL PLATE 03 WARM ROOM 04 BRIGHT ROOM 05 WARM LOUNGE 06 SMALL STAGE 07 WARM THEATER A FX SEND POST 08 BRIGHT STAGE 2 SEND PRE 09 WARM HALL 10 CONCERT HALL 11 CATHEDRAL 12 GATED REVERB oo 15 FX MON 2 SEND MASTER Channel Controls The eight vertical channel strips look very similar with only a few differences between them Each chan nel 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 eith
13. 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 A For more details please see page 14 or the gt E rather lovely block diagram on page 29 52 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 a second after you stop turning the knob and will be stored into the FX memory after about one second When the powered mixer is turned on the FX section will load up the last used preset 53 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 pre set number is shown in the display 52 The different presets are shown in this table and marked on the panel silkscreen Further details of each preset are shown in Don 30 Plate apee 3 Warm Room FELT CR NN 6 SmallStage 8 BrightStage 9 Warm Hall The knob also offers a tap delay function for presets 17 to 24 This works as follows 1 Use the knob to select a preset from 17 to 24 Pressthe knob in at least two times The DSP processor will calculate the time delay between the la
14. de scriptions are divided into sections just as your mixer is organized into distinct zones e Rear panel The AC input power switch speak er level outputs and amplifier mode switch e Patchbay The lower front section where you connect microphones and guitars etc e Channel Strips The channel strips where you adjust and control each channel e Master Section The section on the right with graphic EQs and main level controls e Stereo Effects Processor Throughout these sections you ll find illustrations with each feature numbered and described in nearby paragraphs This icon marks information that is critically important or unique to the mixer For your own good read them and remember them This icon will lead you to some explanations of features and practical tips Go ahead and skip these if you need to leave the room in a hurry Is 5 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 Mackie s technical writers also wear them on their heads as they make an excellent shield from Venusian mind probes Contents IMPORTANT SAFETY INSTRUCTIONS 2 READ THIS PAGE 3 INTRODUCTION eene 4 HOOKUP 5 40 6
15. effects processor In this example the stereo outputs go to ch stereo inputs EFFECTS SERIAL OR PARALLEL E Serial means that the entire channel signal E leaves the mixer insert 12 send is routed i 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 before connec tion to the mixer Parallel means that a portion of the signal in the mixer is tapped off to the device processed and re turned 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 look ing 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 54 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 moni tor 1 line level output to stage monit
16. the speaker level power outputs Mackie HD1521 powered speakers and powered subwoofers are connected to the line level main mix outputs and also play the stereo main mix to your audience DJ System PPM1008 Front Fanel Power Amp Mode switch set to Mon 1 Mon 2 Rear Fanel HD1531 HD1531 Fowered Powered Speaker C200z Passive Stage Monitors plays mon 2 output Keyboards C300z Fassive Stage Monitors plays mon 1 output Powered Subwoofer Powered Subwoofer Electronic Drum Kit plays right main mix plays left main mix This diagram shows microphones attached to the mic inputs of channels 1 to 4 electric guitars con nected directly to ch 5 and 6 with hi z switches pressed in a guitar processor connected to ch 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 Mackie HD1531 powered speakers and powered subwoofers are connected to the line level main mix outputs and play the stereo main mix to your audience C200z passive stage monitors are connected to the channel B speaker level power output of the pow ered mix
17. the hi z switches 34 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 con nection and high frequency fidelity is assured 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 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 Never plug single ended unbalanced micro 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 compres sors equalizers de essers or filters The insert point is after the gain switch 32 and compressor circuits on channels 1 4 but before the channel s EQ and level 31 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 SEND to processor r
18. 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 out puts 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 This is the control to turn down at the end of the song when you want The Great Fade Out 39 100 Hz RUMBLE REDUCTION SWITCH This switch is used to reduce the level of the frequen cy range below 100 Hz It operates on the mono channel 1 to 6 mix not the stereo channel mix Use this to reduce the amount of low frequency problems such as mic handling stage rumble bangs and thumps in your main mix E This switch is the audio electronic equiva E lent of taking anti gas medication It relieves low end rumble and the whole room sounds better 40 MAIN MIX METERS Developed from a harmless ex NASA hamster hypnotizer these stereo meters show the level of the left and right main mix after it has passed through the main level 38 and graphic EQ 36 The top LED
19. the moment electric guitars by using the Tap feature For presets 17 to 24 the delay can be entered by tapping the preset selector knob 53 more than once 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 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 product provided that Customer gives notice of the noncompliance within the Warranty Period to the Company at www mackie com support or by calling LOUD technical support at 1 800 898 3211 toll free in the U S and Canada during normal business hours Pacific Time excluding weekends or LOUD holidays P
20. 12 kHz and it is also flat at the detent o Li Use it to add sizzle to cymbals an overall sense oftranspar gt ency or an edge to keyboards m o Y 2 vocals guitar and bacon frying Turn it down a little to reduce sibilance or to mask tape hiss 0 106 20 24 MID EQ LEVEL Ch 1 to 6 The mid knob sets the E amount of boost or cut up to ii 15 dB and is effectively by E passed at the center detent 5 The frequency at which the cut or boost occurs is set by the Y um 4 frequency control 25 25 MID EQ FREQUENCY Ch 1 to 6 This knob sets the center frequency of the mid EQ control 91 24 This is sweepable from 100 Hz to 8 kHz E Once this is set the mid EQ level can be adjusted with the mid EQ level control 24 20 100 Most of the root and lower harmonics that define a sound are located in the 100 Hz 8 kHz frequency range and you can create drastic changes with these two knobs Many engineers use mid EQ to cut midrange frequencies not boost them One popular trick is to set the mid fully up turn the frequency knob until you find a point where it sounds just terrible then back the mid down into the cut range causing those terrible frequ
21. ENSER 17 29 LOW glo 18 30 OVERLOAD OL LED 18 31 CHANNEL LEVEL nenne 18 32 GAIN SWITCH 4 00 0 18 33 55 2 240 4 4 19 34 HI Z SWITCH een 19 35 POWER LED 20 MASTER CONTROLS 36 MAIN MASTER GRAPHIC EQ 20 37 FX TO 4 20 38 MAIN LEVEL 49 40 2 4 0 20 39 100 HZ RUMBLE REDUCTION SWITCH 21 40 MAIN MIX METERS 21 41 MONITOR 1 MASTER GRAPHIC EQ 21 42 FX TO MON 1 44 4 0 9 4 4 7 21 43 MONITOR 1 LEVEL een 21 44 100 HZ RUMBLE REDUCTION SWITCH 21 45 MONITOR 1 21 46 PHANTOM SWITCH 22 47 PRECISION PASSIVE EQ 22 48 POWER AMP LIMITER LEDS 22 STEREO EFFECTS PROCESSOR 49 FX MON 2 SEND MASTER 22 50 SIG OL LED 1 csssssscesicesasssrcsssssecesessinaies 22 51 FX SEND POST MON 2 SEND PRE 23 52 PRESET DISPLAY 0 4 4 44 7 23 53 PRESET SELECTOR TAP DELAY AND LED 23 54 INTERNAL FX 23 APPENDIX A SERVICE INFORMATION 24 APPENDIX B CONNECTIONS
22. ERY 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 chan nels you will need to use an external DI box first With out the DI box or if these switches are not pressed in guitars will sound dull and muddy Owner s Manual Master Controls MAIN MASTER 1 M E EEEE 1 0 M BM EL M EEEE E 6 DBHEHDDHDDHE 3 125 250 500 1K 2K MACKIE 2217008 5 2 800W PROFESSIONAL POWERED MIXER PESE As with the channel EQ just take it easy There is a large amount of adjustment and if MONITOR 1 MASTER 1 M EEEE B B 1 0 MA BM I E B 1 BB 1 0 M EEEE EE 1 M B8B EEEE Eg 15 6 3 125 250 500 2K 4K 8K LATE REVERB 13 CHORUS OCAL PLATE WARM ROOM 04 BRIGHT ROOM FX MON 2 05 WARN LOUNGE SEND MASTER 06 SMAI 18 DLY 1 WARM 300ms 07 THEATER A FX SEND POST 08 BRIGHT STAGE MON 2 SEND PRE v WARM HALL 0 CONCERT HALL 1 CATHEDRAL GATED REVERB 4 35 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 th
23. EVERB DLY 200ms A FX SEND POST MON 2 SEND PRE O 11 CATHEDRAL 12 GATED REVERB PHANTOM PRECISION PASSIVE EG 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 the amp signal down to 1 4 power until the power sup ply cools down enough to release the limiter If this happens check there is good ventila tion around the mixer and that you are not cranking it too much Also make sure that your speakers are OK and are not less than 4 ohms impedance If the limiter LEDs come on and VERY IMPORTANT 46 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 equipped 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 7 47 PRECISION PASSIVE EQ If you are using Mackie passive speakers such as the C200 C300z 5408 5215 and 225 the
24. PPM1008 8 Channel 2 x 800 W Professional Powered Mixer OWNER S MANUAL MACKIE p uri 20 A MAIN MASTER rwr o 100000000000 100000000000 su 6a 125 250 500 1K MONITOR 1 MASTER 5 s D UP 125 250 PHANTOM c0 ve ARMANA L R Ed FX MON 2 SEND MASTER ALFXSEND POST 2 MON 2 SEND PRE 04 BRIGHT ROOM 16 TAPE SLAP 02 VOCALPLATE 14 CHORUS REVERS PRECISION 03 WARMROOM 15 DOUBLER o5 WARM LOUNGE 17 DLY BRIGHT TAP TO EDIT POWER AMP LIMITER INSERT LEFT MONO LEFT MONO LINE OUTPU mm REO RIGHT 0 TAPE OUT d TS FXMON 2 SEND POWER AMP INPUT UNBAL P FOOT SWITCH 6 toona e 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
25. REAR PANEL FEATURES 10 1 POWER 10 2 POWER SWITCH enne 10 3 SPEAKER LEVEL OUTPUTS 10 4 POWER MODE SWITCH 11 5 VENTILATION AND REAR PANEL 11 HANDLES 11 FRONT PANEL FEATURES 12 PATCHBAY 7 5 4 9 4 12 8 MONO LINE INPUTS CH 1 TO 4 13 9 LINE INSTRUMENT INPUTS CH 5 6 13 10 STEREO LINE INPUTS CH 7 AND 8 13 11 RCA INPUTS CH 7 AND 8 13 12 INSERT CH 1 TO 6 13 13 TAPE OUTPUTS ne 13 14 BREAK SWITCH AND LED 13 15 FX MON 2 SEND OUTPUT 14 16 FX FOOTSWITCH eene 15 17 MON SEND eere 15 18 MAIN SUB eerte 15 19 MAIN OUTPUTS een 15 20 POWER INPUTS 15 CHANNEL CONTROLS 21 MON 1 eerte rennen tane 17 22 2 17 23 iscritti ttes tti 17 24 MID EQ LEVEL CH 1 TO 6 17 25 MID EQ FREQUENCY CH 1 TO 6 17 26 HIGH MID EQ LEVEL CH 7 AND 8 17 27 LOW MID EQ LEVEL CH 7 AND 8 17 28 ICE CREAM DISP
26. anced but have both the mixer output send and the mixer input return signals in one connector See Figure F SEND to processor ring tip sleeve TRS plug 1 nd This plug connecte to one of the ring mixer s Channel Insert jacks RETURN from processor 2 Figure F The sleeve is the common ground earth for both signals The send from the mixer to the external unit is carried on the tip and the return from the unit to the mixer is on the ring Using the Send only on an Insert Jack If you insert a TS mono 1 4 plug only partially to the first click into a Mackie insert jack the plug will not activate the jack switch and will not open the insert loop in the circuit thereby allowing the channel signal to continue on its merry way through the mixer This allows you to tap out the channel signal without interrupting normal operation If you push the 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 G NOTE Do not overload or short circuit the signal you are tapping from the mixer That will affect the internal signal PPM1008 Vey ae Eee PLUG D Channel Insert jack Direct out with no signal interruption to master Insert only to first click P MONO PLUG Direct out with signal interruption to master Insert all the way in to the second click
27. appears 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 please refer to the warranty information on page 31 Non warranty service for Mackie products is avail able at a factory authorized service center To locate your nearest service center visit www mackie com click Support and select Locate a Service Center Service for Mackie products living outside the United States can be obtained through local dealers or distributors If you do not have access to our website you can call our Tech Support department at 1 800 898 8211 Mon day Friday normal business hours PST to explain the problem Tech Support will tell you where the nearest factory authorized service center is located in your area Appendix B Connections XLR Connectors Mackie mixers use 3 pin female XLR connectors on all microphone inputs with pin 1 wired to the grounded earthed shield pin 2 wired to the high hot or positive polarity side of the audio signal and pin 3 wired to the low cold or negative polarity side of the signal See Figure A 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 n
28. ation 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 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 m Front Panel Features 5 4 1 MON2 MON2 co HS co s 3 x Hs oo HS s Oa Oa MON 2 Hs 8 MACKIE 2 rowe 2 X 800W PROFESSIONAL POWERED MIXER 9 52011 y MON2 Hs co Hs co H EQ 15 H5 y 5 19 too 8k 5 19 EQ O A 9 9 i s 5 15 5 HS 5 19 EQ 9 12kHz T 8 15 s D po O do 8k o 97 too 8k 9 5 15 Ass Low 80Hz Low 80Hz Low 80Hz Low 80Hz EQ L R Boa s Ba88 82828288 Cas c3 NH NM 15 io RUMBLE 6 5 _ 8 8 8 8 8 FXTO REDUCTION mam 3 mam MAIN
29. cattered reflec Useful on vocals that require a brighter reverb to tions to simulate harder more reflective surfaces cut through the mix or for giving acoustic instru ments a livelier vibe Warm Lounge This preset features a medium sized room sound with Useful for vocals on songs that require a larger just enough enhancement of the lower mids to produce a more wet sound or for giving dimension to warm tone bright horns without adding harshness Small Stage This preset simulates the sound of a small concert stage Useful for vocals or guitars in fast paced high with a medium reverb time and reverberant space ene songs that call for a live sounding reverberation Warm Theater This reverb has a warm bodied tone and medium long Perfect for vocals drums acoustic and electric reverb time to simulate the live acoustics of a theater guitars keyboards and more space Bright Stage This preset emulates the sound of a large performance Great for adding life and dimension to drums and stage characterized by medium long reverb time and other acoustic instruments and for that big live pre delay plus a touch of sizzle vocal sound Warm Hall This reverb simulates the sound of a spacious yet cozy Perfect for adding natural concert hall ambience heavily draped and carpeted concert hall with an espe to close mic ed orchestral instruments cially warm tone Concert Hall This hall reverb is characterized by its large spac
30. ch 1 to 4 only then through the channel EQ and the channel level 81 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 51 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 monitor 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 32 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 is a 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 proces sors or a second set of stage monitors Carefully adjust each control to set up the FX or moni tor 2 mix The controls are off when turned fully down deliver uni
31. d the receiver e Connect the equipment into an outlet on a circuit different from that to which the receiver is connected zu 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 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 appareil num rique n met pas de bruits radio lectriques rod las limites 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 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 danger ous exposure to high
32. d to the mono monitor 1 mix Adjust the FX level being added compared to the other channels playing in the monitor 1 mix 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 43 MONITOR 1 LEVEL This knob controls the level of the monitor 1 mix and affects the monitor 1 meter 45 mon 1 line level out puts 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 41 This gives you ultimate control over your monitor 1 stage monitors Adjust it carefully with your good eye on the meter 45 to check against overloading and to make sure 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 pro vides 12 dB of additional gain 44 100 Hz RUMBLE REDUCTION SWITCH This switch is used to reduce the level of the frequen cy range below 100 Hz playing in 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 45 MONITOR 1 METER This meter shows you the level of the monitor 1 mix
33. dry environ ment free from dryer lint and dust bunnies Connections 1 Be sure the rear panel power switch is off before making any connections 2 Push the linecord securely into the IEC connec tor on the rear panel and plug it 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 key board or guitar preamp to a line level input 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 can be used to connect an external effects or dynamics processor into the signal chain See page 13 for more details 6 Plugthe speakers 4 ohms or greater into the speaker output jacks on the rear panel If you plug two speakers in one 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 VERY IMPORTANT Part No SW0685 Rev D 2009 LOUD Technologies Inc All Rights Reserved Episode 3 The Mackie marketing department landing party arrives on A
34. e LED does not turn on make sure the AC power is live both ends of the power cord are correctly in serted your electricity bill has been paid and the lights in town are still on 36 MAIN MASTER GRAPHIC EQ This 9 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 center 0 dB position The frequency bands are 68 125 250 500 1k 2k 4k 8k and 16 kHz The EQ section comes after the main level 38 and just before the main meters 40 Therefore as you ad just the EQ you can keep an eye on the meters in case you over do it and take the levels into overload PPM1008 you are not careful you can upset the delicate balance of nature Although it may not seem cool to turn down controls with EQ it is often your best option Turn down the offending frequency range rather than boost the wanted range Having many sliders will allow you to reduce the level of some frequency bands where feedback occurs With this constant Q graphic EQ the 4 bandwidth and Q of a frequency band doesn t vary with the amount of boost or cut The adjustment of one slider has minimal effect on adjacent bands for all settings of the slider levels There s always some effect on ad
35. el reaching the effects processor is in a good operat ing range SIG It illuminates in red when the effects processor is being overloaded with too strong a signal OL Turn down the level 49 if it is The signals going into the processor are affected by the channel FX mon 2 controls 22 and the channel level controls 31 if the FX send mon 2 send switch 51 is out post Check the LED if you alter these controls 51 FX 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 81 Any changes to the channel level will also affect the level feeding the internal effects You can also set up an external effects processor by 1 Muting 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
36. ely rapid delay of the Often used on vocals for a 1950 s era feel or on original signal with the added warmth that vintage tape guitars for a surf type tone Often used by people 17 DLY 1 Bright 350ms These 6 dela presets provide one delay 1 three delay These work best with full up beat music like rock 18 DLY 1 Warm 300ms 2 or six de ay 3 repeats of the original signal The where the delay needs to cut through the mix DLY 2 Bright 250ms default delay time for each preset is shown in mS the Warm delays get progressively softer and warmer DLY 2 Warm 200ms smaller the time the faster the delay Delay times can in tone with each repetition and work great with DLY 3 Bright 175ms easily be customized to suit the moment by tapping the slow mellow music Bright delays have repeats DLY 3 Warm 150ms knob 53 more than once that are consistent in tone with the origina sound Chorus DLY 300ms This effect combines the thickening effect of the chorus Useful on a clean electric guitar that needs a with the echoes of the 3 repeat delay effect mildly swirling ethereal tone 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 Perfect for thickening vocals while adding dimen the echoes of the 3 repeat delay effect sions it can also be used as a spacey effect on Delay times can easily be customized to suit
37. en cies to disappear Sounds silly but it works Sometimes 26 HIGH MID EQ LEVEL Ch 7 and 8 The high mid EQ provides up to 15 dB of boost or cut at 2 5 kHz and it is also flat at the detent This control is only available on stereo channels 7 and 8 27 LOW MID EQ LEVEL Ch 7 and 8 The low mid EQ provides up to 15 dB of boost or cut at 400 Hz and it is also flat at the detent This control is only available on stereo channels 7 and 8 28 ICE CREAM DISPENSER This control is not there It was going to be but after much discussion among the engineers it was decided not to add it after all It would have been good though Owner s Manual MAIN MASTER 5 8 8 8 8 8 8 W M NM 8M NM s gm mM m M NN _ 0 s EEEE B 1 8 9 EES 63 125 250 500 1K 2K MONITOR 1 MASTER 29 LOW EQ The low EQ provides up to 15 7 dB of boost or cut below 80 Hz The circuit is flat no boost or cut at the center detent posi tion This frequency represents H the punch in bass drums bass guitar fat synth patches and some really serious male singers who eat raw beef for breakfast E o 106 20k 30 OVERLOAD OL LED This LED will come on when the channels input signal is too high This should be avoided as d
38. er 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 Large Band System Owner s Manual Rear Panel Features 2 X 800W PROFESSIONAL POWERED MIXER 1 POWER CONNECTION This jack accepts the supplied 3 prong IEC AC power 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 35 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 4 mixer first before any external power ampli E fiers or powered speakers and turn it off last This will reduce the possibilities of any turn on or turn off thumps in your speakers PPM1008 3 SPEAKER LEVEL OUTPUTS These output connections provide speaker level output power from the in
39. er 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 34 so you can connect guitars directly e The mono 3 band EQ has shelving high low and peaking mid EQ with sweepable frequency 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 ste reo line level input or stereo RCA inputs The mono mic input of each stereo channel is split equally to left and right e The stereo channel 4 band EQ has shelving high shelving low peaking lo mid and hi mid PPM1008 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 32 The stereo channel line inputs and RCA inputs do not go through a gain selectable preamp The signal then passes through the compressor circuit
40. ether 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 4 or balanced phone jack or plug See Figure B PEENE SLEEVE RING TIP RING SLEEVE Figure B 14 TRS Plugs TRS jacks and plugs are used in several different ap plications e Balanced mono circuits When wired as a bal anced connector a 1 4 TRS jack or plug is con nected tip to signal high hot ring to signal low cold and sleeve to ground earth e Stereo Headphones and rarely stereo micro phones and stereo line connections When wired for stereo a 1 4 TRS jack or plug is connected tip to left ring to right and sleeve to ground earth Mackie mixers do not directly accept 1 plug type stereo microphones They must be separated into a left cord and a right cord which are plugged into the two mic preamps You can cook up your own adapter for a stereo microphone adapter Y two cables out of a female 1 4 TRS jack to two male XLR plugs one for the Right signal and one for the Left Unbalanced Send Return circuits When wired as send return Y connector a 1 4 TRS jack or plug is connected tip to signal send output from mixer ring to signal return input back into mixer and sleeve to ground earth V4 TS Phone Plugs a
41. ffret de voltage dangereux non isol d ampleur suffisante pour constituer un risque d l ctrocution The exclamation 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 EE ee 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 reasonable protection against harmful interference in a residential installation This equip ment 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 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 10 correct the interference by one or more of the following measures Reorient or relocate the receiving antenna e Increase the separation between the equipment an
42. inforce the low end in your main mix C300z passive stage monitors are connected to the channel B speaker level power output of the pow ered mixer These play the stage monitor mix 1 to your performers House of Worship System Owner s Manual Wireless Microphone Microphones 4 Front Fanel Fower Amp Mode E switch set to Y i Stereo Mains Rear Fanel 1 2 3 4 5 6 7 8 Graphic EQ iPod Docking Station Wireless Mic Receiver Mackie d 2 Pro DJ Production Console HD1521 Fowered Speaker HD1521 Fowered Speaker Turntables with phono level output Fowered Subwoofer Fowered Subwoofer Passive Speakers right main mix left main mix plays stereo main mix 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 con nected to channel 2 and an iPod docking station attached to channel 8 s RCA inputs A Mackie d 2 Pro DJ production console 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 passive speakers connected to
43. ing tip tip sleeve TRS plug SSS This plug connects to one of the mixer s Channel Insert jacks 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 G showing three ways to use insert con nections 13 TAPE OUTPUTS These stereo unbalanced RCA 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 poster ity archive legal purposes whenever the band gets back together again The tape output is the stereo main mix not affected by the main level 38 or the main graphic EQ 36 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 exam
44. ious Adds life to acoustic instruments and vocals from sound long pre delay and vibrant tone solos to full on symphonies and choirs Cathedral This reverb emulates the extremely long tails dense dif Gives amazing depth to choirs wind instruments fusion and long pre delays and reflections that would be organs and soft acoustic guitars found in a very large stone walled house of worship Gated Reverb This preset incorporates an age old trick whereby an Most often used to fatten snare drums and toms extremely dense reverb is processed through a fast gate without clutter for an interesting albeit artificial sound Chorus This preset provides a soft ethereal sweeping effect that Perfect for enhancement of electric and acoustic is useful for thickening and for making a particular sound guitar and bass or to add a dramatic effect to pop out of the mix vocals particularly group harmonies and choirs Chorus Reverb This preset perfectly combines the chorus effect above This lets you both thicken your sound with the with a large roomy reverb chorus effect while adding warmth and spacious ness thanks to the smooth reverb Doubler This effect simulates the sound of a vocal or instrument Provides a vibe that is similar to chorus without being recorded twice double tracked on a multi track the subtle swirl recorder based echo units provided whose favorite number is 16 Tape Slap This effect provides a single relativ
45. iquids such as vases or beer glasses shall be placed on the apparatus 17 This apparatus has been designed with Class construction and must be connected to a mains inde outlet with a protective earthing con nection 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 NOU PWN PORTABLE CART WARNING _ CAUTION AVIS RISK OF ELECTRIC SHOCK DO NOT OPEN RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR 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 ALA 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 co
46. istortion will occur If the LED is coming on regularly check that the gain switch 32 is set correctly for your input device Set it to low if you are using a line level input or high if you are using a microphone or instrument level input channel 5 and 6 only 31 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 is set correctly PPM1008 M EEES S 63 125 250 500 1K 2K RI 01 PLATE REVERB 02 VOCAL PLATE 03 WARM ROOM 04 BRIGHT ROOM 05 WARM LOUNGE 06 SMALL STAGE 07 WARM THEATER FX SEND POST 08 BRIGHT STAGE 2 SEND PRE 09 WARM HALL 10 CONCERT HALL 11 CATHEDRAL 12 GATED REVERB oo PS FX MON2 SEND MASTER 32 GAIN SWITCH Press this in low if you are connecting a line level input source to channels 1 to 6 Press this out high if you are connecting a micro phone level signal to channels 1 to 8 or a instrument level signal to channels 5 and 6 only hi z switch in Note that the gain switch has no effect on the line level inputs and RCA inputs of channels 7 or 8 MIC XLR LINE TRS UE 25 18 25
47. jacent bands to avoid too much variation or ripple between bands but the constant Q design keeps this fairly constant for all settings The position of the sliders gives a good indication of the frequency response across the audio band 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 ex ample 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 37 FX TO MAIN This knob lets you adjust the level of the internal effects being added to the main mix It is a stereo con trol 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 38 MAIN LEVEL This knob controls the overall level of the main mix and affects the main meters 40 main line level out puts 19 main sub out 18 and the main speaker lev el outputs if the internal amplifiers are playing the main mix The level adjustment occurs before the EQ 36 This gives you ultimate control over your audience Adjust it carefully with your good eye on the meters to prevent overloading and your good ear to
48. ldebaran 3 to investigate a distress signal with hilarious results Ready steady go 1 Turn the channel level mon 1 and FX mon 2 controls fully down 2 Turn down the compressor controls ch 1 4 3 Setallthe EQ controls to the center including the graphic EQ sliders 4 Turn down the main level and monitor 1 level controls 5 For each channel press the gain switch in low gain if you are using a line level source Press it out high gain if you are using a microphone or other low level source 6 Forcondenser 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 lev els 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 e Only connect the powered mixer s speaker level outputs to passive loudspeakers e When shutting down turn off any external amplifiers or po
49. lease 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 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
50. low the threshold the output is 5 As the input reaches 0 dBu the output is a bit less than 0 dBu If the input is 5 dBu the output is about 2 dBu If the input reaches 10 dBu then the output is 8 dBu Notice the shapely curve of the soft knee between the diagonal slope of x 2 y and the compressor slope of 6 1 the compression ratio 5 410 OFF e OUTPUT SIGNAL STRENGTH dBu 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 at tack 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 com pressor 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 34 HI Z 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 V
51. mix to your audience Powered subwoofers are connected to the main mix sub out to reinforce the low end in your system Club System L6 PPM1008 8 o 3 5 y amp Acoustic Guitar and Mic Front Fanel Fower Amp Mode switch set to Mains Mon 1 Rear Fanel Adjust Vocal Compression 3 i T Drum Machine Fower Amplifier dual mono mode SRM15O Fowered Monitor plays mon 1 output Passive Speakers 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 con nected directly to channel 5 with hi z switch pressed in an acoustic guitar mic 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 to set up a monitor mix that is independent of the main mix The power amp mode switch is set to play the mono main mix on ch A and monitor 1 mix on ch B 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 Passive subwoofers are powered by an amplifier connected to the main mix sub out to re
52. n 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 ampli Never plug single ended unbalanced micro phones or ribbon mics into the mic input jacks if phantom power is on VERY IMPORTANT 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 ES us Stereo Effects Processor The Mackie Running Man 32 bit internal effects pro cessor 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 37 and FX to mon 1 42 controls Every time you select preset 15 someone in downtown Woodinville WA orders a double cheese burger and fries Nobody knows why 49 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 50 to prevent overloading the effects processor This knob also affects the level going out of the FX mon 2 output 15 and the internal power amplifier if it is playing monitor 2 50 SIG OL LED This dual LED illuminates in green when the signal lev
53. nd Jacks TS stands for Tip Sleeve the two connections avail able on a mono 14 phone jack or plug See Figure C SLEEVE SLEEVE 0 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 e Speaker connections Don t use guitar cords for speaker cables Ty Theyre 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 equip ment and in many other applications Figure D They are unbalanced and electrically identical to 1 4 TS phone plug or jack Connect the signal to the center post and the ground earth or shield to the surround ing basket IMPORTANT VERY SLEEVE TIP SLEEVE TIP J lg pei Figure D RCA Plug Owner s Manual 25 Speakons When using the Speakon outputs to connect your loud speakers wire the Speakon connectors as shown below e o lt PY SI COLD _ z T RO Figure E TRS Send Receive Insert Jacks Mackie s single jack inserts are the three conductor TRS type 1 4 phone They are unbal
54. nse The threshold can be adjusted clockwise from off no compression to 0 dBu max As an example suppose the threshold is set to maxi mum 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 com pression and hard on the ears too 5 The following graph shows the input signal 4 E 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 repre sented by the lower blue curve If the input is 5 dBu that is be
55. o o mmm o mem 2 m s EEEIEE 5 4 12kHz 8 8 BS B B B B B _ bul 7 m sae BB BN NN a Bie Boa Baa i 63 15 250 500 1K 2K 4K 16K oL 8 8 8 5 79 8 8 8 8 8 8 d qme 6 s 8 S 5 FXTO REDUCTION o H H H H H H H H n 2 EEEIEE 4 1 0 M EEEE B B B 10 7 10 8 8 8 8 8 8 8 g 5 63 125 250 500 1K 2K 4K 8K 16K SIG OL INSERT INSERT INSERT 6 INSERT LEFT MONO INSERT INSERT 12 HLZ UNE LINE LINE LINE LINE HRM TAP TO EDIT RUNNING MAN PHANTOM y i32 BIT FX 01 PLATE REVERB 13 CHORUS i PRECISION 03 WARM ROOM PASSIVE Us 04 BRIGHT ROOM M SEND MASTER 06 SMALL STAGE WARM ALFXSEND POST 08 BRIGHT STAGE 2 SEND PRE 09 WARM HALL CONCERT HALL POWER AMP LIMITER 11 LY 300ms yer 12 GATED REVERB 24 REVERB DLY 200ms POWER INPUT MON 1 MAIN UNBAL 9 e Atti MIC MIC7 ZENON LINE OUTPUTS BREAK REAL URN VERON SEND TAPE OUT 8 FX FOOT SWITCH MAIN MAIN SUB RIGHT CIE um e um um ED FF SF SF
56. ono 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 DI box e 3 band EQ with sweepable mid range frequency on mono channels e 4 band EQ on stereo channels 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 e 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 footswitch mute un mute PPM1008 e Independent 9 band graphic EQs with constant Q filters on main and monitor outputs Tape CD stereo RCA outputs e 12 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 clar ity and LF response with key Mackie passive speakers e Polycarbonate sides with built in metal handles e Modern and splendidly stylish powered rabbit hutch design 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
57. ors 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 chan nels whose mon 1 control 21 is set to more than minimum The overall output level can be adjusted with the mon 1 master level 43 and its EQ tweaked with the monitor graphic EQ 41 The monitor 1 output is not affected by the main master level 38 or the channel level controls 31 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 copy of the range below 100 Hz for external subwoofers 19 MAIN OUTPUTS These 1 4 TRS outputs supply the stereo main mix at line level You can connect these outputs to the line lev el 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
58. ple you could play a soothing CD to restore order before the police arrive Owner s Manual COMP Hz Hz INPUT POWER AMP LIMITER 23 CHORUS DLY 300ms 24 REVERB DLY 200ms A a INSERT INSERT INSERT LEFT MONO LINE OUTPUTS POWER AMP INPUT BREAK MUTES ALL MON 2 MON 1 15 SEND l 7 SEND FX FOOT SWITCH MONO INPUTS 90 D 1 8 15 FX MON 2 SEND OUTPUT This 1 4 TRS line level output can be used to feed an external effects processor FX or another set of stage monitors mon 2 The output 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 N The overall output level can be adjusted with the FX mon 2 send control 49 and it can be either post or pre channel level depending on the setting of the FX send mon 2 send switch 51 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 SEND or FX SEND To run one set of stage monitors use the monitor 1 system because it has its own graphic EQ 41 master level 43 and meter 45 To run another set of moni tors set the FX send mon 2 send switch to mon 2 Stage monitors allow the talented musicians in your band to hear themsel
59. pressors 33 These can be adjusted to add just the right amount of compression to your vocals and help prevent distortion and the effects of tonsillitis 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 5 57 5 58 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 46 switch on the front panel The phantom power for all channels is turned on and off together phones or ribbon mics into the mic input jacks if phantom power is on Do not plug instrument outputs into the mic XLR input jacks with phantom power on 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 bal anced or unbalanced sources To connect balanced lines to these inputs use a 1 4 Tip Ring Sleeve TRS plug To connect unbalanced lines to these inputs use a 1 4 mono TS phone plug or instrument cable 9 LINE INSTRUMENT INPUTS CH 5 and 6 The line level inputs for channels 5 and 6 can also accept instrument level signals if
60. produce eat Do not defeat the safety purpose of the polarized or grounding ty plug A polarized plug has two blades with one wider than the athe A groundin ye plug has two blades and a third grounding prong The wide ade 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 receptades 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 Er 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 M 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 in a risk of fire or electric shock 16 This apparatus shall not be exposed to dripping or splashing and no object Filed with l
61. ready have powered main loudspeakers you could use the PPM1008 power amplifiers to run passive stage monitors Stereo Mains The output from channel is the left side of the main mix and the output from channel B is the right side of the main mix Choose this position to play a straight stereo show Mains Monitor 1 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 B is the monitor 2 mix In this setup the internal power am plifiers are powering two independent passive stage monitor systems Make sure that the front panel FX send mon send switch 51 is pressed in mon 2 or there will be no monitor 2 signal to the inter nal 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 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 ventil
62. rrections and updates to this manual www mackie com 2009 LOUD Technologies Inc All Rights Reserved Owner s Manual Dimensions H 12 3 in 314mm 969005060 6966006 0996600 o G 292900000 ecl 999660 eccocc 4 19 3 in 490 mm p 11 4 in 290 mm u Correct disposal of this product This symbol indicates that this product should not be disposed of with your household waste according to the WEEE Directive 2002 96 EC and your national law This product should be handed over to an authorized collection site for recycling waste electrical and electronic equipment EEE Improper handling of this type of waste could have a possible negative impact on the environment and human health due to potentially hazardous substances that are generally associated with EEE At the same time your cooperation in the correct disposal of this product will contribute to the effective usage of natural resources For more information about where you can drop off your waste equipment for recycling please contact your local city office waste authority or your household waste disposal service PPM1008 Block Diagram
63. s 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 Tests have shown that it is possible to send hamsters safely to Mars and back under deep hypnosis 41 MONITOR 1 MASTER GRAPHIC EQ This 9 band constant Q graphic equalizer adjusts the monitor 1 mix output It affects the line level monitor 1 outputs 17 and the monitor 1 speaker level output if the internal amplifier is playing the monitor 1 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 center 0 dB position The frequency bands 63 125 250 500 2k 4k 8k and 16 kHz The EQ section comes after the monitor 1 level 43 and just before the monitor 1 meter 45 Therefore as you adjust the EQ you can 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 Having many sliders will help you reduce the level of frequency bands in the stage monitors that cause feed back from nearby microphones 42 FX TO MON 1 This knob lets you adjust how much of the internal effects is added to the mono monitor 1 mix The output from the internal effects processor is stereo summed to mono and adde
64. sound pressure levels it is recommended that all persons exposed to equipment capable of producing high sound pres sure 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 Typical Example Duration Sound Level day in dBA Slow ours Response ioo o o o o uo in small club 5 M hh 1721002 o loud classical music 15 1 about deadlines WARNING reduce the risk of fire or electric shock do not expose this apparatus to rain or moisture Read This Page 9 We realize that you must be keen to try out your new powered mixer but please NS read the safety instructions on page 2 2 and this page first Setup The PPM1008 powered mixer is designed to be easy to operate and to be set up quickly Place the powered mixer in a position where it is easy to reach the controls All the controls and input con nection 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
65. st 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 sec ond apart they will be ignored Try again a bit faster 3 The LED will flash in time with the new tap delay time 54 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 fea tures of your powered mixer Time for a cold one Owner s Manual 2 Appendix A Service Information If you think your powered mixer has a problem please check out the following troubleshooting tips and do your best to confirm the problem Visit the Support section of our website www mackie com where you will find lots of useful information such as FAQs and documentation You may find the answer to the problem without having to send your mixer away Troubleshooting Bad Channel 5 EQ set up nicely e 5 the gain switch set correctly e 5 the level up enough e 5 the channel OL led on
66. ternal power amplifiers to your passive speakers The power output of the PPM1008 is 500 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 con nected to these speaker level outputs VERY IMPORTANT Two common types of connector are provided for your convenience Speakons and 1 4 TS fm COLD S HOT a e Speakon outputs are wired Pin 1 positive hot and Pin 1 negative cold Mono Speakon Connection 1 4 TS outputs are wired Tip positive and Sleeve negative SLEEVE SLEEVE TIP X A 2 Net o m yo TIP 1 4 TS Connection These two types of outputs are wired in parallel and it is possible to use both types at once amp 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 4 POWER AMP MODE SWITCH POWER AMP MODE This three position switch lets Ml mon 2 you choose which signal paths MAINS MON from the mixer section are sent Alu Bi to the internal power amplifiers L sTEREO I This allows considerable flex ibility in the use of the powered mixer For example if you al
67. ty 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 deter mined by the setting of the FX send mon 2 send switch 51 More FX mon 2 details are shown on page 14 and page 23 item 51 CHANNEL EQUALIZATION EQ The PPM1008 mono channels have 3 band equaliza tion low shelving mid peaking with adjustable frequen cy and high shelving The stereo channels have 4 band EQ low shelving low mid and high 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 frequencies 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 With too much EQ you can really upset 4 E 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 up to 15 dB of boost or cut above
68. ves clearly on stage and this can often be a good thing The monitor output can be care fully adjusted in level using the channel FX mon 2 con trols 22 and not change if the channel levels or main mix levels are adjusted This is known as pre fader PRE Switch in n 2 Send Pre SRM450v2 Powered Stage Monitors plays mon 2 output Using the output to feed a pair of powered stage monitors PPM1008 If 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 usu ally 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 re verb remains at the same level relative to the original COMP POST Stereo effecte processor Using the output to feed a stereo
69. wered loudspeakers first When powering up turn on any external amplifiers or powered loudspeakers last e Save the shipping box Please write your serial number here for future reference insurance claims tech support return authorization make dad proud etc Purchased at Date of purchase Owner s Manual 3 Introduction It is possible that only one person will read this manual all the way through Hello mom Here s another manual from your boy Thank you for choosing a Mackie professional pow ered 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 imagin able to fine tune the design and extend its limits beyond those of ordinary mixers or amplifiers Features e Two internal power amplifiers each rated at 800 watts peak at 4 ohms Three selectable amplifier modes stereo main mono main monitor 1 or mon 1 mon 2 e 8channels 6 mono 2 stereo e Mic inputs on all channels e ine level inputs 6 m

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