Mackie Music Mixer PPM1012 User Manual

PPM1012

12-Channel,2 x 800 W Professional Powered Mixer

O W N E R ’ S M A N U A L

LAMP

12V 0.5A

OUT

FOOTSWITCH

TIP:FX1

MON SEND

FX SEND

TAPE

MAIN INSERT

MIC 1

MIC 2

MIC 3

MIC 4

MIC 5

MIC 6

MIC 7

MIC 8

RING:FX2

HI-Z

LINE

HI-Z

LINE

(BAL/UNBAL)

(MONO)

PHONES

O O MAX

LEVEL

INSERT

^INPUT9/10

^INPUT11/12

^{FX RTN}1

^{FX RTN}2

MAIN OUT

9/10 11/12

PHANTOM

POWER

2 X 800W PROFESSIONAL POWERED MIXER

EQ ASSIGN

MAIN

MON 2

POWER AMP

LIMITER

MAIN EQUALIZER

+50

+30dB

+50

+30dB

+50

+30dB

+50

+30dB

+50

+30dB

+50

+30dB

+50

+30dB

+50

+30dB

-20 +20

GAIN

-20 +20

GAIN

-20dB

GAIN

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

MAIN

METERS

COMP

0dB = 0dBu

HI-Z

OFF

MAX

OFF

MAX

OFF

MAX

OFF

MAX

OFF

MAX

OFF

MAX

12kHz

125

250

500

16K

-15 +15

MON 1 EQUALIZER

MID

2.5kHz

-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

LEVEL

SET

LOW

MID

400Hz

LOW

MID

400Hz

RUDE

SOLO

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

-15 +15

100

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

-15 +15

125

250

500

16K

AUX

POWER AMP

MODE

SEND

01 PLATE REVERB

02 VOCAL PLATE

03 WARM ROOM

04 BRIGHT ROOM

05 WARM LOUNGE

06 SMALL STAGE

07 WARM THEATER

08 BRIGHT STAGE

09 WARM HALL

13 CHORUS

14 CHORUS + REVERB

15 DOUBLER

^M1^ON

MON 1

MAINS

MON 2

MON 1

16 TAPE SLAP

SIG/OL

FX 1

FX 2

17 DLY 1 BRIGHT (350ms)

18 DLY 1 WARM (300ms)

19 DLY 2 BRIGHT (250ms)

20 DLY 2 WARM (200ms)

21 DLY 3 BRIGHT (175ms)

22 DLY 3 WARM (150ms)

23 CHORUS + DLY (300ms)

24 REVERB + DLY (200ms)

O O +15

(L)

STEREO

(R)

MAIN

^M2^ON

10 CONCERT HALL

11 CATHEDRAL

12 GATED REVERB

LPF

O O +15

SEND MASTER

O O +15

SEND MASTER

TAP TO EDIT

120

BREAK

O O +15

100

180

TAP

DELAY

TAP

DELAY

MUTES

CH 1-12

O O +20

75Hz

200Hz

TAPE IN

O O +15

FX 1

TO MON 1

FX 1

TO MON 2

MONO OUT

PAN

INT FX

MUTE

INT FX

MUTE

O O

+15

O O MAX

9/10

11/12

FX RTN 1

FX RTN 2

MON 1

MON 2

MAIN

+10

-20

SOLO

O O

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Don’t use guitar cords for speaker cables!

They’re not designed to handle speaker-level

signals and could overheat.

Read This Page!

We realize that you must be really keen

to try out your new powered mixer. Please

read the safety instructions on page 2

and this page, and the rest can wait until

Set the levels

It’s not even necessary to hear what you’re doing to

set optimal levels. But if you’d like to: Plug headphones

into the phones output jack, then turn up the phones

knob just a little.

you’re ready. But please read it — you’ll be glad you did.

Setup

1. Turn on the PPM1012 by pressing the top edge

of the power switch.

Make sure there is at least 6 inches of airspace behind

the powered mixer for ventilation. There are two fans

inside to cool the power ampliﬁer section. Use the pow-

ered mixer in a nice clean environment, free from dryer

lint and dust bunnies.

2. For one channel, press the solo switch in, and

the rude solo light will turn on.

3. Play something into that input at real-world

levels.

Zero the controls

4. Adjust that channel's gain control until the

left main meter stays around the 0 dB LED

(marked "level set").

1. Fully turn down all the faders and controls,

except for the channel EQ, graphic EQ faders,

and pan controls, which should be centered.

5. Disengage the channel's solo switch.

6. Repeat steps 2 to 5 for the remaining channels.

2. Make sure all buttons are in the out position.

7. In normal playing, the channel's OL LED should

only light occasionally. If it stays on for a large

portion of your performance, check that the

gain control is set correctly.

Connections

1. Make sure the AC power switch is off before

making any connections.

8. Turn up the channel faders to the "U" mark.

2. Push the linecord securely into the IEC connec-

tor on the rear panel, and plug it into a 3-prong

AC outlet that is properly conﬁgured for the

voltage of your powered mixer.

9. Slowly turn up the main level fader until you

hear the signals in your speakers.

10. If needed, apply some EQ wisely.

11. Adjust the channel faders to get the best mix.

Keep the gain controls and faders fully down on

unused channels.

3. Plug a balanced microphone into one of the mic

XLR (3-pin) connectors. Or connect any line-

level signal (keyboard, or guitar preamp) to a

line input jack using a TS or a TRS 1/4” plug.

Other Notes

4. If your microphone requires phantom power,

press in the 48V phantom power button.

• Only connect the powered mixer's speaker-level

outputs to passive loudspeakers.

5. You can connect a guitar directly to line inputs

7 or 8 without need for a DI box. Press the hi-z

switch on these channels if you do.

• For optimum sonic performance, the channel

faders and main mix fader should be set near

the U (unity gain) markings.

6. The insert jacks can be used to connect an

external effects or dynamics processor into the

signal chain. See page 13 for more details.

• When shutting down, turn off any external

ampliﬁers ﬁrst. When powering up, turn on any

external ampliﬁers last. This will reduce the

chance of turn-on or turn-off thumps in your

speakers.

7. Plug the speakers (4 ohms or greater) into the

speaker output jacks on the rear panel. If you

plug two speakers into a side, each speaker

must be 8 ohms or greater to maintain a 4-ohm

minimum load on the ampliﬁer. Use at least

18 gauge speaker cable with 1/4” TS plugs. For

now, set the power amp mode switch to stereo

mains.

• Save the shipping box!

Part No. SW0704 Rev. C 08/08

Owner’s Manual

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• Two independent internal FX processors, each

with 24 Running Man 32-bit effects with input

gain, tap delay, and mute/unmute

Introduction

Thank you for choosing a Mackie PPM1012 profes-

sional powered mixer. This powerful mixer is designed

to meet the needs of almost any small to medium-sized

club/meeting room/sanctuary/outdoor gathering.

• Footswitch connection for FX mute/unmute

• 9-band, constant-Q, graphic EQ on main mix,

assignable to monitor 2

• 9-band, constant-Q, graphic EQ on monitor 1

• 12-segment stereo output meters on main mix

• LED meter on each channel

At Mackie, we know what it takes to be roadworthy.

After all, our mixers have traveled all over the world

under the worst of conditions and the best of conditions,

and we’ve applied what we’ve learned to the mechanical

design of our powered mixers.

• Solo switch on each channel, FX 1 and FX 2

return, mon 1 and mon 2

Reliability is paramount to sound reinforcement.

That’s why our engineers have subjected our powered

mixers to the most rigorous and ﬁendish tests imagin-

able to ﬁne-tune the design and extend its limits beyond

those of ordinary mixers or ampliﬁers.

• Mute switch on each channel and FX 1 and FX

2 return

• Speakon and 1/4" power amp outputs

• Precision passive switch for enhanced clarity

and low-frequency response with Mackie pas-

sive speakers

Features

• Headphones play main mix, or soloed channels

• Two internal power ampliﬁers, each rated at

800 watts peak into 4 ohms

How To Use This Manual

• 3 selectable ampliﬁer modes (stereo main,

mono-main/monitor 1, mon1/mon2)

The ﬁrst pages after the table of contents are the

hookup diagrams. These show typical setups for fun

times with your powered mixer.

• 12 channels (8 mono, 2 stereo)

• Mic inputs on 8 channels

Next is a detailed tour of the entire mixer. The de-

scriptions are divided into sections, just as your mixer is

organized into distinct zones:

• Line-level inputs (8 mono, 2 stereo)

• Tape out for recording the main mix

• Tape in for playing intermission music

• Break switch mutes all channels except tape in

• Insert jacks on mono channels

• Rear Panel

• Connection Section

• Channel Controls

• Master Controls

• Stereo Effects Processors

• Low cut switch on mono channels

• Instrument switches on channels 7 and 8 allow

direct connection of guitars without a DI box

Throughout these sections you’ll ﬁnd illustrations

with each feature numbered and described in nearby

paragraphs.

• 3-band EQ with sweepable mid-range frequency

on mono channels

• 4-band EQ on stereo channels

• Monitor 1 and Monitor 2 send

• FX 1 and FX 2 send

This icon marks information that is critically

important or unique to the mixer. For your own

good, read them and remember them.

• Main mix stereo line-level outputs

This icon will lead you to some explanations of

features and practical tips. Go ahead and skip

these if you need to leave the room in a hurry.

• Main mix mono line-level output with level con-

trol, and switchable low-pass ﬁlter with variable

frequency for subwoofer work

Appendix A: Service information.

Appendix B: Connectors.

• Stereo main insert allows the connection of in-

line devices in the main mix

Appendix C: Technical information.

Appendix D: Table of Presets

• +48v Phantom power can be applied to all mics

• Built-in compressors on the ﬁrst 6 mono inputs

(dedicated in-line compression)

The thickness of the manual makes it ideal for cover-

ing your head, especially when a 15-mile wide meteorite

bursts through the earth's atmosphere, heading straight

for your camp site at Lucky-Duck Lake, WA.

PPM1012

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Contents

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

READ THIS PAGE!.................................................... 3

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

HOOKUP DIAGRAMS............................................... 6

FEATURES............................................................. 10

REAR PANEL

40. CHANNEL FADER .................................... 20

41. SOLO..................................................... 20

MASTER CONTROLS

42. POWER LED ........................................... 21

43. 48V PHANTOM SWITCH......................... 21

44. MAIN EQUALIZER................................... 21

45. MON 1 EQUALIZER ................................ 22

46. MAIN EQ ASSIGN................................... 22

47. POWER AMP LIMITER LEDS .................... 22

48. MAIN MIX METERS ................................ 23

49. RUDE SOLO LIGHT.................................. 23

50. PRECISION PASSIVE EQ.......................... 23

51. BREAK SWITCH AND LED ....................... 23

52. TAPE IN ................................................. 23

53. POWER AMP MODE SWITCH .................. 23

54. L P F (LOW-PASS-FILTER).......................... 24

55. M ONO OUT............................................ 24

56. F X 1 TO MON 1 AND FX 1 TO MON 2..... 25

57. F X RTN 1 AND FX RTN 2 FADER ............. 25

58. M ONITOR 1 AND MONITOR 2 FADER...... 25

59. M A I N FADER.......................................... 25

STEREO EFFECTS P RO C E S SOR ............................. 26

60. F X1 SEND AND FX2 SEND MASTER ......... 26

61. S IG/ OL LED ........................................... 26

62. P R ESET DISPLAY .................................... 27

63. P R ESET SELECTOR, TAP DELAY AND LED... 27

64. I N TERNAL FX MUTE................................ 27

A P P E ND I X A : SERVICE INFORMATION.................... 28

A P P E ND I X B : CONNECT I ONS.................................. 29

A P P E ND I X C : TECHN I C AL I NFORM ATION................ 31

A P P E ND I X D : TABLE OF EFFECTS PRESETS............... 34

PP M 1 012 L I MITED WARRANTY............................. 35

1. POWER CONNECTION............................. 10

2. POWER SWITCH..................................... 10

3. SPEAKER-LEVEL OUTPUTS....................... 10

4. VENTILATION......................................... 10

CONNECTION SECTION

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

6. MONO LINE INPUTS (CH. 1 TO 6)............ 11

7. LINE/ INSTRUMENT INPUTS .................... 11

8. STEREO LINE INPUTS.............................. 11

9. I N SERT (C H. 1 TO 8 )............................... 12

10. M ON SEND 1 AND MON SEND 2 ............. 12

11. F X SEND 1 AND FX SEND 2 ..................... 12

12. F X RTN 1 AND FX RTN 2 ........................ 13

13. T A P E INPUTS ......................................... 13

14. T A P E OUTPUTS ...................................... 13

15. M A I N INS E RT S ....................................... 13

16. MAIN OUTPUTS .................................... 13

17. M A I N MONO OUTPU T ............................ 13

18. H EAD P H ONE OUT P U T ............................ 13

19. L EVEL .................................................... 14

20. F X FOOTSWITCH CONNECTOR ................ 14

21. B NC LAMP CONNECT I ON ....................... 14

22. L UNCH -T I ME DECOU P L E R ........................ 14

CHANNEL CONTROLS

23. G A I N C ONTROL ...................................... 16

24. L O W CUT ............................................... 16

25. C OM P R E S SOR ........................................ 17

26. H I -Z S WITCH ......................................... 18

27. H IGH E Q ................................................ 19

28. M ID E Q LEVEL ........................................ 19

29. M ID E Q FREQUENCY ............................... 19

30. H IGH MID EQ L EVEL ............................... 19

31. L O W MID EQ LEVEL ................................ 19

32. L O W EQ ................................................. 19

33. M ON 1 AUX SEND .................................. 19

34. M ON 2 AUX SEND .................................. 19

35. F X1 AUX SEND ....................................... 19

36. F X2 AUX SEND ....................................... 19

37. P AN ....................................................... 20

38. M UTE SWITCH AND LED .......................... 20

39. –20, 0, +10, O L CHANNEL METER LED S... 20

Need help with your new mixer?

• Visit www.mackie.com and click

Support to ﬁnd: FAQs, manuals,

addendums, and user forums.

• Email us at: techmail@mackie.com.

• Telephone 1-800-898-3211 to speak

with one of our splendid technical

support chaps, (Monday through

Friday, from 7 a.m. to 5 p.m. PST).

Owner’s Manual

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Hookup Diagrams

Microphones

Portable Recorder

LAMP

12V 0.5A

2 X 800W PROFESSIONAL POWERED M

OUT

SPEAKER OUT

FOOTSWITCH

TIP:FX1

MON SEND

FX SEND

TAPE

MAIN INSERT

MIC 1

MIC 2

MIC 3

MIC 4

MIC 5

MIC 6

MIC 7

MIC 8

RING:FX2

HI-Z

LINE

HI-Z

LINE

(BAL/UNBAL)

(MONO)

PHONES

O MAX

INSERT

LEVEL

^INPUT9/10

^INPUT11/12

^{FX RTN}1

^{FX RTN}2

MAIN OUT

Adjust

9/10 11/12

PHANTOM

POWER

Vocal

800W PROFESSIONAL POWERED MIXER

press HI-Z

but t ons

Compression

EQ ASSIGN

MAIN

MON

POWER AMP

LIMITER

MAIN EQUALIZER

+50

+30dB

+50

+30dB

+50

+30dB

+50

+30dB

+50

+30dB

+50

+30dB

+50

+30dB

-20 +20

GAIN

-20 +20

GAIN

-20dB

+30dB

-20dB

GAIN

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

MAIN

METERS

0dB = 0dBu

COMP

HI-Z

OFF

MAX

OFF

MAX

OFF

MAX

OFF

MAX

OFF

MAX

OFF

MAX

12kHz

125

250

500

16K

-15 +15

MON 1 EQUALIZER

MID

2.5kHz

POWER AMP

MODE

-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

LEVEL

SET

LOW

MID

400Hz

LOW

MID

400Hz

RUDE

SOLO

150

1.5k

150

100

1.5k

150

100

1.5k

150

100

1.5k

150

100

1.5k

150

100

1.5k

150

100

1.5k

150

100

1.5k

FREQ

MON 1

MAINS

MON 2

MON 1

FREQ

-15 +15

100

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

(L)

STEREO

(R)

-15 +15

MAIN

125

250

500

16K

AUX

SEND

AUX

SEND

AUX

SEND

AUX

SEND

AUX

SEND

AUX

SEND

AUX

SEND

AUX

SEND

AUX

SEND

POWER AMP

MODE

SEND

Keyboard

01 PLATE REVERB

02 VOCAL PLATE

03 WARM ROOM

04 BRIGHT ROOM

05 WARM LOUNGE

06 SMALL STAGE

07 WARM THEATER

08 BRIGHT STAGE

09 WARM HALL

13 CHORUS

14 CHORUS

15 DOUBLER

16 TAPE SLAP

17 DLY

18 DLY

19 DLY

20 DLY

21 DLY

22 DLY

REVERB

^M1^ON

MON

MAINS

MON

St ereo Mains

SIG/OL

FX 1

FX 2

BRIGHT (350ms)

WARM (300ms)

BRIGHT (250ms)

WARM (200ms)

BRIGHT (175ms)

WARM (150ms)

DLY (300ms)

O +15

(L)

STEREO

(R)

MAIN

^M2^ON

10 CONCERT HALL

11 CATHEDRAL

12 GATED REVERB

23 CHORUS

24 REVERB

LPF

O +15

DLY (200ms)

SEND MASTER

TAP TO EDIT

120

BREAK

O O +15

O +15

100

180

TAP

DELAY

TAP

DELAY

MUTES

CH 1-12

O +20

75Hz

200Hz

TAPE IN

O O +15

TO MON

MONO OUT

PAN

INT FX

MUTE

INT FX

MUTE

O O

+15

O O MAX

SRM450v2 Powered Stage Monitors

9/10

11/12

FX RTN 1

FX RTN 2

MON 1

MON 2

MAIN

(plays mon 1 output)

+10

-20

SOLO

O O

S225 Passive Speakers

(plays stereo main mix)

SWA1801z Powered Subwoofers

This diagram shows microphones attached to channels 1 and 2, electric guitars connected directly to

channels 7 and 8 (with hi-z switch pressed in), and a keyboard attached to channels 9/ 10. A portable

recorder is attached to the stereo tape outputs to record the performance.

Mackie SRM450v2 powered monitors are connected to the monitor 1 send, and play as stage moni-

tors. The mon 1 knobs of each channel allow you to set up a stage monitor mix that is independent of the

main mix.

Mackie S225 passive speakers are connected to the speaker-level power output of the powered mixer,

and they play the main stereo mix to your audience. SWA1801z powered subwoofers are connected to

the main mix mono out, to reinforce the low end in your system. For powered subwoofers like these with

their own internal crossover, leave the mixer's LPF (low-pass-ﬁlter) switch out.

Club System

PPM1012

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Acoustic Guitar

and Mic

Microphones

LAMP

12V 0.5A

2 X 800W PROFESSIONAL POWERED MIXER

OUT

SPEAKER OUT

FOOTSWITCH

TIP:FX1

MON SEND

FX SEND

TAPE

MAIN INSERT

MIC 1

MIC 2

MIC 3

MIC 4

MIC 5

MIC 6

MIC 7

MIC 8

RING:FX2

HI-Z

LINE

HI-Z

LINE

(MONO)

(BAL/UNBAL)

(MONO)

PHONES

O MAX

INSERT

LEVEL

^INPUT9/10

^INPUT11/12

^{FX RTN}1

^{FX RTN}2

MAIN OUT

9/10 11/12

PHANTOM

POWER

Adjust Vocal

800W PROFESSIONAL POWERED MIXER

Compression

EQ ASSIGN

MAIN

MON

POWER AMP

LIMITER

MAIN EQUALIZER

+50

+30dB

+50

+30dB

+50

+30dB

+50

+30dB

+50

+30dB

+50

+30dB

+50

+30dB

+50

+30dB

-20 +20

GAIN

-20 +20

GAIN

-20dB

GAIN

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

MAIN

METERS

0dB = 0dBu

COMP

HI-Z

OFF

MAX

OFF

MAX

OFF

MAX

OFF

MAX

OFF

MAX

OFF

MAX

12kHz

125

250

500

16K

-15 +15

MON 1 EQUALIZER

press HI-_MZ_ID

MID

POWER AMP

MODE

2.5kHz

-15 +15

600

-15 +15

600

-15 +15

600

-15 +15

600

-15 +15

600

-15 +15

600

but

-15

15n

-15 +15

600

-15 +15

600

LEVEL

SET

LOW

MID

400Hz

LOW

MID

400Hz

RUDE

SOLO

150

100

1.5k

150

100

1.5k

150

100

1.5k

150

100

1.5k

150

100

1.5k

150

100

1.5k

150

1.5k

150

1.5k

FREQ

MON 1

MAINS

MON 2

MON 1

FREQ

-15 +15

100

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

(L)

STEREO

(R)

-15 +15

MAIN

125

250

500

16K

_AUXDrum

AUX

SEND

AUX

SEND

AUX

SEND

AUX

SEND

AUX

SEND

AUX

SEND

AUX

SEND

AUX

SEND

AUX

SEND

POWER AMP

MODE

SEND

^M1^ON

01 PLATE REVERB

02 VOCAL PLATE

03 WARM ROOM

04 BRIGHT ROOM

05 WARM LOUNGE

06 SMALL STAGE

07 WARM THEATER

08 BRIGHT STAGE

09 WARM HALL

13 CHORUS

14 CHORUS

15 DOUBLER

16 TAPE SLAP

17 DLY

18 DLY

19 DLY

20 DLY

21 DLY

22 DLY

REVERB

^M1^ON

MON 1

MAINS

MON

Mains/Mon1

Machine

SIG/OL

FX 1

FX 2

BRIGHT (350ms)

WARM (300ms)

BRIGHT (250ms)

WARM (200ms)

BRIGHT (175ms)

WARM (150ms)

DLY (300ms)

O +15

(L)

STEREO

(R)

MAIN

^M2^ON

10 CONCERT HALL

11 CATHEDRAL

12 GATED REVERB

23 CHORUS

24 REVERB

LPF

O +15

LPF

DLY (200ms)

SEND MASTER

TAP TO EDIT

120

BREAK

O +15

120

100

180

TAP

DELAY

TAP

DELAY

MUTES

CH 1-12

O +20

75Hz

200Hz

TAPE IN

100

180

200Hz

O +15

TO MON

MONO OUT

PAN

FRS2800

INT FX

MUTE

INT FX

MUTE

75Hz

Amplifier

O O

+15

O O MAX

Press LPF and

adjust sub

crossover

C300z Passive Stage Monitors

(plays mon 1 output)

SRM150 Powered Monitor

frequency

(plays₂mon₃1 out₄put) ₅

dual-mono

9/10

11/12

FX RTN 1

FX RTN 2

MON 1

MON 2

MAIN

mode

+10

-20

SOLO

O O

Keyboard

S218s Passive Subwoofers

(plays main mix below 100 Hz)

S215 Passive Speakers

House System

(plays mono main mix)

This diagram shows microphones attached to the mic inputs of channels 1 to 4, an electric guitar con-

nected directly to channel 7 (with hi-z switch pressed in), an acoustic guitar microphone connected to

channel 8 mic in, a keyboard attached to channels 9/ 10, and a drum machine to channels 11/ 12.

A Mackie SRM150 powered monitor is connected to the monitor 1 send, and acts as a personal stage

monitor to your talented, yet still surprisingly-humble keyboard player. The mon 1 knobs of each channel

allow you to set up a monitor mix that is independent of the main mix.

The power amp mode switch is set to play the mono main mix on ch. A, and monitor 1 mix on ch. B.

Mackie S215 passive speakers are connected to channel A speaker-level power output, and they play

the main mono mix to your audience. C300z passive stage monitors are connected to channel B speaker-

level power output, and they play the stage monitor mix 1 to your performers.

S218s passive subwoofers are powered by a Mackie FRS2800 ampliﬁer connected to the main mix

mono out, to reinforce the low end in your main mix. Press the LPF (low-pass-ﬁlter) switch in, and adjust

the LPF frequency control to suit your subwoofers. The external ampliﬁer will then only receive the low

frequency range.

House of Worship

Owner’s Manual

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Wireless

Microphone

Microphones

Wireless Mic Receiver

LAMP

12V 0.5A

2 X 800W PROFESSIONAL POWE

OUT

SPEAKER OUT

FOOTSWITCH

TIP:FX1

MON SEND

FX SEND

TAPE

MAIN INSERT

MIC 1

MIC 2

MIC 3

MIC 4

MIC 5

MIC 6

MIC 7

MIC 8

RING:FX2

HI-Z

LINE

HI-Z

LINE

(BAL/UNBAL)

(MONO)

PHONES

O MAX

INSERT

LEVEL

^INPUT9/10

^INPUT11/12

^{FX RTN}1

^{FX RTN}2

MAIN OUT

9/10 11/12

PHANTOM

POWER

Adjust Vocal

800W PROFESSIONAL POWERED MIXER

Compression

EQ ASSIGN

MAIN

MON

POWER AMP

LIMITER

MAIN EQUALIZER

+50

+30dB

+50

+30dB

+50

+30dB

+50

+30dB

+50

+30dB

+50

+30dB

+50

+30dB

+50

+30dB

-20 +20

GAIN

-20 +20

GAIN

-20dB

GAIN

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

MAIN

METERS

0dB = 0dBu

COMP

HI-Z

OFF

MAX

OFF

MAX

OFF

MAX

OFF

MAX

OFF

MAX

OFF

MAX

12kHz

125

250

500

16K

-15 +15

MON 1 EQUALIZER

Graphic EQ

MID

2.5kHz

POWER AMP

MODE

-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

LEVEL

SET

LOW

MID

400Hz

LOW

MID

400Hz

RUDE

SOLO

150

1.5k

150

1.5k

150

1.5k

150

1.5k

150

1.5k

150

1.5k

150

1.5k

150

100

1.5k

FREQ

MON 1

MAINS

MON 2

MON 1

FREQ

-15 +15

100

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

(L)

STEREO

(R)

-15 +15

MAIN

125

250

500

16K

AUX

SEND

AUX

SEND

AUX

SEND

AUX

SEND

AUX

SEND

AUX

SEND

AUX

SEND

AUX

SEND

AUX

SEND

AUX

SEND

POWER AMP

MODE

01 PLATE REVERB

02 VOCAL PLATE

03 WARM ROOM

04 BRIGHT ROOM

05 WARM LOUNGE

06 SMALL STAGE

07 WARM THEATER

08 BRIGHT STAGE

09 WARM HALL

13 CHORUS

14 CHORUS

15 DOUBLER

16 TAPE SLAP

17 DLY

18 DLY

19 DLY

20 DLY

21 DLY

22 DLY

REVERB

^M1^ON

MON

MAINS

MON

St ereo Mains

SIG/OL

FX 1

FX 2

BRIGHT (350ms)

WARM (300ms)

BRIGHT (250ms)

WARM (200ms)

BRIGHT (175ms)

WARM (150ms)

DLY (300ms)

O +15

(L)

STEREO

(R)

MAIN

^M2^ON

10 CONCERT HALL

11 CATHEDRAL

12 GATED REVERB

23 CHORUS

24 REVERB

LPF

O +15

DLY (200ms)

SEND MASTER

TAP TO EDIT

120

BREAK

O O +15

O +15

100

180

TAP

MUTES

DELAY

O +20

75Hz

200Hz

CH 1-12

TAPE IN

O O +15

O +15

iPod Docking

TO MON

MONO OUT

PAN

INT FX

MUTE

INT FX

MUTE

Station

O O

+15

O O MAX

SA1521z

Powered

SA1521z

Powered

Speaker

9/10

11/12

FX RTN 1

MON 1

MON 2

MAIN

Speaker

+10

-20

SOLO

O O

Mackie d.2 Pro

DJ Production Console

MAIN OUT

BOOTH

PGM 2

PHONO CD

PGM 1

PHONO CD

MIC

SEND

LINE

MIC

LIVE

RECORD

RETURN

L(MONO)

LINE

GND

~100-240 VAC 50-60Hz 20W

PHONO

S225 Passive Speakers

(play stereo main mix)

SWA2801z Powered Subwoofers

(play main mix)

Turntables with phono-level output

This diagram shows microphones connected to the mic inputs of channels 1 and 2, a wireless micro-

phone receiver connected to the mic input of channel 4, and a graphic EQ connected to channel 4's

insert jack (to help control any feedback in the wireless mic). An iPod docking station is attached to chan-

nels 11/ 12, using RCA to 1/ 4" TS adaptors.

Two turntables are connected to a Mackie d.2 Pro DJ mixer, and its output connect to channel 9/ 10

stereo line inputs. Use the d.2 Pro's advanced DJ controls to get the best performance from your records.

Use the powered mixer to play the d.2 Pro output, and control the mics and iPod.

The power amp mode switch is set to play the stereo main mix in the Mackie S225 passive speakers,

connected to the speaker-level power outputs.

Mackie SA1521z powered speakers and SWA2801z powered subwoofers are connected to the line-

level main mix outputs, and also play the stereo main mix to your audience.

DJ System

PPM1012

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Microphones

LAMP

12V 0.5A

2 X 800W PROFESSIONAL POWERED MIXER

OUT

SPEAKER OUT

FOOTSWITCH

TIP:FX1

MON SEND

FX SEND

TAPE

MAIN INSERT

MIC 1

MIC 2

MIC 3

MIC 4

MIC 5

MIC 6

MIC 7

MIC 8

RING:FX2

HI-Z

LINE

HI-Z

LINE

(BAL/UNBAL)

(MONO)

PHONES

O MAX

INSERT

LEVEL

^INPUT9/10

^INPUT11/12

^{FX RTN}1

^{FX RTN}2

MAIN OUT

Adjust Vocal

“Insert”

9/10 11/12

PHANTOM

POWER

Compression

800W PROFESSIONAL POWERED MIXER

EQ ASSIGN

MAIN

MON

POWER AMP

LIMITER

MAIN EQUALIZER

+50

+30dB

+50

+30dB

+50

+30dB

+50

+30dB

+50

+30dB

+50

+30dB

+50

+30dB

+50

+30dB

-20 +20

GAIN

-20 +20

GAIN

-20dB

GAIN

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

MAIN

METERS

0dB = 0dBu

COMP

HI-Z

SA1532z

Powered

Speaker

OFF

MAX

OFF

MAX

OFF

MAX

OFF

MAX

OFF

MAX

OFF

MAX

Powered

12kHz

125

250

500

16K

-15 +15

Speaker

_Upress

MON 1 EQUALIZER

MID

HI-Z

MID

2.5kHz

-15 +15

600

-15 +15

600

-15 +15

600

-15 +15

600

-15 +15

600

-15 +15

600

-15 +15

600

-15 +15

Send

600

LEVEL

SET

LOW

MID

400Hz

LOW

MID

400Hz

RUDE

SOLO

150

100

1.5k

150

100

1.5k

150

100

1.5k

150

100

1.5k

150

1.5k

150

1.5k

150

1.5k

150

1.5k

FREQ

-15 +15

100

POWER AMP

MODE

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

MON 1

MAINS

MON 2

MON 1

-15 +15

125

250

500

16K

AUX

SEND

AUX

SEND

AUX

SEND

AUX

SEND

AUX

SEND

AUX

SEND

AUX

SEND

AUX

SEND

AUX

SEND

AUX

SEND

POWER AMP

MODE

01 PLATE REVERB

02 VOCAL PLATE

13 CHORUS

14 CHORUS

15 DOUBLER

16 TAPE SLAP

17 DLY

18 DLY

19 DLY

20 DLY

21 DLY

22 DLY

(L)

STEREO

(R)

SA1532z

REVERB

^M1^ON

Return

^M1^ON

MON

MAINS

MON

03 WARM ROOM

04 BRIGHT ROOM

05 WARM LOUNGE

06 SMALL STAGE

07 WARM THEATER

08 BRIGHT STAGE

09 WARM HALL

10 CONCERT HALL

11 CATHEDRAL

12 GATED REVERB

MAIN

SIG/OL

FX 1

FX 2

BRIGHT (350ms)

WARM (300ms)

BRIGHT (250ms)

WARM (200ms)

BRIGHT (175ms)

WARM (150ms)

DLY (300ms)

O +15

Line-Level Effect

Powered

(L)

STEREO

(R)

MAIN

^M2^ON

^M2

^M2^ON

^M2

^M2^ON

(co

nected

o INSE

Mon1/Mon2

Speaker

23 CHORUS

24 REVERB

LPF

O +15

DLY (200ms)

SEND MASTER

TAP TO EDIT

120

Keyboard

BREAK

O +15

100

180

TAP

DELAY

TAP

DELAY

MUTES

CH 1-12

O +20

75Hz

200Hz

TAPE IN

O O +15

TO MON

MONO OUT

PAN

INT FX

MUTE

INT FX

MUTE

O O

+15

O O MAX

C200 Passive Stage Monitors

(plays mon 2 output)

9/10

11/12

FX RTN 1

FX RTN 2

MON 1

MON 2

MAIN

+10

-20

SOLO

O O

C300z Passive Stage Monitors

(plays mon 1 output)

Electronic Drum Kit

SWA2801z

Powered Subwoofer

(plays left main mix)

Powered Subwoofer

(plays right main mix)

This diagram shows microphones attached to the mic inputs of channels 1 to 4, electric guitars con-

nected directly to ch. 7 and 8 (with hi-z switch pressed in), a line-level effect connected to ch.7 insert, a

keyboard attached to channels 9/ 10, and an electronic drum kit attached to channels 11/ 12. Add vocal

compression as required, by tweaking the compression knobs on channels 1 to 4.

The rear-panel power amp mode switch is set to play the monitor 1 mix on channel A, and monitor 2

mix on channel B.

Mackie SA1532z powered speakers and SWA2801z powered subwoofers are connected to the line-

level main mix outputs, and play the stereo main mix to your audience. The subs play the low frequen-

cies, and the SA1532zs play the mid and top range.

C200 passive stage monitors are connected to the channel B speaker-level power output of the pow-

ered mixer. These play the stage monitor 2 mix to your performers. C300z passive stage monitors are

connected to the channel A speaker-level power output, and play the stage monitor 1 mix.

Band System

Owner’s Manual

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PPM1012 Features

2 X 800W PROFESSIONAL POWERED MIXER

SPEAKER OUT

POWER

THIS DEVICE COMPLIES WITH PART 15 OF THE

FCC RULES AND THE 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.

AVIS: RISQUE DE CHOC ELECTRIQUE

—

NE PAS OUVRIR

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.

SERIAL NUMBER

CAUTION

HOT SURFACE,

AVOID CONTACT

REVISION

OUTPUT POWER:

800 WATTS PEAK PER CH

MINIMUM LOAD: OHMS PER CHANNEL

OHMS,

"MACKIE" AND THE RUNNING MAN FIGURE ARE TRADEMARKS OF LOUD TECHNOLOGIES, INC. • PATENT PENDING.

Two common types of connector are provided for your

convenience: Speakons and 1/4" TS.

Rear Panel

• Speakon outputs are wired Pin 1+ positive

(hot) and Pin 1– negative (cold).

1. POWER CONNECTION

This jack accepts the supplied 3-prong IEC AC power

cord.

1–

Before you plug the AC power cord into the

powered mixer, make sure that the voltage of

your unit is the same voltage as your local AC

mains supply. Use only the power cord supplied. Also,

disconnecting the plug’s ground pin is dangerous. Please

don’t do it. And no running with scissors either. Let's be

safe out there!

COLD

1–

HOT

2–

Mono Speakon Connection

• 1/4" TS outputs are wired Tip positive, and

Sleeve negative.

2. POWER SWITCH

SLEEVE

TIP

Press the top of this rocker switch inwards to turn on

the mixer. The front panel power LED [42] will glow

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

plugged into a suitable live AC mains supply.

TIP

SLEEVE

1/ 4" TS Connection

Press the bottom of this switch to turn off the mixer,

whenever you feel that this would be a safe thing to do.

These two types of outputs are wired in parallel, and

it is possible to use both types at once.

As a general guide, you should turn on your

powered mixer ﬁrst, before any external power

ampliﬁers or powered speakers, and turn it off

last. This will reduce the possibilities of any

turn-on, or turn-off thumps in your speakers.

The minimum impedance that the powered

mixer can handle is 4 ohms per channel, and

we recommend that you do not go below this.

If you are using both outputs per channel, make sure

each loudspeaker is 8 ohms impedance or greater.

3. SPEAKER-LEVEL OUTPUTS

4. VENTILATION

These output connections provide speaker-level

output power from the internal power ampliﬁers to your

passive speakers. The outputs can be selected with the

amp mode switch [53] to be either the stereo main mix,

mono main mix/monitor 1, or monitor 1/monitor 2.

These holes in the rear panel allow the inter-

nal fans to ﬂow breezy and minty-fresh cooling

air over the internal power ampliﬁers. Do not

obstruct these holes, or the ampliﬁers may overheat and

shut down. Do not remove the feet, as these help keep

the powered mixer off the ground for ventilation.

The power output of the PPM1012 is 500 watts rms

per channel into 4 ohms, and 800 watts peak.

PPM1012

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10 11 13 14

LAMP

12V 0.5A

16 16

OUT

FOOTSWITCH

TIP:FX1

MON SEND

FX SEND

TAPE

MAIN INSERT

MIC 1

MIC 2

MIC 3

MIC 4

MIC 5

MIC 6

MIC 7

MIC 8

RING:FX2

HI-Z

LINE

HI-Z

LINE

(BAL/UNBAL)

(MONO)

PHONES

12 12

O O

MAX

INSERT

LEVEL

^INPUT9/10

^INPUT11/12

^{FX RTN}1

^{FX RTN}2

MAIN OUT

Connection Section

Never plug single-ended (unbalanced) micro-

phones, or ribbon mics into the mic input

jacks if phantom power is on. Do not plug

This is where you plug in things such as: microphones,

line-level instruments, guitars, and effects, a recorder,

PA system, powered monitors, powered subwoofer etc.

(The speaker-level outputs from the internal power

ampliﬁers are on the rear panel.) Check out the hookup

diagrams for some connection ideas. See Appendix B

(page 29) for further details and some rather lovely

drawings of the connectors you can use with your mixer.

instrument outputs into the mic XLR input jacks with

phantom power on, unless you know for certain it is safe

to do so.

6. MONO LINE INPUTS (Ch. 1 to 6)

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

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

anced or unbalanced sources.

5. MIC INPUTS

We use phantom-powered, balanced microphone

inputs just like the big studio mega-consoles, for exactly

the same reason: This kind of circuit is excellent at

rejecting hum and noise. You can plug in almost any

kind of mic that has a standard XLR-type male mic con-

nector.

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

Tip-Ring-Sleeve (TRS) plug.

To connect unbalanced lines to these inputs, use a

1⁄4" mono (TS) phone plug or instrument cable.

Professional ribbon, dynamic, and condenser mics all

sound excellent through these inputs. The mic inputs

will handle any kind of mic level you can toss at them,

without overloading.

7. LINE/ INSTRUMENT INPUTS (Ch. 7 and 8)

The line-level inputs for channels 7 and 8 can also

accept instrument-level signals if the hi-z switches

[26] are pressed in. This allows you to connect guitars

directly to channels 7 and 8, without the need for a DI

box. The input impedance is optimized for direct con-

nection, and high-frequency ﬁdelity is assured.

Microphone-level signals are passed through the

mixer's splendid microphone preampliﬁers to become

line-level signals.

Channels 1 to 6 have the extra beneﬁt of dedicated

in-line compressors [25]. These can be adjusted to add

just the right amount of compression to your vocals and

help prevent distortion and overloading.

8. STEREO LINE INPUTS (Ch. 9/ 10 and 11/ 12)

These channels have stereo line inputs. If you just

have a mono source, plug it into the left input channel

9 or 11 (labeled left/mono), and the signal will appear

(as if by magic) equally on the left and right of the main

mix.

PHANTOM POWER

Most modern professional condenser mics require

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

rent 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.

The mixer's phantom power is globally controlled by

the phantom [43] switch. (The phantom power for all

channels is turned on and off together.)

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10 11 13 14

LAMP

12V 0.5A

16 16

OUT

FOOTSWITCH

TIP:FX1

MON SEND

FX SEND

TAPE

MAIN INSERT

MIC 1

MIC 2

MIC 3

MIC 4

MIC 5

MIC 6

MIC 7

MIC 8

RING:FX2

HI-Z

LINE

HI-Z

LINE

(BAL/UNBAL)

(MONO)

PHONES

12 12

O O

MAX

INSERT

LEVEL

^INPUT9/10

^INPUT11/12

^{FX RTN}1

^{FX RTN}2

MAIN OUT

9. INSERT (Ch. 1 to 8)

The monitor outputs are not affected by the main

fader [59], or the channel faders [40]. This allows you

to set up the monitor mixes and levels just right, and

not have them change every time a channel level or the

main mix level is adjusted. This is the main aim of a

monitor mix: independence from the main mix.

These unbalanced 1/4" jacks on channels 1 to 6, are

for connecting serial effects processors such as com-

pressors, equalizers, de-essers, or ﬁlters. The insert

point is after the gain control [23] and compressor [25]

circuits (on channels 1 – 6), but before the channel’s

EQ [27-32] and fader [40]. The channel signal can go

out of the insert jack to an external device, be processed 11. FX SEND 1 and FX SEND 2

(or whatever) and come back in on the same insert

jack. To do this requires a special insert cable that must

be wired thusly:

These 1/4" TRS connectors allow you to send the FX

line-level outputs to external effects processors, while

disconnecting the internal effects processors.

SEND to processor

FX send 1 and FX send 2 are independent of each

other, so you can set up two separate effects processors.

ring

“tip”

(TRS plug)

tip

sleeve

The FX 1 output signal is the mix of all the channels

whose FX 1 control [35] is set to more than minimum.

The FX 2 signal is the mix of all the channels whose FX

2 control [36] is set to more than minimum.

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

The FX outputs here do not include processed audio

from the internal effects processors. When something

is plugged into one of these outputs, the signals that

normally feed the internal effects processor are discon-

nected, and come out of these outputs instead. This

prevents you from doubling-up on effects.

Insert jacks can be used as channel direct outputs;

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

page 30 (ﬁgure G) showing three ways to use insert

cables.

Both FX outputs are affected by the channel level

faders [40]. This allows you to set up the FX level just

right, and have it follow any change made to the chan-

nel levels.

10. MON SEND 1 and MON SEND 2

These 1/4" TRS connectors allow you to send the

monitor line-level output to stage monitors. These could

either be passive stage monitors powered by an external

ampliﬁer, or powered stage monitors with their own

ampliﬁer built in.

In normal use, the unprocessed (dry) mono FX sends

would go to an external effects processor. The stereo

processed (wet) output from the external effects pro-

cessor would connect to the stereo FX returns [12]. The

FX return faders [57] allow you to adjust how much of

the wet signals appear in the main mix.

Mon send 1 and mon send 2 are independent of each

other, so you can set up two separate monitor mixes. If

you only need to set up one monitor mix, use monitor 1,

as it has its own graphic EQ [45].

The monitor 1 signal is the sum (mix) of all the

channels whose mon 1 control [33] is set to more than

minimum. The monitor 2 signal is the sum (mix) of all

the channels whose mon 2 control [34] is set to more

than minimum. The overall monitor 1 output level can

be adjusted with the mon 1 master level fader [58] and

its EQ tweaked with the monitor 1 graphic EQ [45].

PPM1012

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12. FX RTN 1 and FX RTN 2

16. MAIN OUTPUTS

These 1/4" TRS input connectors allow you to add

the stereo processed output from external effects

processors to the main mix. Adjustment of the incom-

ing signals is made with the FX return faders [57]. The

These balanced 1/4" TRS and XLR outputs supply the

stereo main mix at line-level. You can connect these

outputs to the line-level inputs of external power ampli-

ﬁers running passive loudspeakers, or to the inputs of

signals can also be muted and soloed (and so cued up in powered loudspeakers. This is useful if you need more

headphones) like any other input.

power, or if you already have this equipment. Then you

can use the internal ampliﬁers to power other loud-

speakers, such as passive monitors, after setting the

amp mode switch [53] appropriately.

You can also use these inputs to add any stereo line-

level signals to your main mix, so it could be another

source, not just an effects processor. The inputs are

similar to the channel line-level inputs, only without the

gain control, channel EQ or pan. A sample of the FX 1

return can be added to monitor 1 and 2 using the FX 1

to mon 1 [56] and FX 1 to mon 2 controls.

These line-level outputs play the same signal as the

speaker-level outputs [3] (when set to stereo mains).

17. MAIN MONO OUTPUT

These 1/4" TRS and XLR connectors supply a copy of

the main mix summed together in glorious living mono.

13. TAPE INPUTS

These stereo unbalanced RCA inputs allow you to play This is ideal for running a mono PA system, by connect-

a tape, CD or other line-level source whenever the band ing to the inputs of an external power ampliﬁer running

is taking a break. The input is only enabled when the

break switch [51] is engaged, at which time, the main

mix is bypassed, and only the tape input will play in the

main loudspeakers.

a passive loudspeaker, or directly to a powered loud-

speaker. Whatever adjustments you make to the main

mix, will affect this output. The output here can be

adjusted with the mono out control [55], and turned up

or down relative to the main left and right outputs.

14. TAPE OUTPUTS

When the low pass ﬁlter (LPF) switch [54] is en-

gaged, the mono output passes only the frequency

range below the frequency set by the low-pass control

[54]. This allows you to use the mono output to run to

the inputs of powered subwoofers, or to the inputs of

ampliﬁers running passive subwoofers. (The main left

and right outputs still play the full frequency range.)

Tweaking the mono out control will allow you to balance

the subwoofer output with the left and right mains.

These stereo unbalanced RCA outputs allow you

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

disk recorder, automatic CD burner, or a computer, for

example. This lets you make a recording for poster-

ity/archive/legal purposes whenever the band gets back

together again.

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

affected by the main fader [59], or the main graphic EQ

[44].

18. HEADPHONE OUTPUT

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

stereo headphones.

15. MAIN INSERTS

These unbalanced 1/4" TRS jacks can be used for

connecting serial effects processors such as compres-

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

is before the main mix master graphic EQ [44] and the

In normal operation, you will hear the main left and

right mix, and the headphones volume level can be ad-

justed with the phones level control [19]. The main mix

main mix fader [59]. The main mix signals can go out of fader [59] will also affect the headphones level.

the insert jack to an external device, be processed (or

Whenever a solo switch [41] is engaged, you will

whatever) and come back in on the same insert jack.

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

To do this requires a special insert cable that must be

This gives you the opportunity to audition the chan-

wired thusly (just like a channel insert):

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

SEND to processor

signals reaching the headphones are not affected by the

channel faders or main fader, therefore turn down the

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

ring

“tip”

(TRS plug)

tip

sleeve

This plug connects to one of the

mixer’s Channel Insert jacks.

“ring”

RETURN from processor

The phones output follows standard conventions:

Tip = Left channel

Tip = send (output to effects device)

Ring = return (input from effects device)

Sleeve = common ground

Ring = Right channel

Sleeve = Common ground

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10 11 13 14

LAMP

12V 0.5A

16 16

OUT

FOOTSWITCH

TIP:FX1

MON SEND

FX SEND

TAPE

MAIN INSERT

MIC 1

MIC 2

MIC 3

MIC 4

MIC 5

MIC 6

MIC 7

MIC 8

RING:FX2

HI-Z

LINE

HI-Z

LINE

(BAL/UNBAL)

(MONO)

PHONES

12 12

O O

MAX

INSERT

LEVEL

^INPUT9/10

^INPUT11/12

^{FX RTN}1

^{FX RTN}2

MAIN OUT

WARNING: The headphone amp is loud, and

can cause permanent ear damage. Even

intermediate levels may be painfully loud with

21. BNC LAMP CONNECTION

Located in the top right corner of the mixer, this

12V socket will drive any standard BNC-type lamp, for

example, a Littlite® #12G or #12G-HI (high-intensity).

some earphones. BE CAREFUL! Always turn the phones

level control [19] all the way down before connecting

headphones or pressing a solo switch, or doing anything

It will cast a light in the dark, so you can work your

new that may affect the headphone volume. Then turn it audio magic like an ancient wizard. It will also attract

up slowly as you listen carefully.

all the mosquitoes, moths, and other hungry ﬂying crit-

ters within a one mile radius. Have fun with that.

19. LEVEL

22. LUNCH-TIME DECOUPLER

This knob controls the level of the signal going to your

stereo headphones.

Not available on Earth models, this control actually

slows down time, especially lunchtimes. Use this wisely,

and only engage it after receiving your food and bever-

ages, or you may be in for a long wait.

Make sure this is fully down whenever you are

making connections in your system, or putting

on the headphones, or before you press any

solo switch [41]. Bring up the level slowly and carefully

to protect your hearing.

Do not engage during drum solos or scats.

20. FX FOOTSWITCH CONNECTOR

This is where you connect a footswitch. (Any two-but-

ton on/off footswitch will do). This allows you to easily

mute or un-mute the two internal effect processors

independently, while stamping your foot and looking

like you were mad about something.

The output is wired so the tip affects FX1, and the

ring affects FX2.

If the internal effects have already been muted with

the FX mute switches [64] then the footswitch has no

effect. It cannot un-mute or mute it.

The footswitch only affects the internal FX. It has no

effect on the output-to and input-from external effects

processors.

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Channel Controls

The 10 vertical channel strips look very similar, and

have a only few differences between them. Each chan-

nel works independently, and just controls the signals

plugged into the inputs directly above it.

Stereo Channels 9/ 10 and 11/ 12

• Channels 9/10 and 11/12 are stereo channels,

and their controls affect signals coming into the

stereo line-level inputs

• The stereo channel EQ is a 4-band design with

shelving high, shelving low, and peaking lo-mid

and peaking hi-mid.

MON SEND

FX SEND

MIC 1

MIC 2

MIC 3

MIC 4

MIC 5

MIC 6

MIC 7

MIC 8

HI-Z

LINE

HI-Z

LINE

(BAL/UNBAL)

(MONO)

INSERT

“U” like Unity gain

^INPUT9/10

^INPUT11/12

9/10 11/12

Mackie mixers have a “U” symbol on almost every level

control. It stands for “unity gain,” meaning no change in

signal level. The labels on the controls are measured in

decibels (dB), so you’ll know what you’re doing level-

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

+50

+30dB

+50

+30dB

+50

+30dB

+50

+30dB

+50

+30dB

+50

+30dB

+50

+30dB

+50

+30dB

-20 +20

GAIN

-20 +20

GAIN

-20dB

GAIN

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

COMP

HI-Z

OFF

MAX

OFF

MAX

OFF

MAX

OFF

MAX

OFF

MAX

OFF

MAX

12kHz

-15 +15

MID

2.5kHz

-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

LOW

MID

400Hz

LOW

MID

400Hz

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

Signal Flow

-15 +15

100

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

-15 +15

The block diagram on page 33 shows the signal ﬂow,

but here is a short description of the ﬂow through the

channel strip section:

AUX

SEND

^M1^ON

O O +15

^M2^ON

O O +15

The input signals from the mic, or line inputs go

through a preampliﬁer whose gain is set by the gain

control .

O O +15

PAN

The signal then passes through the low-cut ﬁlter

(mono channels only) the compressor circuit (ch. 1 to 6

only), the insert jack (mono channels only), the chan-

nel EQ, channel fader, pan control, and then onto the

main mix.

9/10

11/12

+10

-20

SOLO

The mon 1 [33] and mon 2 controls [34] tap the

signal off just before (pre) the channel fader.

The FX 1 [35] and FX 2 controls [36] tap the signal

off after (post) the channel fader.

Mono Channels 1 to 8

• Channels 1 to 8 are mono channels, and their

controls affect either the mono mic input or the

mono line-level input.

• Channels 1 to 6 each have an internal signal in-

line compressor circuit with adjustable thresh-

old.

• Channels 7 and 8 each have a hi-z switch, so

you can connect guitars directly, without the

need for a DI box.

• The 3-band EQ has shelving high, shelving

low, and peaking mid EQ with adjustable mid

frequency.

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23. GAIN CONTROL

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

procedure on page 3.

+50

+30dB

+50

+30dB

+50

+30dB

+50

+30dB

+50

+30dB

-20dB

GAIN

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

The gain knobs adjust the input sen-

COMP

sitivity of the mic and line inputs. This

allows signals from the outside world to

be adjusted to optimal internal operat-

OFF

MAX

OFF

MAX

OFF

MAX

OFF

MAX

OFF

MAX

+50

+30dB

-20dB

12kHz

ing levels.

GAIN

-15 +15

MID

If the signal originates through the

-15 +15

600

-15 +15

600

-15 +15

600

-15 +15

600

-15 +15

600

XLR jack of a mono channel (1 to 8), there will be 0 dB

of gain with the knob fully down, ramping to 50 dB of

gain fully up.

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

-15 +15

Through the 1⁄4" input, there is 20 dB of attenuation

fully down and 30 dB of gain fully up (20 dB on ste-

reo channels), with unity gain at 12:00. This 20 dB of

attenuation can be very handy when you are inserting

a very hot signal, or when you want to add a lot of EQ

gain, or both. Without this “virtual pad,” this scenario

might lead to channel clipping and distortion.

AUX

SEND

AUX

SEND

AUX

SEND

AUX

SEND

AUX

SEND

^M1^ON

O O +15

^M2^ON

O O +15

Clipping occurs when the peaks of the audio

signal passing through the preampliﬁer are

O O +15

PAN

too high, and can no longer be ampliﬁed in

a linear way. The audio signals reach a point

just below the preamp's supply voltages, and ﬂatten out.

This is rather like a tall pointed volcano suddenly blow-

ing its top, leaving behind a lower ﬂatter top (clipped)

while thousands of tons of molten rock and ashes are

blasted into the earth's atmosphere to cause a kind of

global winter for thousands of years, leading to the dis-

appearance of the dinosaurs and the appearance of jazz

drummers. Only not. Adjust the gain to prevent this.

+10

-20

SOLO

24. LOW CUT (Channels 1–8 only)

The mono channels each have a low-cut switch, often

referred to as a high-pass ﬁlter (all depends on how you

look at it). When engaged, this cuts the bass frequen-

cies below 100 Hz at a rate of 18 dB per octave. The mic

and line inputs of channels 1–8 are affected.

O O

We recommend that you use low-cut on every micro-

phone 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 possibili-

ty of feedback in live situations, and it helps to conserve

ampliﬁer power.

Another way to consider low-cut’s function is that it

actually adds ﬂexibility during live performances. With

the addition of low-cut, you can safely use low equaliza-

tion on vocals. Many times, bass shelving EQ can really

beneﬁt voices. Trouble is, adding low EQ also boosts

stage rumble, mic handling clunks and breath pops

from way-down low. Applying low-cut removes all those

problems, so you can add low EQ without losing a woofer

out the window.

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25. COMPRESSOR (Channels 1–6 only)

+20

Channels 1 to 6 have an in-line compressor circuit

with a variable threshold. This is very useful for com-

pression of vocals, and snare drums for example, so you

might consider connecting your microphones and drum

mics to channels 1 to 6, rather than other channels.

+15

+10

When the incoming signals exceed the threshold level

set by this knob, the signal level is automatically com-

pressed. This reduces the dynamic range, and reduces

the chance of distortion due to overloading the input

signals.

-5

Dynamic range is the difference in level be-

tween the quietest part of your song and the

loudest part. Using a compressor, you are able

to squeeze the dynamic range, resulting in

an overall steadier, more constant volume level for the

signal. It helps sources such as vocals "sit" properly in

the mix, and it is very useful for live sound as well.

-10

-5

+10

+15

+20

INPUT SIGNAL STRENGTH dBu

At the maximum compression, the threshold is set at

0 dBu, and the input to output relationship is repre-

sented by the lower curve. If the input is -5 dBu (that

is, below the threshold), the output is -5. As the input

reaches 0 dBu, the output is a bit less than 0 dBu. If the

input is +5 dBu, the output is about +2 dBu. If the input

reaches +10 dBu, then the output is +3 dBu. Notice the

shapely curve of the soft knee between the diagonal

slope of x = y and the compressor slope of 6:1 (the

compression ratio).

The compression ratio is ﬁxed at around 6:1, with

a soft knee response. The threshold can be adjusted

clockwise from off (no compression) to 0 dBu (max).

As an example, suppose the threshold is set to maxi-

mum. An incoming signal reaches the threshold of 0

dBu. As it increases beyond the threshold, it becomes

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

input further increases by 6 dB, the actual output only

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

there is more protection to your system from distortion

and overload due to poor microphone technique (say

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

screaming. The soft knee means that the compression

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

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

pression, and 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, at-

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

quickly the compressor kicks in when the input exceeds

the threshold, and how quickly it is released after it

drops below the threshold. In this powered mixer com-

pressor, these parameters are specially chosen to give

you the best overall performance.

The graph on this page shows the input signal level

going into the compressor, versus the output level

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

compressors are discussed, and is just the kind of thing

our engineers like to talk about during the company

Christmas party*.

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.

* Mr. Little, my math teacher thought that graphs

might come in handy for me one day. Finally!

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9/10 11/12

+50

+30dB

+50

+30dB

+50

+30dB

+50

+30dB

+50

+30dB

+50

+30dB

+50

+30dB

+50

+30dB

-20 +20

GAIN

-20 +20

GAIN

-20dB

GAIN

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

COMP

HI-Z

OFF

MAX

OFF

MAX

OFF

MAX

OFF

MAX

OFF

MAX

OFF

MAX

12kHz

-15 +15

MID

2.5kHz

-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

LOW

MID

400Hz

LOW

MID

400Hz

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

-15 +15

100

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

-15 +15

AUX

SEND

AUX

SEND

AUX

SEND

AUX

SEND

AUX

SEND

AUX

SEND

AUX

SEND

AUX

SEND

AUX

SEND

AUX

SEND

^M1^ON

O O +15

^M2^ON

O O +15

PAN

9/10

11/12

+10

-20

SOLO

O O

26. HI-Z SWITCH (Ch. 7 and 8 only)

Shelving EQ means that the circuitry boosts or cuts

all frequencies past the speciﬁed frequency. For exam-

ple, the low EQ boosts bass frequencies below 80 Hz and

continuing down to the lowest note you never heard.

Peaking EQ means that certain frequencies form a “hill”

around the center frequency.

Engage this switch if you want to connect a guitar

directly to the 1/4" inputs of channels 7 or 8.

Without this switch, you need to use a DI box ﬁrst,

before connecting guitars directly. If these switches are

not pressed in, guitars will not sound good, particularly

the high frequency response.

With too much EQ, you can really upset things. We’ve

designed a lot of boost and cut into each equalizer

circuit, because we know that everyone will occasion-

ally need that. But if you max the EQ on every channel,

you’ll get mix mush. Equalize subtly and use the left

sides of the knobs (cut), more than the right (boost).

If you ﬁnd yourself repeatedly using full boost or cut,

consider altering the sound source, such as placing a

mic differently, trying a different kind of mic, changing

the strings, or gargling.

CHANNEL EQUALIZATION (EQ)

The PPM1012 mono channels have 3-band equaliza-

tion: low shelving, mid peaking with adjustable frequen-

cy, and high shelving. The stereo channels have 4-band

EQ: low shelving, low-mid and high-mid peaking, and

high shelving.

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32. LOW EQ

27. HIGH EQ

+15

+10

+15

+10

The low EQ provides up to 15

dB of boost or cut below 80 Hz.

The circuit is ﬂat (no boost or

cut) at the center detent posi-

tion. This frequency represents

the punch in bass drums, bass

The high EQ provides up to 15

dB of boost or cut above 12 kHz,

and it is also ﬂat at the detent.

Use it to add sizzle to cymbals,

an overall sense of transpar-

ency, or an edge to keyboards,

–5

–10

–15

–10

–15

100

1kHz

10kHz

20kHz

100

1kHz

10kHz

20kHz

guitar, fat synth patches, and some really serious male

singers who eat raw beef for breakfast.

vocals, guitar and bacon frying. Turn it down a little to

reduce sibilance or to mask tape hiss.

33. MON 1 AUX SEND and

34. MON 2 AUX SEND

28. MID EQ LEVEL (Ch. 1 to 8)

+15

The mid EQ , or “midrange,”

+10

These controls allow you set up two independent

mixes for running stage monitors.

has a ﬁxed bandwidth. The mid

knob sets the amount of boost

or cut, up to 15 dB, and is ef-

–5

Adjust these controls on each channel until your band

is happy with the stage monitor mix. The controls are

off when turned fully down, deliver unity gain at the

center, and can provide up to 15 dB of gain turned fully

up. Chances are you’ll never need this extra gain, but

it’s nice to know it’s there if you do. Adjustments to the

channel faders [40] or main mix fader [59] will not

affect the monitor output, but channel EQ [27–32] and

gain [23] will.

–10

fectively bypassed at the center

detent. The frequency at which

the cut or boost occurs is set by

–15

100

1kHz

10kHz

20kHz

the mid EQ frequency control [29].

29. MID EQ FREQUENCY (Ch. 1 to 8)

+15

This knob sets the center

frequency of the mid EQ level

+10

control [28]. This is sweepable

from 100 Hz to 8 kHz.

One or both of the powered mixer's internal ampliﬁers

can be used to power passive stage monitors if you set

the power amp mode switch [53].

–5

–10

–15

Once this is set, the mid EQ

100

1kHz

10kHz

20kHz

level can be adjusted with the

mid EQ level control.

Mon 1 and mon 2 send [10] are line-level outputs, and

are used if you want to connect powered stage monitors,

or external power amps with passive stage monitors.

Most of the root and lower harmonics that deﬁne

a sound are located in the 100 Hz–8 kHz frequency

range, and you can create drastic changes with these

two knobs. Many engineers use mid EQ to cut midrange

frequencies, not boost them. One popular trick is to set

the mid fully up, turn the frequency knob until you ﬁnd

a point where it sounds just terrible, then back the mid

down into the cut range, causing those terrible frequen-

cies to disappear. Sounds silly, but it works. Sometimes.

35. FX1 AUX SEND and

36. FX2 AUX SEND

These controls allow you set up two independent

mixes for the internal effects processors, or external

effects processors.

Adjust these controls on each channel until you have

just the right level going to the internal processors. The

controls are off when turned fully down, deliver unity

gain at the center detent, and can provide up to 15 dB of

gain turned fully up. Adjustments to the channel fader

[40], gain [23] and channel EQ [27–32] will affect the

feed going to the internal effects processors.

30. HIGH MID EQ LEVEL (Ch. 9/ 10 and 11/ 12)

The high mid EQ provides up to 15 dB of boost or cut

at 2.5 kHz, and it is also ﬂat at the detent. This control

is only available on the stereo channels.

The FX1 and FX2 send [11] outputs are line-level,

and are used if you want to connect external effects pro-

cessors. If you plug something into these outputs, the

feed to the internal processors is disconnected, and the

FX1 and FX2 mixes feed the external processor(s) only.

31. LOW MID EQ LEVEL (Ch. 9/ 10 and 11/ 12)

The low mid EQ provides up to 15 dB of boost or cut

at 400 Hz, and it is also ﬂat at the detent. This control is

only available on the stereo channels.

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37. PAN

41. SOLO

For the mono channels (1 to 8) this control allows you

to adjust how much of the channel signal goes to the

Whenever a solo switch is engaged, you will only hear

the soloed channel(s) in the headphones. This gives you

left main mix, and how much goes to the right main mix. the opportunity to audition the channels before they are

It has no effect on the aux, as these are mono. In the

center position, the mono channel is split equally to the

left and right.

added to the main mix.

You can also use solo to set the gain of each channel

correctly. When a channel is soled, you can adjust the

channel gain [23] until your input source reaches the

level of the 0 dB LED of the main meters [48].

For the stereo channels (9/10 and 11/12), pan acts in

a similar way to a home stereo balance control.

If you have a stereo source and the mixer's stereo

inputs are already taken, connect the source's left out-

put into one mono channel, and the right into another.

Solo signals reaching the headphones are not

affected by the channel faders or main fader,

therefore turn down the phones level [19]

Pan the ﬁrst one fully left, and the second channel fully ﬁrst, as soloed channels may be loud.

right, then the source will appear in the main mix in full

The rude solo light [49] will turn on as a reminder

that what you are listening to in the headphones is just

the soloed channel(s).

stereo.

38. MUTE switch and LED

For stereo channels, the mono sum of the left and

right are heard in the headphones and the level seen on

the left meter.

The mute switch cuts the signal from the channel

from reaching the main mix bus and the aux busses. The

LED acts as a reminder of its on-ness.

The output from the FX processors can also be soled

and auditioned, as can the output to monitor 1 and

monitor 2.

The mute switches near the FX RTN 1 and FX RTN 2

faders will stop the signals from the internal effects (or

any external effects) from reaching the main mix, or

monitor 1 or monitor 2.

39. –20, 0, +10, OL CHANNEL METER LEDs

The OL (overload) LED will come on when the chan-

nel’s input signal is too high. This should be avoided, as

distortion will occur.

If the OL LED is coming on regularly, check that the

gain control [23] is set correctly for your input device,

and that the channel EQ [27–32] is not set with too

much boost.

The –20, 0, and +10 LEDs show the channel signal

strength.

40. CHANNEL FADER

The channel faders adjust the level of each channel

onto the main mix. The “U” mark indicates unity gain,

meaning no increase or decrease of signal level. All the

way up provides an additional 10 dB, should you need

to boost a section of a song. If you ﬁnd that the overall

level is too quiet or too loud with the level near unity,

check that the gain control [23] is set correctly.

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42 43

43. 48V PHANTOM SWITCH

PHANTOM

POWER

2 X 800W PROFESSIONAL POWERED MIXER

Press in this switch to add +48 VDC phantom pow-

er to all the XLR microphone inputs of the mixer. The

LED next to the switch will turn on as a reminder.

EQ ASSIGN

POWER AMP

LIMITER

MAIN

MON 2

MAIN EQUALIZER

MAIN

METERS

0dB = 0dBu

Most modern professional condenser mics require

phantom power, which lets the mixer send low-cur-

rent 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 in-

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

affected by it anyway.

125

250

500

16K

MON 1 EQUALIZER

LEVEL

SET

RUDE

SOLO

Never plug single-ended (unbalanced)

microphones, or ribbon mics into the mic

input jacks if phantom power is on. Do not

plug instrument outputs into the mic input jacks

with phantom power on, unless you know for certain

it is safe to do so.

125

250

500

16K

POWER AMP

MODE

01 PLATE REVERB

02 VOCAL PLATE

03 WARM ROOM

04 BRIGHT ROOM

13 CHORUS

14 CHORUS + REVERB

15 DOUBLER

MON 1

MAINS

MON 2

MON 1

16 TAPE SLAP

SIG/OL

FX 1

FX 2

05 WARM LOUNGE

06 SMALL STAGE

07 WARM THEATER

08 BRIGHT STAGE

09 WARM HALL

10 CONCERT HALL

11 CATHEDRAL

17 DLY 1 BRIGHT (350ms)

18 DLY 1 WARM (300ms)

19 DLY 2 BRIGHT (250ms)

20 DLY 2 WARM (200ms)

21 DLY 3 BRIGHT (175ms)

22 DLY 3 WARM (150ms)

23 CHORUS + DLY (300ms)

24 REVERB + DLY (200ms)

(L)

STEREO

(R)

MAIN

LPF

O O +15

SEND MASTER

12 GATED REVERB

SEND MASTER

TAP TO EDIT

120

BREAK

100

180

200Hz

44. MAIN EQUALIZER

TAP

DELAY

TAP

DELAY

MUTES

CH 1-12

O O +20

75Hz

TAPE IN

The 9-band stereo graphic equalizer allows you

to tailor the sound of your main mix to suit your ex-

traordinarily-delicate sense of audio right and wrong.

FX 1

TO MON 1

FX 1

TO MON 2

MONO OUT

INT FX

MUTE

INT FX

MUTE

O O

MAX

+15

Each slider allows up to 15 dB of boost and cut,

with 0 dB (no change in level) at the center. The

frequency bands are: 63, 125, 250, 500, 1 k, 2 k, 4 k,

8 k, and 16 kHz

FX RTN 1

FX RTN

MON 1

MON 2

MAIN

The EQ affects the main mix line-level outputs

[16] and mono output [17], as well as the speaker-

level outputs [3] if the internal ampliﬁers are playing

the main mix.

The EQ section comes before the main fader [59],

and the main meters [48]. As you adjust the EQ,

keep an eye on the meters in case you overdo it and

take the levels into overload.

SOLO

O O

The main EQ assign switch (46) allows you to use

this EQ to adjust the monitor 2 output instead of the

main mix.

Master Controls

As with the channel EQ, just take it easy. There is a

large amount of adjustment, and if you are not care-

ful, you can upset the delicate balance of nature. Re-

member that even the happiest audience of old ladies

can turn on you like a pack of wild dogs. Although it

may not seem cool to turn down controls, with EQ it

is often your best option. Turn down any offending

frequency range, rather than boost the wanted range.

Having many sliders will allow you to reduce the level

of some frequency bands where feedback occurs.

42. POWER LED

This LED comes on when the powered mixer is

plugged into the correct-voltage AC mains supply, and

the power switch [2] is on.

If the LED is not on, then make sure the AC power is

live, and that both ends of the power cord are correctly

inserted. If Zombies have taken over the power station

again, and all the lights in town are off, this LED may

not come on. (This would be the least of your worries.)

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42 43

45. MON 1 EQUALIZER

PHANTOM

POWER

2 X 800W PROFESSIONAL POWERED MIXER

This 9-band, constant-Q, mono graphic equalizer

allows you to adjust the monitor 1 mix line-level

outputs [10] and the speaker-level output [3] if the

internal ampliﬁer is playing the monitor 1 mix.

EQ ASSIGN

POWER AMP

LIMITER

MAIN

MON 2

MAIN EQUALIZER

MAIN

METERS

0dB = 0dBu

Each control allows up to 15 dB of boost and cut,

with 0 dB (no change in level) at the center. The

frequency bands are: 63, 125, 250, 500, 1 k, 2 k, 4 k,

8 k, and 16 kHz

125

250

500

16K

MON 1 EQUALIZER

The EQ comes before the monitor 1 fader [58].

Adjust the EQ carefully, in case you over-do it and

take the stage monitor 1 levels into overload. As with

the channel EQ, just take it easy. There are no prizes

for who can EQ the most (or is there?). If lots of EQ

seems to be needed, then chances are your system

can be improved by careful re-positioning of the mi-

crophones and other equipment.

LEVEL

SET

RUDE

SOLO

125

250

500

16K

POWER AMP

MODE

01 PLATE REVERB

02 VOCAL PLATE

03 WARM ROOM

04 BRIGHT ROOM

13 CHORUS

14 CHORUS + REVERB

15 DOUBLER

MON 1

MAINS

MON 2

MON 1

16 TAPE SLAP

SIG/OL

FX 1

FX 2

05 WARM LOUNGE

06 SMALL STAGE

07 WARM THEATER

08 BRIGHT STAGE

09 WARM HALL

10 CONCERT HALL

11 CATHEDRAL

17 DLY 1 BRIGHT (350ms)

18 DLY 1 WARM (300ms)

19 DLY 2 BRIGHT (250ms)

20 DLY 2 WARM (200ms)

21 DLY 3 BRIGHT (175ms)

22 DLY 3 WARM (150ms)

23 CHORUS + DLY (300ms)

24 REVERB + DLY (200ms)

(L)

STEREO

(R)

MAIN

You will ﬁnd this EQ useful for reducing feedback in

the stage monitors. Stage monitors point towards the

performers and their microphones, so feedback can

often occur. You can reduce the level of the problem

frequency band, by adjusting the graphic EQ sliders.

LPF

O O +15

SEND MASTER

12 GATED REVERB

SEND MASTER

TAP TO EDIT

120

BREAK

100

180

200Hz

TAP

DELAY

TAP

DELAY

MUTES

CH 1-12

O O +20

75Hz

TAPE IN

FX 1

TO MON 1

FX 1

TO MON 2

MONO OUT

INT FX

MUTE

INT FX

MUTE

46. MAIN EQ ASSIGN

O O

MAX

+15

This delightful little switch allows you to assign

the main equalizer [44] to either the main mix when

pressed out, or to monitor 2 when pressed in.

FX RTN 1

FX RTN

MON 1

MON 2

MAIN

This is useful in cases where your monitor 2 mix is

having feedback troubles or needs your special touch.

If you are not using the monitor 2 system, keep this

switch out. The EQ will then operate on your main

left and right mix.

SOLO

47. POWER AMP LIMITER LEDs

O O

These independent LEDs turn on when power am-

pliﬁer channel A or B is being overloaded internally

and its internal automatic limiter is actively working.

The LED will pulse in time with how much the limiter

is being used.

With this constant-Q graphic EQ, the band-

width (and Q) of a frequency band doesn't

vary with the amount of boost or cut, and the

adjustment of one slider has minimal effect

If the limiter LEDs come on and stay on for more

than a second or two, it means the power supply has

overheated and the limiter is holding the amp signal

down to 1/4 power until the power supply cools down

enough to release the limiter. If this happens, check

there is good ventilation around the mixer, and that

you are not cranking it too much. Also make sure that

your speakers are OK, and are not less than 4 ohms

impedance.

on adjacent bands for all settings of the slider levels.

(There's always some effect on adjacent bands to avoid

too much variation or ripple between bands, but the

constant-Q design keeps this fairly constant for all set-

tings.) The position of the sliders gives a good indica-

tion of the frequency response across the audio band.

With non-constant types of EQ (on other mixers), for

example, if you're boosting 500 Hz and 2 kHz slightly,

the 1 kHz band will also be boosted, even though the

1 kHz slider is in the ﬂat position.

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Use the nearby tape in control [52] to turn up the

level of the tape input to play in your system during the

break(age).

48. MAIN MIX METERS

Developed from professional hamster drag-racing as-

sociation (PHDRA) starting lights, these stereo meters

show the level of the left and right main mix, after the

main fader [59] and graphic EQ [44] sections.

52. TAPE IN

When the break switch [51] is pressed in, this knob

allows you to turn up the level of the tape input. This

will then play in your main system instead of the main

mix. Fully down is off, U is unity gain, and fully up gives

20 dB of gain.

The top LEDs are marked OL (overload), and you

should adjust the levels to avoid these coming on too of-

ten, if at all. Check the levels after changing the graphic

EQ, the main fader, or any channel settings.

When a channel is soloed, the left meter indicates the

soloed channel level, and the 0 dB mark shows the op-

timum level for adjustment of the channel gain control.

See page 3 for details.

Keep this control fully down, until a break is required,

then press the break switch and carefully bring up the

level, while you play the tape or CD.

Any line-level source can be connected to the tape

inputs [13], including iPod docks, CD/DVD players and

so forth.

Please remember: Audio meter displays are

just tools to help assure you that your levels

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

them (unless you want to).

53. POWER AMP MODE SWITCH

This three-position switch lets you choose which

signal paths from the mixer section are sent to the

internal power ampliﬁers. This allows considerable ﬂex-

ibility in the use of the powered mixer. For example, if

you already have powered main loudspeakers, you could

use the PPM1012 power ampliﬁers to run passive stage

monitors.

49. RUDE SOLO LIGHT

This rather impertinent LED will light whenever a

solo button [41] is pressed. This acts as a reminder that

one or more channels is soloed, so the headphones play

one or more soloed channels, and the left meter [48]

indicates the soloed level, not the main mix level.

50. PRECISION PASSIVE EQ

Stereo Mains

If you are using Mackie passive speakers such as the

C200, C300z, S215, and S225, then press this switch in

for enhanced clarity and low-frequency response. If

you are not using Mackie speakers, then press it and

listen for any improvement. The passive EQ circuit is

added just before the internal power ampliﬁers, so only

loudspeakers connected to the rear panel speaker-level

outputs [3] will be affected.

The output from channel A is the left side of

the main mix, and the output from channel B

is the right side of the main mix. Choose this

position to play a straight stereo show.

Mains/ Monitor 1

Channel A is the mono main mix, and channel

B is the monitor 1 mix. In this setup, you could

run a mono PA system on one channel, and a

passive stage monitor on the other.

51. BREAK SWITCH and LED

This important "take-a-break" switch quickly discon-

nects the main mix from playing in the main loudspeak-

ers [3] and line-level outputs [16, 17], and allows the

tape input [13] to play instead. For example, you could

play a soothing CD to restore order while the band is

hiding, and before the police arrive. As the audience

is trashing the stage, there will be no upsetting micro-

phone yells, noise, thumps or rumbles heard in the main

speakers.

Monitor 1/ Monitor 2

Channel A is the monitor 1 mix, and channel B

is the monitor 2 mix. In this setup, the internal

power ampliﬁers could power two passive stage

monitors (or sets of monitors).

Note: This switch does not affect any line

level output, it just affects what is sent to the

internal power ampliﬁers.

The monitor 1 and monitor 2 outputs are not affected

by the break switch, so you could turn down the monitor

faders [58] if needed.

The break LED will come on as a reminder that the

break switch is engaged. Check this LED ﬁrst, if you are

not hearing any sound in your system.

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42 43

54. LPF (Low-Pass-Filter)

PHANTOM

POWER

2 X 800W PROFESSIONAL POWERED MIXER

Press this switch in to add a low-pass ﬁlter to the

line-level mono outputs [17]. It turns them into line-

level subwoofer outputs that play the low frequency

range below the frequency setting of the LPF control

knob.

EQ ASSIGN

POWER AMP

LIMITER

MAIN

MON 2

MAIN EQUALIZER

MAIN

METERS

0dB = 0dBu

Most active subwoofers have their own

crossover, and you should keep the LPF

switch off in these cases. They usually

125

250

500

16K

MON 1 EQUALIZER

accept the full frequency range, and their crossover

ﬁlters out the unused mids and highs.

LEVEL

SET

RUDE

SOLO

If you want to run an external power ampliﬁer with

a passive subwoofer, connect the mono output to the

ampliﬁer's line-level input. Press the LPF switch in,

and adjust the frequency knob to suit your subwoofer.

For example, if your sub is still good out to 150 Hz,

then set the frequency knob a little higher. The

ampliﬁer will then just receive the lows, and will not

have to waste energy and reserves powering the mids

and highs.

125

250

500

16K

POWER AMP

MODE

01 PLATE REVERB

02 VOCAL PLATE

03 WARM ROOM

04 BRIGHT ROOM

13 CHORUS

14 CHORUS + REVERB

15 DOUBLER

MON 1

MAINS

MON 2

MON 1

16 TAPE SLAP

SIG/OL

FX 1

FX 2

05 WARM LOUNGE

06 SMALL STAGE

07 WARM THEATER

08 BRIGHT STAGE

09 WARM HALL

10 CONCERT HALL

11 CATHEDRAL

17 DLY 1 BRIGHT (350ms)

18 DLY 1 WARM (300ms)

19 DLY 2 BRIGHT (250ms)

20 DLY 2 WARM (200ms)

21 DLY 3 BRIGHT (175ms)

22 DLY 3 WARM (150ms)

23 CHORUS + DLY (300ms)

24 REVERB + DLY (200ms)

(L)

STEREO

(R)

MAIN

LPF

O O +15

SEND MASTER

12 GATED REVERB

SEND MASTER

TAP TO EDIT

120

BREAK

100

180

200Hz

TAP

DELAY

TAP

DELAY

When LPF is engaged, the adjacent LED will light

as a reminder. The LPF frequency is adjustable from

75 Hz to 200 Hz, with 100 Hz straight up.

MUTES

CH 1-12

O O +20

75Hz

TAPE IN

FX 1

TO MON 1

FX 1

TO MON 2

MONO OUT

INT FX

MUTE

INT FX

MUTE

O O

MAX

+15

Whatever you use the mono outputs for, remember

that the mono out knob [55] allows you to balance

the level compared to the main left and right outputs

[16] and speaker-level outputs [3].

FX RTN 1

FX RTN

MON 1

MON 2

MAIN

The low pass ﬁlter only affects the mono line-level

outputs. The main outputs and the internal ampli-

ﬁers still receive the full frequency range.

55. MONO OUT

This knob allows you to adjust the level of the

mono line-level outputs [17]. Adjust it to make your

powered subwoofer, or mono loudspeaker match the

level of the other loudspeakers in your system.

SOLO

O O

The mono output can be the full frequency range to

run a mono PA for example, or just the low frequen-

cies to run a subwoofer if the LPF [54] is engaged.

Either way, this mono out control will let you adjust

the level.

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56. FX 1 TO MON 1 and FX 1 TO MON 2

59. MAIN FADER

These knobs let you adjust the level of the internal

This stereo fader controls the levels of the main mix

effects processor 1 output (summed mono) being added signals sent to the main line-level outputs [16, 17], and

to the monitor 1 mix and the monitor 2 mix.

the main speaker-level outputs [3] if the internal power

ampliﬁers are playing the main mix. The fader comes

after the EQ [44] and before the meters [48].

Adjust the level carefully, compared to the other chan-

nels playing in the monitor 1 and 2 stage monitors.

This gives you the ultimate feeling of power and con-

trol over the sound levels sent to your audience. Adjust

it carefully, with your good eye on the meters to check

against overloading, and your good ear to the levels to

make sure your audience is happy.

At the fully-down position, no FX 1 effects are added,

the center U mark is unity gain, and there is 15 dB of

effects gain fully up.

57. FX RTN 1 FADER and FX RTN 2 FADER

The fader does not affect the monitor 1 or monitor 2

outputs [10], or the internal power amp if it is playing a

monitor.

These stereo faders let you adjust how much of the in-

ternal effects from processor 1 and processor 2 is added

to the main mix. (The output from the internal effects

processors is in stereo, and is added to the main left and

right mix.) The faders also allow you to adjust the level

of signals coming into the FX 1 and FX 2 return inputs

[12] from external processors (for example), being

added to the main mix.

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

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

dB of additional gain. This additional gain will typically

never be needed, but once again, it’s nice to know it’s

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

right of the main mix equally. This is the ideal control to

slowly bring down at the end of a song (or quickly in the

middle of a song if the need ever arises).

Adjust each fader and listen to the effects compared

to the other channels playing in the main mix.

At the fully-down position, no effects are added, the

U mark is unity gain, and there is 10 dB of effects gain

fully up.

The solo buttons [41] next to these faders

allow you to listen to the output of the effects

processor in your headphones. These faders

have no effect on the solo level, so protect your hearing

by making sure the phones knob [19] is turned down

before you press solo.

The mute buttons [38] above these faders allow you

to quickly turn off the effects being added to the main

mix and monitors. (You can still solo them.)

58. MONITOR 1 FADER and MONITOR 2 FADER

These faders control the level of the monitor 1 mix

and monitor 2 signals sent to the mon 1 and mon 2

line-level outputs [10], and the monitor speaker-level

outputs [3] if the internal power ampliﬁers are playing

monitor 1 or 2.

These give you ultimate control over your stage moni-

tors. Adjust them carefully to prevent overloading, and

check to see that your band are happy with the levels.

The controls do not affect the main mix level.

The monitor signals are off with the levels fully down,

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

dB of additional gain.

The solo buttons [41] next to these faders al-

low you to listen to the monitor output in your

headphones. These faders have no effect on

the solo level, so to protect your hearing, make sure the

phones knob [19] is turned down before you press solo.

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42 43

PHANTOM

POWER

Stereo Effects Processors

2 X 800W PROFESSIONAL POWERED MIXER

EQ ASSIGN

There are two identical Mackie Running-Man

32-bit internal effects processors. They are mono-in,

stereo-out effects processors, with 24 presets each.

Signals to these effects processors come from ad-

justing the FX1 aux send [35] and the FX2 aux send

[36] on each channel.

POWER AMP

LIMITER

MAIN

MON 2

MAIN EQUALIZER

MAIN

METERS

0dB = 0dBu

125

250

500

16K

The stereo output from each processor can be

added to the main mix using the FX return faders

[57]. The output from FX1 can also be added to the

monitor 1 mix or monitor 2 mix by adjusting the FX1

to mon1 and FX1 to mon 2 [56] controls.

MON 1 EQUALIZER

LEVEL

SET

RUDE

SOLO

Very careful thought and lots of audio love has

gone into the design of the 24 presets. The engineers

spent a lot of time lounging about in warm lounges,

visiting theaters, bright rooms and stages, going to

concerts, and visiting cathedrals on Sundays, just to

get these sounds right for you. Initially, they wanted

to investigate "warm beach in Hawaii," but had to

make do with "cold beach in Washington" instead.

125

250

500

16K

POWER AMP

MODE

01 PLATE REVERB

02 VOCAL PLATE

03 WARM ROOM

04 BRIGHT ROOM

05 WARM LOUNGE

06 SMALL STAGE

07 WARM THEATER

08 BRIGHT STAGE

09 WARM HALL

13 CHORUS

14 CHORUS + REVERB

15 DOUBLER

MON 1

MAINS

MON 2

MON 1

16 TAPE SLAP

SIG/OL

FX 1

FX 2

17 DLY 1 BRIGHT (350ms)

18 DLY 1 WARM (300ms)

19 DLY 2 BRIGHT (250ms)

20 DLY 2 WARM (200ms)

21 DLY 3 BRIGHT (175ms)

22 DLY 3 WARM (150ms)

23 CHORUS + DLY (300ms)

24 REVERB + DLY (200ms)

(L)

(R)

STEREO

MAIN

10 CONCERT HALL

11 CATHEDRAL

12 GATED REVERB

LPF

O O +15

SEND MASTER

O O +15

SEND MASTER

TAP TO EDIT

120

BREAK

100

180

200Hz

TAP

DELAY

TAP

DELAY

MUTES

CH 1-12

O O +20

75Hz

TAPE IN

FX 1

TO MON 1

FX 1

TO MON 2

60. FX1 SEND MASTER and FX2 SEND MASTER

MONO OUT

INT FX

MUTE

INT FX

MUTE

These knobs control the level of the signals going

into each internal effects processor. Adjust them

carefully, with your inner magical eye on the adja-

cent SIG/OL LED [61] to prevent overloading the

effects processor.

O O

MAX

+15

FX RTN 1

FX RTN

MON 1

MON 2

MAIN

These knobs also affect the levels going out of

the FX send line-level outputs [11], so you can use

them to adjust the level going to external effects

processors.

61. SIG/ OL LED

SOLO

These dual-LEDs illuminate in green when the

signal level going into each effects processor is in a

good operating range (SIG). They illuminate in red

if the effects processor is being overloaded with too

strong a signal (OL). Turn down the send master

levels [60] if these come on regularly.

O O

The signals going into the processors are affected

by the channel FX 1 and 2 aux sends [35, 36], and

the channel gain [23], EQ [27–32], and channel

faders [40]. If the OL LEDs come on after you adjust

any of these controls, turn down the send master

levels [60].

If you have an external processor connected (and

so the internal FX processors are not used) you can

still use these LEDs to judge the level going out.

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62. PRESET DISPLAY

64. INTERNAL FX MUTE

These displays show the number of the currently

selected effects preset, as shown in the list of presets

silkscreened to the right. Rotate the preset selector

knob to choose a preset.

When engaged, the internal effects processor is mut-

ed, and its output will not appear on the main mix or

monitor 1 mix (or anywhere). The adjacent mute LED

will come on as a reminder that the effects are muted.

The footswitch connection [20] becomes disabled, and

you will not be able to use the footswitch to mute or

unmute the effects.

The new preset will be loaded approximately 1/4 of

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

stored into the FX memory after about one second.

When the powered mixer is turned on, the FX section

will load up the last-used preset.

If this switch is not engaged, then the internal effects

are set free and can be added as required to the main

mix and monitor 1 mix, and can be muted or unmuted

with the footswitch.

63. PRESET SELECTOR, TAP DELAY and LED

Rotate these endless controls to select one of the 24

preset effects. When you stop the rotation, that preset

will be loaded and become operational. The current pre-

set number is shown in the display [62]. The different

presets are shown in this table and marked on the panel

silkscreen. Further details of each preset are shown in

Appendix D on page 34.

Congratulations! You’ve just read about all the fea-

tures of your powered mixer. Time for a cold one.

Plate Reverb

Vocal Plate

13 Chorus

14 Chorus + Reverb

15 Doubler

Warm Room

Bright Room

Warm Lounge

Small Stage

Warm Theater

Bright Stage

Warm Hall

16 Tape Slap

17 Delay 1 Brt 350ms

18 Delay 1 Wrm 300ms

19 Delay 2 Brt 250ms

20 Delay 2 Wrm 200ms

21 Delay 3 Brt 175ms

22 Delay 3 Wrm 150ms

23 Chorus + Dly 300ms

24 Reverb + Dly 200ms

10 Concert Hall

11 Cathedral

12 Gated Reverb

The knob also offers a tap delay function for the pre-

sets 17 to 24. This works as follows:

1. Use the knob to select a preset from 17 to 24.

2. Press the knob in at least two times.

The DSP processor will calculate the time delay

between the last two pushes, and it will assign

this time interval to the echoes of the current

digital delay.

The minimum tap delay is 50 ms and the maxi-

mum is 500 ms.

• If your taps are faster than 50 ms, they will

be set to 50 ms.

• If taps are between 500 ms and 1 second,

they will be set to 500 ms.

• If taps are greater than 1 second apart,

they will be ignored. Try again a bit faster.

3. The LED will ﬂash in time with the new tap

delay time.

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Appendix A: Service Information

If you think your powered mixer has a problem, please

check out the following troubleshooting tips and do your

best to conﬁrm the problem. Visit the Support section of

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

of useful information such as FAQs, documentation and

user forums. You may ﬁnd the answer to the problem

without having to send your mixer away.

• Unplug anything from the main line-level out-

puts, main inserts, or other line-level outputs,

such as mono out, mon 1 send, mon 2 send, FX1

and FX2 send, just in case one of your external

pieces has a problem.

• If the power amp limiter lights come on often,

you may be overdriving the ampliﬁers. Check

the loudspeaker average load impedance is not

less than 4 ohms. Check the speaker wiring.

Troubleshooting

Noise

Bad Channel

• 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.

• Is the channel EQ set up nicely?

• Is the channel gain set correctly?

• Is the channel fader up enough?

• Is the channel OL led on?

• Is the channel pan set in the middle?

Power

• Is there too much compression on channels

1-6?

• The power LED should come on if the powered

mixer is connected to a suitable live AC mains

outlet, and the power switch is on. Check the

power cord is securely plugged in.

• Are the hi-z instrument switches set OK for

guitars connected to channels 7 and 8?

• Try unplugging any insert devices from the

insert jacks on channels 1 to 8.

Levitation

• Try the same source signal in another channel,

set up exactly like the suspect channel.

• The heavy combined weight of all the loud-

speaker electrons is balanced by the fans and

warm air that make things lighter. During

louder moments when all the electrons are sent

rushing out to your loudspeakers, you may ﬁnd

that the powered mixer will rise in the air and

hover up and down in sync with the music. This

is perfectly normal.

• Is phantom power required for your micro-

phones?

Bad Output

• Is the main fader turned up?

• Check the power amp mode switch is set cor-

rectly.

Repair

• Are the graphic EQs set to reasonable levels?

• Is the FX level going to the main mix, too high?

For warranty repair or replacement, refer to the war-

ranty information on page 35.

• If it’s one of the main speaker-level outputs,

try unplugging its companion. For example, if

it’s the 1/4" left main output, unplug the left

Speakon output. If the problem goes away, it’s

not the powered mixer.

Non-warranty repair for Mackie products is available

at a factory-authorized service center. To locate your

nearest service center, visit www.mackie.com, click

“Support” and select “Locate a Service Center.” Service

for Mackie products living outside the United States can

be obtained through local dealers or distributors.

• If a left speaker is presumed dead, connect it

to the right output instead. If the problem stays

with the same speaker, check the speaker wir-

ing, or any speaker fuses.

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

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

day-Friday, 7 am to 5 pm Paciﬁc Time, to explain the

problem. Tech Support will tell you where the nearest

factory-authorized service center is located in your area.

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Appendix B: Connections

“XLR” Connectors

You can cook up your own adapter for a stereo

microphone adapter. “Y” two cables out of a

female 1⁄4" TRS jack to two male XLR plugs,

one for the Right signal and one for the Left.

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.

• 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).

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.

¹⁄4" TS Phone Plugs and Jacks

SHIELD

HOT

“TS” stands for Tip-Sleeve, the two connections avail-

able on a “mono” 1⁄4" phone jack or plug. See Figure C.

COLD

SHIELD

SLEEVE

TIP

COLD

HOT

TIP

SLEEVE

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

“TRS” stands for Tip-Ring-Sleeve, the three

connections available on a “stereo” ¹⁄4" or “balanced”

phone jack or plug. See Figure B.

• Unbalanced microphones

• Electric guitars and electronic instruments

• Unbalanced line-level connections

• Speaker connections

RING SLEEVE

TIP

SLEEVE RING TIP

Don’t use guitar cords for speaker cables!

They’re not designed to handle speaker-level

signals and could overheat.

RING

TIP

SLEEVE

Figure B: ¹⁄4" TRS Plugs

RCA Plugs and Jacks

TRS jacks and plugs are used in several different ap-

plications:

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

jacks are often used in home stereo and video equip-

ment and in many other applications (Figure D). They

are unbalanced and electrically identical to 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.”

• Balanced mono circuits. When wired as a bal-

anced connector, a 1⁄4" TRS jack or plug is con-

nected tip to signal high (hot), ring to signal

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

• Stereo Headphones, and rarely, stereo micro-

phones and stereo line connections.

SLEEVE TIP SLEEVE TIP

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

is connected tip to left, ring to right and sleeve

to ground (earth). Mackie mixers do not

directly accept 1-plug-type stereo microphones.

They must be separated into a left cord and a

right cord, which are plugged into the two mic

preamps.

Figure D: RCA Plug

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Speakons

MONO PLUG

Channel Insert jack

When using the Speakon outputs to connect your loud-

speakers, wire the Speakon connectors as shown below:

Direct out with no signal interruption to master.

Insert only to first “click.”

1–

MONO PLUG

Channel Insert jack

COLD

1–

Direct out with signal interruption to master.

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

HOT

2–

Figure E

STEREO

PLUG

Channel Insert jack

TRS Send/ Receive Insert Jacks

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

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

both the mixer output (send) and the mixer input

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

For use as an effects loop.

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

Figure G

Loudspeaker Cable

SEND to processor

ring

“tip”

(TRS plug)

tip

sleeve

Use loudspeaker cables with a minimum conductor

size for the length you need as listed in these tables.

This plug connects to one of the

mixer’s Channel Insert jacks.

“ring”

RETURN from processor

This will minimize

power losses to less

than 0.5 dB. The cable

lengths listed are “up

to” lengths. For in-

between lengths, use

the next larger con-

ductor gauge. Using

larger than the rec-

ommended conductor

size is always permis-

sible. Using smaller

than recommended

conductor size will

result in higher power

losses.

Minimum AWG 4 ohm 8 ohm

Figure F

10 ft

25 ft

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.

125

200

100

Using the Send-only on an Insert Jack

Min Metric WG 4 ohm 8 ohm

3 m

8 m

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.

The recommended conductor gauges are listed for

AWG (American Wire Gauge) and Metric WG (Metric

Wire Gauge). Note that smaller AWG numbers = larger

conductors and smaller Metric WG numbers = smaller

conductors. The Metric WG is equal to ten times the

nominal conductor diameter in millimeters.

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.

Longer Lengths

For cable lengths over 200 feet / 60 m at 8 ohms, and

over 100 feet / 30 m at 4 ohms, the conductor sizes need-

ed for less than 0.5 dB power losses are rarely practical

for physical and cost reasons. As a practical compromise

for these situations the recommended conductor gauge

is 10 AWG or 25 metric.

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Appendix C: Technical Information

Speciﬁcations

9-Band Graphic EQ

Main and Monitor 1:

Distortion (THD + N)

(1 kHz, 30 kHz bandwidth)

Mic mono:

±15 dB @

63, 125, 250, 500, 1k,

2k, 4k, 8k and 16 kHz

<0.003%

Line mono:

Line stereo

<0.005%

Connections

Mic input:

<0.003% at main out

XLR balanced

Line mono input:

Line stereo input:

Main outputs:

Monitor outputs:

Inserts:

1/4" TRS balanced

1/4" TRS unbalanced

Main mix output noise

(1 kHz, 30 kHz bandwidth)

Main mix level down, all channel levels down: –95 dBu

Main mix level 0 dB, all channel levels down: –89 dBu

Main mix level 0 dB, all channel levels 0 dB:

–84 dBu

Loudspeaker outputs:

1/4" TS and Neutrik

Speakon

Frequency Response

(+0 dB/–3 dB)

Loudspeaker outputs

(Both channels loaded and driven at 1 kHz.)

Mic mono input:

Line mono inputs:

Line stereo inputs:

< 10 Hz–100 kHz

< 10 Hz–32 kHz

< 10 Hz–80 kHz

Peak output power @ 4 ohms:

2 x 800 watts peak

Average output power @ 4 ohms:

2 x 400 Wrms, 1% THD

2 x 500 Wrms, 3% THD

Equivalent Input Noise (EIN)

Mic input (20 Hz – 20 kHz)

150 ohm termination:

Average output power @ 8 ohms:

Recommended load impedance:

2 x 250 Wrms, 1% THD

2 x 300 Wrms, 3% THD

–128 dBu

4 – 8 ohms per side

Gain

Running Man Effects

Type:

Mic mono input:

Line mono inputs:

Line stereo inputs:

0 dB to +50 dB

–20 dB to +30 dB

–20 dB to +20 dB

Two 32-bit internal

processors,

mono in, stereo out

Maximum Levels

Mic mono input:

Line mono inputs:

Effects presets:

24 Mackie-designed

presets

+21 dBu minimum gain

+21 dBu

Power Consumption

100–120 VAC, 50/60 Hz:

Line stereo inputs:

Preamp main and monitor outputs:

+21 dBu

250 watts

220–240 VAC, 50/60 Hz:

Impedances

Mic mono input:

3.6 kilohms balanced

20 kilohms balanced

500 kilohms unbalanced

20 kilohms balanced

Dimensions (H x W x D)

Weight

Line mono input:

19.2" x 17.4" x 5.2"

(487 mm x 442 x 133)

Line mono input, Ch 7, 8 Hi-Z:

Line stereo inputs:

Main and monitor outputs:

240 ohms balanced

29 lb (13.2 kg)

120 ohms unbalanced

LOUD Technologies Inc. is always striving to improve our prod-

ucts by incorporating new and improved materials, components,

and manufacturing methods. Therefore, we reserve the right to

change these speciﬁcations at any time without notice.

Channel EQ

High Shelving (all channels)

Mid Mono Channels:

Mid Peaking, sweepable

Mid sweep range:

±15 dB @ 12 kHz

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

LOUD Technologies Inc. All other brand names mentioned are

trademarks or registered trademarks of their respective hold-

ers, and are hereby acknowledged.

±15 dB

100 Hz to 8 kHz

Mid Stereo Channels:

Hi Mid Peaking:

The technical writer responsible for this manual tends to fade

in and out of various different realities, depending on how

many cups of tea he has had. Please check our website for any

updates to this manual: www.mackie.com.

±15 dB @ 2.5 kHz

±15 dB @ 400 kHz

±15 dB @ 80 Hz

Lo Mid Peaking:

Low Shelving (all channels)

Phantom Power

+48 VDC, globally switchable to all Mic inputs

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Dimensions

WEIGHT

29.0 lb

13.2 kg

These

shorts are

killing me!

5.2 in/

133 mm

17.4 in/ 442 mm

19.0 in/ 483 mm

(with rack ears)

Correct disposal of this product. This symbol indicates that this product should not be disposed of with your household waste, according to the WEEE Directive (2002/ 96/ EC) and your national law. This product

should be handed over to an authorized collection site for recycling waste electrical and electronic equipment (EEE). Improper handling of this type of waste could have a possible negative impact on the environment and

human health due to potentially hazardous substances that are generally associated with EEE. At the same time, your cooperation in the correct disposal of this product will contribute to the effective usage of natural

resources. For more information about where you can drop off your waste equipment for recycling, please contact your local city ofﬁce, waste authority, or your household waste disposal service.

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BlockDiagram

S o l o l o g i c

S o l o

S o l o l o g i c

S o l o

F X 2

F X 1

F X 2

F X 1

M o n 2

M o n 1

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Appendix D: Table of Effects Presets

No . Tit le

De scr ip t io n

Ex a m p le o f it s u se

0 1 Plate Reverb

This preset emulates vintage mechanical reverberation

Perfect for thickening percussive instruments, such

that was generated with a metal plate. Its sound is char- as a snare drum, or tight vocal arrangements.

acterized by lots of early reﬂections and no pre-delay.

0 2 Vocal Plate

0 3 Warm Room

0 4 Bright Room

This vintage plate emulation is warmer than your

standard plate, with a long reverberant tail, lots of fast

reﬂections and a very short pre-delay.

Particularly suited for vocal signals, but can also

be used for extra-thick drum tracks.

This preset is characterized by lots of fast early reﬂections Useful for adding a tight and controlled

with a short pre-delay to simulate the sound of a small,

wood paneled room.

ambient effect to vocals and acoustic instruments.

This room has a bright tone with lots of scattered reﬂec- Useful on vocals that require a brighter reverb to

tions to simulate harder, more reﬂective surfaces.

cut through the mix, or for giving acoustic instru-

ments a livelier vibe.

0 5

Warm Lounge

This preset features a medium sized room sound, with

Useful for vocals on songs that require a larger,

just enough enhancement of the lower mids to produce a more “wet” sound, or for giving dimension to

warm tone. bright horns without adding harshness.

0 6 Small Stage

0 7 Warm Theater

0 8 Bright Stage

0 9 Warm Hall

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

with a medium reverb time and reverberant space.

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 preset emulates the sound of a large performance

stage, characterized by medium long reverb time and

pre-delay, plus a touch of sizzle.

Great for adding life and dimension to drums and

other acoustic instruments, and for that big live

vocal sound.

This reverb simulates the sound of a spacious, yet cozy, Perfect for adding natural concert hall ambience

heavily draped and carpeted concert hall with an espe- to close-mic’ed orchestral instruments.

cially warm tone.

1 0 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.

1 1 Cathedral

This reverb emulates the extremely long tails, dense dif- Gives amazing depth to choirs, wind instruments,

fusion and long pre-delays and reﬂections that would be organs, and soft acoustic guitars.

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

1 2 Gated Reverb

1 3 Chorus

This preset incorporates an age-old trick whereby an

extremely dense reverb is processed through a fast gate without clutter.

for an interesting, albeit artiﬁcial, sound.

Most often used to fatten snare drums and toms

This preset provides a soft, ethereal sweeping effect that Perfect for enhancement of electric and acoustic

is useful for thickening and for making a particular sound guitar and bass, or to add a dramatic effect to

pop out of the mix.

vocals, particularly group harmonies and choirs.

1 4 Chorus + Reverb

1 5 Doubler

This preset perfectly combines the chorus effect above

with a large, roomy reverb.

This lets you both thicken your sound with the

chorus effect while adding warmth and spacious-

ness 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.

1 6 Tape Slap

This effect provides a single, relatively rapid delay of the Often used on vocals for a 1950’s era feel, or on

original signal, with the added warmth that vintage tape- guitars for a surf-type tone. Often used by people

based echo units provided.

whose favorite number is 16.

DLY 1 Bright (350ms)

DLY 1 Warm (300ms)

1 9 DLY 2 Bright (250ms)

2 0 DLY 2 Warm (200ms)

2 1 DLY 3 Bright (175ms)

2 2 DLY 3 Warm (150ms)

1 7

1 8

These 6 delay presets provide one (delay 1), three (delay These work best with full, up-beat music like rock

2), or six (delay 3) repeats of the original signal. The

default delay time for each preset is shown in mS - the

smaller the time, the faster the delay. Delay times can

easily be customized to suit the moment by tapping the

knob [63] more than once.

where the delay needs to cut through the mix.

Warm delays get progressively softer and warmer

in tone with each repetition and work great with

slow, mellow music. Bright delays have repeats

that are consistent in tone with the original sound.

2 3 Chorus + DLY (300ms)

This effect combines the thickening effect of the chorus

with the echoes of the 3-repeat delay effect.

Delay times can easily be customized to suit the moment

by using the Tap feature.

Useful on a clean electric guitar that needs a

mildly swirling, ethereal tone.

2 4 Reverb + DLY (200ms)

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

the echoes of the 3-repeat delay effect. sions, it can also be used as a spacey effect on

Delay times can easily be customized to suit the moment electric guitars.

by using the Tap feature.

For presets 17 to 24, the delay can be entered by tapping the preset selector knobs [63] more than once.

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PPM1012 Limited Warranty

Please keep your sales receipt in a safe place.

IMPORTANT: Make sure that the Service Request

A. LOUD Technologies Inc. warrants all materials,

Number is plainly written on the shipping carton.

No receipt, no warranty service.

workmanship and proper operation of this product for a period

of three years from the original date of purchase. You may

purchase an additional 24-month Extended Warranty (for a

total of 60 months of coverage). Visit our website and follow

the “Product Registration” links for details (www.mackie.com).

If any defects are found in the materials or workmanship or

if the product fails to function properly during the applicable

warranty period, LOUD Technologies, at its option, will repair

or replace the product. This warranty applies only to

equipment sold and delivered within the U.S. and

Canada by LOUD Technologies Inc. or its authorized

dealers.

E. LOUD Technologies reserves the right to inspect

any products that may be the subject of any warranty

claims before repair or replacement is carried out. LOUD

Technologies may, at our option, require proof of the original

date of purchase in the form of a dated copy of the original

dealer’s invoice or sales receipt. Final determination of

warranty coverage lies solely with LOUD Technologies.

F. Any products returned to one of the LOUD Technologies

factory-authorized service centers, and deemed eligible

for repair or replacement under the terms of this warranty

will be repaired or replaced. LOUD Technologies and its

authorized service centers may use refurbished parts for

repair or replacement of any product. Products returned

to LOUD Technologies that do not meet the terms of this

Warranty will not be repaired unless payment is received

for labor, materials, return freight, and insurance. Products

repaired under warranty will be returned freight prepaid by

LOUD Technologies to any location within the boundaries of

the USA or Canada.

G. LOUD Technologies warrants all repairs performed

for 90 days or for the remainder of the warranty period.

This warranty does not extend to damage resulting from

improper installation, misuse, neglect or abuse, or to

exterior appearance. This warranty is recognized only if

the inspection seals and serial number on the unit have not

been defaced or removed.

H. LOUD Technologies assumes no responsibility for the

timeliness of repairs performed by an authorized service

center.

B. For faster processing, register online at www.mackie.com,

or you may mail in the product registration card included with

this manual.

C. Unauthorized service, repairs, or modiﬁcation of Mackie

products will void this warranty. To obtain repairs or

replacement under warranty, you must have a copy of your

sales receipt from the authorized Mackie dealer where you

purchased the product. It is necessary to establish purchase

date and determine whether your Mackie product is within

the warranty period.

D. To obtain warranty repair or replacement:

1. Call Mackie Technical Support at 800/ 898-3211, 7

AM to 5 PM Monday through Friday (Paciﬁc Time) to get

authorization for repair or replacement. Alternately, go

to the Mackie website, click “Support” (www.mackie.

com/ support), and follow the instructions for reporting

a warranty issue and submitting a request for an advance

replacement.

2. Advance Replacement: Mackie will ship a

replacement unit to you along with an invoice for the

suggested retail price of the replacement unit. You must

return the defective unit immediately to cancel the invoice.

If you do not return the defective unit within 30 days, you

must pay the full amount stated in the invoice to satisfy

your debt.

I. This warranty is extended to the original purchaser.

This warranty may be transferred to anyone who may

subsequently purchase this product within the applicable

warranty period for a nominal fee (extended warranties

are not transferable). A copy of the original sales receipt is

required to obtain warranty repairs or replacement.

J. This is your sole warranty. LOUD Technologies does

not authorize any third party, including any dealer or

sales representative, to assume any liability on behalf of

LOUD Technologies or to make any warranty for LOUD

Technologies Inc.

3. Repair: When you call Mackie Technical Support,

explain the problem and obtain a Service Request Number.

Have your Mackie product’s serial number ready. You must

have a Service Request Number before you can obtain

factory-authorized service.

K. THE WARRANTY GIVEN ON THIS PAGE IS THE SOLE

WARRANTY GIVEN BY LOUD TECHNOLOGIES INC.

AND IS IN LIEU OF ALL OTHER WARRANTIES, EXPRESS

AND IMPLIED, INCLUDING THE WARRANTIES OF

MERCHANTABILITY AND FITNESS FOR A PARTICULAR

PURPOSE. THE WARRANTY GIVEN ON THIS PAGE

SHALL BE STRICTLY LIMITED IN DURATION TO THREE

YEARS FROM THE DATE OF ORIGINAL PURCHASE

FROM AN AUTHORIZED MACKIE DEALER. UPON

EXPIRATION OF THE APPLICABLE WARRANTY PERIOD,

LOUD TECHNOLOGIES INC. SHALL HAVE NO FURTHER

WARRANTY OBLIGATION OF ANY KIND. LOUD

TECHNOLOGIES INC. SHALL NOT BE LIABLE FOR ANY

INCIDENTAL, SPECIAL, OR CONSEQUENTIAL DAMAGES

THAT MAY RESULT FROM ANY DEFECT IN THE MACKIE

PRODUCT OR ANY WARRANTY CLAIM. Some states do

not allow exclusion or limitation of incidental, special,

or consequential damages or a limitation on how long

warranties last, so some of the above limitations and

exclusions may not apply to you. This warranty provides

speciﬁc legal rights and you may have other rights which

vary from state to state.

• Pack the product in its original shipping carton. Also

include a note explaining exactly how to duplicate the

problem, a copy of the sales receipt with price and date

showing, your daytime phone number and return street

address (no P.O. boxes or route numbers, please!), and

the Service Request Number. If we cannot duplicate the

problem or establish the starting date of your Limited

Warranty, we may, at our option, charge for service time

and parts.

• Ship the product in its original shipping carton, freight

prepaid to the authorized service center. Write the Service

Request Number in BIG PRINT on top of the box. The

address of your closest authorized service center will be

given to you by Technical Support, or it may be obtained

from our website. Once it’s repaired, the authorized service

center will ship it back by ground shipping, pre-paid (if it

qualiﬁed as a warranty repair).

Note: Under the terms of the warranty, you must ship or drop-

off the unit to an authorized service center. The return ground

shipment is covered for those units deemed by us to be under

warranty.

Note: You must have a sales receipt from an authorized

Mackie dealer for your unit to be considered for warranty

repair.

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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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