MACKIE PROFESSIONAL MIC/LINE MIXERS WITH FX AND USB I/O PROFX16 - Manual (Page 14)

14 ProFX16 and ProFX22
11. HI EQ
The hi EQ provides up to
15 dB of boost or cut above
12 kHz, and it is also flat (no
boost or cut) at the detent.
Use it to add sizzle to cymbals,
an overall sense of
transparency, or an edge to keyboards, vocals, guitar and
bacon frying. Turn it down a little to reduce sibilance or
to mask tape hiss.
12. MID EQ and 13. FREQ (mono channels only)
The mono channels employ
a semi-parametric mid-sweep
EQ. The gain (up to 15 dB of
boost or cut) is set via the mid
eq [12], and then “aimed” at a
specific frequency, from
100 Hz to 8 kHz, via freq [13].
14. MID EQ (stereo channels only)
Short for “midrange,” this
knob provides up to 15 dB of
boost or cut, centered at
2.5 kHz, also flat at the center
detent. Midrange EQ is often
thought of as the most
dynamic, because the frequencies that define any
particular sound are almost always found in this range.
You can create many interesting and useful EQ changes
by turning this knob down as well as up.
15. LOW EQ
The low EQ provides up to
15 dB of boost or cut below
80 Hz. The circuit is flat at
the center detent position.
This frequency represents the
punch in bass drums, bass
guitar, fat synth patches, and some really serious male
singers who eat raw beef for breakfast.
16. AUX MON 1-2
These knobs tap a portion of each channel's signal to
set up a nice monitor mix feeding stage monitors,
independent of the main mix. Adjust these controls on
each channel until the band is happy with the stage
monitor mix.
The controls are off when fully turned down, deliver
unity gain at the center detent, and can provide up to
15 dB of gain turned fully up.
Mono Channels Stereo Channels
Channels 1-8 on ProFX16
Channels 1-14 on ProFX22
Channels 9-16 on ProFX16
Channels 15-22 on ProFX22
MUTE MUTE MUTE MUTE MUTE
MIC MIC MIC
GAIN GAIN
+20 -20
GAIN
(MONO)
L
R
(MONO)
BAL /UNBAL
BAL /UNBAL
BAL /UNBAL
BAL /UNBAL
BAL /UNBAL
BAL /UNBAL BAL /UNBAL BAL /UNBAL
L
R
(MONO)
L
R
LINE IN XX
LINE IN XX
LINE IN XX
LINE IN XX
LINE IN XX
LINE IN XX
XX / XX XX / XX XX / XX
LINE IN LINE IN
XX XX
U +50
MI
C GAIN U
LOW CUT
SOURCE
LINE
USB
XX XX XX / XX XX / XX XX / XX
1
2
U
GAIN
MI
C GAIN
U +50
-20dB +30dB
AUX
LINE IN
OL
R L
PAN
dB
30
20
10
10
O O
40
50
5
5
U
60
PFL
SOLO
L-R
1-2
3-4
80Hz
LOW
MID
FREQ
600
1.5k 150
8k 100
EQ
12kHz
HI
MON
1
MON
2
U
+15 O O
U
+15 O O
U
+15 O O
-15
U
+15
-15
U
+15
-15
U
+15
LOW CUT
U
GAIN
MI
C GAIN
U +50
-20dB +30dB
AUX
OL
R L
PAN
dB
30
20
10
10
O O
40
50
5
5
U
60
PFL
SOLO
L-R
1-2
3-4
80Hz
LOW
MID
FREQ
600
1.5k 150
8k 100
EQ
12kHz
HI
MON
1
MON
2
U
+15 O O
U
+15 O O
U
+15 O O
-15
U
+15
-15
U
+15
-15
U
+15
LOW CUT
OL OL OL
dB
30
20
10
10
O O
40
50
5
5
U
60
PFL
SOLO
L-R
1-2
3-4
dB
30
20
10
10
O O
40
50
5
5
U
60
PFL
SOLO
L-R
1-2
3-4
dB
30
20
10
10
O O
40
50
5
5
U
60
PFL
SOLO
L-R
1-2
3-4
EQ EQ EQ
AUX
R L
PAN
MON
1
MON
2
U
+15 O O
U
+15 O O
U
+15 O O
AUX
R L
PAN
MON
1
MON
2
U
+15 O O
U
+15 O O
U
+15 O O
AUX
R L
PAN
MON
1
MON
2
U
+15 O O
U
+15 O O
U
+15 O O
-15
U
+15
-15
U
+15
-15
U
+15
-15
U
+15
-15
U
+15
-15
U
+15
-15
U
+15
-15
U
+15
-15
U
+15
INSERT
OFF MAX
COMP
12kHz
HI
80Hz
LOW
MID
2.5kHz
12kHz
HI
80Hz
LOW
MID
2.5kHz
12kHz
HI
80Hz
LOW
MID
2.5kHz
FX SEND
FOOTSWITCH
MON SEND
+20 -20
U
100Hz 100Hz 100Hz
FX FX FX FX FX
5
6
8
9
10 24
11
12
14
13
15
16
17
18
19
23
20
21
21
21
22
25
7
20 Hz 100 Hz 1k Hz 10k Hz 20k Hz
–15
–10
–5
0
+5
+10
+15
20
Hz
100
Hz
1k
Hz
10k
Hz
20k
Hz
–15
–10
–5
0
+5
+10
+15
20 Hz 100 Hz 1k Hz 10k Hz 20k Hz
–15
–10
–5
0
+5
+10
+15
20 Hz 100 Hz 1k Hz 10k Hz 20k Hz
–15
–10
–5
0
+5
+10
+15