User manual MACKIE PPM1012

[. . . ] PPM1012 POWER PIN 1+ 1 2 X 800W PROFESSIONAL POWERED MIXER SPEAKER OUT 12-Channel, 2 x 800 W Professional Powered Mixer AVIS: RISQUE DE CHOC ELECTRIQUE -- NE PAS OUVRIR A SPEAKER OUT B WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. REFER SERVICING TO QUALIFIED PERSONNEL. SERIAL NUMBER PIN 1+ 1 HOT SURFACE, AVOID CONTACT OUTPUT POWER: @ 4 OHMS, 800 WATTS PEAK PER CH MINIMUM LOAD: 4 OHMS PER CHANNEL CAUTION REVISION OWNER'S MANUAL L 1 1 L L L 12V 0. 5A LAMP MIC 1 MIC 2 MIC 3 MIC 4 MIC 5 MIC 6 MIC 7 MIC 8 MON SEND 2 FX SEND 2 IN R TAPE OUT MAIN INSERT R R FOOTSWITCH FX TIP: FX1 RING: FX2 (BAL/UNBAL) LINE (BAL/UNBAL) LINE (BAL/UNBAL) LINE (BAL/UNBAL) LINE (BAL/UNBAL) LINE (BAL/UNBAL) LINE (BAL/UNBAL) HI-Z LINE (BAL/UNBAL) HI-Z LINE R (MONO) L (MONO) L (MONO) L (MONO) L PHONES INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INPUT 9/ 10 R INPUT 11 / 12 R FX RTN 1 R FX RTN 2 R M MAIN OUT M O O LEVEL MAX 1 IC GAIN M 2 IC GAIN M 3 IC GAIN M 4 IC GAIN M 5 IC GAIN M 6 IC GAIN M 7 IC GAIN M 8 IC GAIN M 9/10 U -20 +20 11/12 U 2 X 800W PROFESSIONAL POWERED MIXER POWER PHANTOM U U U U U U U U 0 -20dB GAIN +50 +30dB 0 -20dB GAIN +50 +30dB 0 -20dB GAIN +50 +30dB 0 -20dB GAIN +50 +30dB 0 -20dB GAIN +50 +30dB 0 -20dB GAIN +50 +30dB 0 -20dB GAIN +50 +30dB 0 -20dB GAIN +50 +30dB -20 +20 15 10 5 MAIN EQUALIZER EQ ASSIGN MAIN MON 2 15 10 5 0 5 10 15 POWER AMP LIMITER A B GAIN 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 COMP COMP COMP COMP COMP HI-Z HI-Z MAIN METERS 0dB = 0dBu OL 15 10 6 3 0 2 4 7 10 20 30 0 5 10 OFF MAX OFF MAX OFF MAX OFF MAX OFF MAX OFF MAX U EQ HI 12kHz U EQ HI 12kHz U EQ HI 12kHz U EQ HI 12kHz U EQ HI 12kHz U EQ HI 12kHz U EQ HI 12kHz U EQ HI 12kHz U EQ HI 12kHz U EQ HI 12kHz 15 63 125 250 500 1K 2K 4K 8K 16K -15 +15 U MID -15 +15 600 150 100 U 8k LOW 80Hz -15 +15 1. 5k 150 -15 +15 U MID -15 +15 600 1. 5k U 8k LOW 80Hz -15 +15 150 -15 +15 U MID -15 +15 600 1. 5k U 8k LOW 80Hz -15 +15 150 -15 +15 U MID -15 +15 600 1. 5k U 8k LOW 80Hz -15 +15 150 -15 +15 U MID -15 +15 600 1. 5k U 8k LOW 80Hz -15 +15 150 -15 +15 U MID -15 +15 600 1. 5k U 8k LOW 80Hz -15 +15 150 -15 +15 U MID -15 +15 600 1. 5k U 8k LOW 80Hz -15 +15 150 -15 +15 U MID -15 +15 600 1. 5k U 8k LOW 80Hz -15 +15 -15 +15 U HI MID 2. 5kHz -15 +15 U HI MID 2. 5kHz MON 1 EQUALIZER 15 10 15 10 5 0 5 10 15 63 125 250 500 1K 2K 4K 8K 16K LEVEL SET -15 +15 U -15 +15 U L R RUDE SOLO FREQ FREQ FREQ FREQ FREQ FREQ FREQ FREQ -15 +15 U LOW MID 400Hz 100 100 100 100 100 100 100 -15 +15 U LOW MID 400Hz 5 0 5 LOW 80Hz -15 +15 -15 +15 LOW 80Hz 10 15 U AUX SEND MON U AUX SEND MON U AUX SEND MON U AUX SEND MON U AUX SEND MON U AUX SEND MON U AUX SEND MON U AUX SEND MON U AUX SEND MON U AUX SEND MON POWER AMP 01 02 03 04 05 06 07 08 09 10 11 12 PLATE REVERB VOCAL PLATE WARM ROOM BRIGHT ROOM WARM LOUNGE SMALL STAGE WARM THEATER BRIGHT STAGE WARM HALL CONCERT HALL CATHEDRAL GATED REVERB 13 14 15 16 17 18 19 20 21 22 23 24 CHORUS CHORUS + REVERB DOUBLER TAPE SLAP DLY 1 BRIGHT (350ms) DLY 1 WARM (300ms) DLY 2 BRIGHT (250ms) DLY 2 WARM (200ms) DLY 3 BRIGHT (175ms) DLY 3 WARM (150ms) CHORUS + DLY (300ms) REVERB + DLY (200ms) MODE 1 1 1 1 1 1 1 1 1 1 O O +15 U MON O O +15 U MON O O +15 U MON O O +15 U MON O O +15 U MON O O +15 U MON O O +15 U MON O O +15 U MON O O +15 U MON O O +15 U MON FX 1 U SIG/OL FX 2 U MON 1 MAINS MON 2 MON 1 SIG/OL A (L) STEREO MAIN B (R) 2 2 2 2 2 2 2 2 2 2 O O +15 U FX O O +15 U FX O O +15 U FX O O +15 U FX O O +15 U FX O O +15 U FX O O +15 U FX O O +15 U FX O O +15 U FX O O +15 U FX O O +15 SEND MASTER O O +15 SEND MASTER LPF TAP TO EDIT 1 1 1 1 1 1 1 1 1 1 O O +15 U FX O O +15 U FX O O +15 U FX O O +15 U FX O O +15 U FX O O +15 U FX O O +15 U FX O O +15 U FX O O +15 U FX O O +15 U FX BREAK TAP DELAY TAP DELAY MUTES CH 1-12 U 100 120 180 75Hz 200Hz 2 2 2 2 2 2 2 2 2 2 O O +20 TAPE IN O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN INT FX MUTE INT FX MUTE TO MON 1 U FX 1 TO MON 2 U FX 1 MONO OUT L R L R L R L R L R L R L R L R L R L R O O +15 O O +15 O O MAX dB 10 5 U 5 -20 OL +10 0 1 dB 10 5 U 5 -20 OL +10 0 2 dB 10 5 U 5 -20 OL +10 0 3 dB 10 5 U 5 -20 OL +10 0 4 dB 10 5 U 5 -20 OL +10 0 5 dB 10 5 U 5 -20 OL +10 0 6 dB 10 5 U 5 -20 OL +10 0 7 dB 10 5 U 5 -20 OL +10 0 8 dB 10 5 U 5 9/10 OL +10 0 dB 10 5 U 5 11/12 OL +10 0 dB 10 5 U 5 FX RTN 1 dB 10 5 U 5 10 20 30 40 50 60 O O FX RTN 2 dB 10 5 U 5 10 20 30 40 50 60 O O MON 1 dB 10 5 U 5 10 20 30 40 50 60 O O MON 2 dB 10 5 U 5 10 20 30 40 50 60 O O MAIN -20 -20 10 20 30 40 50 60 O O 10 20 30 40 50 60 O O 10 20 30 40 50 60 O O 10 20 30 40 50 60 O O 10 20 30 40 50 60 O O 10 20 30 40 50 60 O O 10 20 30 40 50 60 O O 10 20 30 40 50 60 O O 10 20 30 40 50 60 O O 10 20 30 40 50 60 O O 10 20 30 40 50 60 O O SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO PPM1012 Important Safety Instructions 1. Donotblockanyventilationopenings. Installinaccordancewiththe manufacturer'sinstructions. Donotinstallnearanyheatsourcessuchasradiators, heatregisters, stoves, orotherapparatus(includingamplifiers)thatproduceheat. [. . . ] 1 to 8) This knob sets the center frequency of the mid EQ level control [28]. Once this is set, the mid EQ level can be adjusted with the mid EQ level control. +15 +10 +5 0 ­5 ­10 ­15 20Hz 100Hz 1kHz 10kHz 20kHz Most of the root and lower harmonics that define a sound are located in the 100 Hz­8 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 frequencies to disappear. 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 [27­32] will affect the feed going to the internal effects processors. The FX1 and FX2 send [11] outputs are line-level, and are used if you want to connect external effects processors. 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. 30. 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. 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. Owner's Manual 19 PPM1012 37. PAN For the mono channels (1 to 8) this control allows you to adjust how much of the channel signal goes to the left main mix, and how much goes to the right main mix. In the center position, the mono channel is split equally to the left and right. 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 output into one mono channel, and the right into another. Pan the first one fully left, and the second channel fully right, then the source will appear in the main mix in full stereo. 41. SOLO Whenever a solo switch is engaged, you will only hear the soloed channel(s) in the headphones. This gives you the opportunity to audition the channels before they are added to the main mix. 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]. Solo signals reaching the headphones are not affected by the channel faders or main fader, therefore turn down the phones level [19] first, as soloed channels may be loud. [. . . ] This effect simulates the sound of a vocal or instrument being recorded twice (double tracked) on a multi-track recorder. This lets you both thicken your sound with the chorus effect while adding warmth and spaciousness thanks to the smooth reverb. Provides a vibe that is similar to chorus without the subtle swirl. 14 Chorus + Reverb 15 Doubler 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. These 6 delay presets provide one (delay 1), three (delay 2), or six (delay 3) repeats of the original signal. [. . . ]