Instrukcja obsługi Mackie PPM1012

Mackie odbiornik PPM1012

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PPM1012
O W N E R ’ S M A N U A L
12-Channel, 2 x 800 W Professional Powered Mixer
80Hz
LOW
MIC 1MIC 2MIC 3MIC 4MIC 5MIC 6MIC 7MIC 8
INPUT
(BAL/UNBAL) (BAL/UNBAL) (BAL/UNBAL) (BAL/UNBAL) (BAL/UNBAL) (BAL/UNBAL) (BAL/UNBAL) (BAL/UNBAL)
INS ERT INS ERT INS ERT INS ERT INS ERT INS ERT INS ERT INS ERT
GAIN
U
-20
LAMP
12V 0.5A
L
R
FX SEND TAPE
OUTIN
L
MON SEND
FX RT N
(M ONO)
MID
FREQ
RL
U
GAIN
M
I
C
G
A
I
N
0 +50
- 20dB +30dB
600
1.5k150
8k100
OFF MAX
U
GAIN
M
I
C
G
A
I
N
0 +50
- 20dB +30dB
U
GAIN
M
I
C
G
A
I
N
0 +50
- 20dB +30dB
U
GAIN
M
I
C
G
A
I
N
0 +50
- 20dB +30dB
U
GAIN
M
I
C
G
A
I
N
0 +50
- 20dB +30dB
U
GAIN
M
I
C
G
A
I
N
0 +50
- 20dB +30dB
U
GAIN
M
I
C
G
A
I
N
0 +50
- 20dB +30dB
U
GAIN
M
I
C
G
A
I
N
0 +50
- 20dB +30dB
1 9/10 11/122 3 4 5 6 7 8
SOLO
OL
+10
0
- 20
SOLO
OL
+10
0
- 20
1 9/10 11/12
2345678
EQ EQ
OFF MAX OFF MAX OFF MAX OFF MAX OFF MAX
12kHz
HI
LOW CUT
100 Hz
U
+15-15
U
+15-15
U
+15-15
U
+15-15
+20
12kHz
HI
80Hz
LOW
HI
MID
2.5kHz
LOW
MID
400Hz
U
+15-15
U
+15-15
U
+15-15
U
+15-15
12kHz
HI
80Hz
LOW
HI
MID
2.5kHz
LOW
MID
400Hz
GAIN
U
-20
PAN
AUX
SEND
EQ
COMP COMP COMP COMP COMP COMP
+20
1
2
L
R
(M ONO)
L
R
(M ONO)
L
R
(M ONO)
1
2
FX RT N
L
R
L
R
M
L
R
M
MON
1
MON
2
FX
1
FX
2
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
-15
U
+15
-15
U
+15
-15
U
+15
80Hz
LOW
MID
FREQ
RL
600
1.5k150
8k100
EQ
12kHz
HI
PAN
AUX
SEND
MON
1
MON
2
FX
1
FX
2
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
-15
U
+15
-15
U
+15
-15
U
+15
80Hz
LOW
MID
FREQ
RL
600
1.5k150
8k100
EQ
12kHz
HI
PAN
AUX
SEND
MON
1
MON
2
FX
1
FX
2
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
-15
U
+15
-15
U
+15
-15
U
+15
80Hz
LOW
MID
FREQ
RL
600
1.5k150
8k100
EQ
12kHz
HI
PAN
AUX
SEND
MON
1
MON
2
FX
1
FX
2
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
-15
U
+15
-15
U
+15
-15
U
+15
80Hz
LOW
MID
FREQ
RL
600
1.5k150
8k100
EQ
12kHz
HI
PAN
AUX
SEND
MON
1
MON
2
FX
1
FX
2
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
-15
U
+15
-15
U
+15
-15
U
+15
80Hz
LOW
MID
FREQ
RL
600
1.5k150
8k100
EQ
12kHz
HI
PAN
AUX
SEND
MON
1
MON
2
FX
1
FX
2
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
-15
U
+15
-15
U
+15
-15
U
+15
80Hz
LOW
MID
FREQ
RL
600
1.5k150
8k100
EQ
12kHz
HI
PAN
AUX
SEND
MON
1
MON
2
FX
1
FX
2
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
-15
U
+15
-15
U
+15
-15
U
+15
80Hz
LOW
MID
FREQ
RL
600
1.5k150
8k100
EQ
12kHz
HI
PAN
AUX
SEND
MON
1
MON
2
FX
1
FX
2
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
RL
PAN
AUX
SEND
MON
1
MON
2
FX
1
FX
2
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
RL
PAN
AUX
SEND
MON
1
FX
MON
2
FX
1
FX
2
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
-15
U
+15
-15
U
+15
-15
U
+15
1FX 2
9 1 210/ INPUT 11 12/ MAIN OUT
MAIN INSERT
T AP
DELAY
INT FX
MUT E
T AP
DELAY
INT FX
MUT E
T AP T O EDIT
01 PLAT E REVERB
02 VO CAL PLAT E
03 WARM ROOM
04 BRIGHT ROOM
13 CHORUS
14 CHORUS + REVERB
15 DOUBLER
16 TAPE SLAP
05 WARM LOUNGE
06 SMALL STAGE
07 WARM T HEAT ER
08 BRIGHT ST AGE
09 WARM HALL
10 CONCERT HALL
11 CAT HEDRAL
12 GAT ED REVERB
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)
15
15
10
10
5
5
0
15
15
10
10
5
5
0
16K8K4K2K1K5002501256 3
HI-Z HI-Z
OL
4
6
3
10
15
7
10
20
30
0
2
U
+20
OO
TAPE IN
BREAK
MUT ES
CH 1- 12
U
+15
O
O
U
+15
O
O
TO MON
1TO MON 2
FX
1FX 1
MONO OUT
LPF
OO
MAX
75Hz
100 180
120
200Hz
0dB = 0dBu
LEVEL
SET
RUDE
SOLO
MAIN
MON 2
EQ ASSIGN
MAIN
METERS
RL
PHANTOM
POWER
MAIN EQUALIZER
MON 1 EQUALIZER
15
15
10
10
5
5
0
15
15
10
10
5
5
0
16K8K4K2K1K5002501256 3
SIG/O LSIG/O L
U
+15
OO
SEND MASTER
U
+15
OO
SEND MASTER
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
dB
10
OO
5
5
U
dB
30
20
10
OO
40
50
5
5
U
60
SOLO
OL
+10
0
- 20
dB
30
20
10
OO
40
50
5
5
U
60
SOLO
OL
+10
0
- 20
dB
30
20
10
OO
40
50
5
5
U
60
SOLO
OL
+10
0
- 20
dB
30
20
10
OO
40
50
5
5
U
60
SOLO
OL
+10
0
- 20
dB
30
20
10
OO
40
50
5
5
U
60
SOLO
OL
+10
0
- 20
dB
30
20
10
OO
40
50
5
5
U
60
SOLO
OL
+10
0
- 20
dB
30
20
10
OO
40
50
5
5
U
60
SO LO
OL
+10
0
- 20
dB
30
20
10
OO
40
50
5
5
U
60
SO LO
OL
+10
0
- 20
dB
30
20
10
OO
40
50
5
5
U
60
SO LO
dB
30
20
10
OO
40
50
5
5
U
60
SO LO
dB
30
20
10
OO
40
50
5
5
U
60
SO LO
dB
30
20
10
OO
40
50
5
5
U
60
SO LO
dB
30
20
10
OO
40
50
5
5
U
60
dB
30
20
10
OO
40
50
5
5
U
60
FX RTN
1FX RTN 2MON 1MON 2 MAIN
FOOT S WIT CH
T IP : FX1
RING: FX2
PHONES
FX
LEVEL
2 X 800W PRO FESSIONAL POWERED MIXER
OO
MAX
30
20
40
50
60
10 10 10 10 10 10 10 10 10 10 10 10 10 10 10
(L) (R)
MON 1
MON 2
MAINS
MON 1
ST EREO
MAIN
A B
LINELINELINELINELINELINELINE
HI- Z
LINE
HI- Z
POWER AMP
LIMIT ER
A B
POWER AMP
MODE
R
PPM101
PPM1012
1. Read these instructions.
2. Keep these instructions.
3. Heed all warnings.
4. Follow all instructions.
5. Do not use this apparatus near water.
6. Clean only with a dry cloth.
7. Do not block any ventilation openings. Install in accordance with the
manufacturer’s instructions.
8. Do not install near any heat sources such as radiators, heat registers,
stoves, or other apparatus (including amplifiers) that produce heat.
9. Do not defeat the safety purpose of the polarized or grounding-type
plug. A polarized plug has two blades with one wider than the other.
A grounding-type plug has two blades and a third grounding prong.
The wide blade or the third prong are provided for your safety. If the
provided plug does not fit into your outlet, consult an electrician for
replacement of the obsolete outlet.
10.
Protect the power cord from being walked on or pinched particularly at
plugs, convenience receptacles, and the point where they exit from the
apparatus.
11.
Only use attachments/accessories specified by the manufacturer.
12.
Use only with a cart, stand, tripod, bracket, or
table specified by the manufacturer, or sold with
the apparatus. When a cart is used, use caution
when moving the cart/apparatus combination to
avoid injury from tip-over.
13.
Unplug this apparatus during lightning storms or
when unused for long periods of time.
14.
Refer all servicing to qualified service personnel. Servicing is required
when the apparatus has been damaged in any way, such as power-
supply cord or plug is damaged, liquid has been spilled or objects have
fallen into the apparatus, the apparatus has been exposed to rain or
moisture, does not operate normally, or has been dropped.
15.
Do not overload wall outlets and extension cords as this can result in a
risk of fire or electric shock.
16.
This apparatus shall not be exposed to dripping or splashing, and no
object filled with liquids, such as vases or beer glasses, shall be placed
on the apparatus.
17.
This apparatus has been designed with Class-I construction and must
be connected to a mains socket outlet with a protective earthing con-
nection (the third grounding prong).
18.
This apparatus has been equipped with an all-pole, rocker-style AC
mains power switch. This switch is located on the rear panel and
should remain readily accessible to the user.
19. NOTE: This equipment has been tested and found to comply with
the limits for a Class B digital device, pursuant to part 15 of the FCC
Rules. These limits are designed to provide reasonable protection
against harmful interference in a residential installation. This equip-
ment generates, uses, and can radiate radio frequency energy and, if
not installed and used in accordance with the instructions, may cause
harmful interference to radio communications. However, there is no
guarantee that interference will not occur in a particular installation. If
this equipment does cause harmful interference to radio or television
reception, which can be determined by turning the equipment off and
on, the user is encouraged to try to correct the interference by one or
more of the following measures:
• Reorient or relocate the receiving antenna.
• Increase the separation between the equipment and the
receiver.
• Connect the equipment into an outlet on a circuit different from
that to which the receiver is connected.
• Consult the dealer or an experienced radio/TV technician for
help.
CAUTION: Changes or modifications to this device not expressly
approved by LOUD Technologies Inc. could void the user's authority to
operate the equipment under FCC rules.
20.
This apparatus does not exceed the Class A/Class B (whichever is
applicable)
limits for radio noise emissions from digital apparatus as
set out in the radio interference regulations of the Canadian Department
of Communications.
ATTENTION — Le présent appareil numérique n’émet pas de bruits
radioélectriques dépassant las limites applicables aux appareils
numériques de class A/de class B (selon le cas) prescrites dans le
réglement sur le brouillage radioélectrique édicté par les ministere des
communications du Canada.
21.
Exposure to extremely high noise levels may cause permanent hearing
loss. Individuals vary considerably in susceptibility to noise-induced
hearing loss, but nearly everyone will lose some hearing if exposed to
sufficiently intense noise for a period of time. The U.S. Government’s
Occupational Safety and Health Administration (OSHA) has specified
the permissible noise level exposures shown in the following chart.
According to OSHA, any exposure in excess of these permissible limits
could result in some hearing loss. To ensure against potentially danger-
ous exposure to high sound pressure levels, it is recommended that all
persons exposed to equipment capable of producing high sound pres-
sure levels use hearing protectors while the equipment is in operation.
Ear plugs or protectors in the ear canals or over the ears must be worn
when operating the equipment in order to prevent permanent hearing
loss if exposure is in excess of the limits set forth here:
Important Safety Instructions
PORTABLE CART
WARNING
CAUTION AVIS
RISK OF ELECTRIC . DO NOT OPENSHOCK
RISQUE DE ELECTRIQUE. NE PAS OUVRIRCHOC
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK DO NOT REMOVE COVER (OR BACK)
NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL
ATTENTION: POUR EVITER LES RISQUES DE CHOC ELECTRIQUE, NE PAS ENLEVER LE COUVERCLE.
AUCUN ENTRETIEN DE PIECES INTERIEURES PAR L'USAGER.
CONFIER L'ENTRETIEN AU PERSONNEL QUALIFIE.
AVIS: POUR EVITER LES RISQUES D'INCENDIE OU D'ELECTROCUTION, N'EXPOSEZ PAS CET ARTICLE
A LA PLUIE OU A L'HUMIDITE
The lightning flash with arrowhead symbol within an equilateral triangle is
intended to alert the user to the presence of uninsulated "dangerous
voltage" within the product's enclosure, that may be of sufficient magnitude
to constitute a risk of electric shock to persons.
Le symbole éclair avec point de flèche à l'intérieur d'un triangle équilatéral
est utilisé pour alerter l'utilisateur de la présence à l'intérieur du coffret de
"voltage dangereux" non isolé d'ampleur suffisante pour constituer un risque
d'éléctrocution.
The exclamation point within an equilateral triangle is intended to alert the
user of the presence of important operating and maintenance (servicing)
instructions in the literature accompanying the appliance.
Le point d'exclamation à l'intérieur d'un triangle équilatéral est employé
pour alerter les utilisateurs de la présence d'instructions importantes pour le
fonctionnement et l'entretien (service) dans le livret d'instruction
accompagnant l'appareil.
WARNING — To reduce the risk of fire or electric shock, do not
expose this apparatus to rain or moisture.
Duration,
per day in
hours
Sound Level
dBA, Slow
Response
Typical Example
8 90 Duo in small club
6 92
4 95 Subway Train
3 97
2 100 Very loud classical music
1.5 102
1 105 Greg and Ben screaming at Troy
about deadlines
0.5 110
0.25 or less 115 Loudest parts at a rock concert
Owner’s Manual
Owner’s Manual
Part No. SW0704 Rev. E 05/09
©2009 LOUD Technologies Inc. All Rights Reserved. PDF pixels home grown and harvested in Woodinville, WA.
Don’t use guitar cords for speaker cables!
They’re not designed to handle speaker-level
signals and could overheat.
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.
1. Turn on the PPM1012 by pressing the top edge
of the power switch.
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.
4. Adjust that channel's gain control until the
left main meter stays around the 0 dB LED
(marked "level set").
5. Disengage the channel's solo switch.
6. Repeat steps 2 to 5 for the remaining channels.
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.
8. Turn up the channel faders to the "U" mark.
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.
Other Notes
• Only connect the powered mixer's speaker-level
outputs to passive loudspeakers.
• For optimum sonic performance, the channel
faders and main mix fader should be set near
the U (unity gain) markings.
• 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.
• Save the shipping box!
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
you’re ready. But please read it — you’ll be glad you did.
Setup
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.
Zero the controls
1. Fully turn down all the faders and controls,
except for the channel EQ, graphic EQ faders,
and pan controls, which should be centered.
2. Make sure all buttons are in the out position.
Connections
1. Make sure the AC power switch is off before
making any connections.
2. Push the linecord securely into the IEC connec-
tor on the rear panel, and plug it into a 3-prong
AC outlet that is properly configured for the
voltage of your powered mixer.
3. Plug a balanced microphone into one of the mic
XLR (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.
4. If your microphone requires phantom power,
press in the 48V phantom power button.
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.
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.
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.
PPM101
PPM1012
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.
At Mackie, we know what it takes to be roadworthy.
After all, our mixers have traveled all over the world
under the worst of conditions and the best of conditions,
and we’ve applied what we’ve learned to the mechanical
design of our powered mixers.
Reliability is paramount to sound reinforcement.
That’s why our engineers have subjected our powered
mixers to the most rigorous and fiendish tests imagin-
able to fine-tune the design and extend its limits beyond
those of ordinary mixers or amplifiers.
Features
• Two internal power amplifiers, each rated at
800 watts peak into 4 ohms
• 3 selectable amplifier modes (stereo main,
mono-main/monitor 1, mon1/mon2)
• 12 channels (8 mono, 2 stereo)
• Mic inputs on 8 channels
• 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
• Low cut switch on mono channels
• Instrument switches on channels 7 and 8 allow
direct connection of guitars without a DI box
• 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
• Main mix stereo line-level outputs
• Main mix mono line-level output with level con -
trol, and switchable low-pass filter with variable
frequency for subwoofer work
• Stereo main insert allows the connection of in-
line devices in the main mix
• +48v Phantom power can be applied to all mics
• Built-in compressors on the first 6 mono inputs
(dedicated in-line compression)
• Two independent internal FX processors, each
with 24 Running Man 32-bit effects with input
gain, tap delay, and mute/unmute
• 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
• Solo switch on each channel, FX 1 and FX 2
return, mon 1 and mon 2
• 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
• Headphones play main mix, or soloed channels
How To Use This Manual
The first pages after the table of contents are the
hookup diagrams. These show typical setups for fun
times with your powered mixer.
Next is a detailed tour of the entire mixer. The de-
scriptions are divided into sections, just as your mixer is
organized into distinct zones:
• Rear Panel
• Connection Section
• Channel Controls
• Master Controls
• Stereo Effects Processors
Throughout these sections you’ll find illustrations
with each feature numbered and described in nearby
paragraphs.
This icon marks information that is critically
important or unique to the mixer. For your own
good, read them and remember them.
This icon will lead you to some explanations of
features and practical tips. Go ahead and skip
these if you need to leave the room in a hurry.
Appendix A: Service information.
Appendix B: Connectors.
Appendix C: Technical information.
Appendix D: Table of Presets
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.
Owner’s Manual
Owner’s Manual
Need help with your new mixer?
• Visit www.mackie.com and click
Support to nd: FAQs, manuals,
addendums, and other documents.
• Email us at: techmail@mackie.com.
• Telephone 1-800-898-11 to speak
with one of our splendid technical
support chaps (Monday through
Friday, normal business hours, PST).
Contents 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. LPF (LOW-PASS-FILTER) .......................... 24
55. MONO OUT............................................ 24
56. FX 1 TO MON 1 AND FX 1 TO MON 2 ..... 25
57. FX RTN 1 AND FX RTN 2 FADER ............. 25
58. MONITOR 1 AND MONITOR 2 FADER ...... 25
59. MAIN FADER .......................................... 25
STEREO EFFECTS PROCESSOR ............................. 26
60. FX1 SEND AND FX2 SEND MASTER ......... 26
61. SIG/OL LED ........................................... 26
62. PRESET DISPLAY .................................... 27
63. PRESET SELECTOR, TAP DELAY AND LED ... 27
64. INTERNAL FX MUTE ................................ 27
APPENDIX A: SERVICE INFORMATION .................... 28
APPENDIX B: CONNECTIONS.................................. 29
APPENDIX C: TECHNICAL INFORMATION ................ 31
APPENDIX D: TABLE OF EFFECTS PRESETS ............... 34
PPM1012 LIMITED WARRANTY ............................. 35
IMPORTANT SAFETY INSTRUCTIONS ........................ 2
READ THIS PAGE! .................................................... 3
INTRODUCTION ...................................................... 4
HOOKUP DIAGRAMS............................................... 6
FEATURES ............................................................. 10
REAR PANEL
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. INSERT (CH. 1 TO 8) ............................... 12
10. MON SEND 1 AND MON SEND 2 ............. 12
11. FX SEND 1 AND FX SEND 2 ..................... 12
12. FX RTN 1 AND FX RTN 2 ........................ 13
13. TAPE INPUTS ......................................... 13
14. TAPE OUTPUTS ...................................... 13
15. MAIN INSERTS ....................................... 13
16. MAIN OUTPUTS .................................... 13
17. MAIN MONO OUTPUT ............................ 13
18. HEADPHONE OUTPUT ............................ 13
19. LEVEL .................................................... 14
20. FX FOOTSWITCH CONNECTOR ................ 14
21. BNC LAMP CONNECTION ....................... 14
22. LUNCH-TIME DECOUPLER ........................ 14
CHANNEL CONTROLS
23. GAIN CONTROL ...................................... 16
24. LOW CUT ............................................... 16
25. COMPRESSOR ........................................ 17
26. HI-Z SWITCH ......................................... 18
27. HIGH EQ ................................................ 19
28. MID EQ LEVEL ........................................ 19
29. MID EQ FREQUENCY ............................... 19
30. HIGH MID EQ LEVEL ............................... 19
31. LOW MID EQ LEVEL ................................ 19
32. LOW EQ ................................................. 19
33. MON 1 AUX SEND .................................. 19
34. MON 2 AUX SEND .................................. 19
35. FX1 AUX SEND....................................... 19
36. FX2 AUX SEND....................................... 19
37. PAN....................................................... 20
38. MUTE SWITCH AND LED .......................... 20
39. –20, 0, +10, OL CHANNEL METER LEDS ... 20
PPM101
PPM1012
Hookup Diagrams
Club System
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.
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.
2 X 800W PROFESSIONAL POWERED M
B
SPEAKER OUT
A
SPEAKER OUT
PIN
1+
1
PIN
1+
1
80Hz
LOW
MIC 1MIC 2MIC 3MIC
4MIC
5MIC
6IC M 7IC M 8
N UT I P
(BAL/U NBAL) (BAL/U NBAL) (BAL/U NBAL) (BAL/U NBAL) (BAL/U NBAL) (BAL/U NBAL) (BAL/U NBAL) (BAL/ UNB AL)
INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT
GAIN
U
-2 0
LAMP
12V 0.5 A
L
R
FX SEND TAPE
OUTIN
L
MON SEND
FX RT N
(MONO)
MID
FREQ
RL
U
GAIN
M
I
C
G
A
I
N
0 + 50
-20d B +30d B
600
11.5k50
8k100
OFF MAX
U
GAIN
M
I
C
G
A
I
N
0 + 50
-20d B +30d B
U
GAIN
M
I
C
G
A
I
N
0 + 50
-20d B +30d B
U
GAIN
M
I
C
G
A
I
N
0 + 50
-20d B +30d B
U
GAIN
M
I
C
G
A
I
N
0 + 50
-20d B +30d B
U
GAIN
M
I
C
G
A
I
N
0 + 50
-20d B +30d B
U
GAIN
M
I
C
G
A
I
N
0 + 50
-20d B +30d B
U
GAIN
M
I
C
G
A
I
N
0 + 05
-20d B +30d B
1 9/10 11/122 3 4 5 6 7 8
SOLO
OL
+10
0
-20
SOLO
OL
+10
0
-20
1 9/10 11/12
2345678
EQ EQ
OFF MAX OFF MAX OFF MAX OFF MAX OFF MAX
12kHz
HI
LOW CUT
00 Hz1
U
+1 515-
U
+1 515-
U
+1 5- 1 5
U
+1 515-
+2 0
12kHz
HI
80Hz
LOW
HI
MID
2.5kHz
LOW
MID
400Hz
U
+1 5- 1 5
U
+1 5- 1 5
U
+1 5- 1 5
U
+1 5- 1 5
2kHz1
HI
80Hz
LOW
HI
MID
.5kHz2
LOW
MID
00Hz4
GAIN
U
-2 0
PAN
AUX
SEND
EQ
COMP COMP CO MP COMP COMP CO MP
+2 0
1
2
L
R
(MONO)
L
R
(MONO)
L
R
(MONO)
1
2
FX RT N
L
R
L
R
M
L
R
M
MON
1
MON
2
FX
1
FX
2
U
+1 5
OO
U
+1 5
OO
U
+1 5
OO
U
+1 5
OO
-1 5
U
+1 5
-1 5
U
+1 5
-1 5
U
+1 5
80Hz
LOW
MID
FREQ
RL
600
1.5k150
8k100
EQ
12kHz
HI
PAN
AUX
SEND
MON
1
MON
2
FX
1
FX
2
U
+1 5
OO
U
+1 5
OO
U
+1 5
OO
U
+1 5
OO
-1 5
U
+1 5
-1 5
U
+1 5
-1 5
U
+1 5
80Hz
LOW
MID
FREQ
LR
600
1.5k150
8k100
EQ
12kHz
HI
PAN
AUX
SEND
MON
1
MON
2
FX
1
FX
2
U
+1 5
OO
U
+1 5
OO
U
+1 5
OO
U
+1 5
OO
-1 5
U
+1 5
-1 5
U
+1 5
-1 5
U
+1 5
80Hz
LOW
MID
FREQ
RL
600
1.5k150
8k100
EQ
12kHz
HI
PAN
AUX
SEND
MON
1
MON
2
FX
1
FX
2
U
+1 5
OO
U
+1 5
OO
U
+1 5
OO
U
+1 5
OO
-1 5
U
+1 5
-1 5
U
+1 5
-1 5
U
+1 5
80Hz
LOW
MID
FREQ
RL
600
1.5k150
8k100
EQ
12kHz
HI
NPA
AUX
SEND
MON
1
MON
2
FX
1
FX
2
U
+1 5
OO
U
+1 5
OO
U
+1 5
OO
U
+1 5
OO
-1 5
U
+1 5
-1 5
U
+1 5
-1 5
U
+1 5
80Hz
LOW
MID
FREQ
RL
600
1.5k150
8k100
EQ
12kHz
HI
PAN
AUX
SEND
MON
1
MON
2
FX
1
FX
2
U
+1 5
OO
U
+1 5
OO
U
+1 5
OO
U
+1 5
OO
-1 5
U
+1 5
-1 5
U
+1 5
-1 5
U
+1 5
80Hz
LOW
MID
FREQ
LR
600
1.5k150
8k100
EQ
12kHz
HI
PAN
AUX
SEND
MON
1
MON
2
FX
1
FX
2
U
+1 5
OO
U
+1 5
OO
U
+1 5
OO
U
+1 5
OO
-1 5
U
+1 5
-1 5
U
+1 5
-1 5
U
+1 5
80Hz
LOW
MID
FREQ
RL
600
1.5k150
8k100
EQ
12kHz
HI
PAN
AUX
SEND
MON
1
MON
2
FX
1
FX
2
U
+1 5
OO
U
+1 5
OO
U
+1 5
OO
U
+1 5
OO
RL
PAN
AUX
SEND
MON
1
MON
2
FX
1
FX
2
U
+1 5
OO
U
+1 5
OO
U
+1 5
OO
U
+1 5
OO
RL
PAN
UXA
SEND
MON
1
FX
MON
2
FX
1
FX
2
U
+1 5
OO
U
+1 5
OO
U
+1 5
OO
U
+1 5
OO
-1 5
U
+1 5
-1 5
U
+1 5
-1 5
U
+1 5
1FX 2
9 1 2
10/ INPUT 11 12/ MA OUTIN
MAIN INSER T
T AP
DELAY
INT FX
MUT E
T AP
DELAY
INT FX
MUT E
T AP TO EDIT
01 PLAT E REVER B
02 VOCA L PLA T E
03 WARM RO OM
04 BRIGHT ROO M
13 CHORU S
14 CHORU S REVERB+
15 DO UBLE R
16 T APE SLA P
05 WARM LO UNGE
06 SMAL L S T AGE
07 WARM T HEATE R
08 BRIGHT ST AGE
09 WARM HALL
10 CON CERT HALL
11 CAT HEDRAL
12 GAT ED REV ERB
17 DLY 1 BRI HT ( 350ms)G
18 DLY 1 WA M (300ms)R
19 DLY 2 BRI HT ( 250ms)G
20 DLY 2 WA M (200ms)R
21 DLY 3 BRI HT ( 175ms)G
22 DLY 3 WA M (150ms)R
23 CHORU S D LY (300ms)+
24 REVERB + DLY (200ms)
15
15
10
10
5
5
0
15
15
10
10
5
5
0
16K8K4K2K1K50025012563
HI-Z HI-Z
OL
4
6
3
10
15
7
10
20
30
0
2
U
+2 0
OO
T A E INP
BREAK
MUT ES
CH 1-12
U
+1 5
O
O
U
+1 5
O
O
T O MON 1T O ON M 2
FX 1X F1
MONO O UT
LPF
OO
MAX
75Hz
100 180
120
200Hz
0dB = 0dB u
LEVEL
S ET
RU DE
S OLO
MAIN
MON 2
EQ ASS IGN
MAIN
MET ERS
RL
PHANTOMPOWER
MAIN EQUALIZER
MON 1 EQUALIZER
15
15
10
10
5
5
0
15
15
10
10
5
5
0
16K8K4K2K1K50025012563
S IG /OLS IG /OL
U
+1 5
OO
SEND MAST ER
U
+1 5
OO
SEND MAST ER
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
dB
10
OO
5
5
U
dB
30
20
10
OO
40
50
5
5
U
60
SOLO
OL
+10
0
-20
dB
30
20
10
OO
40
50
5
5
U
60
SOLO
OL
+10
0
-20
dB
30
20
10
OO
40
50
5
5
U
60
SOLO
OL
+10
0
-20
dB
30
20
10
OO
40
50
5
5
U
60
SOLO
OL
+10
0
-20
dB
30
20
10
OO
40
50
5
5
U
60
SOLO
OL
+10
0
-20
dB
30
20
10
OO
40
50
5
5
U
60
SOLO
OL
+10
0
-20
dB
30
20
10
OO
40
50
5
5
U
60
SOLO
OL
+10
0
-20
dB
30
20
10
OO
40
50
5
5
U
60
SOLO
OL
+10
0
-20
dB
30
20
10
OO
40
50
5
5
U
60
SOLO
dB
30
20
10
OO
40
50
5
5
U
60
SOLO
dB
30
20
10
OO
40
50
5
5
U
60
SOLO
dB
30
20
10
OO
40
50
5
5
U
60
SOLO
dB
30
20
10
OO
40
50
5
5
U
60
dB
30
20
10
OO
40
50
5
5
U
60
FX RTN 1FX RTN2MON 1MON2 MAIN
FOOT SWIT C H
T IP: FX1
RING : FX2
PHONES
FX
LEVEL
2 X 800 W PRO FES P OWERED MIXERSIONAL
OO
MAX
30
20
40
50
60
10 10 1 0 10 10 1 0 10 10 1010 10 10 10 10 10
(L) ( R)
MON 1
MON 2
MAINS
MON 1
ST EREO
MAIN
A B
LINELINELINELINELINELINELINE
HI-Z
LINE
HI-Z
POWER AMP
LIMITER
A B
POWER AMP
MODE
R
Powered Subwoofers
Microphones
press HI-Z
buttons
Stereo Mains
Keyboard
Passive Speakers
(
p
lays stereo main mix)
SRM450v2 Powered Stage Monitors
(plays mon 1 output)
Portable Recorder
Adjust
Vocal
Compression
(L) (R)
MON 1
MON 2
MAINS
MON 1
ST EREO
MAIN
A B
POWER AMP
MODE
Owner’s Manual
Owner’s Manual
House of Worship
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 2 send, and acts as a personal stage
monitor to your talented, yet still surprisingly-humble keyboard player. The mon 2 knobs of each channel
allow you to set up a monitor mix that is independent of the main mix.
The power amp mode switch is set to play the mono main mix on ch. A, and monitor 1 mix on ch. B.
Passive speakers are connected to 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.
Passive subwoofers are powered by an 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.
2 X 800W PRO FESSIONAL POWERED MIXER
B
SPEAKER OUT
A
SPEAKER OUT
PIN
1+
1
PIN
1+
1
80Hz
LOW
MIC MIC MIC MIC MIC MIC C MIC 123456MI 7 8
UT INP
(BAL/UNBAL) (BAL/UNBAL) (BA L/UNBAL) (BAL/UNBA L) ( BA L/UNBAL) (BAL/UN BA L) ( BAL/UNBAL) BAL)(BAL/UN
INSERT INS ERT INSERT INS ERT INSERT INS ERT INSERT INSERT
GAIN
U
- 20
LAMP
12V 0.5A
L
R
FX SEND TAPE
OUTIN
L
ON SE NDM
FX RT N
(MONO)
MID
FREQ
RL
U
GAIN
M
I
C
G
A
I
N
0 +50
-20dB + 30dB
600
1.5k150
8k100
OFF MAX
U
GAIN
M
I
C
G
A
I
N
0 +50
-20dB + 30dB
U
GAIN
M
I
C
G
A
I
N
0 +50
-20dB + 30dB
U
GAIN
M
I
C
G
A
I
N
0 +50
-20dB + 30dB
U
GAIN
M
I
C
G
A
I
N
0 +50
-20dB + 30dB
U
GAIN
M
I
C
G
A
I
N
0 +50
-20dB + 30dB
U
GAIN
M
I
C
G
A
I
N
0 +50
-20dB + 30dB
U
GA NI
M
I
C
G
A
I
N
0 50+
-20dB + 30dB
1 9/ 11/122 3 4 5 6 7 108
SO LO
OL
+10
0
-20
SO LO
OL
+10
0
-20
1 9/10 11/12
23 4 5 678
EQ EQ
OFF MAX OF F MAX OF F MAX OF F MAX OF F MAX
12kHz
HI
OW CUL T
100 Hz
U
+- 1515
U
+- 1515
U
+15- 15
U
+- 5 151
+20
12kHz
HI
80Hz
LOW
HI
MID
2.5kHz
LOW
MID
400Hz
U
+15- 15
U
+15- 15
U
+15- 15
U
+15- 15
12kHz
HI
80Hz
LOW
HI
MID
2.5kHz
LOW
MID
400Hz
GAIN
U
- 20
PAN
AUX
SEND
EQ
COMP C OMP COMP COMP COMP COMP
+20
1
2
L
R
(MONO) L
R
(MONO) L
R
(MONO)
1
2
FX RT N
L
R
L
R
M
L
R
M
MON
1
MON
2
FX
1
FX
2
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
- 15
U
+15
- 15
U
+15
- 15
U
+15
80Hz
LOW
MID
FREQ
RL
600
1.5k150
8k100
EQ
12kHz
HI
PAN
AUX
SEND
MON
1
MON
2
FX
1
FX
2
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
- 15
U
+15
- 15
U
+15
- 15
U
+15
80Hz
LOW
MID
FREQ
RL
600
1 k150 .5
8k100
EQ
12kHz
HI
PAN
UXA
S NDE
MON
1
MON
2
FX
1
FX
2
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
- 15
U
+15
- 15
U
+15
- 15
U
+15
80Hz
LOW
MID
FREQ
RL
600
1.5k150
8k100
EQ
12kHz
HI
PAN
AUX
SEND
MON
1
MON
2
FX
1
FX
2
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
- 15
U
+15
- 15
U
+15
- 15
U
+15
80Hz
LOW
MID
FREQ
RL
600
1.5k150
8k100
EQ
12kHz
HI
PAN
AUX
SEND
MON
1
MON
2
FX
1
FX
2
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
- 15
U
+15
- 15
U
+15
- 15
U
+15
80Hz
LOW
MID
FREQ
RL
600
1.5k150
8k100
EQ
12kHz
HI
PAN
AUX
SEND
MON
1
MON
2
FX
1
FX
2
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
- 15
U
+15
- 15
U
+15
- 15
U
+15
80Hz
LOW
MID
FREQ
RL
600
1.5k150
8k100
EQ
12kHz
HI
PAN
AUX
SEND
MON
1
MON
2
FX
1
FX
2
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
- 15
U
+15
- 15
U
+15
- 15
U
+15
80Hz
LOW
MID
FREQ
RL
600
1.5k150
810 k0
EQ
12kHz
HI
PAN
AUX
SEND
MON
1
MON
2
FX
1
FX
2
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
RL
PAN
AUX
SEND
MON
1
MON
2
FX
1
FX
2
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
RL
PAN
UXA
NDSE
ONM
1
FX
ONM
2
FX
1
FX
2
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
- 15
U
+15
- 15
U
+15
- 15
U
+15
1FX 2
9 1 21/ 0 UT INP 11 12/ MA OUTIN
MAIN INS ERT
T AP
DELAY
INT FX
MUT E
T AP
DELAY
INT FX
MUT E
T AP T O E IT D
01 PLAT E REVERB
02 VO CAL PLATE
03 WARM R OO M
04 BR IGHT RO OM
13 CH OR SU
14 CH OR S + REVERBU
15 DO UB ERL
16 T APE LAP S
05 WARM LO UNGE
06 S MALL S TAG E
07 WARM T HEAT ER
08 BR IGHT S TAGE
09 WARM H ALL
10 CO NCERT HALL
11 CAT HEDRAL
12 G AT ED R EV ER B
17 DLY 1 RIG HT ( 350ms) B
18 DLY 1 WAR M ( 300ms )
19 DLY 2 RIG HT ( 250ms) B
20 DLY 2 WAR M ( 200ms )
21 DLY 3 RIG HT ( 175ms) B
22 DLY 3 WAR M ( 150ms )
23 CH OR S + DLY (300ms )U
24 REVE + DLY (200ms )R B
15
15
10
10
5
5
0
15
15
10
10
5
5
0
1 K8K4K2K1K50025012563 6
HI- Z HI-Z
OL
4
6
3
10
15
7
10
20
30
0
2
U
+20
OO
T APE IN
BREAK
MUT ES
CH 1-12
U
+1 5
O
O
U
+1 5
OO
T O MON 1T O MON 2
FX 1FX 1
MONO OUT
LPF
OO
MAX
75Hz
100 180
120
200Hz
0dB = 0d Bu
LEVEL
SET
RUDE
SOLO
MAIN
MON 2
EQ ASS IG N
MAIN
METERS
RL
PHANTOMPOWER
MAIN EQUALIZER
MON 1 EQUALIZER
15
15
10
10
5
5
0
15
15
10
10
5
5
0
1 K8K4K2K1K 650025012563
SIG/OLSIG/OL
U
+15
OO
SEND MAST ER
U
+15
OO
SEND MAST ER
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
dB
10
OO
5
5
U
dB
30
20
10
OO
40
50
5
5
U
60
SO LO
OL
+10
0
-20
dB
30
20
10
OO
40
50
5
5
U
60
SO LO
OL
+10
0
-20
dB
30
20
10
OO
40
50
5
5
U
60
SO LO
OL
+10
0
-20
dB
30
20
10
OO
40
50
5
5
U
60
SO LO
OL
+10
0
-20
dB
30
20
10
OO
40
50
5
5
U
60
SO LO
OL
+10
0
-20
dB
30
20
10
OO
40
50
5
5
U
60
SO LO
OL
+10
0
-20
dB
30
20
10
OO
40
50
5
5
U
60
SO LO
OL
+10
0
-20
dB
30
20
10
OO
40
50
5
5
U
60
SO LO
OL
+10
0
-20
dB
30
20
10
OO
40
50
5
5
U
60
SO LO
dB
30
20
10
OO
40
50
5
5
U
60
OSOL
dB
30
20
10
OO
40
50
5
5
U
60
SO LO
dB
30
20
10
OO
40
50
5
5
U
60
SO LO
dB
30
20
10
OO
40
50
5
5
U
60
dB
30
20
10
OO
40
50
5
5
U
60
FX RTN 1FX RTN 2MON 1MON 2 MAIN
FOOT S WIT CH
T IP: FX1
RING: FX2
PHONES
FX
LEVEL
2 X 800W P RO FES OWERED MIXERSIO NAL P
OO
MAX
30
20
40
50
60
10 10 10 10 10 10 1010 10 10 10 10 10 10 10
( L) (R)
MON 1
MON 2
MAINS
MON 1
ST EREO
MAIN
A B
NELI
HI-Z
LINE
HI-Z
POWER AMP
LIMIT ER
A B
POWER AMP
MODE
R
LPF
75Hz
100 180
120
200Hz
LINELINELINELINELINELINE
Mains/Mon1
(L) (R)
MON 1
MON 2
MAINS
MON 1
ST EREO
MAIN
A B
POWER AMP
MODE
Microphones
press HI-Z
button
Keyboard
Adjust Vocal
Compression
Press LPF and
adjust sub
crossover
frequency
Drum
Machine
Passive Speakers
House System
(plays mono main mix)
C300z Passive Stage Monitors
(plays mon 1 output)
FRS2800
Amplifier
dual-mono
mode
SRM150 Powered Monitor
(plays mon 2 output)
Passive Subwoofers
(plays main mix below 100 Hz)
Acoustic Guitar
and Mic
8
PPM101
PPM1012
DJ System
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 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.
2 X 800W P ROFESSIONAL POW
B
SPEAKER OU T
A
SPEAKER OU T
PIN
1+
1
PIN
1+
1
80Hz
LOW
MIC MIC MIC MIC MIC MIC MIC MIC 12345678
UT I NP
(BAL/UNBAL) (BAL/UNBAL) ( BAL /U NBAL) ( BAL/UN BAL) (BAL/UNBAL) (BAL/UN BAL) ( BAL /U NBAL) (BAL /U NBAL)
INSERT INS ER T INS ER T INS ER T INS ER T INS ERT INSERT INS ERT
GA NI
U
-20
LAMP
12V 0.5A
L
R
FX SEND T APE
OUTIN
L
MON SEND
FX RT N
(M ON O)
MID
FREQ
RL
U
GAIN
M
I
C
G
A
I
N
0 +50
-20dB +30d B
600
1.5k150
8k100
OFF M AX
U
GAIN
M
I
C
G
A
I
N
0 +50
-20dB +30d B
U
GAIN
M
I
C
G
A
I
N
0 +50
-20dB +30d B
U
GAIN
M
I
C
G
A
I
N
0 +50
-20dB +30d B
U
GAIN
M
I
C
G
A
I
N
0 +50
-20dB +30d B
U
GAIN
M
I
C
G
A
I
N
0 +50
-20dB +30d B
U
GAIN
M
I
C
G
A
I
N
0 +50
-20dB +30d B
U
GAIN
M
I
C
G
A
I
N
0 +50
-20dB +30d B
1 9/10 11/122 3 4 5 6 7 8
SO LO
OL
+10
0
-20
SO LO
OL
+10
0
-20
1 9/10 11/12
2 3 4 5678
EQ EQ
OFF M AX OFF MAX OFF MAX OFF MAX OFF M AX
12kHz
HI
LOW CUT
100 Hz
U
+15-15
U
+15-15 U
+15-15
U
+15-15
0+2
12kHz
HI
80Hz
LOW
HI
MID
2.5k Hz
LOW
MID
400H z
U
+15-15
U
+15-15 U
+15-15
U
+15-15
12kHz
HI
80Hz
LOW
HI
MID
2.5k Hz
LOW
MID
400H z
GAIN
U
-20
PAN
AUX
SEND
EQ
COMP COMP COMP COMP COMP COMP
+20
1
2
L
R
(M ON O)
L
R
(M ON O)
L
R
(M ON O)
1
2
FX RT N
L
R
L
R
M
L
R
M
MO N
1
MO N
2
FX
1
FX
2
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
-15
U
+15
-15
U
+15
-15
U
+15
80Hz
LOW
MID
FREQ
RL
600
1.5k150
8k100
EQ
12kHz
HI
PAN
AUX
SEND
MO N
1
MO N
2
FX
1
FX
2
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
-15
U
+15
-15
U
+15
-15
U
+15
80Hz
LOW
MID
FREQ
RL
600
1.5k150
8k100
EQ
12kHz
HI
PAN
AUX
SEND
MO N
1
MO N
2
FX
1
FX
2
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
-15
U
+15
-15
U
+15
-15
U
+15
80Hz
LOW
MID
FREQ
RL
600
1.5k150
8k100
EQ
12kHz
HI
PAN
AUX
SEND
MO N
1
MO N
2
FX
1
FX
2
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
-15
U
+15
-15
U
+15
-15
U
+15
80Hz
LOW
MID
FREQ
RL
600
1.5k150
8k100
EQ
12kHz
HI
PAN
AUX
SEND
MO N
1
MO N
2
FX
1
FX
2
U
15+
OO
U
+15
OO
U
+15
OO
U
+15
OO
-15
U
+15
-15
U
+15
-15
U
+15
80Hz
LOW
MID
FREQ
RL
600
1.5k150
8k100
EQ
12kHz
HI
PAN
AUX
SEND
MO N
1
MO N
2
FX
1
FX
2
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
-15
U
+15
-15
U
+15
-15
U
+15
80Hz
LOW
MID
FREQ
RL
600
1.5k150
8k100
EQ
2kHz1
HI
PAN
AUX
SEND
MO N
1
MO N
2
FX
1
FX
2
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
-15
U
+15
-15
U
+15
-15
U
+15
80Hz
LOW
MID
FREQ
RL
600
1.5k150
8k100
EQ
12kHz
HI
PAN
AUX
SEND
MO N
1
MO N
2
FX
1
FX
2
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
RL
PAN
AUX
SEND
MO N
1
MO N
2
FX
1
FX
2
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
RL
PAN
AUX
SEND
MO N
1
FX
MO N
2
FX
1
FX
2
U
+15
OO
U
15+
OO
U
+15
OO
U
+15
OO
-15
U
+15
-15
U
+15
-15
U
+15
1FX 2
9 1 210/ IN T PU 11 12/ MAIN OUT
MAIN I NSERT
TAP
DELAY
IN T FX
MU TE
TAP
DELAY
IN T FX
MU TE
T AP T O ED IT
01 PLAT E R EVERB
02 VOCAL PLAT E
03 WARM ROO M
04 BR IGHT ROO M
13 CHOR US
14 CHOR US + R EV RBE
15 DO UBLER
16 TA PE SLAP
05 WARM LO UNGE
06 SMALL S TAGE
07 WARM THEAT ER
08 BR IGHT STAG E
09 WARM HA LL
10 CONC ERT HALL
11 CAT HEDRAL
12 GAT ED R EVERB
17 DLY 1 B RIGHT ( 50ms)3
18 DLY 1 WAR M (3 0ms)0
19 DLY 2 B RIGHT ( 50ms)2
20 DLY 2 WAR M (2 0ms)0
21 DLY 3 B RIGHT ( 75ms)1
22 DLY 3 WAR M (1 0ms)5
23 CHOR US + D LY 300ms ( )
24 REVER B + DLY 200ms)(
15
15
10
10
5
5
0
15
15
10
10
5
5
0
16K8K4K2K1K50025012563
HI-Z HI - Z
OL
4
6
3
10
15
7
10
20
30
0
2
U
+20
OO
TAP E IN
BREAK
MU TES
CH 1-12
U
+1 5
OO
U
+1 5
OO
TO MO N
1TO MO N 2
FX 1FX
1
MONO OUT
LPF
OO
MAX
75Hz
100 180
120
200Hz
0dB = 0dB u
LEVE L
SET
RUDE
SOLO
MAIN
MO N 2
EQ ASSIGN
MAIN
METERS
RL
PHANT OMOWERP
MAIN EQUAL IZER
MON 1 EQUAL IZER
15
15
10
10
5
5
0
15
15
10
10
5
5
0
16K8K4K2K1K50025012563
SIG /OLSIG /OL
U
+15
OO
SEND M AST ER
U
+15
OO
SEND M AST ER
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
dB
10
OO
5
5
U
dB
30
20
10
OO
40
50
5
5
U
60
SO LO
OL
+10
0
-20
dB
30
20
10
OO
40
50
5
5
U
60
SO LO
OL
+10
0
-20
dB
30
20
10
OO
40
50
5
5
U
60
SO LO
OL
+10
0
-20
dB
30
20
10
OO
40
50
5
5
U
60
SO LO
OL
+10
0
-20
dB
30
20
10
OO
40
50
5
5
U
60
SO LO
OL
+10
0
-20
dB
30
20
10
OO
40
50
5
5
U
60
SO LO
OL
+10
0
-20
dB
30
20
10
OO
40
50
5
5
U
60
SO LO
OL
+10
0
-20
dB
30
20
10
OO
40
50
5
5
U
60
SO LO
OL
+10
0
-20
dB
30
20
10
OO
40
50
5
5
U
60
SO LO
dB
30
20
10
OO
40
50
5
5
U
60
SO LO
30
20
10
OO
40
50
5
5
U
60
SO LO
dB
30
20
10
OO
40
50
5
5
U
60
SO LO
dB
30
20
10
OO
40
50
5
5
U
60
dB
30
20
10
OO
40
50
5
5
U
60
FX RT N1MON 1MON2 MAIN
FO O TS WIT C H
TIP: FX1
RING : FX2
PHONES
FX
LEVEL
2 X 800W PROFESSIO NAL PO WERED MIXER
OO
MAX
30
20
40
50
60
10 10 10 0 10 10 10 10 10 1 0 10 10 1 01 10 10
(L) (R )
MO N 1
MO N 2
MAINS
MO N 1
ST EREO
MAIN
A B
LINE
HI-Z
LINE
HI-Z
POWER AMP
LIMIT ER
A B
POWER AMP
MODE
R
LINELINELINELINELINELINE
Microphones
Adjust Vocal
Compression
Powered Subwoofers
(play main mix)
Passive Speakers
(play stereo main mix)
LINE
MI C
R R
PGM 2 MAIN MIC OUT
L LLLL R P HO NO C D
SEND R
BOO T H FX
GND
LINE
PHONO
RET URN
L( MON O) RR
L
R
LIVE
RECO RD
~ 100 -240 VAC 50-60Hz 20W
PGM 1
LINE
ONPH O G ND
P HO NO C D
R R
LL
Wireless Mic Receiver
Graphic EQ
Turntables with phono-level output
Mackie d.2 Pro
DJ Production Console
iPod®
Docking
Station
HD1521
Powered
Speaker
HD1521
Powered
Speaker
Wireless
Microphone
Stereo Mains
(L) (R)
MON 1
MON 2
MAINS
MON 1
ST EREO
MAIN
A B
POWER AMP
MODE
9
Owner’s Manual
Owner’s Manual
Band System
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 HD1531 powered speakers and 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 frequencies, and the
HD1531s 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.
2 X 800W PROFESSIONAL POWERED MIXER
B
SPEAKER OUT
A
SPEAKER OUT
PIN
1+
1
PIN
1+
1
80Hz
LOW
MIC
1MIC
2MIC 3MIC 4MIC 5MIC 6IC M 7IC M 8
UT INP
(BAL/U NBAL) (BAL/U NBAL) (BAL/U NBAL) (BAL/U NBAL) (BAL/U NBAL) (BAL/U NBAL) (BAL/U NBAL) (BAL/UNBAL)
INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT
GAIN
U
-2 0
LAMP
12V 0.5 A
L
R
FX SEND TAPE
OUTIN
L
MON SEND
FX RT N
(MONO )
MID
FREQ
RL
U
GAIN
M
I
C
G
A
I
N
0 + 50
-20d B +30d B
600
1.5k150
8k100
OFF MAX
U
GAIN
M
I
C
G
A
I
N
0 + 50
-20d B +30d B
U
GAIN
M
I
C
G
A
I
N
0 + 50
-20d B +30d B
U
GAIN
M
I
C
G
A
I
N
0 + 50
-20d B +30d B
U
GAIN
M
I
C
G
A
I
N
0 + 50
-20d B +30d B
U
GAIN
M
I
C
G
A
I
N
0+ 50
-20d B +30d B
U
GAIN
M
I
C
G
A
I
N
0 + 50
-20d B +30d B
U
GAIN
M
I
C
G
A
I
N
0 5 0+
-20d B +30d B
1 9/ 11/122 3 4 5 6 7 108
SOLO
OL
+10
0
-20
SOLO
OL
+10
0
-20
1 9/10 11/12
2345678
EQ EQ
OFF MAX OFF MAX OFF MAX OFF MAX OFF MAX
12kHz
HI
OW C TL U
100 Hz
U
+ 55 1- 1
U
+ 55 1- 1
U
+ 55 1- 1
U
+ 55 1- 1
+2 0
12kHz
HI
80Hz
LOW
HI
MID
2.5kHz
LOW
MID
400Hz
U
+1 5- 1 5
U
+1 5- 1 5
U
+1 5- 1 5
U
+1 5- 1 5
12kHz
HI
80Hz
LOW
HI
MID
2.5kHz
LOW
MID
400Hz
GAIN
U
-2 0
PAN
AUX
SEND
EQ
COMP COMP COMP CO MP COMP COMP
+2 0
1
2
L
R
(MONO )
L
R
(MONO )
L
R
(MONO )
1
2
FX RT N
L
R
L
R
M
L
R
M
MON
1
MON
2
FX
1
FX
2
U
+1 5
OO
U
+1 5
OO
U
+1 5
OO
U
+1 5
OO
-1 5
U
+1 5
-1 5
U
+1 5
-1 5
U
+1 5
80Hz
LOW
MID
FREQ
RL
600
1.5k150
8k100
EQ
12kHz
HI
PAN
AUX
SEND
MON
1
MON
2
FX
1
FX
2
U
+1 5
OO
U
+1 5
OO
U
+1 5
OO
U
+1 5
OO
-1 5
U
+1 5
-1 5
U
+1 5
-1 5
U
+1 5
80Hz
LOW
MID
FREQ
RL
600
1.5k150
8k100
EQ
12kHz
HI
PAN
AUX
SEND
MON
1
MON
2
FX
1
FX
2
U
+1 5
OO
U
+1 5
OO
U
+1 5
OO
U
+1 5
OO
-1 5
U
+1 5
-1 5
U
+1 5
-1 5
U
+1 5
80Hz
LOW
MID
FREQ
RL
600
1.5k150
8k100
EQ
12kHz
HI
PAN
AUX
SEND
MON
1
MON
2
FX
1
FX
2
U
+1 5
OO
U
+1 5
OO
U
+1 5
OO
U
+1 5
OO
-1 5
U
+1 5
-1 5
U
+1 5
-1 5
U
+1 5
80Hz
LOW
MID
FREQ
RL
600
1.5k150
8k100
EQ
12kHz
HI
PAN
AUX
ENDS
MON
1
MON
2
FX
1
FX
2
U
+1 5
OO
U
+1 5
OO
U
+1 5
OO
U
+1 5
OO
-1 5
U
+1 5
-1 5
U
+1 5
-1 5
U
+1 5
80Hz
LOW
MID
FREQ
RL
600
1.5k150
8k100
EQ
12kHz
HI
PAN
AUX
SEND
MON
1
MON
2
FX
1
FX
2
U
+1 5
OO
U
+1 5
OO
U
+1 5
OO
U
+1 5
OO
-1 5
U
+1 5
-1 5
U
+1 5
-1 5
U
+1 5
80Hz
LOW
MID
FREQ
RL
600
1.5k150
8k100
EQ
12kHz
HI
PAN
AUX
SEND
MON
1
MON
2
FX
1
FX
2
U
+1 5
OO
U
+1 5
OO
U
+1 5
OO
U
+1 5
OO
-1 5
U
+1 5
-1 5
U
+1 5
-1 5
U
+1 5
80Hz
LOW
MID
FREQ
RL
600
1.5k150
18k0 0
EQ
12kHz
HI
NPA
AUX
SEND
MON
1
MON
2
FX
1
FX
2
U
+1 5
OO
U
+1 5
OO
U
+1 5
OO
U
+1 5
OO
RL
PAN
AUX
SEND
MON
1
MON
2
FX
1
FX
2
U
+ 51
OO
U
+ 51
OO
U
+ 51
OO
U
+ 51
OO
RL
PAN
AUX
SEND
MON
1
FX
MON
2
FX
1
FX
2
U
+1 5
OO
U
+1 5
OO
U
+1 5
OO
U
+1 5
OO
-15
U
+1 5
-15
U
+1 5
-15
U
+1 5
1FX 2
9 1 21/ 0 UT INP 11 12/ MAIN OUT
MAIN INSER T
T AP
DELAY
INT FX
MUT E
T AP
DELAY
INT FX
MUT E
T AP TO EDIT
E REVERB01 P LAT
AL PL AT E02 VOC
M RO OM03 WAR
HT RO OM04 BRIG
13 CHOR US
14 CHOR US + RE ERBV
15 DO UBLER
16 T APE SLA P
M LO UNGE05 WAR
LL S T AGE06 S MA
M T HEATE R07 WAR
HT ST AGE08 BRIG
M HALL09 WAR
CERT HALL10 CON
HEDR AL11 CAT
ED REVERB12 G AT
17 DLY 1 BRIGHT 350ms ) (
18 DLY 1 WARM ( 00ms)3
19 DLY 2 BRIGHT 250ms ) (
20 DLY 2 WARM ( 00ms)2
21 DLY 3 BRIGHT 175ms ) (
22 DLY 3 WARM ( 50ms)1
23 CHOR US + D L (300mY s )
24 REVER B + DLY 200ms ( )
15
15
10
10
5
5
0
51
15
10
10
5
5
0
16K8K4K2K1K50025012563
HI-Z HI-Z
OL
4
6
3
10
15
7
10
20
30
0
2
U
+2 0
OO
T APE IN
REAKB
UT ESM
H 1-1 2C
U
+1 5
O
O
U
+1 5
O
O
MON T O 1T O MON
2
FX 1FX 1
MONO O UT
LPF
OO
MAX
75Hz
100 180
120
200Hz
0dB = 0dB u
LEVEL
S ET
RU DE
S OLO
MAIN
MON 2
EQ ASS IGN
MAIN
MET ERS
RL
PHANTOM
POWER
MAIN EQUALIZER
MON 1 EQUALIZER
15
15
10
10
5
5
0
15
15
10
10
5
5
0
16K8K4K2K1K50025012563
S IG /OLS IG /OL
U
+1 5
OO
SEND MAST ER
U
+1 5
OO
SEND MAST ER
LOW CUT
100 Hz
OW CUTL
100 Hz
LOW CUT
100 Hz
LOW CUT
100 Hz
LOW CUT
100 Hz
LOW CUT
100 Hz
LOW CUT
100 Hz
dB
10
OO
5
5
U
dB
30
20
10
OO
40
50
5
5
U
60
SOLO
OL
+10
0
-20
dB
30
20
10
OO
40
50
5
5
U
60
SOLO
OL
+10
0
-20
dB
30
20
10
OO
40
50
5
5
U
60
SOLO
OL
+10
0
-20
dB
30
20
10
OO
40
50
5
5
U
60
SOLO
OL
+10
0
-20
dB
03
02
10
OO
40
50
5
5
U
60
SOLO
OL
+10
0
-20
dB
30
20
10
OO
40
50
5
5
U
60
SOLO
OL
+10
0
-20
dB
30
20
10
OO
40
50
5
5
U
60
SOLO
OL
+10
0
-20
dB
30
20
10
OO
40
50
5
5
U
60
SOLO
OL
+10
0
-20
dB
30
20
10
OO
40
50
5
5
U
60
SOLO
dB
30
20
10
OO
40
50
5
5
U
60
SOLO
dB
30
20
10
OO
40
50
5
5
U
60
SOLO
dB
30
20
10
OO
40
50
5
5
U
60
SOLO
dB
30
20
10
OO
40
50
5
5
U
60
dB
30
20
10
OO
40
50
5
5
U
60
FX RTN 1FX RTN 2NMO 1MON2 MAIN
FOOT SWIT C H
T IP: FX1
RING : FX 2
PHONES
FX
LEVEL
2 X 800 W PRO FE SSIONAL POW ERE D MIXER
OO
MAX
30
20
40
50
60
10 10 1 0 10 1 0 10 1 0 10 10 10 1010 10 10 1 0
(L) ( R)
MON 1
MON 2
MAINS
MON 1
ST EREO
MAIN
A B
LINE
HI-Z
LINE
HI-Z
POWER AMP
LIMIT ER
A B
POWER AMP
MODE
R
LINELINELINELINELINELINE
Microphones
press
HI-Z
“Insert”
Keyboard
Adjust Vocal
Compression
C300z Passive Stage Monitors
(plays mon 1 output)
C200 Passive Stage Monitors
(plays mon 2 output)
Electronic Drum Kit Powered Subwoofer
(plays left main mix)
Powered Subwoofer
(plays right main mix)
HD1531
Powered
Speaker
HD1531
Powered
Speaker
Line-Level Effect
(connected to INSERT)
Send
Return
Mon1/Mon2
(L) (R)
MON 1
MON 2
MAINS
MON 1
ST EREO
MAIN
A B
POWER AMP
MODE
10
PPM101
PPM1012
PPM1012 Features
Rear Panel
1. POWER CONNECTION
This jack accepts the supplied 3-prong IEC AC power
cord.
Before you plug the AC power cord into the
powered mixer, make sure that the voltage of
your unit is the same voltage as your local AC
mains supply. Use only the power cord supplied. Also,
disconnecting the plug’s ground pin is dangerous. Please
don’t do it. And no running with scissors either. Let's be
safe out there!
2. POWER SWITCH
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.
Press the bottom of this switch to turn off the mixer,
whenever you feel that this would be a safe thing to do.
Half-way through a heavy metal guitar solo might not be
such a good time.
As a general guide, you should turn on your
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.
3. SPEAKER-LEVEL OUTPUTS
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.
The power output of the PPM1012 is 500 watts rms
per channel into 4 ohms, and 800 watts peak.
Two common types of connector are provided for your
convenience: Speakons and 1/4" TS.
• Speakon outputs are wired Pin 1+ positive
(hot) and Pin 1– negative (cold).
Mono Speakon Connection
• 1/4" TS outputs are wired Tip positive, and
Sleeve negative.
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
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.
4. VENTILATION
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.
POWER
2 X 800W PROFESSIONAL POWERED MIXER
CAUTION
HOT SURFACE,
AVOID CONT ACT
REVISION
SERIAL NUMBER
WARNING:
T O REDU CE TH E RIS K OF FIR E O R ELECT RI C
SH OC K, DO NOT EXPO SE TH IS EQ UIP MENT TO R AIN OR
MOI ST URE. D O NOT REMO VE COV ER. NO USER SERVI CEAB LE
PAR TS INS IDE. REFER SER VIC ING TO QU ALIFIED P ERS ONNEL.
AVIS :
R ISQUE DE CHOC ELE CT R I QUE — NE P AS OUVR IR
B
SPEAKER OUT
A
SPEAKER OUT
OUT PUT P OWER: @ 4 OHMS,
800 WAT TS PE AK PER C H
MINIMUM LOAD : 4 O HMS P ER CHANNEL
PIN
1+
1
PIN
1+
1
COLD
HOT
1+
1+
1–
1–
2–
2+
1
4
2 3 3
4
11
Owner’s Manual
Owner’s Manual
Never plug single-ended (unbalanced) micro-
phones, or ribbon mics into the mic input
jacks if phantom power is on. Do not plug
instrument outputs into the mic XLR input jacks with
phantom power on, 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.
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.
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.
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.
Connection Section
This is where you plug in things such as: microphones,
line-level instruments, guitars, and effects, a recorder,
PA system, powered monitors, powered subwoofer etc.
(The speaker-level outputs from the internal power
amplifiers are on the rear panel.) Check out the hookup
diagrams for some connection ideas. See Appendix B
(page 29) for further details and some rather lovely
drawings of the connectors you can use with your mixer.
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.
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.
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.
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.)
MIC 1MIC 2MIC 3MIC 4MIC 5MIC 6MIC 7MIC 8
INPUT
(BAL/UNBAL) (BAL/UNBAL) (BAL/UNBAL) (BAL/UNBAL) (BAL/UNBAL) (BAL/UNBAL) (BAL/UNBAL) (BAL/UNBAL)
INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT
LAMP
12V 0.5A
L
R
FX SEND TAPE
OUTIN
L
MON SEND
FX RTN
(MONO)
1
2
L
R
(MONO) L
R
(MONO) L
R
(MONO)
1
2
FX RTN
L
R
L
R
M
L
R
M
9 1 210/ INPUT 11 12/ MAIN OUT
MAIN INSERT FOOT SW IT CH
TIP: FX1
RING: FX2
PHONES
FX
LEVEL
OO
MAX
LINLINELINELINELINELINELINE E
HI- Z
LINE
HI- Z
R
14 13 11 10
11
6 7 8 8 12 12
15 16
17
16
7
5
21
20
18
19

Specyfikacje produktu

Marka: Mackie
Kategoria: odbiornik
Model: PPM1012

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