Mackie DJ Equipment PROFX16 User Manual

ProFX16 and ProFX22

Professional Mic/Line Mixers with FX and USB I/O

O W N E R ’ S M A N U A L

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Read This Page!

You probably want to try out your new

3. Be sure that the volume of the input is the

same as it would be during normal use, or you

may have to readjust the gain in the middle of a

set. You can listen with headphones if you

carefully turn up the channel fader and

headphones level a little.

mixer right away. Before you do, please

read the safety instructions on page 2,

then read this page, and the rest later.

Zero the Mixer

4. The mono channel gain affects the mic and the

line inputs. The stereo channel gain adjusts the

stereo line inputs. Adjust as desired, and make

sure that the OL LED does not come on during

the loudest passages.

1. Turn down all knobs except the channel EQ and

pan knobs, and set all the faders fully down.

2. Set all channel EQ knobs, pan knobs, and the

graphic EQ sliders at their center detent.

3. Set all buttons to the “out” position.

4. Whistle a popular show tune.

Note: there are two hybrid channels [9/10 and

11/12 on the ProFX16 and 15/16 and 17/18 on

the ProFX22] that have both mono mic and

stereo line inputs. In these channels, the gain

control affects only the mic gain.

Connections

If you already know how you want to connect the

mixer, go ahead and connect the inputs and outputs

the way you want them. If you just want to get sound

through the mixer, follow these steps:

5. Repeat steps 1 to 4 for the other channels.

Instant Mixing

1. To get sound out of the speakers and into a

waiting world, engage a channel's L-R assign

switch, turn up that channel’s fader to the “U”

(unity gain) position, and slowly bring up the

main fader to a comfortable listening level.

1. Plug signal sources into the mixer, such as:

•

Microphones plugged into the mic inputs.

Engage phantom power if your mics need

it. Check the mic's user manual to be sure.

•

Line-level sources such as keyboards, drum

machines, or CD players plugged into the

line-level inputs.

2. Sing and play. You’re a star!

3. Bring in other channels as mentioned above.

Connect cords from the main outs to your

powered speakers or ampliﬁer.

USB

The USB connection allows you to play two channels

of audio from your computer, and to record the main

mix to your computer. This feature is explained more

thoroughly on pages 4, 9-10, 16 and 23.

3. Plug in the mixer’s power cord to a live AC

outlet and turn on the mixer.

4. If you have powered speakers, turn them on.

Otherwise, hook up your passive speakers to

your amp with speaker cables, and turn it on.

Adjust your powered speaker or ampliﬁer level

controls to however the manufacturer

Notes

For optimum sonic performance, the channel faders

and main fader should be set near the “U” (unity gain)

markings.

recommends. (This is usually all the way up.)

Set the Gain

Turn down all faders before making connections to

and from your ProFX mixer.

1. Plug something into an input. This could be an

instrument, you singing or speaking, or a line

level source such as a keyboard or CD player.

When shutting down the system, turn off ampliﬁers or

powered speakers ﬁrst. When powering up, turn them

on last. This will prevent the possibility of turn-on and

turn-off thumps heard in your speakers.

2. Engage the channel's PFL Solo switch to view

the input level via the main meters.

Save the shipping box and receipt! You may need

them someday.

Part No. SW0898 Rev. C 05/11

Hey buddy, why are you reading this? It's an A-B

conversation. Why don't you C your way out of it?

Owner's Manual 3

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Introduction

Awesomely unheard of features

Powerful on-board FX engine and four

individual compressors

In pursuit of the ultimate Mackie “do-it-all” live

sound mixer, we threw in the kitchen sink and packed

this bad boy with a full set of processors allowing you to

travel “rack free” while still making professional

sounding mixes.

USB Recording and Playback

The ProFX Series Mixers feature a 2x2 USB recording

and playback function. This means two signals may be

recorded simultaneously and a stereo mix returned to

the mixer for playback.

There is a switch in the master section labeled USB

OUT that allows for some powerful and ﬂexible routing.

The default switch conﬁguration allows the L-R mix to

be recorded for convenient stereo mixes of the show.

Or it routes subgroups 1-2 over the USB connection to

your favorite DAW software for an alternate 2-track

recording when the USB OUT switch is engaged.

For starters, we added our patented Running Man FX

processors (RMFX^™) featuring 16 “gig-ready” effects

right into the board. This does not include useless

effects such as “the warbler” or the “insanity delay”, but

rather a suite of quickly accessible and useable reverbs,

choruses and delays that make enhancing your mix a

breeze.

For playback, there is a switch in the master section

labeled 2-TRACK RETURN. This switch changes the

standard dual RCA inputs to main (tape, switch

disengaged) to stereo USB to main (USB, switch

engaged).This is an extremely convenient function for

playing music over the main mix from a computer. We

prefer to jam some Johnny 'The Man in Black' Cash in

between bands at the local rock clubs. But feel free to

play whatever you want, unless it's... ah, never mind, we

won't go there!

The ProFX16 and ProFX22 also have four single knob

compressors to stop the dynamic signals from poking

out of the mix. They are located on the last four mono

mic inputs so that the most critical signals (such as

vocals, snare drum, the occasional jaw harp or

mountain goats) may be addressed.

Bottom line? You have an awesome mixer with Mackie

sound quality, “built-like-a-tank” build quality and a

recording and processing feature set that is

Another cool feature of the ProFX is routing the

stereo USB return to the last stereo channel of the

mixer. This is a mighty ﬁne tool for a number of live and

recording uses. For example, playback through the

stereo channel allows the EQ to be utilized to sweeten

the sounds. It may also be used for overdubbing by

sending music to the musicians' headphones through

the auxes.

unparalleled. Congratulations... and happy mixing!

4 ProFX16 and ProFX22

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Features

How To Use This Manual

•

Professional 4•Bus live sound mixer with

onboard effects and USB I/O

The ﬁrst pages after the table of contents are the

hookup diagrams. These show typical setups for your

ProFX16 or ProFX22.

•

Low-noise, high-headroom Mackie mic preamps

with +50 dB gain range

Next is a detailed tour of the entire mixer. The

•

Dedicated inline compression for critical inputs descriptions are divided into sections, just as your mixer

32-bit RMFX^™processor with 16 “Gig-Ready”

is organized into distinct zones:

reverbs, choruses and delays

•

Rear Panel Connections: The AC input, power

•

Precision 7-band graphic EQ for tuning mains

and monitors

switch and USB I/O.

•

Front Panel Connection Section and Channel

Controls: The upper section, where you

connect microphones, guitars, etc and the

channel strips where you adjust and control

each channel.

USB I/O for recording shows and music

playback via Mac or PC

•

Stream subgroups 1-2 or main L/R to your

computer for recording

•

Front Panel Additional Inputs & Outputs:

The upper section, where you connect

loudspeakers, headphones, CD player, etc.

Stereo USB/tape I/O with input level

control to mains

Convenient USB return to stereo channel

Master Controls: The section on the right, with

graphic EQ, Stereo Effect Processor and main

level controls.

for implementation of EQ, auxes and more

•

3-band EQ with sweepable midrange on mono

channels

Throughout these sections you’ll ﬁnd illustrations

with each feature numbered and described in nearby

paragraphs.

•

Multiple high-headroom line inputs

Individual channel mute switches and overload

(OL) indicators

This icon marks information that is critically

important or unique to the mixer. For your own

good, read them and remember them.

•

18 dB/octave 100 Hz low cut ﬁlters on all mic

channels

Inserts on mono mic/line channels for

connecting outboard processors

This icon will lead you to some explanations of

features and practical tips.

60mm faders for input channels, subgroups and

mains

48V phantom power with LED for use with

condenser mics

Appendices

•

FX mute button also controllable via footswitch

Appendix A: Service Information

• Troubleshooting

• Repair

Break switch mutes all channels for music

playback between sets

•

Control room / headphone outputs with rotary

level control

Appendix B: Connections

• XLR Connectors

Balanced XLR and balanced/unbalanced

1/4-inch main outputs

• 1/4" TRS Phone Plugs and Jacks

• 1/4" TS Phone Plugs and Jacks

• RCA Plugs and Jacks

Rack-mountable design using optional rack

ears [ProFX16]

• TRS Send/Receive Insert Jacks

•

Rugged steel chassis

Appendix C: Technical Information

• Speciﬁcations

Switching multi-voltage power supply for

worldwide use

Includes Tracktion 3^™Music Production

Software for Mac or PC

• Dimensions

• Block Diagram

• Track Sheet

•

Appendix D: Table of Effects Presets

Owner's Manual 5

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Contents

IMPORTANT SAFETY INSTRUCTIONS ........................ 2

QUICK START.......................................................... 3

INTRODUCTION ...................................................... 4

FEATURES............................................................... 5

TABLE OF CONTENTS ............................................... 6

HOOKUP DIAGRAMS............................................... 7

REAR PANEL - CONNECTIONS............................... 9

1. POWER CONNECTION............................... 9

2. POWER Switch......................................... 9

3. USB INPUT/OUTPUT ................................ 9

4. RUNNING MAN LOGO............................ 10

FRONT PANEL.................................................... 11

CONNECTIONS & CHANNEL STRIP....................... 11

5. MIC INPUTS........................................... 11

PHANTOM POWER................................. 11

STEREO GRAPHIC EQ, MAIN METERS & MORE..... 20

35. 48V PHANTOM POWER Switch............... 20

36. POWER LED ........................................... 20

37. STEREO GRAPHIC EQ.............................. 20

38. MAIN MIX / MON 1 Switch.................... 21

39. EQ IN / BYPASS Switch.......................... 21

40. MAIN METERS........................................ 21

41. RUDE SOLO LED ..................................... 21

AUX MASTERS, AUX RETURNS & INTERNAL FX... 22

42. AUX MASTERS....................................... 22

43. AUX RETURNS ....................................... 22

44. INTERNAL FX ......................................... 22

45. PRESET SELECTOR .................................. 22

46. PRESET DISPLAY .................................... 22

47. SIG / OL LED ......................................... 22

48. INT FX MUTE Switch and LED .................. 23

MAIN & SUBS MIX, USB OUT, 2-TRACK RETURN . 23

49. USB OUT Switch..................................... 23

50. 2-TRACK RETURN TAPE/USB Switch ....... 23

51. 2-TRACK RETURN LEVEL......................... 23

52. BREAK Switch and LED............................ 23

53. CR / PHONES ........................................ 23

54. SUBS ASSIGN Switches........................... 24

55. SUB 1-4 FADERS .................................... 24

56. MAIN MIX ............................................. 24

APPENDIX A: SERVICE INFORMATION.................... 25

APPENDIX B: CONNECTIONS.................................. 26

APPENDIX C: TECHNICAL INFORMATION................ 28

DIMENSIONS..................................................... 29

BLOCK DIAGRAM............................................... 30

TRACK SHEET..................................................... 31

APPENDIX D: TABLE of EFFECTS PRESETS................ 34

LIMITED WARRANTY............................................. 35

6. LINE INPUTS .......................................... 12

7. STEREO LINE INPUTS.............................. 12

8. INSERT .................................................. 13

9. GAIN..................................................... 13

10. LOW CUT Switch .................................... 13

CHANNEL EQUALIZATION ....................... 13

11. HIGH EQ................................................ 14

12. MID EQ (mono channels)......................... 14

13. MID EQ FREQUENCY (mono channels) ...... 14

14. MID EQ (stereo channels) ....................... 14

15. LOW EQ ................................................ 14

16. AUX MON 1-2 ....................................... 14

17. AUX FX ................................................. 15

18. PAN....................................................... 15

19. OL LED................................................... 15

20. MUTE Switch.......................................... 15

21. ASSIGN Switches ................................... 15

22. PFL SOLO Switch.................................... 16

23. CHANNEL FADER .................................... 16

24. USB Switch............................................ 16

25. COMPRESSOR........................................ 17

ADDITIONAL INPUTS & OUTPUTS ....................... 18

26. MON SEND ............................................ 18

27. FX SEND................................................ 18

28. FX FOOTSWITCH.................................... 18

29. L/R AUX RETURN .................................. 19

30. L/R MAIN OUT: XLR & 1/4" .................. 19

31. L/R CR OUT........................................... 19

32. SUB OUT 1-4 ......................................... 19

33. PHONES ................................................ 19

34. TAPE INPUTS/OUTPUTS ......................... 19

6 ProFX16 and ProFX22

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Hookup Diagrams

Footswitch

iPod

Microphones

Docking Station

Drums

BAL /UNBAL

BALANCED

Headphones

OUT

FOOTSWITCH

BAL /UNBAL

TAPE

BAL /UNBAL

MIC

MON SEND

FX SEND

PHONES

9/10

11/12

13/14

15/16

MAIN OUT

BAL /UNBAL

(MONO)

LINE IN

LINE IN 11

LINE IN 12

LINE IN 13

LINE IN 15

MAX

INSERT

^OC^FFOMP

LINE IN 10

LINE IN 14

LINE IN 16

AUX RETURN

CR OUT

SUB OUT

PHANTOM

POWER

PROFESSIONAL MIC/LINE MIXER WITH FX

STEREO GRAPHIC EQ

48V

+50

+30dB

+50

+30dB

+50

+30dB

+50

+30dB

+50

+30dB

+50

+30dB

+50

+30dB

+50

+30dB

+50

-20

+20

-20

+20

-20dB

GAIN

MAIN

METERS

0dB 0dBu

SOURCE

LOW CUT

100Hz

LOW CUT

100Hz

LOW CUT

100Hz

LOW CUT

100Hz

LOW CUT

100Hz

LOW CUT

100Hz

LOW CUT

100Hz

LOW CUT

100Hz

LOW CUT

100Hz

LOW CUT

100Hz

LINE

USB

12kHz

-15 +15

MID

125

250

500

-15 +15

600

-15 +15

600

-15 +15

600

-15 +15

600

-15 +15

600

-15 +15

600

-15 +15

600

-15 +15

600

MID

2.5kHz

MAIN MIX

EQ IN

BYPASS

MON

-15 +15

150

1.5k

150

1.5k

150

1.5k

150

1.5k

150

1.5k

150

100

1.5k

150

100

1.5k

150

100

1.5k

FREQ

LEVEL

SET

100

01 BRIGHT ROOM

02 WARM LOUNGE 06 CONCERT HALL 10 CHORUS

03 SMALL STAGE 07 PLATE REVERB 11 DOUBLER

12 APE SLAP

05 WARM HALL

09 CHORUS

13 DELA

REV 14 DELA

15 DELA

(300ms)

(380ms)

(480ms)

RUDE

SOLO

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

04 WARM THEATER 08 CATHEDRAL

16 REVERB

DL (250ms)

-15 +15

AUX

INTERNAL FX

_UMASTER

_URETURN

AUX

^M1^ON

AUX

^M1^ON

AUX

^M1^ON

AUX

^M1^ON

AUX

^M1^ON

AUX

^M1^ON

AUX

^M1^ON

AUX

^M1^ON

AUX

^M1^ON

AUX

^M1^ON

AUX

^M1^ON

AUX

^M1^ON

Bass

^M1^ON

MON

Mono Effects

+15

Guitar

SIG/OL

^M2^ON

MON

+15

INT FX

MUTE

MAIN

L-R

MAIN

L-R

O O

+15

O O

+15

O O

+15

O O

+15

O O

+15

O O

+15

O O

+15

O O

+15

O O

+15

O O

+15

O O

+15

O O

+15

O O

+15

O O

+10

O O

+10

PAN

SRM450v2

MAIN

SUB 1-2

TAPE

USB

USB OUT

2-TRACK RETURN

+15

LEVEL

BREAK

O MAX

(MUTES ALL CH)

CR/PHONES

Powered Speakers

MUTE

MAIN

9/10

11/12

13/14

15/16

SUB 1

SUB 2

SUB 3

SUB 4

1-2

3-4

L-R

1-2

3-4

L-R

1-2

3-4

L-R

1-2

3-4

L-R

1-2

3-4

L-R

1-2

3-4

L-R

1-2

3-4

L-R

1-2

3-4

L-R

1-2

3-4

L-R

1-2

3-4

L-R

1-2

3-4

L-R

1-2

3-4

L-R

Electric

Guitar

PFL

SOLO

PFL

SOLO

PFL

SOLO

PFL

SOLO

PFL

SOLO

PFL

SOLO

PFL

SOLO

PFL

SOLO

PFL

SOLO

PFL

SOLO

PFL

SOLO

PFL

SOLO

Monitor EQ

PROFESSIONAL MIC/LINE MIXER WITH FX

POWER

USB

Laptop Computer

with iTunes for

playback in

WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC

SHOCK DO NOT EXPOSE THIS EQUIPMENT TO RAIN

MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE

PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.

SRM

2 Powered Monitors

RISQUE DE CHOC ELECTRIQUE

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NE PAS OUVRIR

SERIAL NUMBER

REVISION

THIS DEVICE COMPLIES WITH PART 15 OF THE FCC RULES FOR THE U.S. AND

ICES-003, FOR CANADA. OPERATION IS SUBJECT TO THE FOLLOWING TWO

CONDITIONS: (1) THIS DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE, AND

(2) THIS DEVICE MUST ACCEPT ANY INTERFERENCE RECEIVED, INCLUDING

INTERFERENCE THAT MAY CAUSE UNDESIRED OPERATION.

between bands

This diagram shows a mic'd up drum kit utilizing the ﬁrst seven channels of the mixer. Microphones are

connected to the next three channels for lead and background vocals. A guitar and bass are attached

to the next two channels' line-level inputs, each via a mono effects processor. An iPod docking station is

attached to the stereo tape inputs.

Mackie SRM450v2 powered speakers are connected to the left and right main output. Two of these

speakers are also set up as stage monitors and connect to the mixer's monitor output via a graphic EQ.

The aux mon controls of each channel allow you to create a stage monitor mix as desired. Headphones

are used for monitoring and a footswitch allows you to mute/unmute the internal effects as desired.

A laptop connects to the USB port and allows the 2-channel main mix of the performance to be

recorded to a DAW. Two channels of audio can also play from your computer to the main mix.

Typical Live Sound System

Owner's Manual 7

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Bass

Guitar

Condenser

microphones

for vocals

Headphones

Electric

Guitar

Amplifier

Modeler

Headphone Amp

Mono Effects

BAL /UNBAL

BALANCED

OUT

FOOTSWITCH

BAL /UNBAL

TAPE

BAL /UNBAL

MIC

MON SEND

FX SEND

PHONES

9/10

11/12

13/14

15/16

MAIN OUT

BAL /UNBAL

(MONO)

LINE IN

LINE IN 11

LINE IN 12

LINE IN 13

LINE IN 15

MAX

INSERT

^OC^FFOMP

LINE IN 10

LINE IN 14

LINE IN 16

AUX RETURN

CR OUT

SUB OUT

PHANTOM

POWER

PROFESSIONAL MIC/LINE MIXER WITH FX

STEREO GRAPHIC EQ

48V

+50

+30dB

+50

+30dB

+50

+30dB

+50

+30dB

+50

+30dB

+50

+30dB

+50

+30dB

+50

+30dB

+50

-20

+20

-20

+20

-20dB

GAIN

MAIN

METERS

0dB 0dBu

SOURCE

LOW CUT

100Hz

LOW CUT

100Hz

LOW CUT

100Hz

LOW CUT

100Hz

LOW CUT

100Hz

LOW CUT

100Hz

LOW CUT

100Hz

LOW CUT

100Hz

LOW CUT

100Hz

LOW CUT

100Hz

LINE

USB

12kHz

-15 +15

MID

125

250

500

-15 +15

600

-15 +15

600

-15 +15

600

-15 +15

600

-15 +15

600

-15 +15

600

-15 +15

600

-15 +15

600

MID

2.5kHz

MAIN MIX

EQ IN

BYPASS

MON

-15 +15

150

1.5k

150

1.5k

150

1.5k

150

1.5k

150

100

1.5k

150

100

1.5k

150

1.5k

150

1.5k

FREQ

LEVEL

SET

100

01 BRIGHT ROOM

02 WARM LOUNGE 06 CONCERT HALL 10 CHORUS

03 SMALL STAGE 07 PLATE REVERB 11 DOUBLER

12 APE SLAP

05 WARM HALL

09 CHORUS

13 DELA

REV 14 DELA

15 DELA

(300ms)

(380ms)

(480ms)

RUDE

SOLO

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

04 WARM THEATER 08 CATHEDRAL

16 REVERB

DL (250ms)

-15 +15

AUX

INTERNAL FX

_UMASTER

_URETURN

AUX

^M1^ON

AUX

^M1^ON

AUX

^M1^ON

AUX

^M1^ON

AUX

^M1^ON

AUX

^M1^ON

AUX

^M1^ON

AUX

^M1^ON

AUX

^M1^ON

AUX

^M1^ON

AUX

^M1^ON

AUX

^M1^ON

MON

+15

SIG/OL

^M2^ON

MON

+15

INT FX

MUTE

MAIN

L-R

MAIN

L-R

O O

+15

O O

+15

O O

+15

O O

+15

O O

+15

O O

+15

O O

+15

O O

+15

O O

+15

O O

+15

O O

+15

O O

+15

O O

+15

O O

+10

O O

+10

PAN

MAIN

SUB 1-2

TAPE

USB

Keyboard

Electronic Drum Kit

USB OUT

2-TRACK RETURN

+15

LEVEL

BREAK

O MAX

(MUTES ALL CH)

CR/PHONES

MUTE

MAIN

MR8mk2 Powered

9/10

11/12

13/14

15/16

SUB 1

SUB 2

SUB 3

SUB 4

Reference Monitors

1-2

3-4

L-R

1-2

3-4

L-R

1-2

3-4

L-R

1-2

3-4

L-R

1-2

3-4

L-R

1-2

3-4

L-R

1-2

3-4

L-R

1-2

3-4

L-R

1-2

3-4

L-R

1-2

3-4

L-R

1-2

3-4

L-R

1-2

3-4

L-R

PFL

SOLO

PFL

SOLO

PFL

SOLO

PFL

SOLO

PFL

SOLO

PFL

SOLO

PFL

SOLO

PFL

SOLO

PFL

SOLO

PFL

SOLO

PFL

SOLO

PFL

SOLO

PROFESSIONAL MIC/LINE MIXER WITH FX

POWER

USB

Desktop Mac

WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC

SHOCK, DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR

MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE

RISQUE DE CHOC ELECTRIQUE

—

NE PAS OUVRIR PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.

SERIAL NUMBER

REVISION

or PC with

Tracktion 3 for

Recording

THIS DEVICE COMPLIES WITH PART 15 OF THE FCC RULES FOR THE U.S. AND

ICES-003, FOR CANADA. OPERATION IS SUBJECT TO THE FOLLOWING TWO

CONDITIONS: (1) THIS DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE, AND

(2) THIS DEVICE MUST ACCEPT ANY INTERFERENCE RECEIVED, INCLUDING

INTERFERENCE THAT MAY CAUSE UNDESIRED OPERATION.

This diagram shows a bass and effects processor attached to the channel 5 line-level input,

microphones attached to channels 6, 7 and 8, a guitar ampliﬁer modeler connected to the line-level

inputs of channel 9/10, an electronic drum kit connected to channel 13/14 and a keyboard attached

to channel 15/16.

Mackie MR8mk2 powered reference monitors are connected to the left and right control room outputs

for careful and accurate monitoring of the performance. Headphones connected to mon send 1 via a

headphone amp are available for the talent to utilize when tracking.

A desktop computer connects to the USB port to record the 2-channel main mix to the DAW, as well as

play back two channels from the DAW.

Typical Recording System

8 ProFX16 and ProFX22

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ProFX Features – Rear Panel

PROFESSIONAL MIC/LINE MIXER WITH FX

POWER

USB

WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC

SHOCK, DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR

MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE

PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.

AVIS: RISQUE DE CHOC ELECTRIQUE

—

NE PAS OUVRIR

SERIAL NUMBER

REVISION

THIS DEVICE COMPLIES WITH PART 15 OF THE FCC RULES FOR THE U.S. AND

ICES-003, FOR CANADA. OPERATION IS SUBJECT TO THE FOLLOWING TWO

CONDITIONS: (1) THIS DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE, AND

(2) THIS DEVICE MUST ACCEPT ANY INTERFERENCE RECEIVED, INCLUDING

INTERFERENCE THAT MAY CAUSE UNDESIRED OPERATION.

Connections

1. POWER CONNECTION

3. USB INPUT/OUTPUT

This is a standard 3-prong IEC power connector.

Connect the detachable linecord (included in the box

with your mixer) to the power receptacle, and plug

the other end of the linecord into an AC outlet. ProFX

Series mixers have a universal power supply that

accepts any AC voltage ranging from 100 VAC to 240 VAC.

No need for voltage select switches. It will work virtually

anywhere in the world. That’s why we call it a “Planet-

Earth” power supply! It is less susceptible to voltage sags

or spikes, compared to conventional power supplies, and

provides greater electromagnetic isolation and better

protection against AC line noise.

The built-in USB interface allows for some

powerful and ﬂexible routing. It is a 2x2 interface

allowing you to record two streams from the mixer, or to

input stereo playback from a computer and route it to

nearly any output or pair of outputs on the mixer.

The USB routing capabilities are as follows:

USB input TO the mixer - playback:

(1) Stereo channel 15/16 (on the ProFX16) and

21/22 (on the ProFX22) features a USB button, so one

may route computer output (such as iTunes^®) down the

last stereo channel of the board. This stereo signal may

then be EQ'd, sent to auxiliaries (i.e. to feed monitors,

headphones or effects) and is routable to mains and/or

subgroups via the fader routing features that are

available on all other channels. In short, this signal may

be sent to nearly any desired output or pair of outputs.

Additionally, the gain knob at the top of this channel

strip adjusts the USB input level to the mixer to achieve

an optimal signal level.

Disconnecting the plug’s ground pin is

dangerous. Don’t do it.

2. POWER Switch

Press the top of this rocker switch inwards to turn on

the mixer. The front panel power LED [36] will glow

with happiness...or at least it will if you have the mixer

plugged into a suitable live AC mains supply.

(2) The 2-Track Return section features a ﬂip switch,

so a “Tape” source (such as an iPod^®connected via RCA

cables) or the USB signal from a computer

Press the bottom of this switch to put the mixer into

standby mode. It will not function, but some circuits

are still live. To remove AC power, either turn off the AC

mains supply, or unplug the power cord from the mixer

and the AC mains supply.

(playing Windows Media Player^®ﬁles, for example) may

be routed to the main bus. This section also features an

input level adjustment for fading house music up and

down between bands, at a house of worship, or any other

event where this may be necessary.

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 possibility of any turn-on, or

turn-off thumps in your speakers.

Owner's Manual 9

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Round Two Rejects

USB output FROM the mixer - recording, etc:

In the USB OUT section you may select either the

main mix (disengaged) or subgroups 1-2 (engaged)

from the conveniently titled USB OUT switch [49]. The

USB tap points for the subgroups are pre-fader and

signals will show up on the DAW dependent upon how

they are panned on the channels.

In other words, if subgroups 1 and 2 are used to sub-

mix drums and those drums have a stereo image

(e.g. overheads and toms pan according to desire), this

stereo image is retained in the DAW inputs (assuming

subgroup 1 is set to “L” and subgroup 2 is set to “R”).

Any adjustments made to the subgroup drum levels

during the show only pertain to the live show itself;

recording levels are not adjusted in the DAW unless they

are adjusted on the channels.

Smashing Guitar Man

Then, in the early 2000s, the graphic designers

decided to give the Running Man logo some color,

basically adding a theme to “spice it up”. This idea

didn't take off, so it was eventually shelved.

Likewise, it is possible to record the main mix to take

home a copy of the live show. These levels are also

pre-main fader. Therefore, levels may be mixed up or

down in the DAW later depending on the needs of the

recording versus the live show. The end result is that

fade-ins and/or fade-outs made during the show do not

affect recorded levels.

Jazz Man

Reggae Man

Country Man

4. RUNNING MAN LOGO

The Running Man logo has been a point of controversy

since its inception.

The history of the Running Man is rather vague; nor

do we know what he is running from...or towards? Or

perhaps the man is running sound and not actually

running to or from anything or anyone. Here is what we

do know:

Rockabilly Man

Samba Man

Metal Man

Current status, the future and beyond:

Origins:

The current status is easy; it's as you see it today on

every Mackie product. Who knows what the future of

the Running Man logo holds? It's like the wheel analogy:

why ﬁx it if it ain't broke? The Running Man logo may be

seen all over the world, from the tiniest hole-in-the-wall

clubs to the biggest sized arenas, mid-sized theatres,

houses of worship, casinos and more!

It originated in the early '90s when founder Greg

Mackie decided that a logo was just as (if not moreso)

important than just the name. He stated that, “brands

are not recognized by name alone, but by their

accompanying logo...take a look at the logos of

McDonald's^®, Nike^®, Microsoft^®and Apple^®. You can

recognize those brands based on the logo alone.”

He quickly assembled a team to design what would

eventually become the Running Man logo. Here are a

few early examples that were eventually rejected:

Round One Rejects

Running Man (in all his glorious glory)

Thinking Man

Drinking Man

Stinking Man

10 ProFX16 and ProFX22

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BAL /UNBAL

ProFX Features

FOOTSWITCH

BAL /UNBAL

Front Panel - Connections

and Channel Strip

MIC

MON SEND

FX SEND

The vertical channel strips look very similar, and

have only a few differences between them. Each

channel works independently, and just controls the

signals plugged into the inputs directly above them.

XX XX / XX XX / XX XX / XX

BAL /UNBAL

LINE IN

BAL /UNBAL

(MONO)

LINE IN

LINE IN XX

5. MIC INPUTS

MAX

INSERT

^OC^FFOMP

LINE IN XX

This is a female XLR connector that accepts a

balanced mic or line level input from almost any type of

source. The mic preamps feature our XDR2 design, with

higher ﬁdelity and headroom rivaling any standalone

mic preamp on the market today.

+50

+30dB

GAIN

LOW CUT

100Hz

+50

+30dB

GAIN

LOW CUT

100Hz

+50

-20

+20

-20

+20

-20dB

GAIN

LOW CUT

100Hz

GAIN

SOURCE

LINE

USB

The XLR inputs are wired as follows:

Pin 1 = Shield or ground

12kHz

Pin 2 = Positive (+ or hot)

Pin 3 = Negative (– or cold)

-15 +15

MID

We use phantom-powered, balanced inputs just like

the big mega-consoles, for exactly the same reason: This

kind of circuit is excellent at rejecting hum and noise.

-15 +15

600

-15 +15

600

MID

2.5kHz

MID

2.5kHz

MID

2.5kHz

-15 +15

150

1.5k

150

100

1.5k

FREQ

100

Professional ribbon, dynamic, and condenser mics all

sound excellent through these inputs. The mic/line

inputs will handle any kind of level you can toss at

them, without overloading.

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

-15 +15

AUX

^M1^ON

AUX

^M1^ON

AUX

^M1^ON

AUX

^M1^ON

AUX

^M1^ON

O O +15

Microphone-level signals are passed through the

mixer's splendid microphone preampliﬁers to become

line-level signals.

^M2^ON

O O +15

See Appendix B (page 26) for further details and

some rather lovely drawings of the connectors you can

use with your mixer.

O O +15

PAN

PHANTOM POWER

MUTE

Most modern professional condenser mics require

48V phantom power, which lets the mixer send

low-current DC voltage to the mic’s electronics

through the same wires that carry audio. (Semi-pro

condenser mics often have batteries to accomplish the

same thing.) “Phantom” owes its name to an ability to

be “unseen” by dynamic mics (Shure SM57/SM58, for

instance), which don’t need external power and aren’t

affected by it anyway.

XX / XX

1-2

3-4

L-R

1-2

3-4

L-R

1-2

3-4

L-R

1-2

3-4

L-R

1-2

3-4

L-R

PFL

SOLO

PFL

SOLO

PFL

SOLO

PFL

SOLO

PFL

SOLO

O O

Mono Channels

Stereo Channels

Channels 1-8 on ProFX16 Channels 9-16 on ProFX16

Channels 1-14 on ProFX22 Channels 15-22 on ProFX22

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BAL /UNBAL

Phantom power may be selected by engaging the

mixer's phantom [35] switch.

FOOTSWITCH

BAL /UNBAL

Never plug single-ended (unbalanced)

microphones, or ribbon mics into the mic

input jacks if phantom power is on. Do not

plug instrument outputs into the mic XLR input jacks

with phantom power on, unless you are certain it is safe

to do so.

BAL /UNBAL

MIC

MON SEND

FX SEND

XX XX / XX XX / XX XX / XX

BAL /UNBAL

LINE IN

BAL /UNBAL

(MONO)

6. LINE INPUTS

LINE IN

LINE IN XX

These 1/4" jacks share circuitry (but not phantom

power) with the mic preamps, and can be driven by

balanced or unbalanced sources.

MAX

INSERT

^OC^FFOMP

LINE IN XX

To connect balanced lines to these inputs, use a 1⁄4"

Tip-Ring-Sleeve (TRS) plug, wired as follows:

+50

+30dB

+50

+30dB

+50

-20

+20

-20

+20

-20dB

GAIN

SOURCE

RING SLEEVE

TIP

SLEEVE RING TIP

LOW CUT

100Hz

LOW CUT

100Hz

LOW CUT

100Hz

LINE

USB

12kHz

RING

TIP

12kHz

-15 +15

SLEEVE

MID

-15 +15

600

-15 +15

600

MID

2.5kHz

MID

2.5kHz

MID

2.5kHz

Tip = Positive (+ or hot)

Ring = Negative (– or cold)

Sleeve = Shield or ground

-15 +15

150

1.5k

150

100

1.5k

FREQ

100

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

To connect unbalanced lines to these inputs, use a

1⁄4" mono (TS) phone plug, wired as follows:

-15 +15

AUX

^M1^ON

AUX

^M1^ON

AUX

^M1^ON

AUX

^M1^ON

AUX

^M1^ON

SLEEVE

TIP

O O +15

TIP

^M2^ON

TIP

SLEEVE

O O +15

PAN

Tip = Positive (+ or hot)

Sleeve = Shield or ground

MUTE

7. STEREO LINE INPUTS

XX / XX

The stereo line inputs are designed for 1/4" TRS

balanced or 1/4" TS unbalanced signals. They may

accept any line-level instrument, effects device, CD

player, etc.

1-2

3-4

L-R

1-2

3-4

L-R

1-2

3-4

L-R

1-2

3-4

L-R

1-2

3-4

L-R

Level control is available –20 dB to +20 dB. If you are

connecting a mono source, use the left (mono) input,

and the mono signals will appear on both sides of the

main mix.

PFL

SOLO

PFL

SOLO

PFL

SOLO

PFL

SOLO

PFL

SOLO

O O

The ﬁrst two stereo channels [9/10 and 11/12 on the

ProFX16 and 15/16 and 17/18 on the ProFX22] are

hybrid channels, each with a mic input XLR jack [5]

and low cut switch [10]. In these channels, the gain

control [9] only affects the mic input. The stereo line

inputs are ﬁxed at unity gain.

Mono Channels

Stereo Channels

Channels 1-8 on ProFX16 Channels 9-16 on ProFX16

Channels 1-14 on ProFX22 Channels 15-22 on ProFX22

12 ProFX16 and ProFX22

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This 20 dB of attenuation can be very handy when you

are inserting a hot signal, or when you want to add EQ

gain, or both. Without this “virtual pad,” there is more

chance of channel clipping.

8. INSERT

These unbalanced 1/4" jacks are for connecting

serial effects processors such as compressors,

equalizers, de-essers, or ﬁlters. The insert point is

after the gain control [9] and low cut ﬁlter [10],

but before the channel’s EQ [11-15] and level [23].

The channel signal can go out of the insert jack to

an external device, be processed and come back in

on the same insert jack.

10. LOW CUT Switch

All mono channels have a low-cut switch (often

referred to as a high-pass ﬁlter) that cuts bass

frequencies below 100 Hz at a rate of 18 dB per octave.

To do this requires a standard insert cable that must be

wired thusly:

We recommend that you use low-cut on every

microphone application except kick drum, bass guitar,

or bassy synth patches. These aside, there isn’t much

down there that you want to hear, and ﬁltering it out

makes the low stuff you do want much more crisp and

tasty. Not only that, but low-cut can help reduce the

possibility of feedback in live situations, and it helps to

conserve ampliﬁer power.

SEND to processor

ring

“tip”

(TRS plug)

tip

sleeve

This plug connects to one of the

mixer’s Channel Insert jacks.

“ring”

RETURN from processor

Tip = send (output to effects device)

Ring = return (input from effects device)

Sleeve = common ground

Another way to consider low-cut’s function is

that it actually adds ﬂexibility during live

performances. With the addition of low-cut,

Insert jacks may be used as channel direct outputs;

post-gain, and pre-EQ. See the connector section on

page 27 (ﬁgure G) showing three ways to use insert

cables.

you can safely use low equalization on vocals.

Many times, bass shelving EQ can really beneﬁt voices.

Trouble is, adding low EQ also boosts stage rumble, mic

handling clunks and breath pops from way-down low.

Applying low-cut removes all those problems, so you can

add low EQ without blowing your subwoofers.

“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

CHANNEL EQUALIZATION (EQ)

All ProFX mono channels have 3-band EQ with

shelving hi, peaking mid with adjustable mid

frequency and shelving low. The stereo channels have

a peaking mid EQ control in addition to the shelving hi

and shelving low EQ controls.

level-wise if you choose to change a control’s settings.

9. GAIN

If you haven’t already, please read the level-setting

procedure on page 3.

Shelving means that the circuitry boosts or cuts all

frequencies past the speciﬁed frequency. For example,

the low EQ boosts bass frequencies below 80 Hz and

continuing down to the lowest note you never heard.

Peaking means that certain frequencies form a “hill”

around the center frequency.

The gain knobs adjust the input sensitivity of the mic

and line inputs. This allows signals from the outside

world to be adjusted to run through each channel at

optimal internal operating levels.

With too much EQ, you can really upset things.

We’ve designed a lot of boost and cut into

If the signal originates through the mic XLR jack,

there will be 0 dB of gain with the knob fully down,

ramping to 50 dB of gain fully up.

each equalizer circuit because we know that

everyone will occasionally need that. But if you max

the EQ on every channel, you’ll get mix mush. Equalize

subtly and use the left sides of the knobs (cut), as well

as the right (boost). If you ﬁnd yourself repeatedly using

a lot of boost or cut, consider altering the sound source,

such as placing a mic differently, trying a different kind

of mic, a different vocalist, changing the strings, or

gargling.

Through the 1⁄4" line input of channels 1-8 (ProFX16)

and channels 1-14 (ProFX22), there is 20 dB of

attenuation fully down and 30 dB of gain fully up, with

unity gain “U” at 12:00.

Through the 1⁄4" line input of channels 13/14 and

15/16 (ProFX16) and 19/20 and 21/22 (ProFX22), there

is 20 dB of attenuation fully down and 20 dB of gain fully

up, with unity gain “U” at 12:00.

Owner's Manual 13

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BAL /UNBAL

11. HI EQ

+15

+10

The hi EQ provides up to

15 dB of boost or cut above

12 kHz, and it is also ﬂat (no

boost or cut) at the detent.

Use it to add sizzle to cymbals,

an overall sense of

FOOTSWITCH

BAL /UNBAL

–5

MIC

–10

–15

MON SEND

FX SEND

transparency, or an edge to keyboards, vocals, guitar ¹a^0knd

bacon frying. Turn it down a little to reduce sibilance or

to mask tape hiss.

20Hz

100Hz

1kHz

Hz 20kHz

XX XX / XX XX / XX XX / XX

BAL /UNBAL

LINE IN

BAL /UNBAL

(MONO)

LINE IN

LINE IN XX

12. MID EQ and 13. FREQ (mono channels only)

MAX

INSERT

^OC^FFOMP

LINE IN XX

+15

The mono channels employ

+10

a semi-parametric mid-sweep

EQ. The gain (up to 15 dB of

boost or cut) is set via the mid

eq [12], and then “aimed” at a

speciﬁc frequency, from

100 Hz to 8 kHz, via freq [13].

–5

+50

+30dB

+50

+30dB

+50

-20

+20

-20

+20

-20dB

–10

GAIN

SOURCE

LOW CUT

100Hz

LOW CUT

100Hz

LOW CUT

100Hz

LINE

USB

–15

20Hz

100Hz

1kHz

10kHz 20kHz

12kHz

-15 +15

14. MID EQ (stereo channels only)

MID

+15

Short for “midrange,” this

+10

-15 +15

600

-15 +15

600

MID

knob provides up to 15 dB of

2.5kHz

-15 +15

boost or cut, centered at

150

1.5k

150

100

1.5k

FREQ

100

2.5 kHz, also ﬂat at the center

detent. Midrange EQ is often

–5

–10

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

–15

thought of as the most

-15 +15

dynamic, because the frequencies that deﬁne^1kany

20Hz

100Hz

10kHz 20kHz

AUX

^M1^ON

AUX

^M1^ON

AUX

^M1^ON

AUX

^M1^ON

AUX

^M1^ON

particular sound are almost always found in this range.

You can create many interesting and useful EQ changes

by turning this knob down as well as up.

O O +15

^M2^ON

O O +15

15. LOW EQ

+15

O O +15

The low EQ provides up to

+10

PAN

15 dB of boost or cut below

80 Hz. The circuit is ﬂat at

the center detent position.

This frequency represents the

punch in bass drums, bass

guitar, fat synth patches, and some really serious male

singers who eat raw beef for breakfast.

–5

MUTE

–10

–15

XX / XX

20Hz

100Hz

1kHz

10kHz 20kHz

1-2

3-4

L-R

1-2

3-4

L-R

1-2

3-4

L-R

1-2

3-4

L-R

1-2

3-4

L-R

16. AUX MON 1-2

These knobs tap a portion of each channel's signal to

set up a nice monitor mix feeding stage monitors,

independent of the main mix. Adjust these controls on

each channel until the band is happy with the stage

monitor mix.

PFL

SOLO

PFL

SOLO

PFL

SOLO

PFL

SOLO

PFL

SOLO

O O

The controls are off when fully turned down, deliver

unity gain at the center detent, and can provide up to

15 dB of gain turned fully up.

Mono Channels

Stereo Channels

Channels 1-8 on ProFX16 Channels 9-16 on ProFX16

Channels 1-14 on ProFX22 Channels 15-22 on ProFX22

14 ProFX16 and ProFX22

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The pan [18], mute [20] and channel fader [23] do

not affect the monitor output, but the other channel

controls will. The aux mon is pre-fader.

19. OL LED

This LED indicates the channel’s signal level after the

gain [9] and EQ controls [11-15], but just before the

channel’s level [23]. So even if the level is turned down,

you can see if the channel is being overloaded.

The overall output level may be adjusted with the aux

master mon knobs [42] and monitor 1's EQ tweaked

with the graphic EQ [37] if the main mix/mon 1 switch

[38] is pressed in. Internal FX may also be added to the

monitor mix with the internal FX to mon knobs [44].

The OL (overload) LED will come on when the

channel’s input signal is too high. This should be

avoided, as distortion will occur. If the OL LED comes

on regularly, check that the gain control [9] is set

correctly for your input device, and that the channel

EQ is not set with too much boost. The OL LED will

also illuminate when a channel's mute switch [20] is

engaged.

17. AUX FX

These knobs tap a portion of each channel's signal to

set up a nice FX mix feeding the internal FX processor,

and to feed external processors via the FX send [27].

The controls are off when fully turned down, deliver

unity gain at the center detent, and can provide up to

15 dB of gain turned fully up.

20. MUTE Switch

Mute switches do just what they sound like they do.

They turn off the signal by “routing” it into oblivion.

Engaging a channel's mute switch (almost) provides

the same results as turning the fader all the way down

(a pre-aux send is not affected by the channel fader,

but it is by the mute switch). Any channel assignments

to main mix, subgroup 1-2, or subgroup 3-4 will be

interrupted and all of the aux sends will be silenced

(both pre- and post-fader). The channel insert [8] will

continue to provide a signal when a channel is muted.

The OL LED [19] will illuminate when a channel's mute

switch is engaged.

The mute [20], channel fader [23] and other channel

controls affect the FX output, but pan [18] does not.

The aux FX is post-fader.

The FX signal reaching the internal FX processor

and the FX send output jack is the sum (mix) of all

the channels whose aux FX control is set to more than

minimum.

The overall output level may be adjusted with the aux

master FX knob [42]. FX are added to the main mix by

increasing the level of the internal FX to main L-R

knob [44]. Internal FX may also be added to the

monitor mix by increasing the level of the internal

FX to mon knobs [44].

21. ASSIGN Switches

Alongside each channel fader are three buttons

referred to as channel assignment switches. Used in

conjunction with the channel's pan knob [18], they

are used to determine the destination of the channel's

signal.

18. PAN

This control allows you to adjust how much of the

channel signal is sent to the left versus the right

outputs.

With the pan knob at the center detent, the left and

right sides receive equal signal levels (main mix L-R,

sub 1-2 and sub 3-4). To feed only one side or the other,

turn the pan knob accordingly.

With the knob panned hard left, the signal feeds

the main left, sub 1, or sub 3 busses, depending on the

setting of the assign switches [21]. With the knob

panned hard right, the signal feeds the main right, sub

2, or sub 4 busses, again dependent on the setting of the

assign switches.

If you are doing a mixdown to a 2-track, for example,

simply engage the main mix switch on each channel

that you want to hear, and they will be sent to the main

mix bus. If you want to create a group of certain

The pan control employs a design called “Constant

Loudness.” If you have a channel panned hard left (or

right) and then pan to the center, the signal is

attenuated about 3 dB to maintain the same apparent

loudness. Otherwise, it would make the sound appear

much louder when panned center.

channels, engage either the 1-2 or 3-4 switches instead

of the main mix, and they will be sent to the appropriate

subgroup faders. From there, the groups may be sent

back to the main mix (using the group assign switches

[54] above the group faders [55]), allowing you to use

the group faders as a master control for those channels.

If you are creating new tracks or bouncing existing

ones, you will also use the 1-2 and 3-4 switches, but not

the main mix switch. Here you do not want the groups

sent back into the main mix bus, but sent out, via the

sub out jacks [32], to your multitrack inputs.

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BAL /UNBAL

22. PFL SOLO Switch

When a channel's solo switch is engaged, any existing

selection is replaced by the solo signal, appearing at the

control room outputs [31], phones [33] and at the left

meter [40]. The audible solo levels are then controlled

by the control room knob [53]. The solo levels

FOOTSWITCH

BAL /UNBAL

MIC

MON SEND

FX SEND

appearing on the meters are not controlled by the

control room knob [53] - you would not want that,

anyway. What you do want to see is the actual channel

level on the meters regardless of how loud the control

room and phones output levels might be.

XX XX / XX XX / XX XX / XX

BAL /UNBAL

LINE IN

BAL /UNBAL

(MONO)

LINE IN

LINE IN XX

PFL means Pre-Fader Listen (post-EQ). With the PFL

Solo switch engaged, solo will not be affected by a

channel's mute switch [20] position.

MAX

INSERT

^OC^FFOMP

LINE IN XX

Remember, PFL taps the channel signal before

the fader. If you have a channel's fader set

way below “U” (unity gain), solo will not know

that and will send a unity gain signal to the C-R outs

[31], phones output [33] and meter display [40], which

may raise some eyebrows.

+50

+30dB

+50

+30dB

+50

-20

+20

-20

+20

-20dB

GAIN

SOURCE

LOW CUT

100Hz

LOW CUT

100Hz

LOW CUT

100Hz

LINE

USB

12kHz

-15 +15

MID

23. CHANNEL FADER

-15 +15

600

-15 +15

600

MID

2.5kHz

MID

2.5kHz

MID

2.5kHz

This is the last control in a channel’s signal path, and

it adjusts the level of each channel onto the main mix.

The “U” mark indicates unity gain, meaning no increase

or decrease of signal level. All the way up provides an

additional 10 dB, should you need to boost a section of

a song. If you ﬁnd that the overall level is too quiet or

too loud with the level near unity, check that the gain

control [9] is set correctly.

-15 +15

150

1.5k

150

100

1.5k

FREQ

100

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

-15 +15

AUX

^M1^ON

AUX

^M1^ON

AUX

^M1^ON

AUX

^M1^ON

AUX

^M1^ON

O O +15

^M2^ON

O O +15

24. USB Switch

The USB switch on the last stereo channel provides

stereo playback of iTunes^®, or a DAW via the USB

connection. Like any other input, this signal may also

be EQ'd, sent to an aux bus, or mixed in with the other

signals and assigned to subgroups or main outs. This

switch overrides the TRS inputs [6, 7].

O O +15

PAN

MUTE

XX / XX

1-2

3-4

L-R

1-2

3-4

L-R

1-2

3-4

L-R

1-2

3-4

L-R

1-2

3-4

L-R

PFL

SOLO

PFL

SOLO

PFL

SOLO

PFL

SOLO

PFL

SOLO

O O

Mono Channels

Stereo Channels

Channels 1-8 on ProFX16 Channels 9-16 on ProFX16

Channels 1-14 on ProFX22 Channels 15-22 on ProFX22

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25. COMPRESSOR

+20

Each of the last four mono channels of the ProFX

mixer has an in-line compressor circuit with a variable

threshold. This is very useful for compression of vocals,

and snare drums, for example, so you might consider

connecting your vocal and drum mics to these channels,

rather than one of the other channels.

+15

+10

When the incoming signal exceeds the threshold level

set by this knob, the signal level is automatically

compressed. This reduces the dynamic range and

reduces the chance of distortion due to overloading the

input signals.

-5

Dynamic range is the difference in level

between the quietest and loudest parts of a

song. A compressor “squeezes” the dynamic

range, resulting in an overall steadier, more constant

volume level for the signal. It helps sources, such as

vocals, “sit” properly in the mix; it is very useful for live

sound.

-10

-5

+10

+15

+20

INPUT SIGNAL STRENGTH dBu

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).

At the maximum compression, the threshold is set at

0 dBu, and the input to output relationship is

represented by the lower curve. If the input is –5 dBu

(that is, below the threshold), the output is –5 dBu. As

the input reaches 0 dBu, the output is a bit less than

0 dBu. If the input is +5 dBu, the output is about

+2 dBu. If the input reaches +10 dBu, then the output

is +3 dBu. Notice the shapely curve of the soft knee

between the diagonal slope of x = y and the compressor

slope of 6:1 (the compression ratio).

As an example, suppose the threshold is set to

maximum. An incoming signal reaches the threshold of

0 dBu. As it increases beyond the threshold, it becomes

compressed at a ratio of 6:1. This means that even if the

input further increases by 6 dB, the actual output only

increases by 1 dB. This compresses the output signal, so

there is more protection to your system from distortion

and overload due to poor microphone technique (say

it ain't so) and general pops, bangs and heavy metal

screaming. The soft knee means that the compression

slowly ramps up to 6:1 from the threshold. It does not

jump abruptly to 6:1, as this would be hard knee

compression, and harder on the ears too.

The other blue curves represent in-between positions

of the compressor knob, with higher thresholds before

compression begins.

Outboard compressors often have controls such as

compression ratio, threshold, soft knee/hard knee,

attack time, and release time. These last two affect how

quickly the compressor kicks in when the input exceeds

the threshold, and how quickly it is released after it

drops below the threshold. In this compressor, these

parameters are specially chosen to give you the best

overall performance.

The graph on this page shows the input signal level

going into the compressor, versus the output level

coming out of it. It is the typical graph to view when

compressors are discussed, and is just the kind of thing

our engineers like to discuss during the company

Christmas party*.

Adjust the threshold carefully, so your dynamic range

is still lovely, without distortion or overload during the

performance. Run through a few practice screams and

high-notes, and adjust the compression as required.

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.

* My High School math teacher, Mr. Marvin, thought that

graphs might come in handy for me one day. Finally!

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BAL /UNBAL

BALANCED

OUT

FOOTSWITCH

BAL /UNBAL

TAPE

BAL /UNBAL

MON SEND

FX SEND

PHONES

XX / XX XX / XX

MAIN OUT

BAL /UNBAL

(MONO)

LINE IN 13

LINE IN 15

LINE IN 14

LINE IN 16

AUX RETURN

CR OUT

SUB OUT

Additional Inputs & Outputs

26. MON SEND

27. FX SEND

Stage monitors allow the talented musicians in the

band to hear themselves clearly on stage. This can be a

good thing! The monitor mix may be carefully adjusted

in level using the aux mon controls [16]. These tap a

portion of each channel's signal to provide a 1/4" TRS

output here to feed external stage monitors. These

could either be passive stage monitors powered by an

external ampliﬁer, or powered stage monitors with their

own built-in ampliﬁer.

This 1/4" TRS line-level output may be used to feed

an external effects processor (FX), such as a nice

sound effect, or delay unit. The output from this jack

is an exact copy of what goes into the internal FX

processor, being the careful mix of all channels whose

aux FX control [17] is turned to more than minimum.

(The processed output of the internal FX does not

come out of this output, but is added internally to the

main mix or monitor mix.)

The monitor signal is the sum (mix) of all the

channels whose aux mon control is set to more than

minimum. If they want “more me and less Brian,” you

may turn up their channel's aux mon control, and turn

down Brian's. Of course, with two monitor buses and

two monitor outputs, anyone who wants “more Brian”

can have their own monitor mix.

The overall output level may be adjusted with the aux

master FX knob [42]. (This knob also affects the level

going into the internal FX.)

The output is “post-fader,” so any changes to the

channel faders [23] will also affect the level going to

the external processor.

The overall output level may be adjusted with the

aux master mon knob [42] and mon 1 may have its

EQ tweaked with the graphic EQ [37] if the main

mix/mon 1 switch [38] is pressed in. Alternatively, you

could add an external graphic EQ between this output

and your powered monitors. This will allow you to adjust

the EQ, and minimize the chance of feedback from

nearby microphones.

The processed output from the effects processor is

usually returned to the aux returns [29] or a spare

channel, and you may carefully mix the original

unprocessed channel (dry) and the processed channel

(wet). Altering the original channel fader increases

both the wet and dry signals and keeps them at the

same delicate ratio. For example, the reverb remains at

the same level relative to the original.

The monitor output is not affected by the main mix

fader [56] or the channel faders [23]. This allows you

to set up the monitor mix and level just right, and not

have it change when a channel fader or the main mix

fader is adjusted. This is known as “pre-fader.”

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28. FX FOOTSWITCH

32. SUB OUT 1-4

This 1/4" TRS connector is where to connect your

favorite footswitch. This allows you to easily mute or

un-mute the internal effects at will. Any one-button

on/off footswitch will work.

These four 1/4" jacks are usually patched to the

inputs of a multitrack deck or to secondary ampliﬁers

in a complex installation.

33. PHONES

If the internal effects have already been muted with

the internal FX mute switch [48], then the footswitch

has no affect.

This 1/4" TRS connector supplies the output to your

stereo headphones. It is the same signal that is routed

to the control room outputs [31]. The volume is

controlled with the cr/phones knob [53], right above

the main mix fader [56].

29. AUX RETURN L/R

The stereo (aux) returns are designed for 1/4" TRS

balanced or 1/4" TS unbalanced signals, from -20 dB to

+20 dB. They allow the stereo processed output from

Whenever a solo switch [22] is engaged, you will

only hear the soloed channel(s) in the headphones.

external effects processors or other devices to be added This gives you the opportunity to audition the channels

to the main mix.

before they are added to the main mix. (Solo signals

reaching the headphones are not affected by the

channel level or main level, therefore turn down the

phones level ﬁrst, as soloed channels may be loud.)

Level adjustment of the incoming signals is made with

the aux return controls [43].

You may also use these inputs to add any stereo

line-level signals to your main mix, so it could be

another line-level source, not just an effects processor.

The phones output follows standard conventions:

Tip = Left channel

Ring = Right channel

Sleeve = Common ground

If you are connecting a mono source, use the left

(mono) stereo return input, and the mono signals will

appear on both sides of the main mix.

WARNING: The headphone amp is loud and

can cause permanent hearing damage. Even

intermediate levels may be painfully loud

30. MAIN OUT L/R: XLR & 1/4"

with some headphones. BE CAREFUL! Always turn the

phones level control [53] all the way down before

connecting headphones or pressing a solo switch, or

doing anything new that may affect the headphone

volume. Then turn it up slowly as you listen carefully.

The male XLR connectors provide a balanced

line-level signal that represents the end of the mixer

chain, where your fully mixed stereo signal enters the

real world. Connect these to the left and right inputs of

your main power ampliﬁers, powered speakers, or serial

effects processor (like a graphic equalizer or

compressor/limiter). The XLR outputs are 6 dB hotter

than the TRS outputs.

34. TAPE INPUTS / OUTPUTS

The stereo unbalanced RCA inputs allow you to play a

tape, CD player, iPod^®dock, or other line-level source.

The tape in jacks accept an unbalanced signal using

standard hi-ﬁ hookup cables.

The 1/4" TRS output connectors provide balanced or

unbalanced line-level signals. Connect these to the next

device in the signal chain like an external processor

(compressor/limiter), or directly to the inputs of the

main ampliﬁer. These are the same signal that appears

at the XLR main outputs, but 6 dB lower than the XLR

outputs. When the meters read “0”, these TRS outputs

are at 0 dBu.

The stereo unbalanced RCA outputs allow you to

record the main stereo mix onto a tape deck, hard disk

recorder, or automatic CD burner, for example. This

lets you make a recording for posterity/archive/legal

purposes whenever the band gets back together again.

The tape output is the stereo main mix, and it is not

affected by the main mix fader [56]. The output could

also be used as an extra set of main outputs for feeding

another zone.

31. CR OUT L/R

These 1/4" jacks are usually patched to the inputs of

a control room ampliﬁer or a headphone distribution

ampliﬁer.

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PHANTOM

POWER

PROFESSIONAL MIC/LINE MIXER WITH FX

STEREO GRAPHIC EQ

48V

MAIN

METERS

0dB = 0dBu

125

250

500

MAIN MIX

MON 1

EQ IN

BYPASS

LEVEL

SET

RUDE

SOLO

36. POWER LED

Stereo Graphic EQ, Main

Meters & more!

35. 48V PHANTOM POWER Switch

Most modern professional condenser mics require

48V phantom power, which lets the mixer send low-

current DC voltage to the mic’s electronics through the

same wires that carry audio. (Semi-pro condenser mics

often have batteries to accomplish the same thing.)

“Phantom” owes its name to an ability to be “unseen”

by dynamic mics (Shure SM57/SM58, for instance),

which don’t need external power and aren’t affected by

it anyway.

This green LED will illuminate when the mixer is

turned on, as a reminder of how on it really is. If it is

not on, then it is off, and the mixer becomes a rather

nice weight for keeping your morning newspaper from

blowing away in the wind.

If it does not turn on, make sure the power cord is

correctly inserted at both ends, the local AC mains

supply is active, and the power switch [2] is on.

37. STEREO GRAPHIC EQ

This 7-band graphic equalizer adjusts the main mix

output. It affects the line-level outputs [30, 31], but

not the headphones [33], tape outputs [34], or the

USB output [3]. This EQ may be used for a monitor mix

instead of the main mix if the main mix/mon 1 switch

[38] is engaged. It may also be quickly bypassed using

the EQ in/bypass switch [39].

Press this switch in if your microphone requires

phantom power. (Always check the position of this

switch before connecting microphones.) A red LED just

to the right of the switch will illuminate to indicate that

phantom power is active. This is a global switch that

affects all mic channels' XLR jacks at once.

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: 125, 250, 500, 1 k, 2 k, 4 k

and 8 kHz.

Never plug single-ended (unbalanced)

microphones, or ribbon mics into the mic

input jacks if phantom power is on. Do not

plug instrument outputs into the mic XLR input jacks

with phantom power on, unless you know for certain

it is safe to do so. Be sure the main mix fader [56] is

turned down when connecting microphones to the mic

inputs when phantom power is turned on, to prevent

pops from getting through to the speakers.

The EQ section comes before the main mix fader [56]

and meters [40]. 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

boosting the desired range. You may use it to reduce the

level of some frequency bands where feedback occurs.

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PHANTOM

POWER

PROFESSIONAL MIC/LINE MIXER WITH FX

STEREO GRAPHIC EQ

48V

MAIN

METERS

0dB = 0dBu

125

250

500

MAIN MIX

MON 1

EQ IN

BYPASS

LEVEL

SET

RUDE

SOLO

38. MAIN MIX / MON 1 Switch

This switch allows you to choose if the stereo graphic

EQ [37] is used for the stereo left and right main mix

or if it is used for monitors. For example, there may be

times when the graphic EQ may be used wisely in the

monitor mix to reduce feedback in the monitors from

nearby microphones. Note that this does not affect the

monitors 2 send, only the monitors 1 output.

The left meter's 0 dB LED is labeled “level set” to

show where the level should be when adjusting a

channel’s gain [9] in the solo mode.

When 0 dBu (0.775 V) is at the main left and right

TRS outputs [30], it shows as 0 dB on the meters.

You can get a good mix with peaks ﬂashing anywhere

between –20 and +10 dB on the meters. Most ampliﬁers

clip at about +10 dBu, and some recorders aren’t so

forgiving either. For best real-world results, try to keep

your peaks between “0” and “+6.” Remember, audio

meters are just tools to help assure you that your levels

are “in the ballpark.” You don’t have to stare at them

(unless you want to).

39. EQ IN / BYPASS Switch

This switch allows you to quickly engage or disengage

the stereo graphic EQ [37]. This may be used for quick

checks of your EQ settings, or to shorten the signal path

if you do not need to use the EQ.

40. MAIN METERS

41. RUDE SOLO LED

These peak meters are made up of two columns of

twelve LEDs, with three colors to indicate different

ranges of signal level, trafﬁc light style. They range from

–30 at the bottom, to 0 in the middle, to +20 (CLIP) at

the top.

This large red LED ﬂashes when one or more solo

switches are engaged [22]. This acts as a reminder that

what you hear in the control room and headphones

is the soloed channel(s). If you forget that you are in

solo mode, you can easily be tricked into thinking that

something is wrong with your mixer. Hence, the rude

solo light. Please forgive its rudeness, it is only trying to

help, and wants to be your friend.

When a channel is soloed, the right meter shows no

reading, and the left meter shows the level of that

channel’s signal level, pre-fader.

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45. PRESET SELECTOR

01 BRIGHT ROOM

05 WARM HALL

09 CHORUS

13 DELAY 1 (300ms)

Rotate this endless control to

select one of the 16 preset effects.

When the rotation stops, that preset

will be loaded and become

operational. The current preset

number is shown in the display [46].

The different presets are shown in

the table below and on the

silkscreen just below the stereo

graphic EQ [37]. Further details of

each preset are explained in

Appendix D on page 34. Only one

preset may be selected at a time.

02 WARM LOUNGE 06 CONCERT HALL 10 CHORUS + REV 14 DELAY 2 (380ms)

03 SMALL STAGE

04 WARM THEATER 08 CATHEDRAL

07 PLATE REVERB

11 DOUBLER

12 TAPE SLAP

15 DELAY 3 (480ms)

16 REVERB + DLY (250ms)

AUX

_URETURN

INTERNAL FX

_UMASTER

MON 1

^M1^ON

O O +15

SIG/OL

MON 2

^M2^ON

^{MON 2}47

O O +15

INT FX

MUTE

MAIN

L-R

MAIN

L-R

O O +10

O O +15

O O +10

Bright Room

Warm Lounge

Small Stage

Warm Theater

Warm Hall

Chorus

Aux Masters, Aux Returns &

Internal FX

10 Chorus + Reverb

11 Doubler

12 Tape Slap

42. AUX MASTERS

13 Delay 1 (300ms)

14 Delay 2 (380ms)

15 Delay 3 (480ms)

16 Reverb + Delay (250ms)

These knobs provide overall control over the aux

mon and aux FX levels just before they are delivered

to the aux mon and aux FX outputs [26, 27], as well as

internal FX in the case of the FX master. These knobs go

from off to +15 db when turned all the way up.

Concert Hall

Plate Reverb

Cathedral

Auxiliary is usually the knob you turn up when the

lead singer glares at you, points at his stage monitor,

and sticks his thumb up in the air. (It would follow that

if the singer stuck his thumb down, you’d turn the knob

down, but that never happens.)

46. PRESET DISPLAY

This display shows the number of the currently

selected effects preset, as shown in the list of presets

above. Rotate the preset selector knob [45] right or left

to change a preset.

A new preset will be loaded approximately 1/4 of a

second after you stop turning the knob, and it will be

stored into the FX memory after about one second.

When the mixer is turned on, the FX section will load up

the last-used preset.

43. AUX RETURNS

These three controls set the overall level of line

signals received from the aux return L-R jacks [29].

These controls range from off to +15 db (to mon 1/2)

and off to +10 db (to main L-R) of gain when fully

clockwise, to compensate for low-level effects.

47. SIG / OL LED

This bi-colored LED illuminates green when the signal

level going into the effects processor is within a good

operating range (sig). It illuminates red if the effects

processor is overloaded with too strong of a signal (ol).

Turn down the FX send master level [44] and check the

channel sends if these light red regularly.

Signals passing through these controls go

directly to the main mix and monitor mix

where they are combined with signals from

the channels.

44. INTERNAL FX

These knobs route the effects output to mon 1, mon

2 and mains independently. Use mon 1 and mon 2 to

provide effects to monitors. Slowly add effects to the

monitors by turning the 'to mon 1' and 'to mon 2' knobs

clockwise. Use the aux master [42] to monitor the

amount sent. The FX output to the mains will be heard

directly from the PA.

The signals going into the processor are affected by

the channel gain [9], EQ [11-15], and channel faders

[23], as well as the channel FX sends [17] and the FX

send master [42].

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48. INT FX MUTE Switch and LED

MAIN

SUB 1-2

TAPE

USB

When engaged, the internal effects

processor is muted, and its output

will not appear on the main mix or

monitor mix. The adjacent mute LED

will illuminate as a reminder that the

effects are muted. When power is ﬁrst

applied, this LED will illuminate and

the FX will be muted for about 10

seconds while the little FX gerbils

inside settle down.

USB OUT

2-TRACK RETURN

BREAK

O O

MAX

CR/PHONES

O O +15

LEVEL

(MUTES ALL CH)

MAIN

SUB 1

SUB 2

SUB 3

SUB 4

If this switch is not engaged, then

the internal effects are set free and

may be added as required to the main

mix and/or monitor mix.

O O

Main & Subs Mix, USB Out,

2-Track Return, and more!

49. USB OUT Switch

52. BREAK Switch and LED

This switch allows ﬂexibility on the recordable

signals. The default switch conﬁguration (disengaged)

allows the main L-R mix to be recorded for convenient

stereo mixes of the show. Engaging the switch routes

subgroups 1-2 over the USB connection to your favorite

DAW software for an alternate 2-track recording.

This important “take-a-break” switch quickly mutes

all the microphones and 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 send [26] and FX send [27] are not

affected. If there is no sound coming out of the system,

be sure to check this switch ﬁrst. The adjacent break

LED will come on as a reminder that the channels are

muted.

50. 2-TRACK RETURN TAPE / USB Switch

This determines if the 2-track return gets its signal

from the RCA “tape” inputs [34] (switch disengaged)

or USB (switch engaged).

It is possible to play the stereo RCA tape inputs [34]

in the main stereo mix or play audio coming in from the

computer via the USB inputs. For example, a soothing

CD may be played while the band is off stage.

51. 2-TRACK RETURN LEVEL

This knob controls the overall level to the mains of

the tape (RCA) or USB, depending on the position of

the 2-track return tape/USB switch [50]. This knob's

level ranges from off, through unity (center detent

53. CR/PHONES

As one might expect, this knob controls the levels

of both the stereo control room and the headphones.

position), on up to 15 dB of extra gain (fully clockwise). Make sure that this knob is fully off [counter-clockwise]

before selecting or adding a new source.

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Whatever the selection, the control room outputs may

also be used for other applications. The sound quality is

just as impeccable as the main outputs. It may be used

as an additional main mix output and this one will have

its own level control. However, be aware that if a solo

switch [22] is engaged, the mix will be interrupted:

55. SUB 1-4 FADERS

As you might expect, these faders control the levels of

the signals sent to the sub outs [32]. All channels that

are assigned to subs, not muted, and not turned fully

down will appear at the sub outs.

The sub signal is off when its fader is fully down, the

“U” marking is unity gain, and fully up provides 10 dB

additional gain. Remember that if you are treating two

subs as a stereo pair, sub 1 and 2 for example, make sure

that both sub faders “ride” together to maintain the left/

right balance.

When a channel's solo switch [22] is engaged, any

existing selection is replaced by the solo signal,

appearing at the control room outputs [31], phones

[33] and at the left meter [40]. The audible solo levels

are then controlled by the control room knob [53]. The

solo levels appearing on the meters are not controlled

by the control room knob [53] - you would not want

that, anyway. What you do want to see is the actual

channel level on the meters regardless of how loud the

control room and phones output levels might be.

56. MAIN MIX

This stereo fader allows you to adjust the levels of the

main mix signals sent to the XLR and 1/4" main

line-level outputs [30] and the tape outputs [34].

Solo signals reaching the headphones and

monitor outputs are not affected by the

channel level or main level; therefore, turn

This gives you the ultimate feeling of power and

control over the sound levels sent to your audience.

down the phones level [53] and monitor level [42] ﬁrst, Adjust this control carefully, with your good eye on the

as soloed channels may be loud.

meters to check against overloading, and your good

ear to the levels to make sure your audience (if any) is

happy.

54. SUBS ASSIGN Switches

One popular use of the subs is to use them as

master faders for a group of channels on their way to

The main mix signals are off with the fader fully down,

the “U” marking is unity gain, and fully up provides 10

the main mix fader [56]. Let us say you have a drum kit dB of additional gain. This additional gain will typically

hogging up seven channels and you are going to want to never be needed, but once again, it’s nice to know that

control their group volume more conveniently. You do

not want to try that with seven hands or seven ﬁngers,

so just unassign these channels from the main mix and

it’s there. The fader is stereo, as it affects both the left

and right of the main mix equally. This is the ideal

control to slowly bring down at the end of a song (or

reassign them to subs 1-2, engage the assign to main mix quickly in the middle of a song if the need ever arises).

left on sub 1 and assign to main mix right on sub 2.

This control does not affect the mon send or FX send

Now you may ride the entire drum mix with two

outputs [26, 27]. This does, however, conclude the main

faders – subs 1 and 2.

portion of the owner's manual. From here on out it's all

If you engage just one assign to main mix button per

group (left or right), the signal sent to the main mix

fader [56] will be the same level as the sub outs [32].

If you want the subgroup to appear in the center of the

main mix, engage both the assign to main mix left and

right buttons. The signal will be sent to both sides, and

reduced in level by 3 dB like a pan pot, so the overall

level is the same, whether the group is assigned to main

left, main right, or both.

appendices.

24 ProFX16 and ProFX22

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Appendix A: Service Information

If you think your mixer has a problem, please check

out the following troubleshooting tips and do your best

Noise

to conﬁrm the problem. Visit the Support section of our

website (www.mackie.com) where you will ﬁnd lots of

useful information such as FAQs, documentation and

any updated PC drivers etc. You may ﬁnd the answer to

the problem without having to send your mixer away.

•

Turn the channel gains down, one by one. If the

sound disappears, it’s either that channel or

whatever is plugged into it, so unplug whatever

that is. If the noise disappears, it’s from your

whatever.

Power

Troubleshooting

•

The power LED should come on if the mixer is

connected to a suitable live AC mains outlet,

and the power switch is on. Check to make sure

that the power cord is securely plugged in.

Bad Channel

•

Is the channel EQ set up nicely?

Is the channel gain set correctly?

Is the channel level up enough?

Is the channel OL led on?

Repair

For warranty service, refer to the warranty

information on page 35.

Is the channel pan set in the middle?

Try the same source signal in another channel,

Non-warranty service for Mackie products is

available at a factory-authorized service center. To

locate your nearest service center, visit

www.mackie.com, click “Support” and select “Locate

a Service Center.” Service for Mackie products living

outside the United States can be obtained through local

dealers or distributors.

set up exactly like the suspect channel.

•

Is phantom power required for your

microphone?

Bad Output

•

Is the main level turned up?

If you do not have access to our website, you can call

our Tech Support department at 1-800-898-3211,

Monday-Friday during normal business hours, Paciﬁc

Time, to explain the problem. Tech Support will tell you

where the nearest factory-authorized service center is

located in your area.

Are the EQs set to reasonable levels?

Are any aux returns maxed out?

Unplug anything from the other line-level

outputs, such as monitor out, just in case one of

your external pieces has a problem.

•

Make sure that you are not overdriving your

ampliﬁers. Check the loudspeaker average load

impedance is not less than the minimum your

ampliﬁer can handle. Check the speaker wiring.

Owner's Manual 25

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Appendix B: Connections

XLR Connectors

•

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).

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.

¹⁄4" TS Phone Plugs and Jacks

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.

TS stands for Tip-Sleeve, the two connections

available on a mono 1⁄4" phone jack or plug. See

Figure C.

SHIELD

HOT

SLEEVE

TIP

COLD

SHIELD

TIP

SLEEVE

COLD

HOT

SHIELD

COLD

HOT

Figure C: TS Plug

Figure A: XLR Connectors

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:

¹⁄4" TRS Phone Plugs and Jacks

•

Unbalanced microphones

TRS stands for Tip-Ring-Sleeve, the three connections

available on a stereo 1/4" or balanced phone jack or

plug. See Figure B.

Electric guitars and electronic instruments

Unbalanced line-level connections

Speaker connections

TRS jacks and plugs are used in several different

applications:

Don’t use guitar cords for speaker cables!

They’re not designed to handle speaker-level

signals and could overheat.

RING SLEEVE

TIP

SLEEVE RING TIP

RING

TIP

RCA Plugs and Jacks

SLEEVE

RCA-type plugs (also known as phono plugs) and

jacks are often used in home stereo and video

equipment and in many other applications (Figure D).

They are unbalanced and electrically identical to a 1⁄4"

TS phone plug or jack. See Figure C. Connect the signal

to the center post and the ground (earth) or shield to

the surrounding “basket.”

Figure B: TRS Plug

•

Balanced mono circuits. When wired as a

balanced connector, a 1⁄4" TRS jack or plug

is connected tip to signal high (hot), ring to

signal low (cold), and sleeve to ground (earth).

•

Stereo headphones, and rarely, stereo

SLEEVE TIP SLEEVE TIP

microphones and stereo line connections.

When wired for stereo, a 1⁄4" TRS jack or plug is

connected tip to left, ring to right and sleeve to

ground (earth). Mackie mixers do not directly

accept 1-plug-type stereo microphones. They

must be separated into a left cord and a right

cord, which are plugged into two mic preamps.

Figure D: RCA Plug

Figure E: Does not appear in this owner's manual, due

to a contractual obligation, but performs nightly at the

downtown Woodinville Cocoa Rooms and Tea Bar

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TRS Send/Receive Insert Jacks

Mackie’s single-jack inserts are the three-conductor,

TRS 1⁄4" phone type. They are unbalanced, but have

both the mixer output (send) and the mixer input

(return) signals in one connector. See Figure F.

SEND to processor

ring

“tip”

(TRS plug)

tip

sleeve

This plug connects to one of the

mixer’s Channel Insert jacks.

“ring”

RETURN from processor

Figure F

The sleeve is the common ground (earth) for both

signals. The send from the mixer to the external unit is

carried on the tip, and the return from the unit to the

mixer is on the ring.

Using the Send-only on an Insert Jack

If you insert a TS (mono) 1⁄4" plug only partially (to

the ﬁrst click) into a Mackie insert jack, the plug will

not activate the jack switch and will not open the insert

loop in the circuit (thereby allowing the channel signal

to continue on its merry way through the mixer).

This allows you to tap out the channel signal without

interrupting normal operation.

If you push the 1⁄4" TS plug in to the second click, you

will open the jack switch and create a direct out, which

does interrupt the signal in that channel. See Figure G.

NOTE: Do not overload or short-circuit the signal you

are tapping from the mixer. That will affect the internal

signal.

MONO PLUG

Channel Insert jack

Direct out with no signal interruption to master.

Insert only to first “click.”

MONO PLUG

Channel Insert jack

Direct out with signal interruption to master.

Insert all the way in to the second “click.”

STEREO

PLUG

Channel Insert jack

For use as an effects loop.

(TIP = SEND to effect, RING = RETURN from effect.)

Figure G

Owner's Manual 27

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Appendix C: Technical Information

Speciﬁcations

Noise Characteristics:

4-Band Equalization (stereo channels)

(20 Hz to 20 kHz bandwidth, 150 Ω Source Impedance

Equivalent Input Noise)

Low

15 dB @ 80 Hz

15 dB @ 2.5 kHz

15 dB @ 12 kHz

Mid

Mic in to Insert Send out, max gain

(Residual Output Noise)

–128.0 dBu

High

All outputs, master levels off, all channel levels off

–95 dBu

USB

Format

All outputs, master levels unity, all channel levels off –85 dBu

All outputs, master levels unity, 1 channel level unity –85 dBu

USB 1.1

I/O

Stereo Input,

Stereo Output

A/D/A

16 bit, 44.1 kHz / 48 kHz

Frequency Response:

(Mic input to any output, gain at unity)

20 Hz to 40 kHz

+0 dB / –1 dB

Input and Output Impedance:

Mic in

3.3 kΩ

10 kΩ

20 kΩ

1 kΩ

Channel Insert return

All other inputs

Distortion (THD+N):

(20 Hz to 20 kHz bandwidth)

Mic in to Main Out

<0.01% @ +4 dBu output Tape out

Phones out

25 Ω

All other outputs

120 Ω

Attenuation and Crosstalk:

(20 Hz to 20 kHz bandwidth)

Adjacent Inputs @ 1 kHz

–90 dBu

AC Power Requirements:

Fader Off @ 1 kHz

–75 dBu Power Consumption

40 watts (ProFX16)

45 watts (ProFX22)

Mute Switch/Break Switch Mute @ 1 kHz

–100 dBu

Universal AC Power Supply

100 VAC – 240 VAC,

50 – 60 Hz

Common Mode Rejection Ratio (CMRR):

(Mic in to Main out, channel gain at max: 50 dB)

@1 kHz

Power Connector

3 Pin IEC

70 dB

Physical Dimensions and Weight

Front Height

Rear Height

1.7 in / 44 mm (both)

3.8 in / 97 mm (both)

Maximum Levels:

All inputs

+22 dBu

+28 dBu

+22 dBu

Depth

Width

16.0 in / 407 mm (both)

Main Mix XLR

All other outputs

18.7 in / 475 mm (ProFX16)

25.1 in / 639 mm (ProFX22)

Weight

13 lb / 5.9 kg (ProFX16)

18 lb / 8.2 kg (ProFX22)

3-Band Equalization (mono channels)

Low

15 dB @ 80 Hz

15 dB sweep

Mid

LOUD Technologies Inc. is always striving to improve our products

100 Hz–8 kHz by incorporating new and improved materials, components, and

manufacturing methods. Therefore, we reserve the right to change

these speciﬁcations at any time without notice.

High

15 dB @ 12 kHz

Low Cut Filter

18 dB/octave,

“Mackie,” and the “Running Man” are registered trademarks of LOUD

Technologies Inc. All other brand names mentioned are trademarks

or registered trademarks of their respective holders, and are hereby

acknowledged.

–3 dB @ 100 Hz

Please check our website for any updates to this manual:

www.mackie.com.

28 ProFX16 and ProFX22

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^WE13^IGl^Hb^T

5.9 kg

Dimensions

PROFESSIONAL MIC/LINE MIXER WITH FX

3.8 in /

97 mm

POWER

USB

WARNING:

RISQUE DE CHOC ELECTRIQUE

—

NE PAS OUVRIR

SERIAL NUMBER

REVISION

THIS DEVICE COMPLIES WITH PART 15 OF THE FCC RULES FOR THE U.S. AND

ICES-003, FOR CANADA. OPERATION IS SUBJECT TO THE FOLLOWING TWO

CONDITIONS: (1) THIS DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE, AND

(2) THIS DEVICE MUST ACCEPT ANY INTERFERENCE RECEIVED, INCLUDING

INTERFERENCE THAT MAY CAUSE UNDESIRED OPERATION.

BAL /UNBAL

BALANCED

OUT

FOOTSWITCH

BAL /UNBAL

TAPE

BAL /UNBAL

MIC

MON SEND

FX SEND

PHONES

9/10

11/12

13/14

15/16

MAIN OUT

BAL /UNBAL

LINE IN

BAL /UNBAL

(MONO)

LINE IN

LINE IN 11

LINE IN 12

LINE IN 13

LINE IN 15

MAX

INSERT

^OC^FFOMP

LINE IN 10

LINE IN 14

LINE IN 16

AUX RETURN

CR OUT

SUB OUT

PHANTOM

POWER

PROFESSIONAL MIC/LINE MIXER WITH FX

STEREO GRAPHIC EQ

48V

+50

+30dB

+50

+30dB

+50

+30dB

+50

+30dB

+50

+30dB

+50

+30dB

+50

+30dB

+50

+30dB

+50

-20

+20

-20

+20

-20dB

GAIN

-20dB

GAIN

MAIN

METERS

0dB 0dBu

SOURCE

LOW CUT

100Hz

LOW CUT

100Hz

LOW CUT

100Hz

LOW CUT

100Hz

LOW CUT

100Hz

LOW CUT

100Hz

LOW CUT

100Hz

LOW CUT

100Hz

LOW CUT

100Hz

LOW CUT

100Hz

LINE

USB

12kHz

-15 +15

MID

125

250

500

-15 +15

600

-15 +15

600

-15 +15

600

-15 +15

600

-15 +15

600

-15 +15

600

-15 +15

600

-15 +15

600

MID

16.0 in /

407 mm

2.5kHz

MAIN MIX

EQ IN

BYPASS

MON

-15 +15

150

1.5k

150

1.5k

150

1.5k

150

1.5k

150

1.5k

150

1.5k

150

1.5k

150

1.5k

FREQ

LEVEL

SET

100

01 BRIGHT ROOM

02 WARM LOUNGE 06 CONCERT HALL 10 CHORUS

03 SMALL STAGE 07 PLATE REVERB 11 DOUBLER

12 APE SLAP

05 WARM HALL

09 CHORUS

13 DELA

REV 14 DELA

15 DELA

(300ms)

(380ms)

(480ms)

RUDE

SOLO

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

04 WARM THEATER 08 CATHEDRAL

16 REVERB

DL (250ms)

-15 +15

AUX

INTERNAL FX

_UMASTER

_URETURN

AUX

^M1^ON

AUX

^M1^ON

AUX

^M1^ON

AUX

^M1^ON

AUX

^M1^ON

AUX

^M1^ON

AUX

^M1^ON

AUX

^M1^ON

AUX

^M1^ON

AUX

^M1^ON

AUX

^M1^ON

AUX

^M1^ON

MON

+15

SIG/OL

^M2^ON

MON

+15

INT FX

MUTE

MAIN

L-R

MAIN

L-R

+15

+10

PAN

MAIN

SUB 1-2

TAPE

USB

USB OUT

2-TRACK RETURN

+15

LEVEL

BREAK

(MUTES ALL CH)

MAX

CR/PHONES

MUTE

9/10

MUTE

MAIN

11/12

13/14

15/16

SUB 1

SUB 2

SUB 3

SUB 4

1-2

3-4

L-R

1-2

3-4

L-R

1-2

3-4

L-R

1-2

3-4

L-R

1-2

3-4

L-R

1-2

3-4

L-R

1-2

3-4

L-R

1-2

3-4

L-R

1-2

3-4

L-R

1-2

3-4

L-R

1-2

3-4

L-R

1-2

3-4

L-R

PFL

SOLO

PFL

SOLO

PFL

SOLO

PFL

SOLO

PFL

SOLO

PFL

SOLO

PFL

SOLO

PFL

SOLO

PFL

SOLO

PFL

SOLO

PFL

SOLO

PFL

SOLO

1.7 in /

44 mm

18.7 in / 475 mm

^W1^E8^IGHlb^T

8.2 kg

PROFESSIONAL MIC/LINE MIXER WITH FX

3.8 in /

97 mm

POWER

USB

WARNING:

RISQUE DE CHOC ELECTRIQUE

—

NE PAS OUVRIR

SERIAL NUMBER

REVISION

THIS DEVICE COMPLIES WITH PART 15 OF THE FCC RULES FOR THE U.S. AND

ICES-003, FOR CANADA. OPERATION IS SUBJECT TO THE FOLLOWING TWO

CONDITIONS: (1) THIS DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE, AND

(2) THIS DEVICE MUST ACCEPT ANY INTERFERENCE RECEIVED, INCLUDING

INTERFERENCE THAT MAY CAUSE UNDESIRED OPERATION.

BAL /UNBAL

BALANCED

OUT

FOOTSWITCH

BAL /UNBAL

TAPE

BAL /UNBAL

MIC

MON SEND

FX SEND

PHONES

15/16

17/18

19/20

21/22

MAIN OUT

BAL /UNBAL

LINE IN

BAL /UNBAL

LINE IN

BAL /UNBAL

LINE IN

BAL /UNBAL

(MONO)

LINE IN

LINE IN 11

LINE IN 12

LINE IN 13

LINE IN 15

MAX

^OC^FFOMP

INSERT

^OC^FFOMP

LINE IN 10

LINE IN 14

LINE IN 16

AUX RETURN

CR OUT

SUB OUT

PHANTOM

POWER

PROFESSIONAL MIC/LINE MIXER WITH FX

STEREO GRAPHIC EQ

48V

+50

+30dB

+50

+30dB

+50

+30dB

+50

+30dB

+50

+30dB

+50

+30dB

+50

+30dB

+50

+30dB

+50

+30dB

+50

+30dB

+50

+30dB

+50

+30dB

+50

+30dB

+50

+30dB

+50

-20

+20

-20

+20

-20dB

GAIN

-20dB

GAIN

-20dB

GAIN

-20dB

GAIN

MAIN

METERS

0dB 0dBu

SOURCE

LOW CUT

100Hz

LOW CUT

100Hz

LOW CUT

100Hz

LOW CUT

100Hz

LOW CUT

100Hz

LOW CUT

100Hz

LOW CUT

100Hz

LOW CUT

100Hz

LOW CUT

100Hz

LOW CUT

100Hz

LOW CUT

100Hz

LOW CUT

100Hz

LOW CUT

100Hz

LOW CUT

100Hz

LOW CUT

100Hz

LOW CUT

100Hz

LINE

USB

12kHz

-15 +15

MID

125

250

500

-15 +15

600

-15 +15

600

-15 +15

600

-15 +15

600

-15 +15

600

-15 +15

600

-15 +15

600

-15 +15

600

-15 +15

600

-15 +15

600

-15 +15

600

-15 +15

600

-15 +15

600

-15 +15

600

MID

16.0 in /

407 mm

2.5kHz

MAIN MIX

EQ IN

BYPASS

MON

-15 +15

150

1.5k

150

1.5k

150

1.5k

150

1.5k

150

1.5k

150

1.5k

150

1.5k

150

1.5k

150

1.5k

150

1.5k

150

1.5k

150

1.5k

150

1.5k

150

1.5k

FREQ

LEVEL

SET

100

01 BRIGHT ROOM

02 WARM LOUNGE 06 CONCERT HALL 10 CHORUS

03 SMALL STAGE 07 PLATE REVERB 11 DOUBLER

12 APE SLAP

05 WARM HALL

09 CHORUS

13 DELA

REV 14 DELA

15 DELA

(300ms)

(380ms)

(480ms)

RUDE

SOLO

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

04 WARM THEATER 08 CATHEDRAL

16 REVERB

DL (250ms)

-15 +15

AUX

INTERNAL FX

_UMASTER

_URETURN

AUX

^M1^ON

AUX

^M1^ON

AUX

^M1^ON

AUX

^M1^ON

AUX

^M1^ON

AUX

^M1^ON

AUX

^M1^ON

AUX

^M1^ON

AUX

^M1^ON

AUX

^M1^ON

AUX

^M1^ON

AUX

^M1^ON

AUX

^M1^ON

AUX

^M1^ON

AUX

^M1^ON

AUX

^M1^ON

AUX

^M1^ON

AUX

^M1^ON

MON

+15

SIG/OL

^M2^ON

MON

+15

INT FX

MUTE

MAIN

L-R

MAIN

L-R

+15

+10

PAN

MAIN

SUB 1-2

TAPE

USB

USB OUT

2-TRACK RETURN

+15

LEVEL

BREAK

(MUTES ALL CH)

MAX

CR/PHONES

MUTE

MAIN

15/16

17/18

19/20

21/22

SUB 1

SUB 2

SUB 3

SUB 4

1-2

3-4

L-R

1-2

3-4

L-R

1-2

3-4

L-R

1-2

3-4

L-R

1-2

3-4

L-R

1-2

3-4

L-R

1-2

3-4

L-R

1-2

3-4

L-R

1-2

3-4

L-R

1-2

3-4

L-R

1-2

3-4

L-R

1-2

3-4

L-R

1-2

3-4

L-R

1-2

3-4

L-R

1-2

3-4

L-R

1-2

3-4

L-R

1-2

3-4

L-R

1-2

3-4

L-R

PFL

SOLO

PFL

SOLO

PFL

SOLO

PFL

SOLO

PFL

SOLO

PFL

SOLO

PFL

SOLO

PFL

SOLO

PFL

SOLO

PFL

SOLO

PFL

SOLO

PFL

SOLO

PFL

SOLO

PFL

SOLO

PFL

SOLO

PFL

SOLO

PFL

SOLO

PFL

SOLO

1.7 in /

44 mm

25.1 in / 639 mm

Owner's Manual 29

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Block Diagram

Solo

FX (post)

Mon 2 (pre)

Mon 1 (pre)

Mon 2 (pre)

Mon 1 (pre)

Sub

Main

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Track Sheet - Mono Channels

MIC

–––

BAL /UNBAL

LINE IN

INSERT

-20dB

+50

+30dB

-20dB

+50

+30dB

-20dB

+50

+30dB

-20dB

+50

+30dB

-20dB

+50

+30dB

-20dB

+50

+30dB

-20dB

+50

+30dB

-20dB

+50

+30dB

GAIN

LOW CUT

100Hz

LOW CUT

100Hz

LOW CUT

100Hz

LOW CUT

100Hz

LOW CUT

100Hz

LOW CUT

100Hz

LOW CUT

100Hz

LOW CUT

100Hz

12kHz

-15 +15

MID

-15 +15

600

-15 +15

600

-15 +15

600

-15 +15

600

-15 +15

600

-15 +15

600

-15 +15

600

-15 +15

600

150

1.5k

150

1.5k

150

1.5k

150

1.5k

150

1.5k

150

1.5k

150

1.5k

150

1.5k

FREQ

100

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

-15 +15

AUX

^M1^ON

AUX

^M1^ON

AUX

^M1^ON

AUX

^M1^ON

AUX

^M1^ON

AUX

^M1^ON

AUX

^M1^ON

AUX

^M1^ON

+15

^M2^ON

+15

PAN

–––

1-2

3-4

L-R

1-2

3-4

L-R

1-2

3-4

L-R

1-2

3-4

L-R

1-2

3-4

L-R

1-2

3-4

L-R

1-2

3-4

L-R

1-2

3-4

L-R

PFL

SOLO

PFL

SOLO

PFL

SOLO

PFL

SOLO

PFL

SOLO

PFL

SOLO

PFL

SOLO

PFL

SOLO

Owner's Manual 31

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Track Sheet - Comp & Stereo Channels

BAL /UNBAL

FOOTSWITCH

BAL /UNBAL

MIC

MON SEND

FX SEND

–––

––– –––/––– –––/––– –––/––– –––/–––

BAL /UNBAL

(MONO)

LINE IN

LINE IN 9

LINE IN 11

LINE IN 13

LINE IN 15

MAX

^OC^FFOMP

LINE IN 10

LINE IN 12

LINE IN 14

LINE IN 16

-20dB

+50

+30dB

-20dB

+50

+30dB

-20dB

+50

+30dB

-20dB

+50

+30dB

+50

-20

+20

-20

+20

GAIN

SOURCE

LOW CUT

100Hz

LOW CUT

100Hz

LOW CUT

100Hz

LOW CUT

100Hz

LOW CUT

100Hz

LOW CUT

100Hz

LINE

USB

12kHz

-15 +15

MID

-15 +15

600

-15 +15

600

-15 +15

600

-15 +15

600

MID

2.5kHz

MID

2.5kHz

MID

2.5kHz

MID

2.5kHz

-15 +15

150

1.5k

150

1.5k

150

1.5k

150

1.5k

FREQ

100

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

-15 +15

AUX

^M1^ON

AUX

^M1^ON

AUX

^M1^ON

AUX

^M1^ON

AUX

^M1^ON

AUX

^M1^ON

AUX

^M1^ON

AUX

^M1^ON

+15

^M2^ON

+15

PAN

–––

––– –––/––– –––/––– –––/––– –––/–––

1-2

3-4

L-R

1-2

3-4

L-R

1-2

3-4

L-R

1-2

3-4

L-R

1-2

3-4

L-R

1-2

3-4

L-R

1-2

3-4

L-R

1-2

3-4

L-R

PFL

SOLO

PFL

SOLO

PFL

SOLO

PFL

SOLO

PFL

SOLO

PFL

SOLO

PFL

SOLO

PFL

SOLO

32 ProFX16 and ProFX22

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Track Sheet - Master Section

BALANCED

OUT

TAPE

BAL /UNBAL

PHONES

MAIN OUT

BAL /UNBAL

(MONO)

AUX RETURN

CR OUT

SUB OUT

PHANTOM

POWER

PROFESSIONAL MIC/LINE MIXER WITH FX

STEREO GRAPHIC EQ

MAIN

METERS

0dB = 0dBu

125

250

500

MAIN MIX

MON 1

EQ IN

BYPASS

LEVEL

SET

01 BRIGHT ROOM

05 WARM HALL

09 CHORUS

13 DELAY 1 (300ms)

RUDE

SOLO

02 WARM LOUNGE 06 CONCERT HALL 10 CHORUS + REV 14 DELAY 2 (380ms)

03 SMALL STAGE

04 WARM THEATER 08 CATHEDRAL

07 PLATE REVERB

11 DOUBLER

12 TAPE SLAP

15 DELAY 3 (480ms)

16 REVERB + DLY (250ms)

AUX

_URETURN

INTERNAL FX

_UMASTER

^M1^ON

MON 1

+15

SIG/OL

^M2^ON

MON 2

+15

INT FX

MUTE

MAIN

L-R

MAIN

L-R

+10

+15

+10

MAIN

SUB 1-2

TAPE

USB

USB OUT

2-TRACK RETURN

BREAK

MAX

CR/PHONES

+15

(MUTES ALL CH)

LEVEL

MAIN

SUB 1

SUB 2

SUB 3

SUB 4

Owner's Manual 33

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Appendix D: Table of Effects Presets

No. Title

Description

Example of its use

01 Bright Room

This room has a bright tone with lots of scattered

reﬂections to simulate harder, more reﬂective surfaces.

Useful on vocals that require a brighter reverb to

cut through the mix, or for giving acoustic

instruments a livelier vibe.

02 Warm Lounge

03 Small Stage

04 Warm Theater

05 Warm Hall

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.

This preset simulates the sound of a small concert stage, Useful for vocals or guitars in fast paced,

with a medium reverb time and reverberant space.

high-energy songs that call for a “live”

sounding reverberation.

This reverb has a warm bodied tone and medium long

reverb time to simulate the live acoustics of a theater

space.

Perfect for vocals, drums, acoustic and electric

guitars, keyboards and more.

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

especially warm tone.

to close-mic’ed orchestral instruments.

06 Concert Hall

This hall reverb is characterized by its large, spacious

sound, long pre-delay, and vibrant tone.

Adds life to acoustic instruments and vocals from

solos to full-on symphonies and choirs.

07 Plate Reverb

This preset emulates vintage mechanical reverberation

that was generated with a metal plate. Its sound is

characterized by lots of early reﬂections and no

pre-delay.

Perfect for thickening percussive instruments, such

as a snare drum, or tight vocal arrangements.

08 Cathedral

09 Chorus

This reverb emulates the extremely long tails, dense

Gives amazing depth to choirs, wind instruments,

diffusion and long pre-delays and reﬂections that would organs and soft acoustic guitars.

be found in a very large, stone walled house of worship.

This preset provides a soft, ethereal sweeping effect

that is useful for thickening and for making a

particular sound pop out of the mix.

Perfect for enhancement of electric and acoustic

guitar and bass, or to add a dramatic effect to

vocals, particularly group harmonies and choirs.

10 Chorus + Reverb

11 Doubler

This preset perfectly combines the chorus effect above

with a large, roomy reverb.

This effect thickens the sound with chorus while

adding warmth and spaciousness thanks to the

smooth reverb.

This effect simulates the sound of a vocal or instrument

being recorded twice (double-tracked) on a multi-track

recorder.

Provides a vibe that is similar to chorus without

the subtle swirl.

12 Tape Slap

This effect provides a single, relatively rapid delay of

the original signal, with the added warmth that

vintage tape-based echo units provided.

Often used on vocals for a 1950’s era feel, or on

guitars for a surf-type tone. Often used by people

whose favorite number is 12.

13 DLY 1 (300ms)

14 DLY 2 (380ms)

15 DLY 3 (480ms)

These three presets provide delay. The default delay time These work best with full, up-beat music like rock

for each preset is shown in ms – the smaller the time, the where the delay needs to cut through the mix.

faster the delay.

16 Reverb + DLY (250ms)

This effect combines the Warm Theater reverb effect with Perfect for thickening vocals while adding

the echoes of the 3-repeat delay effect.

dimensions, it can also be used as a spacey

effect on electric guitars.

34 ProFX16 and ProFX22

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ProFX16 and ProFX22 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. 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.

Need help with your mixer?

• Visit www.mackie.com and click Support to ﬁnd: FAQs, manuals, addendums, and other useful information.

• 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 35

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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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