Mackie Music Mixer PPM608 User Manual

PPM608  
8-Channel, 2 x 500 W Professional Powered Mixer  
O W N E R ’ S M A N U A L  
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Ready, steady, go!  
Read This Page!  
1. Turn the channel level, mon 1, and FX/mon 2  
controls fully down.  
We realize that you must be really keen  
to try out your new powered mixer, but  
please read the safety instructions on  
page 2, and this page first.  
2. Turn down the compressor controls (ch. 1–4).  
3. Set all the EQ controls to the center, including  
the graphic EQ sliders.  
4. Turn down the main level and monitor 1 level  
controls, and turn on the powered mixer.  
Setup  
The PPM608 powered mixer is designed for ease of  
operation, and to be set up quickly and easily.  
5. For each channel, press the gain switch in (low  
gain) if you are using a line-level source. Press  
it out (high gain) if you are using a microphone  
or other low-level source.  
Place the powered mixer in a position where it is easy  
to reach the controls. All the controls and input con-  
nection points are located on the front panel so you can  
make quick adjustments and connections on stage.  
6. For condenser mics, push in the phantom  
power switch. If you are using both condenser  
and dynamic mics, don’t worry. Phantom power  
will not hurt most dynamic mics. Check the  
microphone’s user manual if you’re not sure.  
Make sure there is at least 6 inches of airspace behind  
the powered mixer for ventilation. There are two fans  
inside the cabinet to cool the power amplifier section.  
Use the powered mixers in a nice clean and dry environ-  
ment, free from dryer lint and dust bunnies.  
7. Play something into an input at real-world lev-  
els, and turn up the channel level to U (unity).  
8. 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 switch is set correctly.  
Connections  
1. Be sure the rear-panel power switch is off  
before making any connections.  
9. Slowly turn up the main level control until you  
hear the signal in your speakers.  
2. Push the linecord securely into the IEC connec-  
tor on the rear panel, and plug the other end  
into a 3-prong AC outlet that is properly config-  
ured for the voltage of your powered mixer.  
10. Repeat steps 5 to 8 for the remaining channels.  
11. If needed, apply some EQ wisely.  
12. Adjust the levels to get the best mix. Keep the  
level controls fully down on unused channels.  
3. Plug a balanced microphone into one of the mic  
XLR (3-pin) connectors on the front panel. Or  
you can connect any line-level signal (key-  
board, or guitar preamp) to a line input jack  
using a TS or a TRS 1/4" plug.  
Other Notes  
Only connect the powered mixer's speaker-level  
outputs to passive loudspeakers.  
4. You can connect a guitar directly to inputs 5 or  
6 without need for a DI box, if you press the hi-z  
switch on these channels.  
When shutting down, turn off any external  
amplifiers or powered loudspeakers first. When  
powering up, turn on any external amplifiers or  
powered loudspeakers last.  
5. The insert jacks are used if you want to connect  
an external effects or dynamics processor into  
the signal chain. See page 13 for more details.  
Save the shipping box!  
6. Plug the speakers (4 ohms or greater) into the  
speaker output jacks on the rear panel. If you  
plug two speakers into a side, each speaker  
must be 8 ohms or greater to maintain a 4-ohm  
minimum load on the amplifier. Use at least  
18 gauge speaker cable with 1/4" TS plugs or  
Speakon® plugs. For now, set the rear panel  
power amp mode switch to stereo mains.  
Please write your serial number here for future  
reference (i.e., insurance claims, tech support,  
return authorization, make dad proud, etc.)  
Purchased at:  
Don’t use guitar cords for speaker cables!  
They’re not designed to handle speaker-level  
signals and could overheat.  
Date of purchase:  
Part No. SW0681 Rev. D  
©2009 LOUD Technologies Inc. All Rights Reserved.  
Loosely based on a dream sequence in which the entire Mackie marketing  
department tap-dance their way into downtown Woodinville for lunch.  
Owner’s Manual  
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Introduction  
12-segment stereo output meters on main mix,  
and mono meter on monitor 1  
Thank you for choosing a Mackie professional  
powered mixer. These powerful mixers are designed to  
meet the needs of almost any small to medium-sized  
club, meeting room, sanctuary, or outdoor gathering.  
Break switch mutes all mono channels  
Speakon and 1/4" power amp outputs  
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.  
Precision passive switch for enhanced clarity  
and low-frequency response with Mackie pas-  
sive speakers  
Rugged design with polycarbonate sides and  
built-in metal handles  
Reliability is paramount to sound reinforcement.  
That’s why our engineers have subjected our powered  
mixers to the most rigorous and fiendish tests imag-  
inable to fine-tune the design, and extend its limits  
beyond those of ordinary powered mixers.  
Modern and stylish design from our modern and  
stylish, hip and trendy design team (runners-up  
in the coveted Golden Lock-Washer of Walton-  
on-Naze design award)  
How To Use This Manual  
Features  
The first pages after the table of contents are the  
hookup diagrams. These show typical setups for fun  
times with your powered mixer.  
Two internal power amplifiers, each rated at  
500 watts peak into 4 ohms  
Three selectable amplifier modes (stereo  
mains, mono-main/monitor 1, mon 1/mon 2)  
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:  
8 channels (6 mono, 2 stereo)  
Mic inputs on all channels  
Rear panel: The AC input, power switch, speak-  
er-level outputs and amplifier mode switch  
Line-level inputs (6 mono, 2 stereo)  
RCA inputs on stereo channels.  
Insert jacks on mono channels  
Patchbay: The lower front section, where you  
connect microphones and guitars etc.  
Channel Strip: The channel strips where you  
adjust and control each channel  
Channels 5 and 6 allow direct connection of  
guitars and basses without a DI box  
Master Section: The section on the right, with  
graphic EQ and main level controls  
3-band EQ on each channel  
Monitor 1 send  
Stereo Effect Processor  
Main mix stereo line outputs  
Main mix mono sub out  
Throughout these sections you’ll find illustrations  
with each feature numbered and described in the  
nearby paragraphs.  
Amplifier line-level inputs allow the connection  
of external mixers if more channels are needed  
This icon marks information that is critically  
important or unique to the powered mixer. For  
your own good, read them and remember them.  
Footswitch connection for FX mute/unmute  
FX/monitor 2 send (selectable pre/post)  
+48v Phantom power can be applied to all mics  
This icon will lead you to some explanations of  
features and practical tips. Go ahead and skip  
these if you really need to go.  
Built-in compressors on the first 4 mono inputs  
(dedicated in-line compression)  
24 built-in Running Man 32-bit effects with  
input gain, tap delay, and a footswitch mute/un-  
mute  
Appendix A: Service information.  
Appendix B: Connectors.  
Independent 7-band graphic EQs with  
constant-Q filters on the main and monitor  
outputs  
Appendix C: Technical information.  
Appendix D: Table of Effects Presets  
Tape/CD stereo RCA outputs  
The thickness of the manual makes it ideal for fit-  
ting under wobbly table legs, or for defending yourself  
against packs of angry ferrets.  
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Contents  
PATCHBAY  
MASTER CONTROLS  
STEREO EFFECTS PROCESSOR  
CHANNEL CONTROLS  
Need help with your new mixer?  
Support to find: FAQs, manuals,  
addendums, and documentation.  
• Email us at: [email protected].  
Telephone 1-800-898-ꢁꢀ11 to speak  
with one of our splendid technical  
support chaps (Monday through  
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Hookup Diagrams  
Front Panel  
Power Amp Mode  
switch set to  
Stereo Main  
Rear Panel  
Microphones  
press HI-Z  
button  
press HI-Z  
button  
Adjust  
Vocal  
Compression  
Keyboards  
Portable Recorder  
SRM450v2 Powered Stage Monitors  
(plays mon 1 output)  
Passive Speakers  
(plays stereo main mix)  
Powered Subwoofers  
(plays main mix below 100 Hz)  
This diagram shows microphones attached to channels 1 and 2, electric guitars connected directly to  
channels 5 and 6 (with hi-z switch pressed in), and a keyboard attached to channel 7's stereo inputs. A  
portable recorder is attached to the stereo tape outputs to record the performance.  
Mackie SRM450v2 powered speakers are connected to the monitor 1 send, and are set up as stage  
monitors. The mon 1 controls of each channel allow you to create a stage monitor mix that is indepen-  
dent of the main mix. Use the monitor 1 graphic EQ to adjust the stage monitor EQ as desired.  
Passive speakers are connected to the speaker-level power output of the powered mixer, and they play  
the main stereo mix to your audience. Powered subwoofers are connected to the main mix sub out, to  
reinforce the low end in your system.  
Club System  
6
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Microphones  
Acoustic Guitar  
and Mic  
Front Panel  
Power Amp Mode  
switch set to  
Mains/Mon 1  
Rear Panel  
press HI-Z  
button  
Adjust  
Vocal  
Compression  
Drum  
Machine  
Power  
Amplifier  
C200 Passive Stage Monitors  
(plays mon 1 output)  
dual-mono  
mode  
Keyboards  
SRM150 Powered Monitor  
(plays mon 1 output)  
C300z Passive Speakers  
House System  
Passive Subwoofers  
(plays main mix below 100 Hz)  
(plays mono main mix)  
This diagram shows microphones attached to the mic inputs of channels 1 to 4, an electric guitar con-  
nected directly to channel 5 (with hi-z switch pressed in), an acoustic guitar microphone connected to  
channel 6 mic in, a keyboard attached to channel 7's stereo inputs, and a drum machine to channel 8.  
A Mackie SRM150 powered monitor is connected to the monitor 1 send, and acts as a personal stage  
monitor to the keyboard player. The mon 1 knobs of each channel allow you to set up a monitor mix that  
is independent of the main mix. Use the monitor 1 graphic EQ to adjust the stage monitor EQ as desired.  
The power amp mode switch is set to play the mono main mix on ch. A, and monitor 1 mix on ch. B.  
Mackie C300z passive speakers are connected to the channel A speaker-level power output of the  
powered mixer, and they play the main mono mix to your audience.  
C200 passive stage monitors are connected to the channel B speaker-level power output of the pow-  
ered mixer. These play the stage monitor mix 1 to your performers.  
Passive subwoofers are powered by a power amplifier connected to the main mix sub out, to reinforce  
the low end in your main mix.  
House of Worship  
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Wireless  
Microphone  
Microphones  
Front Panel  
Power Amp Mode  
switch set to  
Stereo Mains  
Rear Panel  
Graphic EQ  
iPodTM Docking Station  
Wireless Mic  
Receiver  
Mackie d.2 Pro  
DJ Production Console  
HD1521  
Powered  
Speaker  
HD1521  
Powered  
Speaker  
MAIN OUT  
BOOTH  
FX  
PGM  
PHONO  
2
CD  
PGM  
PHONO  
1
CD  
MIC  
SEND  
L
R
L
L
R
R
L
L
L
L
LINE  
MIC  
R
R
R
LIV
R
RETUR
L(MONO)  
R
INE  
PHONO  
N
GND  
GND  
~100-240 VAC 50-60Hz 20W  
L
R
Passive Speakers  
(plays stereo main mix)  
Turntables with phono-level output  
Powered Subwoofer  
(right main mix)  
Powered Subwoofer  
(left main mix)  
This diagram shows a wireless microphone receiver connected to the channel 1 line input, a graphic  
EQ connected to channel 1's insert jack (to help control feedback in the wireless mic), a microphone con-  
nected to channel 2, and an iPod docking station attached to channel 8's RCA inputs.  
A Mackie d.2 Pro is connected to two turntables, and its RCA output connects to the powered mixer's  
channel 7 stereo RCA inputs. Use the d.2 Pro's advanced DJ controls to get the best performance from  
your records. Use the powered mixer to play the d.2 Pro output, and control the mics and iPod.  
The power amp mode switch is set to play the stereo main mix in the passive speakers, connected to the  
speaker-level power outputs.  
Mackie HD1521 powered speakers and powered subwoofers are connected to the line-level main mix  
outputs, and also play the stereo main mix to your audience.  
DJ System  
8
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Microphones  
Front Panel  
Power Amp Mode  
switch set to  
Mon 1/Mon 2  
Rear Panel  
press HI-Z  
buttons  
Adjust  
Vocal  
Compression  
Send  
HD1531  
Powered  
Speaker  
HD1531  
Powered  
Speaker  
Return  
Guitar Processor  
(connected to INSERT)  
C200 Passive Stage Monitors  
(plays mon 2 output)  
Keyboards  
C300z Passive Stage Monitors  
(plays mon 1 output)  
Powered Subwoofer  
Powered Subwoofer  
Electronic Drum Kit  
(plays right main mix) (plays left main mix)  
This diagram shows microphones attached to the mic inputs of channels 1 to 4, electric guitars con-  
nected directly to ch. 5 and 6 (with hi-z switch pressed in), a guitar processor connected to ch.6 insert,  
a keyboard attached to channel 7's stereo inputs, and an electronic drum kit attached to channel 8. Add  
vocal compression as required, by tweaking the compression knobs on channels 1 to 4.  
The power amp mode switch is set to play the monitor 1 mix on channel A, and monitor 2 mix on  
channel B. Note: Press in the front panel FX send/mon 2 send switch, or monitor 2 will not play.  
Mackie HD1531 powered speakers and powered subwoofers are connected to the line-level main mix  
outputs, and play the stereo main mix to your audience.  
C200 passive stage monitors are connected to the channel B speaker-level power output of the pow-  
ered mixer. These play the stage monitor mix 2 to your performers. C300z passive stage monitors are  
connected to the channel A speaker-level power output, and play stage monitor mix 1.  
Large Band System  
9
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Rear Panel Features  
4
2
6
3
6
1
5
1. POWER CONNECTION  
3. SPEAKER-LEVEL OUTPUTS  
This jack accepts the supplied 3-prong IEC AC power  
cord.  
These output connections provide speaker-level  
output power from the internal power amplifiers to your  
passive speakers. The power output of the PPM608 is  
300 watts rms per channel into 4 ohms.  
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.  
Only passive loudspeakers should be con-  
nected to these speaker-level outputs.  
The outputs can be selected with the amp mode  
switch [4] to be either the stereo main mix, mono main  
mix/monitor 1, or monitor 1/monitor 2.  
2. POWER SWITCH  
Two common types of connector are provided for your  
convenience: Speakons and 1/4" TS.  
Press the top of this rocker switch inwards to turn on  
the mixer. The front panel power LED [31] will glow  
with happiness, or at least it will if you have the mixer  
plugged into a suitable live AC mains supply.  
Speakon outputs are wired Pin 1+ positive  
(hot) and Pin 1– negative (cold).  
Press the bottom of this switch to turn off the mixer,  
whenever you feel that this would be a safe thing to do.  
Half-way through a heavy metal guitar solo might not be  
such a good time.  
1–  
1+  
COLD  
1–  
1+  
2+  
HOT  
As a general guide, you should turn on your  
mixer first, before any external power ampli-  
fiers or powered speakers, and turn it off last.  
This will reduce the possibilities of any turn-  
on, or turn-off thumps in your speakers.  
2–  
Mono Speakon Connection  
10  
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1/4" TS outputs are wired Tip positive, and  
Sleeve negative.  
5. VENTILATION and REAR PANEL  
Ventilation holes in the rear panel and the bottom  
panel allow the internal fans to flow breezy and minty-  
fresh cooling air over the internal power amplifiers. Do  
not obstruct these holes, or the amplifiers may overheat  
and shut down.  
SLEEVE  
SLEEVE  
TIP  
TIP  
TIP  
SLEEVE  
Do not remove the feet, as these keep the  
powered mixer off the ground for ventilation.  
Do not place the powered mixer on a carpeted  
or similar soft and fuzzy surface that may obstruct the  
ventilation holes in the bottom panel.  
1/4" TS Connection  
These two types of outputs are wired in parallel, and  
it is possible to use both types at once.  
The minimum impedance that the powered  
mixers can handle is 4 ohms per channel, and  
we recommend that you do not go below this.  
If you are using both outputs per channel, make sure  
each loudspeaker is 8 ohms impedance or greater.  
6. HANDLES  
These metal handles are delightfully modern in  
styling and good looks, and truly represent the perfect  
accessory to accent your busy work schedule. Use the  
handles to carefully lift and move the powered mixer.  
Better yet, have someone else lift it for you. They will  
be remarkably pleased with its light weight, and high  
power, ideal for all sorts of road trips.  
4. 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 flexibil-  
ity in the use of the powered mixer. For example, if you  
already have powered loudspeakers, you could use the  
PPM608 power amplifiers to run passive stage monitors.  
Stereo Mains  
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  
system on the other.  
Monitor 1/Monitor 2  
Channel A is the monitor 1 mix, and channel B is the  
monitor 2 mix. In this setup, the internal power am-  
plifiers are powering two independent passive stage  
monitor systems.  
Make sure that the front panel FX send/mon  
2 send switch [47] is pressed in (mon 2), or  
there will be no monitor 2 signal to the inter-  
nal power amplifier channel B.  
If anything is plugged into the front panel  
power amp inputs [20], then this switch has  
no effect. The internal power amplifier will  
play whatever signals are coming into the  
power amp inputs.  
11  
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Front Panel Features  
11  
10  
12  
8
14  
13  
9
7
Patchbay section  
7. MIC INPUTS  
This is where you plug in things such as: microphones,  
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.  
line-level instruments, guitars, and effects, a recorder,  
PA system, powered monitors, powered subwoofer etc.  
(The speaker-level outputs from the internal power  
amplifiers are on the rear panel.) Check out the hookup  
diagrams for some connection ideas. See Appendix B  
(page 25) for further details and some rather lovely  
drawings of the connectors you can use with your mixer.  
Professional ribbon, dynamic, and condenser mics all  
sound excellent through these inputs. The mic inputs  
will handle any kind of mic level you can toss at them,  
without overloading.  
Microphone-level signals are passed through the  
mixer's splendid microphone preamplifiers to become  
line-level signals. Because more gain is required to  
boost the microphone level signals, make sure the gain  
switch [28] is in the up position when you are using  
microphones.  
Channels 1 to 4 have the extra benefit of built-in sig-  
nal in-line compressors [29]. These can be adjusted to  
add just the right amount of compression to your vocals  
and help prevent distortion and the effects of tonsillitis.  
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PHANTOM POWER  
12. INSERT (CH. 1 to 6)  
Most modern professional condenser mics are  
equipped for phantom power, which lets the mixer  
send low-current DC voltage to the mic’s electronics  
through the same wires that carry audio. (Semi-pro  
condenser mics often have batteries to accomplish the  
same thing.) “Phantom” owes its name to an ability to  
be “unseen” by dynamic mics (Shure SM57/SM58, for  
instance), which don’t need external power and aren’t  
affected by it anyway.  
These unbalanced 1/4" jacks on channels 1 to 6 are for  
connecting serial effects processors such as compres-  
sors, equalizers, de-essers, or filters. The insert point  
is after the gain switch [28] and compressor circuits  
(on channels 1 – 4), but before the channel’s EQ and  
level [27] controls. The channel signal can go out of  
the insert jack to an external device, be processed (or  
whatever) and come back in on the same insert jack.  
To do this requires a special insert cable that must be  
wired thusly:  
The mixer's phantom power is globally controlled  
by the phantom [42] switch on the front panel. (The  
phantom power for all channels is turned on and off  
together.)  
SEND to processor  
ring  
“tip”  
(TRS plug)  
tip  
sleeve  
This plug connects to one of the  
mixer’s Channel Insert jacks.  
“ring”  
RETURN from processor  
Never plug single-ended (unbalanced) micro-  
phones, or ribbon mics into the mic input  
jacks if phantom power is on.  
Tip = send (output to effects device)  
Ring = return (input from effects device)  
Sleeve = common ground  
Do not plug instrument outputs into the mic  
XLR input jacks with phantom power on,  
unless you know for certain it is safe to do so.  
Insert jacks can be used as channel direct outputs;  
post-gain, and pre-EQ. See the connector section on  
page 26 (figure G) showing three ways to use insert con-  
nections.  
8. MONO LINE INPUTS (CH. 1 to 4)  
These 1/4" jacks share circuitry (but not phantom  
power) with the mic preamps, and can be driven by bal-  
anced or unbalanced sources.  
13. TAPE OUTPUTS  
To connect balanced lines to these inputs, use a 1⁄4"  
Tip-Ring-Sleeve (TRS) plug.  
These stereo unbalanced RCA outputs allow you  
to record the main stereo mix onto a tape deck, hard  
disk recorder, automatic CD burner, or a computer, for  
example. This allows you to make a recording for poster-  
ity/archive/legal purposes whenever the band gets back  
together again.  
To connect unbalanced lines to these inputs, use a  
1⁄4" mono (TS) phone plug or instrument cable.  
9. LINE/INSTRUMENT INPUTS (CH. 5 and 6)  
The tape output is the stereo main mix, not affected  
by the main level [34], or the main graphic EQ [32].  
The line-level inputs for channels 5 and 6 can also  
accept instrument-level signals if the hi-z switches  
[30] are pressed in. This allows you to connect guitars  
directly to channels 5 and 6, without the need for a DI  
box. The input impedance is optimized for direct con-  
nection, and high-frequency fidelity is assured.  
14. BREAK SWITCH and LED  
This important "take-a-break" switch quickly mutes  
all the microphones and the mono channel line-level  
inputs when the band is between sets. This will prevent  
protestors or rogue karaoke singers from storming the  
stage at the interval. The monitor 1 and FX/monitor 2  
outputs, and the drive signal to the internal effects are  
also muted. The LED will come on, as a reminder that  
the break switch is engaged. Check this LED first, if you  
are having trouble with no sound in your system.  
10. STEREO LINE INPUTS (CH. 7 and 8)  
Channel 7 and 8 have stereo line inputs. If you  
just have a mono source, plug it into the left input of  
channel 7 or 8 (labeled left/mono), and the signal will  
appear (as if by magic) equally on the left and right of  
the main mix.  
You can still play the stereo channel line inputs  
[10] and RCA inputs [11] in the main stereo mix. For  
example, you could play a soothing CD to restore order  
before the police arrive.  
11. RCA INPUTS (CH. 7 and 8)  
Channel 7 and 8 also have RCA line inputs, suitable  
for connecting the line-level, unbalanced output from  
CD players, tape decks, iPod docks etc. They are not  
suitable for direct connection of phono-level outputs  
from turntables, as a phono preamp is required.  
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15  
16  
17  
18  
19  
20  
If they want "more me, and less Keith," you can turn  
up their channel's FX/mon 2 control, and turn down  
Keith's. (If you were using monitor 1 to feed the stage  
monitor, then you would adjust the mon 1 control [21]  
on each channel.)  
15. FX/MON 2 SEND OUTPUT  
This 1/4" TRS line-level output can be used to feed an  
external effects processor (FX) or a second set of stage  
monitors (mon 2). The output from here is a copy of  
what goes into the internal FX processor, being the care-  
ful mix of all channels whose FX/mon 2 control [22] is  
turned more than minimum.  
The processed output of the internal FX does  
not come out of here, but is added internally  
to the main mix or monitor 1 mix.  
To channel 5 or 6  
instrument inputs  
The overall output level can be adjusted with the  
FX/mon 2 send control [45], and it can be either post  
or pre channel level, depending on the setting of the FX  
send/mon 2 send switch [47] as follows:  
From mon 1 or mon 2  
line-level output  
SRM450v2  
MONITOR 2 or FX?  
Powered Stage Monitor  
To run one set of stage monitors, use the monitor 1  
system because it has its own graphic EQ [37], master  
level [39], and meter [41]. To run another set of moni-  
tors, set the FX send/mon 2 send switch to mon 2.  
To feed an external effects processor, such as a nice  
sound effect, or delay, the feed should be "post-fader."  
In this way, any changes to the channel level will also  
affect the level going to the external processor. The  
processed output from the effects processor is usu-  
ally returned to a spare channel, and you can carefully  
mix the original unprocessed channel (dry) and the  
processed channel (wet). Altering the original channel  
level increases both the wet and dry signals and keeps  
them at the same delicate ratio. (For example, the re-  
verb remains at the same level relative to the original).  
Stage monitors allow the talented musicians in your  
band to hear themselves clearly on stage, and this can  
often be a good thing. The monitor output can be care-  
fully adjusted in level using the channel FX/mon 2 con-  
trols [22], and not change if the channel levels or main  
mix levels are adjusted. This is known as "pre-fader."  
PRE  
POST  
Switch in  
Mon 2 Send (Pre)  
Switch out  
FX Send (Post)  
SRM450v2 Powered Stage Monitors  
(plays mon 2 output)  
Stereo effects processor  
Using the output to feed a pair of powered stage monitors.  
Using the output to feed a stereo effects processor. In this  
example, the stereo outputs go to ch. 7 stereo inputs.  
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(The main mix still plays the full frequency range,  
this sub output is just a mono copy of the range below  
100 Hz for external subwoofers.)  
EFFECTS: SERIAL OR PARALLEL?  
“Serial” means that the entire channel signal  
leaves the mixer (insert [12] send), is routed  
through the effects device, and returns to the  
mixer (insert return). Examples: compressor,  
limiter, graphic equalizer. Line-level sources can also be  
patched through a serial effects device before connec-  
tion to the mixer.  
19. MAIN OUTPUTS  
These 1/4" balanced TRS outputs supply the stereo  
main mix at line-level. You can connect these outputs to  
the line-level inputs of external power amplifiers run-  
ning passive loudspeakers, or to the inputs of powered  
loudspeakers (or not use them at all, if you don't have  
the external gear).  
“Parallel” means that a portion of the signal in the  
mixer is tapped off to the device, processed, and re-  
turned to a spare channel of the mixer to be mixed with  
the original “dry” signal. This way, multiple channels  
can all make use of the same effects device. Examples:  
reverb, digital delay. The internal effects are parallel,  
as all channels can make use of it, and the processed  
output is added to the main mix.  
These outputs play the same signal as the rear-panel  
speaker-level outputs [3] (when set to stereo mains),  
only at line-level.  
These outputs can also be used to feed an external  
stereo effects processor or other device, and have the  
processed output of that device feed the power amp  
inputs [20]. This places the device in-line and it will  
affect the main mix.  
16. FX FOOTSWITCH  
This 1/4" TRS connector is where you can connect a  
footswitch. This will allow you to easily mute or un-mute  
the internal effects, while stamping your foot and look-  
ing like you were mad about something. Any one-button  
on/off footswitch will work.  
Another super idea is to use an external  
active crossover. This splits the line-level main  
output into two or three frequency bands.  
The high-frequency line-level output of the  
If the internal effects have already been muted with  
the front panel mute switch [50] then the footswitch  
has no effect, but you can still stamp your foot and pout  
if that helps any. Cultivate that bad-boy image.  
crossover could be connected to the power amp inputs  
[20], so the internal amplifiers will power your top-fre-  
quency-range loudspeakers. The active crossover's low-  
frequency outputs could connect directly to powered  
subwoofers. In this way, you can take some of the strain  
off your powered mixer's internal amplifiers, and have  
the powered subwoofers crank out the bass.  
17. MON 1 SEND  
This 1/4" TRS connector allows you to send the moni-  
tor 1 line-level output to stage monitors. These could  
either be passive stage monitors powered by an external  
amplifier, or powered stage monitors with their own  
amplifier built in.  
20. POWER AMP INPUTS  
These 1/4" TS unbalanced inputs allow you to connect  
line-level signals directly to the input of the internal  
power amplifiers.  
The monitor signal is the sum (mix) of all the chan-  
nels whose mon 1 control [21] is set to more than  
minimum. The overall output level can be adjusted with  
the mon 1 master level [39] and its EQ tweaked with  
the monitor graphic EQ [37].  
The amplifiers will only play what you put in, and only  
the precision passive EQ switch [43] and limiters [44]  
will affect the output. The power amp mode switch [4]  
has no effect, and the meters will not show the levels.  
Plugging anything in here, does not affect any of the  
line-level outputs.  
The monitor 1 output is not affected by the main  
master level [34], or the channel level controls [27].  
This allows you to set up the monitor mix and level just  
right, and not have it change every time a channel level  
or the main mix level is adjusted. This is the main aim  
of a monitor mix: independence from the main mix.  
You could patch a device between the main outputs  
[19] and these inputs, in which case, the controls and  
meters will work except for the power amp mode switch.  
These inputs are also useful when you need more  
channels then the PPM608 provides. You could connect  
the line-level outputs from another mixer, and use it to  
control the mix and levels playing in loudspeakers at-  
tached to the powered mixer.  
18. MAIN SUB  
This 1/4" TRS connector supplies a copy of the mono  
main mix below 100 Hz. This is usually patched to the  
inputs of an external power amplifier running a passive  
subwoofer, or directly to a powered subwoofer. Whatever  
adjustments you make to the main mix, will affect this  
output below 100 Hz.  
The external mixer or device will control the  
volume, so turn it down at first, or the pow-  
ered mixer may come on at full volume.  
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21  
22  
23  
24  
25  
26  
27  
28  
29  
30  
30  
“U” like Unity gain  
Channel Controls  
Mackie mixers have a “U” symbol on almost every level  
control. It stands for “unity gain,” meaning no change in  
signal level. The labels on the controls are measured in  
decibels (dB), so you’ll know what you’re doing level-  
wise if you choose to change a control setting.  
The eight vertical channel strips look very similar,  
with only a few differences between them. Each chan-  
nel works independently, and just controls the signals  
plugged into the inputs directly below it.  
Mono Channels 1 to 6  
Signal Flow  
Channels 1 to 6 are mono channels, and their  
controls affect either the mono mic input or the  
mono line-level input.  
The block diagram on page 29 shows the signal flow,  
but here is a short description of the flow through the  
channel strip section:  
Channels 1 to 4 have a built-in signal in-line-  
compressor circuit with adjustable threshold.  
The mic inputs and mono line inputs each feed a  
preamplifier whose gain is set by the gain switch [28].  
The stereo channel line inputs and RCA inputs do not go  
through a gain-selectable preamp.  
Channels 5 and 6 have a hi-z switch [30] so you  
can connect guitars directly.  
The 3-band EQ has shelving high, shelving low,  
and peaking mid EQ.  
The signal then passes through the compressor circuit  
(ch. 1 to 4 only), then through the channel EQ, and the  
channel level [27].  
The mono signals are split equally to the left  
and right of the main mix.  
The mon 1 control [21] taps the signal off just before  
(pre) the channel level.  
Stereo Channels 7 to 8  
Channels 7 and 8 are stereo channels, and their  
The FX/mon 2 control [22] taps the signal off before  
(pre) and after (post) the channel level. The FX send/  
mon 2 send switch [47] lets you choose which is used.  
Post is used for FX, and pre is for monitor 2.  
controls affect either the mono mic input, ste-  
reo line-level input, or stereo RCA inputs. (The  
mono mic input of each stereo channel is split  
equally to left and right).  
The stereo channel EQ is a 3-band design just  
like the mono channel EQ.  
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21. MON 1  
CHANNEL EQUALIZATION (EQ)  
This control allows you set up a nice monitor mix,  
independent of the main mix or the monitor 2 mix.  
The PPM608 channels have 3-band equalization: low  
shelving, mid peaking, and high shelving. It’s probably  
Adjust these controls on each channel until your band is all the EQ you’ll ever need! Shelving means that the  
happy with the stage monitor mix. The controls are off circuitry boosts or cuts all frequencies past the specified  
when turned fully down, deliver unity gain at the center frequency. For example, the low EQ boosts bass frequen-  
detent, and can provide up to 15 dB of gain turned fully  
up. Adjustments to the channel level or main mix level  
will not affect the monitor output, but channel EQ and  
gain [28] will.  
cies below 80 Hz and continues down to the lowest note  
you never heard. Peaking means that certain frequen-  
cies form a “hill” around the center frequency.  
With too much EQ, you can really upset  
things. We’ve designed a lot of boost and cut  
into each equalizer circuit because we know  
that everyone will occasionally need that. But  
if you max the EQ on every channel, you’ll get mix mush.  
One of the powered mixer's internal amplifiers can  
power passive stage monitors if you set the power amp  
mode switch [4] on the rear panel. Mon 1 send [17] is a  
line-level output if you want to connect external power  
amplifiers and passive stage monitors, or powered stage Equalize subtly and use the left sides of the knobs  
monitors.  
(cut), as well as the right (boost). If you find yourself  
repeatedly using full boost or cut, consider altering the  
sound source, such as placing a mic differently, trying a  
different kind of mic, changing the strings, or gargling.  
22. FX/MON 2  
These controls allow you to send a sample of each  
channel's signal to the internal FX processor, and to the  
FX/mon 2 line-level output [15] to run external proces-  
sors, or a second set of stage monitors.  
23. HIGH EQ  
+15  
The high EQ provides up to  
+10  
15 dB of boost or cut above  
12 kHz, and is flat at the center  
detent. Use it to add sizzle to  
cymbals, an overall sense of  
+5  
Carefully adjust each control to set up the FX or moni-  
tor 2 mix. The controls are off when turned fully down,  
deliver unity gain at the center detent, and can provide  
up to 15 dB of gain turned fully up.  
0
–5  
–10  
–15  
20Hz  
100Hz  
1kHz  
10kHz 20kHz  
transparency, or an edge to  
keyboards, vocals, guitar and bacon frying. Turn it down  
a little to reduce sibilance or to mask tape hiss.  
The dual nature of this knob (FX or mon 2) is deter-  
mined by the setting of the FX send /mon 2 send switch  
[47]. More FX/mon 2 details are shown on page 14 and  
page 23 (item 47).  
24. MID EQ  
The mid EQ provides up to  
+15  
+10  
15 dB of boost or cut at 2.5  
+5  
kHz, and is flat at the center  
detent. Midrange EQ is often  
0
–5  
–10  
thought of as the most dynamic,  
because the frequencies that  
define any particular sound are  
–15  
20Hz  
100Hz  
1kHz  
10kHz 20kHz  
almost always found in this range. You can create many  
interesting and useful EQ changes by turning this knob  
down, as well as up.  
25. LOW EQ  
+15  
The low EQ provides up to 15  
+10  
dB of boost or cut below 80 Hz.  
The circuit is flat (no boost or  
cut) at the center detent posi-  
+5  
0
–5  
–10  
tion. This frequency represents  
the punch in bass drums, bass  
–15  
20Hz  
100Hz  
1kHz  
10kHz 20kHz  
guitar, fat synth patches, and some really serious male  
singers who eat raw beef for breakfast.  
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21  
22  
23  
24  
25  
26  
27  
28  
29  
30  
30  
26. OVERLOAD (OL) LED  
28. GAIN SWITCH  
This LED will come on when the channel’s input  
signal is too high. This should be avoided, as distortion  
will occur.  
Press this in (low) if you are connecting a line-level  
input source to channels 1 to 6.  
Press this out (high) if you are connecting a micro-  
If the LED is coming on regularly, check that the gain phone-level signal to channels 1 to 8, or a instrument-  
switch [28] is set correctly for your input device: Set it  
to low if you are using a line-level input, or high if you  
are using a microphone input, or instrument-level input  
(channels 5 and 6 only).  
level signal to channels 5 and 6 only (hi-z switch in).  
Note that the gain switch has no effect on the line-  
level inputs and RCA inputs of channels 7 or 8.  
Switch  
position  
MIC (XLR)  
Inputs  
LINE (TRS)  
Inputs  
27. CHANNEL LEVEL  
This adjusts the level of each channel onto the main  
mix. The “U” mark indicates unity gain, meaning no  
increase or decrease of signal level. All the way up  
provides an additional 20 dB, should you need to boost  
a section of the band. If you find that the overall level  
is too quiet or too loud with the level near unity, you’ll  
want to confirm the gain switch is set correctly.  
IN (LOW)  
Gain = 25 dB  
Gain = 0 dB  
Gain = 20 dB  
OUT (HIGH) Gain = 45 dB  
This is the first control that the input signals meet. It  
allows you to choose the level depending on the type of  
input source you have connected. If it is set incorrectly,  
then the input signals may overload the mixer, caus-  
ing distortion, or it may come in too low, and be lost in  
noise.  
The gain switch allows you to make the initial level  
adjustment, appropriate for the connected device (mic  
or instrument, for example). The channel level controls  
[27] are more for fine-tuning, to balance the channels  
appropriately for the song.  
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29. COMPRESSOR  
+20  
Channels 1 to 4 have an in-line compressor circuit  
with a variable threshold. This is very useful for com-  
pression of vocals, for example.  
+15  
+10  
+5  
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.  
+0  
-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  
-10  
-5  
+0  
+5  
+10  
+15  
+20  
INPUT SIGNAL STRENGTH dBu  
The compression ratio is fixed at around 6:1, with  
a soft knee response. The threshold can be adjusted  
clockwise from off (no compression) to 0 dBu (max).  
The other blue curves represent in-between positions  
of the compressor knob, with higher thresholds before  
compression begins.  
As an example, suppose the threshold is set to maxi-  
mum. An incoming signal reaches the threshold of 0  
dBu. As it increases beyond the threshold, it becomes  
compressed at a ratio of 6:1. This means that even if the  
input further increases by 6 dB, the actual output only  
increases by 1 dB. This compresses the output signal, so  
there is more protection to your system from distortion  
and overload due to poor microphone technique (say  
it ain't so) and general pops, bangs and heavy metal  
screaming. The soft knee means that the compression  
slowly ramps up to 6:1 from the threshold. It does not  
jump abruptly to 6:1, as this would be hard knee com-  
pression, and hard on the ears too.  
Separate compressors often have controls such as  
compression ratio, threshold, soft knee/hard knee, at-  
tack time, and release time. These last two affect how  
quickly the compressor kicks in when the input exceeds  
the threshold, and how quickly it is released after it  
drops below the threshold. In this powered mixer com-  
pressor, these parameters are specially chosen to give  
you the best overall performance.  
Adjust the threshold carefully, so your dynamic range  
is still lovely, without distortion or overload during the  
performance. Run through a few practice songs and  
adjust the compression as required.  
The following graph 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.  
30. HI-Z SWITCH  
Channels 5 and 6 are the only place to plug  
in guitars and basses directly to the powered  
mixer. These switches must be pressed in first.  
If you connect a line-level device, such as a keyboard  
or drum machine, make sure these switches are out.  
(They only affect the 1/4" line inputs of channels 5 or 6,  
not the XLR mic inputs.)  
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.  
To use guitars or other instruments on other chan-  
nels, you will need to use an external DI box first. With-  
out the DI box, (or if these switches are not pressed in)  
guitars will sound dull and muddy.  
At the maximum compression, the threshold is set  
at 0 dBu, and the input to output relationship is repre-  
sented by the lower blue curve. If the input is –5 dBu  
(that is, below this threshold), the output is –5. As the  
input reaches 0 dBu, the output is a bit less than 0 dBu.  
If the input is +5 dBu, the output is about +2 dBu. If  
the input reaches +10 dBu, then the output is +3 dBu.  
Notice the shapely curve of the soft knee between the  
diagonal slope of x = y and the compressor slope of 6:1  
(the compression ratio).  
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Master Controls  
As with the channel EQ, just take it easy.  
There is a large amount of adjustment, and  
if you are not careful, you can upset the  
delicate balance of nature. Although it may  
not seem cool to actually turn down controls,  
with EQ it is often your best option. Turn  
down the offending frequency range, rather  
than boost the wanted range. You can reduce  
the level of some frequency bands where  
feedback occurs.  
31  
36  
33  
34  
32  
37  
35  
40  
38  
39  
With this constant–Q graphic  
EQ, the bandwidth (and Q) of a  
frequency band doesn't vary with  
41  
the amount of boost or cut, and it  
has minimal effect on adjacent bands for all  
settings of the slider levels. (There's always  
some effect on adjacent bands to avoid too  
much variation or ripple between bands,  
but the constant-Q design keeps this fairly  
constant for all settings.) The position of the  
sliders gives a good indication of the fre-  
quency response across the audio band. Non-  
constant types of EQ (on other mixers) give  
a wider bandwidth for lower levels of boost  
or cut, and narrows as the level goes up or  
down. For example, if you're boosting 500 Hz  
42  
48  
49  
46  
45  
47  
43  
44  
50  
31. POWER LED  
and 2 kHz slightly, the 1 kHz band will also be boosted,  
even though the 1 kHz slider is in the flat position.  
This LED comes on when the powered mixer is  
plugged into the correct-voltage AC mains supply, and  
the rear panel power switch [2] is on.  
33. FX TO MAIN  
This knob lets you adjust the level of the internal ef-  
fects being added to the main mix. It is a stereo control,  
as the output from the internal effects processor is  
stereo and is added to the left and right main mix.  
If the LED does not turn on, make sure the AC  
power is live, both ends of the power cord are correctly  
inserted, your electricity bill has been paid, the lights in  
town are on.  
Adjust the FX level being added, compared to the  
other channels playing in the main mix.  
32. MAIN MASTER GRAPHIC EQ  
This 7-band graphic equalizer adjusts the main mix  
output. It affects the line-level outputs [19], as well as  
the main speaker-level outputs if the internal amplifiers  
are playing the main mix.  
At the fully-down position, no effects are added, the  
center U mark is unity gain, and 10 dB of effects gain is  
available at the fully clockwise position.  
Each slider allows you to adjust the level of its  
frequency band, with up to 15 dB of boost or cut, and  
no change in level at the center (0 dB) position. The  
frequency bands are: 125, 250, 500, 1k, 2k, 4k, and 8kHz.  
34. MAIN LEVEL  
This knob controls the level of the main mix, and  
affects the meters [36], main line-level outputs [19],  
main sub out [18], and the main speaker-level outputs  
if the internal power amplifiers are playing the main  
mix. The level adjustment occurs before the EQ [32].  
The EQ section comes after the main level [34], and  
just before the main meters [36]. Therefore, as you ad-  
just the EQ, you can keep an eye on the meters in case  
you over-do it and take the levels into overload.  
This gives you ultimate control over your audience.  
Adjust it carefully, with your good eye on the meters to  
check against overloading, and your good ear on the  
levels to make sure your audience is happy.  
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The control does not affect the monitor 1 output [17],  
monitor 2 output [15], or the internal power amp if it  
is playing a monitor. (For stage monitor work, it is good  
that the main mix level does not affect the monitor out-  
puts, so they can be set up nicely and stay that way.)  
The sliders will help you reduce frequencies in the  
stage monitors that could cause feedback from nearby  
microphones.  
38. FX TO MON 1  
The main mix signals are off with the level fully down,  
the “U” marking is unity gain, and fully up provides 12  
dB of additional gain. This additional gain will typically  
never be needed, but once again, it’s nice to know it’s  
there. The level control is stereo, as it affects both the  
left and right of the main mix equally. This is the control  
to turn down at the end of the song when you want “The  
Great Fade-Out.”  
This knob lets you control how much of the internal  
effects is added to the mono monitor 1 mix. (The output  
from the internal effects processor is stereo, summed to  
mono and added to the mono monitor 1 mix.)  
Adjust the FX level being added, compared to the  
other channels playing in the monitor 1 mix.  
At the fully-down position, no effects are added, the  
center U mark is unity gain, and there is 10 dB of effects  
gain at the fully clockwise position.  
35. 100 Hz RUMBLE REDUCTION SWITCH  
This switch is used to reduce the level of the frequen-  
cy range below 100 Hz. It operates on the mono channel  
1 to 6 mix, not the stereo channel mix.  
39. MONITOR 1 LEVEL  
This knob controls the level of the monitor 1 mix, and  
affects the monitor 1 meter [41], mon 1 line-level out-  
puts [17], and the monitor 1 speaker-level output if the  
internal amplifier is playing the monitor 1 mix. The level  
adjustment occurs before the monitor 1 EQ [37].  
Use this to reduce the amount of low frequency  
problems such as mic handling, stage rumble, bangs and  
thumps in your main mix.  
This switch is the audio-electronic equiva-  
lent of taking anti-gas medication. It relieves  
low-end rumble, and the whole room sounds  
better.  
This gives you ultimate control over your monitor 1  
stage monitors. Adjust it carefully, with your good eye  
on the monitor 1 meter [41] to guard against overload-  
ing. Check that your band are happy with the levels. The  
control does not affect the main mix level.  
36. MAIN MIX METERS  
The monitor 1 mix signals are off with the level fully  
down, the “U” marking is unity gain, and fully up pro-  
vides 12 dB of additional gain.  
Developed from a harmless ex-NATO hamster  
hypnotizer, these stereo meters show the level of the  
left and right main mix, after it has passed through the  
main level [34] and graphic EQ [32]. The top LEDs are  
marked OL (overload), and you should adjust the levels  
to avoid these coming on too often, if at all.  
40. 100 Hz RUMBLE REDUCTION SWITCH  
This switch is used to reduce the level of the frequen-  
cy range below 100 Hz, playing in the monitor 1 mix. It  
only affects the monitor 1 mix, and does not affect any  
effects being added from the internal FX processor.  
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).  
Use this to reduce the amount of low frequency  
problems such as mic handling, stage rumble, bangs and  
thumps, that might affect the stage monitors.  
37. MONITOR 1 MASTER GRAPHIC EQ  
This 7-band, constant–Q graphic equalizer adjusts  
the monitor 1 mix output. It affects the line-level mon 1  
outputs [17], and the monitor 1 speaker-level output if  
the internal amplifier is playing the monitor 1 mix.  
41. MONITOR 1 METER  
This meter shows you the level of the monitor 1 mix,  
after it has passed through the monitor 1 level [39] and  
graphic EQ [37].  
Each slider allows you to adjust the level of its  
frequency band, with up to 15 dB of boost or cut, and  
no change in level at the center (0 dB) position. The  
frequency bands are: 125, 250, 500, 1k, 2k, 4k, and 8kHz.  
The top LED is marked OL (overload), and you should  
adjust the levels to avoid this coming on too often, if at  
all.  
The EQ section comes after the monitor 1 level [39],  
and just before the monitor 1 meter [41]. Therefore, as  
you adjust the EQ, keep an eye on the meter in case you  
over-do it and take the levels into overload. As with the  
channel EQ, just take it easy.  
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fiers, so only loudspeakers connected to the  
rear panel speaker-level outputs [3] will be  
affected.  
44. POWER AMP LIMITER LEDs  
These independent LEDs turn on when  
power amplifier channel A or B is being over-  
loaded internally and its internal automatic  
limiter (which is always in the signal path) is  
actively working. The LED will pulse in time  
with how much the limiter is being used in  
the signal path.  
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.  
42  
43  
44  
48  
49  
46  
45  
47  
50  
Stereo Effects Processor  
42. PHANTOM SWITCH  
The Mackie Running-Man 32-bit internal effects pro-  
cessor is a mono-in, stereo-out effects processor, with 24  
presets. It is fed by adjusting the FX/mon 2 control [22]  
on each channel.  
Press in this switch to add phantom power to all the  
XLR microphone inputs of the mixer. This lets the mixer  
send low-current DC voltage to the mic’s electronics  
through the same wires that carry audio. The LED will  
turn on as a reminder that phantom power is engaged.  
The output from the processor can be added to the  
main mix or monitor 1 mix by adjusting the FX to main  
[33] and FX to mon 1 [38] controls.  
Most modern professional condenser mics are  
equipped for phantom power. Semi-pro condenser mics  
often have batteries to accomplish the same thing.  
“Phantom” owes its name to an ability to be “unseen”  
by dynamic mics (Shure SM57/SM58, for instance),  
which don’t need external power and aren’t affected by  
it anyway.  
This processor is also doing the calculations that hold  
together the very fabric of the space-time continuum  
(or at least the lunch-time portion of it).  
45. FX/MON 2 SEND MASTER  
Never plug single-ended (unbalanced) micro-  
phones, or ribbon mics into the mic input  
jacks if phantom power is on.  
Use this knob to control the level of the signals going  
into the internal effects processor. Adjust it carefully,  
with your inner magical eye on the adjacent SIG/OL  
LED [46] to prevent overloading the effects processor.  
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.  
It also affects the level going out of the FX/mon 2 line  
level output [15], and the internal power amplifier if it  
is playing monitor 2.  
43. PRECISION PASSIVE EQ  
46. SIG/OL LED  
If you are using Mackie passive speakers such as  
the C200, C300z, S408, S215, and S225, then press this  
switch for enhanced clarity and low-frequency response.  
If you are not using Mackie speakers, then press it  
anyway and listen for an improvement. The passive EQ  
circuit is added just before the internal power ampli-  
This dual-LED illuminates in green when the signal  
level going into the effects processor is in a good operat-  
ing range (SIG). It illuminates in red when the effects  
processor is being overloaded with too strong a signal  
(OL). Turn down the level [45] if it is.  
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The signals going into the processor are affected by  
the channel FX/mon 2 controls [22], and the channel  
level controls [27] (if the FX send/mon 2 send switch  
[47] is out (post)). Check the LED if you alter these  
controls.  
49. PRESET SELECTOR, TAP DELAY and LED  
Rotate this endless control to select one of the 24  
preset effects. When you stop the rotation, that preset  
will be loaded and become operational. The current pre-  
set number is shown in the display [48]. 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 30.  
47. FX SEND (POST)/MON 2 SEND (PRE)  
This switch lets you choose which signal path is used  
to feed the internal effects processor (and the FX/mon 2  
output [15]) as follows:  
1
2
3
4
5
6
7
8
9
Plate Reverb  
Vocal Plate  
13 Chorus  
14 Chorus + Reverb  
15 Doubler  
FX SEND (POST)  
Warm Room  
Bright Room  
Warm Lounge  
Small Stage  
Warm Theater  
Bright Stage  
Warm Hall  
16 Tape Slap  
Choose this (out) position when you want to use the  
internal effects processor, or if you want to set up an  
external processor.  
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  
The FX/mon 2 control [22] on each channel samples  
the channel signals after (post) the channel level  
controls [27]. Any changes to the channel level will also  
affect the level feeding the internal effects.  
10 Concert Hall  
11 Cathedral  
You can also set up an external effects processor by:  
1. Muting the internal effects processor.  
12 Gated Reverb  
2. Connecting the FX/mon 2 output to an external  
processor.  
The knob also offers a tap delay function for the pre-  
sets 17 to 24. This works as follows:  
3. Returning the processed signal back to a free  
mono or stereo channel line input.  
1. Use the knob to select a preset from 17 to 24.  
2. Press the knob in at least two times.  
MON 2 SEND (PRE)  
The DSP processor will calculate the time delay  
between the last two pushes, and it will assign  
this time interval to the echoes of the current  
digital delay. The minimum tap delay is 50 ms  
and the maximum is 500 ms. If taps are faster  
than 50 ms, they will be set to 50 ms. If taps  
are between 500 ms and 1 second, they will be  
set to 500 ms. If taps are greater than 1 sec-  
ond apart, they will be ignored. Try again a bit  
faster.  
In this position (in), the FX/mon 2 control on each  
channel samples the channel signals before (pre) the  
channel level controls.  
This is ideal for using the FX/mon 2 output to feed a  
stage monitor 2 setup, or to use the internal power amp  
to power it (power amp mode switch [4] in the mon  
1/mon 2 position).  
You might want to mute the internal effects processor  
with the FX mute switch [54].  
3. The LED will flash in time with the new tap  
delay time.  
For more details, please see page 14, or the  
rather lovely block diagram on page 29.  
50. INTERNAL FX MUTE  
When engaged, the internal effects processor is muted  
at its output, and the adjacent LED will come on. The  
footswitch connection [16] becomes disabled, and you  
will not be able to use the footswitch to mute or unmute  
the effects.  
48. PRESET DISPLAY  
This display shows the number of the currently  
selected effects preset, as shown in the list of presets  
silkscreened to the left of the display. Rotate the preset  
selector knob to choose a preset.  
If this switch is not engaged, then the internal effects  
can be muted or unmuted with the footswitch.  
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.  
Congratulations! You’ve just read about all the fea-  
tures of your powered mixer. Time for a cold one.  
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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  
Noise  
best to confirm the problem. Visit the Support section of  
of useful information such as FAQs and documentation.  
You may find the answer to the problem without having  
to send your mixer away.  
Turn the channel levels down, one by one. If  
the sound disappears, it’s either that channel or  
whatever is plugged into it, so unplug whatever  
that is. If the noise disappears, it’s from your  
whatever.  
Power  
Troubleshooting  
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.  
Bad Channel  
Is the EQ set up nicely?  
Is the gain switch set correctly?  
Is the level up enough?  
Repair  
Is the channel OL led on?  
For warranty service, refer to the warranty informa-  
tion on page 31.  
Is there too much compression on channels  
1-4?  
Non-warranty service for Mackie products is avail-  
able at a factory-authorized service center. To locate  
“Support” and select “Locate a Service Center.” Service  
for Mackie products living outside the United States can  
be obtained through local dealers or distributors.  
Are the hi-z instrument switches set OK for  
guitars connected to channels 5 and 6?  
Try unplugging any insert devices from the  
insert jacks.  
Try the same source signal in another channel,  
set up exactly like the suspect channel.  
If you do not have access to our website, you can call  
our Tech Support department at 1-800-898-3211, Mon-  
day-Friday, normal business hours, PST, to explain the  
problem. Tech Support will tell you where the nearest  
factory-authorized service center is located in your area.  
Is phantom power required for your micro-  
phones?  
Bad Output  
Is the main master level control turned up?  
Are the graphic EQs set to reasonable levels?  
Is the FX level going to the main mix, too high?  
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.  
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.  
Unplug anything from the main line-level  
outputs, or other line-level outputs, such as the  
sub out, FX/mon 2 send, or mon 1 send, just in  
case one of your external pieces has a problem.  
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.  
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Appendix B: Connections  
“XLR” Connectors  
They must be separated into a left cord and a  
right cord, which are plugged into the two mic  
preamps.  
Mackie mixers use 3-pin female “XLR” connectors on  
all microphone inputs, with pin 1 wired to the grounded  
(earthed) shield, pin 2 wired to the “high” (”hot” or  
positive polarity) side of the audio signal and pin 3  
wired to the “low” (“cold” or negative polarity) side of  
the signal. See Figure A. This is all totally above board  
and in full accord with the hallowed standards dictated  
by the AES (Audio Engineering Society).  
You can cook up your own adapter for a stereo  
microphone adapter. “Y” two cables out of a  
female 1⁄4" TRS jack to two male XLR plugs,  
one for the Right signal and one for the Left.  
Unbalanced Send/Return circuits. When wired  
as send/return “Y” connector, a 1⁄4" TRS jack  
or plug is connected tip to signal send (output  
from mixer), ring to signal return (input back  
into mixer), and sleeve to ground (earth).  
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.  
2
SHIELD  
HOT  
14" TS Phone Plugs and Jacks  
1
3
COLD  
“TS” stands for Tip-Sleeve, the two connections avail-  
able on a “mono” 1⁄4" phone jack or plug. See Figure C.  
SHIELD  
1
SLEEVE  
SLEEVE  
TIP  
3
COLD  
2
HOT  
TIP  
SHIELD  
COLD  
HOT  
1
TIP  
SLEEVE  
3
2
Figure A: XLR Connectors  
Figure C: TS Plug  
14" TRS Phone Plugs and Jacks  
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:  
“TRS” stands for Tip-Ring-Sleeve, the three  
connections available on a “stereo” 14" or “balanced”  
phone jack or plug. See Figure B.  
Unbalanced microphones  
RING SLEEVE  
SLEEVE RING TIP  
Electric guitars and electronic instruments  
Unbalanced line-level connections  
Speaker connections  
TIP  
RING  
TIP  
Don’t use guitar cords for speaker cables!  
They’re not designed to handle speaker-level  
signals and could overheat.  
SLEEVE  
Figure B: 14" TRS Plugs  
TRS jacks and plugs are used in several different ap-  
plications:  
RCA Plugs and Jacks  
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).  
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. Connect the signal to the center  
post and the ground (earth) or shield to the surround-  
ing “basket.”  
Stereo Headphones, and rarely, stereo micro-  
phones and stereo line connections.  
When wired for stereo, a 1⁄4" TRS jack or plug  
is connected tip to left, ring to right and sleeve  
to ground (earth). Mackie mixers do not  
directly accept 1-plug-type stereo microphones.  
SLEEVE TIP SLEEVE TIP  
Figure D: RCA Plug  
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Speakons  
MONOPLUG  
ChannelInsertjack  
When using the Speakon outputs to connect your loud-  
speakers, wire the Speakon connectors as shown below:  
Direct out withnosignal interruptiontomaster.  
Insert onlytofirst “click.”  
1–  
1+  
MONOPLUG  
ChannelInsertjack  
COLD  
1–  
Direct out withsignal interruptiontomaster.  
Insert all thewayintothesecond “click.”  
1+  
2+  
HOT  
2–  
Figure E  
STEREO  
PLUG  
ChannelInsertjack  
TRS Send/Receive Insert Jacks  
Foruseasaneffectsloop.  
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.  
(TIP=SENDtoeffect, RING = RETURNfromeffect.)  
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  
18  
16  
14  
12  
10  
10 ft  
25  
25 ft  
50  
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.  
25  
75  
50  
125  
200  
100  
Using the Send-only on an Insert Jack  
Min Metric WG 4 ohm 8 ohm  
12  
14  
16  
20  
25  
3 m  
8
8 m  
15  
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).  
8
25  
15  
30  
40  
60  
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  
Distortion (THD + N)  
(1 kHz, 30 kHz bandwidth)  
Mic mono:  
ꢄ-Band Graphic EQ  
Main and Monitor 1:  
15 dB @  
125, 250, 500, 1k, 2k,  
4k, and 8 kHz  
<0.007% high gain  
<0.005% low gain  
Line mono:  
Line stereo  
<0.005% low gain  
<0.01% at main out  
Connections  
Mic input:  
XLR balanced  
Line mono input:  
Line stereo input:  
Preamp main outputs:  
Monitor outputs:  
Inserts:  
1/4" TRS balanced  
1/4" TRS unbalanced  
1/4" TRS balanced  
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: –86 dBu  
Main mix level 0 dB, all channel levels 0 dB:  
–77 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–80 kHz  
< 10 Hz–40 kHz  
< 10 Hz–75 kHz  
Peak output power @ 4 ohms:  
2 x 500 W peak  
Average output power @ 4 ohms:  
2 x 250 W rms, 1% THD  
2 x 300 W rms, 3% THD  
Equivalent Input Noise (EIN)  
Mic input (20 Hz – 20 kHz)  
150 Ω termination:  
Average output power @ 8 ohms:  
Recommended load impedance:  
2 x 150 W rms, 1% THD  
2 x 180 W rms, 3% THD  
–128 dBu  
4 – 8 Ω per side  
Gain  
Mic mono input:  
Running Man Effects  
Type:  
45 dB high gain  
25 dB low gain  
32-bit internal processor,  
mono in, stereo out  
Line mono inputs:  
Line stereo inputs:  
20 dB high gain  
0 dB low gain  
Effects presets:  
24 Mackie-designed  
presets  
0 dB  
Power Consumption  
120 VAC, 50/60 Hz,  
240 VAC, 50/60 Hz,  
Maximum Levels  
Mic mono input:  
160 watts  
160 watts  
–25 dBu high gain  
–5 dBu low gain  
Line mono inputs:  
+21 dBu low gain  
+1 dBu high gain  
Dimensions (H x W x D)  
12.3" x 19.3" x 11.4"  
(314 mm x 490 x 290)  
Line stereo inputs:  
+21 dBu  
+21 dBu  
Preamp main and monitor outputs:  
Weight  
Impedances  
24.5 lb (11.1 kg)  
Mic mono input, balanced:  
Line mono input, balanced:  
Line mono input, Ch 5, 6 Hi-Z:  
Main and monitor preamp outputs:  
3.6 kΩ balanced  
20 kΩ balanced  
500 kΩ 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.  
240 Ω balanced  
120 Ω unbalanced  
“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.  
Channel EQ  
High Shelving  
Mid Peaking  
Low Shelving  
15 dB @ 12 kHz  
15 dB @ 2.5 kHz  
15 dB @ 80 Hz  
Please check our website in case there are any corrections and  
©2009 LOUD Technologies Inc. All Rights Reserved.  
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Dimensions  
WEIGHT  
24.5 lb  
11.1 kg  
19.3 in/ 490 mm  
11.4 in/ 290 mm  
Correct disposal of this product. This symbol indicates that this product should not be disposed of with your household waste, according to the WEEE Directive (2002/96/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  
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) t o s f x E ( p  
) r e p ( 2 n M o  
1 n M o  
M i c s  
)
( p x o s E t f  
n 2 M  
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Appendix D: Table of Effects Presets  
No. Title  
Description  
Example of its use  
01 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.  
02 Vocal Plate  
03 Warm Room  
04 Bright Room  
05 Warm Lounge  
06 Small Stage  
07 Warm Theater  
08 Bright Stage  
09 Warm Hall  
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.  
This preset features a medium sized room sound, with  
Useful for vocals on songs that require a larger,  
just enough enhancement of the lower mids to produce a more “wet” sound, or for giving dimension to  
warm tone.  
bright horns without adding harshness.  
This preset simulates the sound of a small concert stage, Useful for vocals or guitars in fast paced, 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.  
10 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.  
11 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.  
12 Gated Reverb  
13 Chorus  
This preset incorporates an age-old trick whereby an  
Most often used to fatten snare drums and toms  
extremely dense reverb is processed through a fast gate without clutter.  
for an interesting, albeit artificial, sound.  
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.  
14 Chorus + Reverb  
15 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.  
16 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.  
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)  
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 [49] 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.  
23 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.  
24 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 knob [49] more than once.  
ꢁ0  
PPM608  
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Mackie Limited Warranty  
Please keep your sales receipt in a safe place.  
This Limited Product Warranty (“Product Warranty”) is provided by LOUD Technologies Inc. (“LOUD”)  
and is applicable to products purchased in the United States or Canada through a LOUD-authorized  
reseller or dealer. The Product Warranty will not extend to anyone other than the original purchaser of  
the product (hereinafter, “Customer,” “you” or “your”).  
For products purchased outside the U.S. or Canada, please visit www.mackie.com/warranty to find  
contact information for your local distributor, and information on any warranty coverage provided by the  
distributor in your local market.  
LOUD warrants to Customer that the product will be free from defects in materials and workmanship  
under normal use during the Warranty Period. If the product fails to conform to the warranty then LOUD  
or its authorized service representative will at its option, either repair or replace any such nonconforming  
product, provided that Customer gives notice of the noncompliance within the Warranty Period to the  
Company at: www.mackie.com/support or by calling LOUD technical support at 1.800.898.3211 (toll-  
free in the U.S. and Canada) during normal business hours Pacific Time, excluding weekends or LOUD  
holidays. Please retain the original dated sales receipt as evidence of the date of purchase. You will need it  
to obtain any warranty service.  
For full terms and conditions, as well as the specific duration of the Warranty for this product, please visit  
www.mackie.com/warranty.  
The Product Warranty, together with your invoice or receipt, and the terms and conditions located  
at www.mackie.com/warranty constitutes the entire agreement, and supersedes any and all prior  
agreements between LOUD and Customer related to the subject matter hereof. No amendment,  
modification or waiver of any of the provisions of this Product Warranty will be valid unless set forth in a  
written instrument signed by the party to be bound thereby.  
ꢁ1  
Owner’s Manual  
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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  
Download from Www.Somanuals.com. All Manuals Search And Download.  

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