MACKIE ProFX4v2 - Manual (Page 12)

Pr
oFX4v2
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ProFX4v2
Additional Inputs and Outputs
16. Mon Send
Stage monitors allow the talented musicians in the
band to hear themselves clearly on stage. This can be a
good thing! The monitor mix may be carefully adjusted
in level using the aux mon controls. These tap a portion
of each channel's signal to provide a 1/4" TRS output
here to feed external stage monitors. These could
either be passive stage monitors powered by an
external amplifier, or powered stage monitors with
their own built-in amplifier.
The monitor signal is the sum (mix) of all the
channels whose aux mon control is set to more
than minimum. If they want “more me and less Brian,”
you may turn up their channel's aux mon control,
and turn down Brian's.
The overall output level may be adjusted with the
aux master mon knob and mon 1 may have its EQ
tweaked with the graphic EQ if the main mix/mon
switch is engaged. Alternatively, you could add an
external graphic EQ between this output and your
powered monitors. This will allow you to adjust
the EQ, and minimize the chance of feedback from
nearby microphones.
The monitor output is not affected by the main
mix fader or the channel faders. This allows you to set
up the monitor mix and level just right, and not have
it change when a channel fader or the main mix fader
is adjusted. This is known as “pre-fader.”
17. FX Send
This 1/4" TRS line-level output may be used to feed
an external effects processor (FX), such as a nice
sound effect, or delay unit. The output from this jack
is an exact copy of what goes into the internal FX
processor, being the careful mix of all channels whose
aux FX control is turned to more than minimum.
(The processed output of the internal FX does not
come out of this output, but is added internally to the
main mix or monitor mix.)
The output is “post-fader,” so any changes to the
channel faders will also affect the level going to the
external processor.
The processed output from the effects processor is
usually returned to a spare channel or the tape input,
and you may carefully mix the original unprocessed
channel (dry) and the processed channel (wet).
Altering the original channel fader increases both
the wet and dry signals and keeps them at the same
delicate ratio. For example, the reverb remains at
the same level relative to the original.
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18. Main Out L/R
The 1/4" TRS output connectors provide balanced
or unbalanced line-level signals. Connect these to
the next device in the signal chain like an external
processor (compressor/limiter), or directly to the
inputs of the main amplifier or powered speakers.
19. Tape Inputs / Outputs
The stereo unbalanced RCA inputs allow you to
play a CD player, MP3 player, or other line-level source.
The tape in jacks accept an unbalanced signal using
standard hi-fi hookup cables.
The stereo unbalanced RCA outputs allow you to
record the main stereo mix onto a hard disk recorder
or automatic CD burner, for example. This lets you
make a recording for posterity/archive/legal purposes
whenever the band gets back together again.
The tape output is the stereo main mix, and it is
not affected by the main mix knob. The output could
also be used as an extra set of main outputs for feeding
another zone.
20. Phones
This 1/4" TRS connector supplies the output to stereo
headphones. It is the same signal that is routed to the
main and tape outputs. The phones volume is controlled
with the phones knob.
The phones output follows standard conventions:
Tip = Left channel
Ring = Right channel
Sleeve = Common ground
WARNING: The headphone amp is loud and
can cause permanent hearing damage. Even
intermediate levels may be painfully loud
with some headphones. BE CAREFUL! Always turn the
phones level control all the way down before connecting
headphones or doing anything new that may affect the
headphone volume. Then turn it up slowly as you listen
carefully.
TIP SLEEVE TIP SLEEVE