Download Lowrance electronic X47EX Fish Finder User Manual

PPM1012
12-Channel, 2 x 800 W Professional Powered Mixer
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1
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1
OWNER’S MANUAL
L
1
1
L
L
LAMP
12V 0.5A
L
MIC 1
MIC 2
MIC 3
MIC 4
MIC 5
MIC 6
MIC 7
MIC 8
2
MON SEND
2
FX SEND
IN
R
TAPE
R
OUT
FX
FOOTSWITCH
MAIN INSERT
TIP: FX1
RING: FX2
R
LINE
LINE
LINE
LINE
HI-Z
LINE
LINE
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
1
2
U
3
U
+50
+30dB
0
-20dB
GAIN
0
-20dB
GAIN
COMP
0
-20dB
GAIN
COMP
0
-20dB
GAIN
COMP
0
-20dB
GAIN
GAIN
LOW CUT
100 Hz
COMP
0
-20dB
COMP
+50
+30dB
0
-20dB
GAIN
LOW CUT
100 Hz
MAX
OFF
EQ
U
MAX
OFF
EQ
U
HI
12kHz
100
FREQ
8k
U
100
-15 +15
MON
1
+15
U
OO
+15
U
MON
OO
OO
FX
FX
1
OO
OO
OO
FX
+15
OO
+15
L
1
dB
10
5
U
OL
+10
5
U
2
OL
+10
30
L
3
OL
+10
5
U
L
4
OL
+10
5
U
0
30
L
5
OL
+10
5
U
L
6
OL
+10
5
U
0
30
L
7
OL
+10
30
L
8
OL
+10
5
U
0
L
9/10
OL
+10
dB
10
5
U
0
4K
8K
MAIN
METERS
0dB = 0dBu
OL
15
10
6
3
0
2
4
7
10
20
30
16K
15
10
10
5
5
0
0
5
5
10
10
15
15
250
500
1K
2K
FX 1
FX 2
SIG/OL
SIG/OL
U
U
+15
SEND MASTER
+15
SEND MASTER
OO
01
02
03
04
05
06
07
08
09
10
11
12
4K
8K
PLATE REVERB
VOCAL PLATE
WARM ROOM
BRIGHT ROOM
WARM LOUNGE
SMALL STAGE
WARM THEATER
BRIGHT STAGE
WARM HALL
CONCERT HALL
CATHEDRAL
GATED REVERB
L
R
LEVEL
SET
RUDE
SOLO
13
14
15
16
17
18
19
20
21
22
23
24
16K
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
MON 1
MAINS
B (R)
STEREO
MAIN
LPF
120
U
BREAK
TAP
DELAY
TAP
DELAY
INT FX
MUTE
INT FX
MUTE
MUTES
CH 1-12
+20
TAPE IN
FX 1
OO
11/12
OL
+10
dB
10
FX RTN 1
dB
10
FX RTN 2
dB
10
+15
OO
MON 1
dB
10
+15
OO
MON
2
dB
10
5
5
5
5
5
U
U
U
U
U
0
20
5
5
5
5
5
10
10
10
10
10
20
SOLO
30
20
SOLO
30
20
SOLO
30
20
SOLO
30
200Hz
MONO OUT
TO MON 2
U
TO MON 1
U
180
75Hz
OO
-20
30
MON 2
MON 1
A (L)
TAP TO EDIT
R
10
SOLO
125
FX 1
5
-20
30
2K
+15
PAN
R
20
SOLO
2
OO
10
20
30
B
100
FX
+15
5
-20
10
SOLO
dB
10
1K
+15
U
PAN
R
5
-20
20
SOLO
5
U
0
5
OO
500
15
OO
2
+15
dB
10
+15
U
FX
PAN
R
10
20
SOLO
OO
dB
10
-20
10
20
+15
250
1
OO
2
PAN
R
5
-20
30
OO
dB
10
0
5
SOLO
+15
PAN
R
10
20
SOLO
OO
dB
10
-20
10
20
+15
A
15
125
FX
+15
U
FX
2
10
2
OO
1
OO
10
POWER AMP
LIMITER
POWER AMP
+15
U
FX
+15
U
FX
2
PAN
R
5
-20
30
OO
dB
10
0
5
SOLO
+15
OO
5
MON
+15
U
1
+15
U
FX
2
PAN
R
10
20
SOLO
5
U
-20
10
20
OO
OO
OO
FX
1
+15
U
FX
2
+15
dB
10
0
5
-20
10
30
L
OO
OO
0
5
63
1
2
+15
U
FX
1
+15
U
FX
PAN
R
dB
10
0
5
OO
PAN
R
OO
2
FX
1
+15
U
FX
2
PAN
L
OO
OO
0
MON
MON
2
+15
U
5
AUX
SEND
U
+15
U
MON
2
OO
OO
PHANTOM
-15 +15
1
+15
U
MON
+15
U
FX
OO
LOW
80Hz
MON
1
+15
U
2
OO
1
+15
U
OO
-15 +15
U
AUX
SEND
U
MAX
LEVEL
MON 1 EQUALIZER
LOW
MID
400Hz
-15 +15
MON
1
MON
+15
U
FX
1
+15
U
2
OO
U
10
5
63
HI
MID
2.5kHz
LOW
80Hz
AUX
SEND
10
15
-15 +15
U
-15 +15
U
-15 +15
MON
+15
U
2
+15
U
FX
1
+15
U
FX
OO
OO
U
FREQ
EQ ASSIGN
MAIN
MON 2
15
-15 +15
U
LOW
MID
400Hz
8k
U
OO
M
15
HI
12kHz
HI
MID
2.5kHz
LOW
80Hz
AUX
SEND
1
MON
2
+15
U
100
-15 +15
MON
OO
FREQ
8k
U
1.5k
EQ
U
-15 +15
U
150
LOW
80Hz
AUX
SEND
U
+15
U
MON
2
+15
U
OO
1.5k
100
-15 +15
1
+15
U
MON
2
+15
U
OO
8k
U
MON
1
+15
U
MON
2
OO
OO
U
FREQ
150
LOW
80Hz
AUX
SEND
MON
1
100
-15 +15
AUX
SEND
U
FREQ
8k
U
1.5k
M
MAIN OUT
R
MAIN EQUALIZER
GAIN
-15 +15
U
-15 +15
600
2
POWER
+20
HI
12kHz
MID
-15 +15
600
150
LOW
80Hz
-15 +15
MON
1
100
LOW
80Hz
AUX
SEND
U
FREQ
8k
U
1.5k
-20
EQ
U
-15 +15
U
MID
-15 +15
600
150
+20
HI
12kHz
-15 +15
U
MID
-15 +15
600
1.5k
100
-15 +15
AUX
SEND
U
FREQ
8k
U
-15 +15
U
MID
EQ
U
FX RTN
2 X 800W PROFESSIONAL POWERED MIXER
HI-Z
HI
12kHz
R
PHONES
U
LOW CUT
100 Hz
EQ
U
HI
12kHz
-15 +15
U
150
LOW
80Hz
-15 +15
AUX
SEND
MON
OO
100
LOW
80Hz
LOW
80Hz
U
FREQ
8k
U
1.5k
EQ
U
(MONO)
11/12
MAX
HI
12kHz
-15 +15
600
150
OFF
MID
FX RTN 1
COMP
EQ
U
-15 +15
U
-15 +15
600
1.5k
MAX
HI
12kHz
MID
-15 +15
600
150
OFF
EQ
U
-15 +15
U
MID
-15 +15
600
MAX
HI
12kHz
-15 +15
U
MID
1.5k
OFF
EQ
U
HI
12kHz
-15 +15
U
150
MAX
R
GAIN
HI-Z
OFF
-20
L
(MONO)
INPUT 11 / 12
9/10
+50
+30dB
L
L
(MONO)
U
IC GAIN
M
GAIN
LOW CUT
100 Hz
R
INPUT 9/ 10
U
IC GAIN
M
+50
+30dB
L
(MONO)
8
U
IC GAIN
M
+50
+30dB
LOW CUT
100 Hz
7
U
IC GAIN
M
+50
+30dB
LOW CUT
100 Hz
6
U
IC GAIN
M
+50
+30dB
LOW CUT
100 Hz
5
U
IC GAIN
M
+50
+30dB
LOW CUT
100 Hz
4
U
IC GAIN
M
R
HI-Z
LINE
(BAL/UNBAL)
IC GAIN
M
0
-20dB
LINE
(BAL/UNBAL)
20
SOLO
30
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
MAX
MAIN
PPM1012
Important Safety Instructions
1.
2.
3.
4.
5.
6.
7.
Read these instructions.
Keep these instructions.
Heed all warnings.
Follow all instructions.
Do not use this apparatus near water.
Clean only with a dry cloth.
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. Do not overload wall outlets and extension cords as this can result in a
risk of fire or electric shock.
11. Protect the power cord from being walked on or pinched particularly at
plugs, convenience receptacles, and the point where they exit from the
apparatus.
12. Only use attachments/accessories specified by the manufacturer.
PORTABLE CART
13. Use only with a cart, stand, tripod, bracket, or
WARNING
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.
14. Unplug this apparatus during lightning storms or
when unused for long periods of time.
15. Refer all servicing to qualified service personnel. Servicing is required
when the apparatus has been damaged in any way, such as powersupply 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.
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 connection (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. The MAINS plug or an appliance coupler is used as the disconnect
device, so the disconnect device shall remain readily operable.
CAUTION
AVIS
RISK OF ELECTRIC SHOCK. DO NOT OPEN
RISQUE DE CHOC ELECTRIQUE. NE PAS OUVRIR
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.
2
PPM1012
20. 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 equipment 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.
21. 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.
22. 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 dangerous exposure to high sound pressure levels, it is recommended that all
persons exposed to equipment capable of producing high sound pressure 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:
Duration,
per day in
hours
8
6
4
3
2
1.5
1
Sound Level
dBA, Slow
Response
90
92
95
97
100
102
105
0.5
110
0.25 or less 115
Typical Example
Duo in small club
Subway Train
Very loud classical music
Dave screaming at Steve about
deadlines
Loudest parts at a rock concert
WARNING — To reduce the risk of fire or electric shock, do not
expose this apparatus to rain or moisture.
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 powered 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 connector 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 linelevel 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.
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.
Owner’s Manual
Read This Page!
Don’t use guitar cords for speaker cables!
They’re not designed to handle speaker-level
signals and could overheat.
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
•
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.
Only connect the powered mixer's speaker-level
outputs to passive loudspeakers.
•
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.
For optimum sonic performance, the channel
faders and main mix fader should be set near
the U (unity gain) markings.
•
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.
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!
Part No. SW0704 Rev. C 08/08
©2008 LOUD Technologies Inc. All Rights Reserved. PDF pixels home grown and harvested in Woodinville, WA.
Owner’s Manual
3
PPM1012
Introduction
Thank you for choosing a Mackie PPM1012 professional 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 imaginable to fine-tune the design and extend its limits beyond
those of ordinary mixers or amplifiers.
Features
4
•
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 passive speakers
•
Headphones play main mix, or soloed channels
•
Two internal power amplifiers, each rated at
800 watts peak into 4 ohms
How To Use This Manual
•
3 selectable amplifier modes (stereo main,
mono-main/monitor 1, mon1/mon2)
•
12 channels (8 mono, 2 stereo)
The first pages after the table of contents are the
hookup diagrams. These show typical setups for fun
times with your powered mixer.
•
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
•
Rear Panel
•
Break switch mutes all channels except tape in
•
Connection Section
•
Insert jacks on mono channels
•
Channel Controls
•
Low cut switch on mono channels
•
Master Controls
•
Instrument switches on channels 7 and 8 allow
direct connection of guitars without a DI box
•
Stereo Effects Processors
Next is a detailed tour of the entire mixer. The descriptions are divided into sections, just as your mixer is
organized into distinct zones:
Throughout these sections you’ll find illustrations
with each feature numbered and described in nearby
paragraphs.
•
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 control, and switchable low-pass filter with variable
frequency for subwoofer work
Appendix A: Service information.
•
Stereo main insert allows the connection of inline devices in the main mix
Appendix B: Connectors.
•
+48v Phantom power can be applied to all mics
Appendix C: Technical information.
•
Built-in compressors on the first 6 mono inputs
(dedicated in-line compression)
Appendix D: Table of Presets
PPM1012
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.
The thickness of the manual makes it ideal for covering 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.
IMPORTANT SAFETY INSTRUCTIONS ........................ 2
READ THIS PAGE! .................................................... 3
INTRODUCTION ...................................................... 4
40. CHANNEL FADER .................................... 20
41. SOLO ..................................................... 20
MASTER CONTROLS
HOOKUP DIAGRAMS............................................... 6
FEATURES ............................................................. 10
REAR PANEL
1. POWER CONNECTION ............................. 10
42.
43.
44.
45.
POWER LED ........................................... 21
48V PHANTOM SWITCH ......................... 21
MAIN EQUALIZER................................... 21
MON 1 EQUALIZER ................................ 22
2. POWER SWITCH..................................... 10
3. SPEAKER-LEVEL OUTPUTS....................... 10
4. VENTILATION ......................................... 10
CONNECTION SECTION
5. MIC INPUTS ........................................... 11
46.
47.
48.
49.
50.
MAIN EQ ASSIGN ................................... 22
POWER AMP LIMITER LEDS .................... 22
MAIN MIX METERS ................................ 23
RUDE SOLO LIGHT .................................. 23
PRECISION PASSIVE EQ .......................... 23
6.
7.
8.
MONO LINE INPUTS (CH. 1 TO 6)............ 11
LINE/INSTRUMENT INPUTS .................... 11
STEREO LINE INPUTS .............................. 11
51. BREAK SWITCH AND LED ....................... 23
52. TAPE IN ................................................. 23
53. POWER AMP MODE SWITCH .................. 23
9.
10.
11.
12.
13.
14.
INSERT (CH. 1 TO 8) ............................... 12
MON SEND 1 AND MON SEND 2 ............. 12
FX SEND 1 AND FX SEND 2 ..................... 12
FX RTN 1 AND FX RTN 2 ........................ 13
TAPE INPUTS ......................................... 13
TAPE OUTPUTS ...................................... 13
54.
55.
56.
57.
58.
59.
15. MAIN INSERTS ....................................... 13
16. MAIN OUTPUTS .................................... 13
17. MAIN MONO OUTPUT ............................ 13
18.
19.
20.
21.
22.
LPF (LOW-PASS-FILTER).......................... 24
MONO OUT............................................ 24
FX 1 TO MON 1 AND FX 1 TO MON 2 ..... 25
FX RTN 1 AND FX RTN 2 FADER ............. 25
MONITOR 1 AND MONITOR 2 FADER ...... 25
MAIN FADER .......................................... 25
STEREO EFFECTS PROCESSOR ............................. 26
60. FX1 SEND AND FX2 SEND MASTER ......... 26
61. SIG/OL LED ........................................... 26
HEADPHONE OUTPUT ............................ 13
LEVEL .................................................... 14
FX FOOTSWITCH CONNECTOR ................ 14
BNC LAMP CONNECTION ....................... 14
LUNCH-TIME DECOUPLER........................ 14
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
CHANNEL CONTROLS
23. GAIN CONTROL ...................................... 16
24. LOW CUT ............................................... 16
25. COMPRESSOR ........................................ 17
26. HI-Z SWITCH ......................................... 18
APPENDIX C: TECHNICAL INFORMATION ................ 31
APPENDIX D: TABLE OF EFFECTS PRESETS ............... 34
PPM1012 LIMITED WARRANTY ............................. 35
27.
28.
29.
30.
HIGH EQ ................................................ 19
MID EQ LEVEL ........................................ 19
MID EQ FREQUENCY ............................... 19
HIGH MID EQ LEVEL ............................... 19
31.
32.
33.
34.
LOW MID EQ LEVEL ................................ 19
LOW EQ ................................................. 19
MON 1 AUX SEND .................................. 19
MON 2 AUX SEND .................................. 19
35.
36.
37.
38.
39.
FX1 AUX SEND....................................... 19
FX2 AUX SEND....................................... 19
PAN....................................................... 20
MUTE SWITCH AND LED.......................... 20
–20, 0, +10, OL CHANNEL METER LEDS ... 20
Owner’s Manual
Contents
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Support to find: FAQs, manuals,
addendums, and user forums.
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Owner’s Manual
5
PPM1012
Hookup Diagrams
Microphones
Portable Recorder
L
1
1
L
L
LAMP
12V 0.5A
2 X 800W PROFESSIONAL POWERED M
L
MIC 1
MIC 2
MIC 3
MIC 4
MIC 5
MIC 6
MIC 7
MIC 8
2
MON SEND
2
FX SEND
IN
R
TAPE
R
OUT
FX
TIP: FX1
RING: FX2
R
LINE
LINE
LINE
LINE
LINE
HI-Z
LINE
LINE
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
L
L
L
Adjust
1
2
Vocal
Compression
U
0
-20dB
3
U
+50
+30dB
0
-20dB
GAIN
+50
+30dB
0
-20dB
+50
+30dB
COMP
0
-20dB
+50
+30dB
COMP
0
-20dB
+50
+30dB
COMP
0
-20dB
GAIN
LOW CUT
100 Hz
(MONO)
+50
+30dB
0
-20dB
(MONO)
(MONO)
COMP
+50
+30dB
0
-20dB
(MONO)
PHONES
+50
+30dB
MAX
OFF
EQ
U
MAX
OFF
EQ
U
HI
12kHz
100
8k
U
100
FREQ
8k
U
1.5k
100
-15 +15
-15 +15
AUX
SEND
MON
OO
MON
OO
OO
1
1
+15
U
OO
OO
2
OO
L
1
5
U
OL
+10
OO
L
2
5
U
0
OL
+10
OO
-20
OO
L
+15
U
OO
L
OO
L
PAN
R
L
L
OO
L
5
U
dB
10
OL
+10
5
U
0
5
-20
dB
10
OL
+10
5
U
0
5
-20
dB
10
OL
+10
5
U
0
5
-20
dB
10
OL
+10
5
U
0
5
-20
dB
10
OL
+10
5
U
0
5
-20
dB
10
OL
+10
5
U
0
5
-20
2
OO
10
5
0
0
15
L
L
9/10
OL
+10
125
250
1K
500
2K
4K
8K
dB
10
POWER AMP
FX 1
FX 2
SIG/OL
SIG/OL
U
U
OO
+15
SEND MASTER
OO +15
SEND MASTER
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
5
U
0
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
MON 1
MAINS
LPF
120
U
BREAK
TAP
DELAY
TAP
DELAY
MUTES
CH 1-12
INT FX
MUTE
+20
TAPE IN
FX 1
dB
10
FX RTN 1
dB
10
FX RTN 2
dB
10
OO
MON 1
dB
10
+15
OO
MON
2
dB
10
5
5
5
5
5
U
U
U
U
U
5
5
5
5
5
-20
10
10
10
10
10
10
10
20
20
20
20
20
20
20
20
20
20
20
20
30
30
30
30
30
30
30
30
30
30
30
30
30
30
30
SOLO
SOLO
SOLO
SOLO
MAIN
-20
10
20
SOLO
MAX
0
5
10
SOLO
200Hz
MONO OUT
TO MON 2
U
+15
180
75Hz
OO
TO MON 1
U
INT FX
MUTE
OO
+10
Stereo Mains
B (R)
STEREO
MAIN
20
SOLO
MON 2
MON 1
A (L)
TAP TO EDIT
R
OL
MON 2
MON 1
B (R)
STEREO
MAIN
16K
FX 1
11/12
MON 1
MAINS
A (L)
10
SOLO
MODE
RUDE
SOLO
20
SOLO
POWER AMP
R
LEVEL
SET
15
63
+15
PAN
R
5
-20
15
5
100
FX
SRM450v2
Powered
Stage
Monitors
8
6
5
4
7
3
(plays mon 1 output)
dB
10
OL
15
10
6
3
0
2
4
7
10
20
30
16K
10
+15
U
PAN
R
8K
15
1
+15
PAN
R
+15
U
2
OO
4K
5
FX
+15
2K
FX
+15
U
2
OO
1K
2
OO
FX
+15
PAN
R
OO
500
10
1
+15
U
2
+15
PAN
R
OO
250
5
FX
1
FX
125
MON
+15
U
FX
+15
U
2
OO
OO
15
10
+15
U
2
+15
U
1
FX
+15
PAN
R
1
2
OO
OO
FX
OO
MON
2
+15
U
15
LOW
80Hz
1
+15
U
MON
2
OO
FX
+15
MON
2
OO
5
MON
1
+15
U
0dB = 0dBu
0
10
AUX
SEND
U
MON
1
OO
B
-15 +15
AUX
SEND
U
MON
+15
U
5
5
10
LOW
MID
400Hz
-15 +15
U
-15 +15
AUX
SEND
U
A
MAIN
METERS
MON 1 EQUALIZER
-15 +15
U
LOW
80Hz
-15 +15
FX
+15
U
2
+15
0
5
5
OO
FX
PAN
R
dB
10
+15
U
2
+15
PAN
R
dB
10
OO
FX
2
+15
PAN
L
+15
U
FX
U
1
+15
U
1
10
63
HI
MID
2.5kHz
-15 +15
U
8k
MON
OO
FX
15
10
HI
12kHz
LOW
MID
400Hz
FREQ
LOW
80Hz
AUX
SEND
U
MON
OO
100
-15 +15
1
+15
U
1
U
1.5k
PHANTOM
POWER AMP
LIMITER
MAIN
MON 2
15
-15 +15
U
HI
MID
2.5kHz
-15 +15
U
150
LOW
80Hz
+15
U
2
OO
FX
FREQ
8k
MON
OO
MON
+15
U
1
+15
U
FX
OO
OO
FX
100
AUX
SEND
U
1
2
+15
U
FX
U
1.5k
EQ
U
-15 +15
U
MID
PIN
1+
1
MAX
LEVEL
EQ ASSIGN
MAIN EQUALIZER
+20
GAIN
HI
12kHz
HI
12kHz
-15 +15
600
150
-15 +15
+15
U
MON
2
+15
U
FREQ
8k
MON
OO
-20
EQ
U
-15 +15
U
MID
LOW
80Hz
AUX
SEND
U
+15
U
MON
2
+15
U
FX
OO
OO
1.5k
100
-15 +15
1
+15
U
MON
2
OO
OO
U
HI
12kHz
-15 +15
600
150
8k
MON
1
+15
U
FREQ
LOW
80Hz
AUX
SEND
U
MON
1
+15
U
100
-15 +15
AUX
SEND
U
MON
1
OO
U
1.5k
OO
M
0
EQ
U
-15 +15
U
MID
-15 +15
600
150
LOW
80Hz
-15 +15
AUX
SEND
U
FREQ
8k
LOW
80Hz
Keyboard
U
U
1.5k
100
HI
12kHz
-15 +15
600
150
+20
GAIN
HI-Z
EQ
U
-15 +15
U
MID
M
MAIN OUT
R
5
EQ
HI
12kHz
2
POWER
MAX
U
-15 +15
U
MID
8k
LOW
80Hz
LOW
80Hz
FREQ
OFF
FX RTN
2 X 800W PROFESSIONAL POWERED MIXER
COMP
EQ
HI
12kHz
-15 +15
600
150
MAX
U
-15 +15
U
MID
-15 +15
600
1.5k
OFF
EQ
HI
12kHz
-15 +15
600
150
MAX
U
-15 +15
U
MID
-15 +15
600
FREQ
EQ
U
-15 +15
U
MID
1.5k
OFF
HI
12kHz
-15 +15
U
150
MAX
R
U
LOW CUT
100 Hz
HI-Z
OFF
-20
FX RTN 1
11/12
U
GAIN
LOW CUT
100 Hz
R
INPUT 11 / 12
9/10
U
IC GAIN
M
GAIN
LOW CUT
100 Hz
R
INPUT 9/ 10
8
U
IC GAIN
M
GAIN
LOW CUT
100 Hz
COMP
7
U
IC GAIN
M
IC GAIN
M
GAIN
LOW CUT
100 Hz
6
press HI-Z
buttons
U
IC GAIN
M
GAIN
LOW CUT
100 Hz
5
U
IC GAIN
M
GAIN
LOW CUT
100 Hz
4
U
IC GAIN
M
B
L
PIN
1+
1
IC GAIN
M
SPEAKER OUT
A
R
HI-Z
LINE
(BAL/UNBAL)
SPEAKER OUT
FOOTSWITCH
MAIN INSERT
10
SOLO
10
SOLO
10
SOLO
10
SOLO
10
SOLO
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
SWA1801z Powered Subwoofers
S225 Passive Speakers
(plays stereo main mix)
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 monitors. The mon 1 knobs of each channel allow you to set up a stage monitor mix that is independent of the
main mix.
Mackie S225 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.
Club System
6
PPM1012
L
1
1
L
L
LAMP
12V 0.5A
2 X 800W PROFESSIONAL POWERED MIXER
L
MIC 1
MIC 2
MIC 3
MIC 4
MIC 5
MIC 6
MIC 7
MIC 8
LINE
LINE
LINE
LINE
LINE
LINE
HI-Z
LINE
HI-Z
LINE
2
MON SEND
2
FX SEND
IN
R
TAPE
R
OUT
FX
TIP: FX1
RING: FX2
R
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
SPEAKER OUT
FOOTSWITCH
MAIN INSERT
A
U
0
-20dB
3
U
IC GAIN
M
+50
+30dB
0
-20dB
GAIN
+50
+30dB
0
-20dB
+50
+30dB
COMP
0
-20dB
+50
+30dB
COMP
0
-20dB
+50
+30dB
COMP
0
-20dB
GAIN
LOW CUT
100 Hz
L
L
(MONO)
+50
+30dB
0
-20dB
(MONO)
L
(MONO)
COMP
+50
+30dB
0
-20dB
(MONO)
PHONES
+50
+30dB
MAX
OFF
EQ
U
MAX
OFF
EQ
U
HI
12kHz
100
FREQ
8k
U
100
8k
U
U
OO
+15
OO
+15
U
OO
+15
FX
OO
+15
U
OO
+15
L
+15
U
OO
+15
L
+15
U
OO
+15
L
OO
+15
R
L
5
U
+10
5
U
0
5
OL
+10
10
30
dB
10
OL
+10
U
R
L
+10
U
0
30
+10
U
0
+10
U
0
30
7
OL
+10
5
U
0
+10
5
U
0
30
OO
+15
9/10
OL
2
PAN
+10
dB
10
5
U
0
11/12
OL
+10
0dB = 0dBu
OL
15
10
6
3
0
2
4
7
10
20
30
4K
8K
16K
15
10
10
5
5
0
0
15
63
FX 1
125
250
POWER AMP
R
MODE
RUDE
SOLO
MON 1
MAINS
2K
4K
8K
MON 2
MON 1
A (L)
15
1K
500
FX 2
SIG/OL
L
LEVEL
SET
B (R)
STEREO
MAIN
16K
POWER AMP
SIG/OL
U
U
OO +15
SEND MASTER
+15
OO
SEND MASTER
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
MON 1
MAINS
MON 2
MON 1
A (L)
Mains/Mon1
B (R)
STEREO
MAIN
LPF
LPF
TAP TO EDIT
120
U
BREAK
TAP
DELAY
TAP
DELAY
MUTES
CH 1-12
FRS2800
Amplifier
INT FX
MUTE
dB
10
INT FX
MUTE
FX RTN 1
5
dB
10
FX RTN 2
5
U
120
180
75Hz
200Hz
100
FX 1
180
MONO OUT
TO MON 2
U
75Hz
OO
dB
10
5
U
+20
TAPE IN
OO
FX 1
TO MON 1
U
+15
OO
+15
OO
MAX
dual-mono
mode
MON 1
dB
10
MON
2
5
U
dB
10
200Hz
Press LPF and
adjust sub
crossover
frequency
C300z Passive Stage Monitors
(plays mon 1 output)
MAIN
5
U
U
0
20
SOLO
B
5
5
5
5
5
10
10
10
10
10
-20
10
20
2K
15
Drum
Machine
R
5
-20
30
A
MAIN
METERS
100
FX
L
10
SOLO
+15
U
R
5
20
SOLO
dB
10
-20
10
20
30
OL
5
-20
10
SOLO
8
dB
10
OO
PAN
L
1K
1
2
R
500
FX
FX
PAN
L
5
20
SOLO
5
+15
2
R
dB
10
OO
FX
PAN
-20
10
20
30
6
OL
+15
2
L
5
-20
10
SOLO
5
OO
+15
U
250
2
+15
U
1
OO
125
MON
OO
FX
1
+15
U
15
LOW
80Hz
1
+15
U
FX
OO
15
5
MON
2
OO
5
10
+15
U
MON
2
+15
U
FX
R
dB
10
OL
5
20
SOLO
5
-20
10
20
30
dB
10
OL
5
-20
10
SOLO
5
0
5
20
SOLO
U
-20
10
20
5
0
5
-20
30
dB
10
dB
10
OL
+15
PAN
SRM150 Powered Monitor
(plays
mon31 output)
1
2
5
4
dB
10
OO
2
PAN
MON
OO
U
OO
POWER AMP
LIMITER
0
10
5
AUX
SEND
1
+15
U
PHANTOM
5
5
10
10
-15 +15
MON
OO
1
+15
U
U
1
FX
OO
LOW
80Hz
AUX
SEND
MON
+15
U
FX
2
PAN
R
+15
U
10
LOW
MID
400Hz
-15 +15
U
-15 +15
+15
U
2
OO
1
OO
U
OO
FX
FX
2
PAN
R
OO
LOW
80Hz
PIN
1+
1
MAX
LEVEL
MON 1 EQUALIZER
-15 +15
U
-15 +15
U
AUX
SEND
MON
2
FREQ
8k
U
1
+15
U
1
10
63
HI
MID
2.5kHz
LOW
MID
400Hz
-15 +15
+15
U
MON
OO
100
MON
OO
FX
FX
2
PAN
R
OO
U
1
+15
U
1
FX
2
PAN
L
1
FX
2
OO
FX
FREQ
LOW
80Hz
+15
U
2
+15
U
15
HI
12kHz
-15 +15
U
1.5k
AUX
SEND
MON
OO
MON
2
OO
FX
U
1
MAIN
MON 2
15
-15 +15
U
HI
MID
2.5kHz
-15 +15
600
150
EQ
U
-15 +15
U
MID
-15 +15
AUX
SEND
MON
EQ ASSIGN
MAIN EQUALIZER
+20
GAIN
HI
12kHz
HI
12kHz
8k
U
LOW
80Hz
+15
U
MON
+15
U
1
U
OO
1.5k
100
-15 +15
AUX
SEND
1
FREQ
150
8k
U
LOW
80Hz
+15
U
2
OO
FX
1.5k
100
-15 +15
MON
OO
MON
+15
U
1
U
1
FREQ
-20
EQ
U
-15 +15
U
MID
-15 +15
600
150
8k
U
LOW
80Hz
AUX
SEND
MON
2
OO
100
-15 +15
+15
U
MON
2
FX
+15
U
U
OO
FREQ
1.5k
HI
12kHz
-15 +15
U
-15 +15
600
150
8k
U
LOW
80Hz
+15
U
MON
100
AUX
SEND
1
OO
+15
U
OO
8k
U
MON
1
+15
U
FREQ
1.5k
OO
M
0
EQ
U
press HI-Z
button
MID
-15 +15
600
150
-15 +15
AUX
SEND
MON
OO
100
-15 +15
AUX
SEND
U
1.5k
LOW
80Hz
LOW
80Hz
-15 +15
OO
FREQ
-15 +15
600
150
+20
GAIN
HI-Z
EQ
U
HI
12kHz
-15 +15
U
MID
M
MAIN OUT
R
5
EQ
HI
12kHz
-15 +15
U
MID
2
POWER
MAX
U
FX RTN
2 X 800W PROFESSIONAL POWERED MIXER
COMP
OFF
EQ
HI
12kHz
-15 +15
600
1.5k
MAX
U
-15 +15
U
MID
-15 +15
600
150
OFF
EQ
U
-15 +15
U
MID
-15 +15
600
MAX
HI
12kHz
-15 +15
U
MID
1.5k
OFF
EQ
U
HI
12kHz
-15 +15
U
150
MAX
R
U
LOW CUT
100 Hz
HI-Z
OFF
-20
FX RTN 1
11/12
U
GAIN
LOW CUT
100 Hz
R
INPUT 11 / 12
9/10
U
IC GAIN
M
GAIN
LOW CUT
100 Hz
R
INPUT 9/ 10
8
U
IC GAIN
M
GAIN
LOW CUT
100 Hz
COMP
7
U
IC GAIN
M
IC GAIN
M
GAIN
LOW CUT
100 Hz
6
U
IC GAIN
M
GAIN
LOW CUT
100 Hz
5
U
IC GAIN
M
GAIN
LOW CUT
100 Hz
4
U
IC GAIN
M
B
R
L
PIN
1+
1
1 Vocal 2
Adjust
Compression
SPEAKER OUT
Owner’s Manual
Acoustic Guitar
and Mic
Microphones
30
20
SOLO
30
20
SOLO
30
20
SOLO
30
20
SOLO
30
20
SOLO
30
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
Keyboard
S218s Passive Subwoofers
(plays main mix below 100 Hz)
S215 Passive Speakers
House System
(plays mono main mix)
This diagram shows microphones attached to the mic inputs of channels 1 to 4, an electric guitar connected 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 1 send, and acts as a personal stage
monitor to your talented, yet still surprisingly-humble keyboard player. The mon 1 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.
Mackie S215 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 speakerlevel power output, and they play the stage monitor mix 1 to your performers.
S218s passive subwoofers are powered by a Mackie FRS2800 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.
House of Worship
Owner’s Manual
7
PPM1012
Wireless
Microphone
Microphones
Wireless Mic Receiver
L
1
1
2
2
L
L
LAMP
12V 0.5A
2 X 800W PROFESSIONAL POWE
L
MIC 1
MIC 2
MIC 3
MIC 4
MIC 5
MIC 6
MIC 7
MIC 8
MON SEND
FX SEND
IN
R
TAPE
R
OUT
FX
TIP: FX1
RING: FX2
R
LINE
LINE
LINE
LINE
LINE
HI-Z
LINE
LINE
SPEAKER OUT
FOOTSWITCH
MAIN INSERT
A
L
L
L
L
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(MONO)
(MONO)
(MONO)
(MONO)
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
R
R
R
R
PHONES
PIN
1+
1
U
0
-20dB
3
U
+50
+30dB
0
-20dB
GAIN
+50
+30dB
0
-20dB
+50
+30dB
COMP
0
-20dB
+50
+30dB
COMP
0
-20dB
+50
+30dB
COMP
0
-20dB
GAIN
LOW CUT
100 Hz
+50
+30dB
0
-20dB
COMP
+50
+30dB
0
-20dB
+50
+30dB
MAX
OFF
EQ
U
MAX
OFF
EQ
U
HI
12kHz
-15 +15
U
100
FREQ
8k
U
1.5k
100
2
2
OO
OO
+15
U
OO
OO
+15
OO
dB
10
5
U
OL
L
dB
10
OL
5
+10
OO
+10
U
0
L
3
dB
10
OL
5
U
0
5
5
-20
L
U
L
5
OL
+10
U
0
OO
L
+10
U
0
5
-20
L
8
dB
10
OL
5
U
U
0
9/10
OL
+10
5
-20
-20
L
dB
10
5
U
-20
10
10
10
10
10
10
10
10
20
20
20
20
20
20
20
20
SOLO
30
SOLO
30
30
SOLO
SOLO
30
SOLO
30
SOLO
30
SOLO
30
15
10
10
5
5
0
0
5
5
10
10
15
15
L
POWER AMP
R
MODE
LEVEL
SET
RUDE
SOLO
SOLO
125
250
1K
500
2K
4K
8K
FX 1
FX 2
SIG/OL
SIG/OL
U
U
OO +15
SEND MASTER
OO
+15
SEND MASTER
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
OL
B (R)
STEREO
MAIN
16K
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
MON 1
MAINS
MON 2
MON 1
A (L)
Stereo Mains
B (R)
STEREO
MAIN
LPF
120
U
BREAK
TAP
DELAY
TAP
DELAY
MUTES
CH 1-12
+20
TAPE IN
INT FX
MUTE
INT FX
MUTE
FX 1
dB
10
SA1521z
Powered
Speaker
FX RTN 1
OO
MON 1
dB
10
+15
OO
MON
2
10
dB
10
5
5
5
5
U
U
U
U
U
5
5
5
5
5
5
200Hz
MONO OUT
TO MON 2
U
+15
180
75Hz
OO
TO MON 1
U
OO
+10
MON 2
MON 1
A (L)
TAP TO EDIT
R
11/12
MON 1
MAINS
dB
10
MAX
MAIN
SA1521z
Powered
Speaker
-20
10
20
30
16K
0
10
SOLO
8K
FX 1
5
20
30
4K
15
+15
PAN
R
0
5
-20
dB
10
5
+10
OO
PAN
R
0
5
-20
OL
5
+10
U
L
OL
15
10
6
3
0
2
4
7
10
20
30
100
2
+15
PAN
R
7
OO
2K
+15
U
FX
iPod® Docking
Station
dB
10
OL
5
OO
2
+15
1K
1
FX
2
OO
500
FX
+15
U
FX
+15
+15
U
1
OO
250
2
OO
FX
+15
U
PAN
R
6
0
5
-20
+15
dB
10
OO
2
125
MON
+15
U
1
+15
U
15
POWER AMP
+15
U
2
OO
FX
FX
PAN
R
5
5
-20
OO
dB
10
OL
+10
0
5
OO
2
PAN
R
dB
10
+15
U
OO
MON
+15
U
1
FX
+15
OO
4
5
+10
OO
2
+15
OO
FX
15
63
1
+15
U
2
+15
U
1
FX
PAN
R
OO
FX
+15
U
2
PAN
R
2
OO
FX
+15
OO
PAN
L
+15
U
2
+15
PAN
R
1
OO
FX
2
2
+15
U
1
OO
MON
5
MON
1
+15
U
0dB = 0dBu
0
10
AUX
SEND
U
MON
1
OO
B
-15 +15
AUX
SEND
U
MON
1
MON
LOW
80Hz
-15 +15
AUX
SEND
MON
-15 +15
U
LOW
80Hz
-15 +15
U
LOW
MID
400Hz
-15 +15
U
8k
U
A
MAIN
METERS
MON 1 EQUALIZER
-15 +15
U
LOW
MID
400Hz
FREQ
LOW
80Hz
+15
U
2
OO
100
AUX
SEND
U
OO
FX
1.5k
PHANTOM
POWER AMP
LIMITER
5
5
10
63
HI
MID
2.5kHz
-15 +15
U
150
-15 +15
MON
+15
U
1
+15
U
FX
2
OO
FX
FREQ
LOW
80Hz
+15
U
2
+15
U
1
+15
U
FX
L
OO
FX
1
OO
MON
10
HI
12kHz
HI
MID
2.5kHz
MID
8k
U
1
+15
U
2
+15
U
FX
1
100
MON
1
OO
MON
1.5k
AUX
SEND
U
MON
+15
U
2
+15
U
FX
OO
OO
MON
8k
U
15
10
-15 +15
U
-15 +15
U
-15 +15
600
150
-15 +15
AUX
SEND
U
FREQ
EQ
U
HI
12kHz
HI
12kHz
MID
LOW
80Hz
-15 +15
1
+15
U
1.5k
EQ
U
-15 +15
U
-15 +15
600
150
100
MON
1
OO
FREQ
8k
U
HI
12kHz
MID
LOW
80Hz
AUX
SEND
U
MON
+15
U
100
-15 +15
MON
+15
U
8k
U
1.5k
MAIN
MON 2
15
0
EQ
U
-15 +15
U
-15 +15
600
150
FREQ
LOW
80Hz
AUX
SEND
U
1
OO
1.5k
100
MON
1
+15
U
MON
OO
8k
U
HI
12kHz
-15 +15
600
150
-15 +15
AUX
SEND
U
FREQ
LOW
80Hz
-15 +15
AUX
SEND
MON
OO
100
LOW
80Hz
-15 +15
OO
1.5k
MAIN EQUALIZER
+20
GAIN
HI-Z
EQ
U
-15 +15
U
MID
-15 +15
600
150
8k
U
LOW
80Hz
U
FREQ
HI
12kHz
MID
-20
EQ ASSIGN
5
EQ
U
-15 +15
U
MID
+20
GAIN
PIN
1+
1
MAX
LEVEL
POWER
MAX
EQ
HI
12kHz
-15 +15
600
150
OFF
OO
M
2 X 800W PROFESSIONAL POWERED MIXER
COMP
MAX
U
-15 +15
U
MID
-15 +15
600
1.5k
OFF
EQ
U
-15 +15
U
MID
MAX
HI
12kHz
-15 +15
U
-15 +15
600
OFF
EQ
U
HI
12kHz
Graphic EQ
150
MAX
2
U
LOW CUT
100 Hz
HI-Z
OFF
-20
FX RTN
M
MAIN OUT
11/12
U
GAIN
LOW CUT
100 Hz
FX RTN 1
INPUT 11 / 12
9/10
U
IC GAIN
M
GAIN
LOW CUT
100 Hz
INPUT 9/ 10
8
U
IC GAIN
M
GAIN
LOW CUT
100 Hz
COMP
7
U
IC GAIN
M
IC GAIN
M
GAIN
LOW CUT
100 Hz
6
U
IC GAIN
M
GAIN
LOW CUT
100 Hz
5
U
IC GAIN
M
GAIN
LOW CUT
100 Hz
4
U
IC GAIN
M
IC GAIN
M
B
R
HI-Z
LINE
(BAL/UNBAL)
1 Vocal2
Adjust
Compression
SPEAKER OUT
30
10
10
20
SOLO
30
10
20
SOLO
30
10
20
SOLO
30
10
20
SOLO
30
20
SOLO
30
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
Mackie d.2 Pro
DJ Production Console
BOOTH
MAIN OUT
L
R
LINE
MIC
LIVE
RECORD
~100-240 VAC 50-60Hz 20W
L
FX
SEND
L
L
R
L(MONO)
PGM 1
PGM 2
R
PHONO
L
CD
R
RETURN
PHONO
L
L
R
R
CD
MIC
L
R
R
LINE
PHONO
GND
LINE
PHONO
GND
R
SWA2801z Powered Subwoofers
(play main mix)
S225 Passive Speakers
(play stereo main mix)
Turntables with phono-level output
This diagram shows microphones connected to the mic inputs of channels 1 and 2, a wireless microphone 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 channels 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 Mackie S225 passive speakers,
connected to the speaker-level power outputs.
Mackie SA1521z powered speakers and SWA2801z powered subwoofers are connected to the linelevel main mix outputs, and also play the stereo main mix to your audience.
DJ System
8
PPM1012
L
1
1
L
L
LAMP
12V 0.5A
2 X 800W PROFESSIONAL POWERED MIXER
L
MIC 1
MIC 2
MIC 3
MIC 4
MIC 5
MIC 6
MIC 7
MIC 8
LINE
HI-Z
LINE
HI-Z
LINE
2
MON SEND
2
FX SEND
IN
R
TAPE
R
OUT
FX
TIP: FX1
RING: FX2
R
LINE
LINE
LINE
LINE
LINE
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
SPEAKER OUT
FOOTSWITCH
MAIN INSERT
SPEAKER OUT
A
B
R
L
L
L
(MONO)
(MONO)
L
(MONO)
(MONO)
PHONES
PIN
1+
1
Adjust
1 Vocal 2
Compression
U
0
-20dB
3
U
IC GAIN
M
+50
+30dB
0
-20dB
GAIN
+50
+30dB
0
-20dB
+50
+30dB
0
-20dB
+50
+30dB
0
-20dB
+50
+30dB
COMP
0
-20dB
GAIN
LOW CUT
100 Hz
+50
+30dB
0
-20dB
COMP
+50
+30dB
0
-20dB
+50
+30dB
MAX
OFF
EQ
U
MAX
OFF
EQ
U
HI
12kHz
100
8k
U
1.5k
100
-15 +15
AUX
SEND
MON
OO
+15
U
OO
L
1
U
OL
+10
5
L
2
U
OL
+10
10
30
L
3
U
OL
+10
U
0
30
OO
L
4
OL
+10
U
0
30
L
5
OL
+10
5
U
0
L
6
OL
+10
5
U
0
30
7
OL
+10
5
U
8
OL
+10
5
U
0
30
L
+10
dB
10
5
U
0
R
RUDE
SOLO
POWER AMP
MODE
MON 1
MAINS
SIG/OL
U
OO
+15
SEND MASTER
2K
4K
8K
16K
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
MON 1
MAINS
MON 2
MON 1
A (L)
OL
+10
A (L)
B (R)
STEREO
MAIN
B (R)
STEREO
MAIN
Mon1/Mon2
LPF
TAP TO EDIT
120
U
BREAK
TAP
DELAY
TAP
DELAY
MUTES
CH 1-12
INT FX
MUTE
+20
TAPE IN
FX 1
dB
10
FX RTN 1
5
dB
10
FX RTN 2
5
U
dB
10
+15
MON 1
5
U
dB
10
+15
OO
MON
2
5
U
200Hz
MONO OUT
TO MON 2
U
OO
180
75Hz
OO
TO MON 1
U
INT FX
MUTE
R
11/12
MON 2
MON 1
POWER AMP
PLATE REVERB
VOCAL PLATE
WARM ROOM
BRIGHT ROOM
WARM LOUNGE
SMALL STAGE
WARM THEATER
BRIGHT STAGE
WARM HALL
CONCERT HALL
CATHEDRAL
GATED REVERB
OO
dB
10
C200 Passive Stage Monitors
(plays mon 2 output)
MAX
MAIN
5
U
U
0
5
5
5
5
5
10
10
10
10
10
-20
20
SOLO
FX 2
SIG/OL
01
02
03
04
05
06
07
08
09
10
11
12
100
10
20
1K
500
FX 1
5
-20
30
250
+15
PAN
R
OL
FX 1
125
SA1532z
Powered
Speaker
+15
U
2
OO
9/10
63
OO +15
SEND MASTER
FX
+15
10
SOLO
L
LEVEL
SET
0
1
OO
5
20
SOLO
dB
10
-20
10
20
30
L
0
U
+15
U
PAN
R
5
-20
10
SOLO
OO
dB
10
0
5
20
SOLO
L
15
2
PAN
R
5
10
FX
+15
5
FX
+15
U
2
OO
10
2
OO
FX
+15
dB
10
-20
10
OO
15
5
5
1
+15
U
PAN
R
5
20
30
OO
dB
10
-20
10
SOLO
+15
PAN
R
5
20
SOLO
5
OO
2
16K
15
FX
1
FX
8K
10
MON
+15
U
FX
+15
U
2
OO
dB
10
-20
10
OO
FX
+15
OO
4K
10
+15
U
2
+15
U
1
+15
U
PAN
R
5
20
SOLO
5
-20
10
OO
2
+15
dB
10
1
FX
PAN
R
5
20
SOLO
5
-20
10
20
OO
OO
FX
OO
MON
2
+15
U
15
2K
SA1532z
Powered
Speaker
OL
15
10
6
3
0
2
4
7
10
20
30
5
LOW
80Hz
1
+15
U
MON
2
OO
OO
1K
0dB = 0dBu
0
15
MON
1
+15
U
500
5
10
LOW
MID
400Hz
AUX
SEND
U
MON
1
OO
MON
2
AUX
SEND
U
MON
+15
U
FX
+15
U
2
+15
dB
10
0
5
-20
OO
FX
PAN
R
dB
10
0
5
30
OO
PAN
R
+15
U
2
+15
PAN
5
OO
FX
AUX
SEND
U
250
B
-15 +15
-15 +15
-15 +15
1
+15
U
LOW
80Hz
125
A
MAIN
METERS
MON 1 EQUALIZER
-15 +15
U
-15 +15
U
8k
U
MON
OO
FREQ
63
HI
MID
2.5kHz
LOW
MID
400Hz
LOW
80Hz
AUX
SEND
U
+15
U
1
1.5k
100
-15 +15
FX
1
SA1532z
Powered
Speaker
15
-15 +15
U
-15 +15
U
150
LOW
80Hz
MON
OO
FREQ
8k
U
1
OO
+15
U
FX
+15
U
2
OO
OO
100
MON
+15
U
MON
+15
U
1
FX
+15
dB
10
OO
FX
1.5k
AUX
SEND
U
1
OO
MON
+15
U
1
2
L
MON
OO
8k
U
MON
+15
U
150
-15 +15
AUX
SEND
U
FREQ
LOW
80Hz
-15 +15
1
OO
1.5k
100
10
HI
12kHz
HI
MID
2.5kHz
MID
-15 +15
600
PHANTOM
POWER AMP
LIMITER
MAIN
MON 2
15
-15 +15
U
-15 +15
U
MID
EQ
U
HI
12kHz
HI
12kHz
-15 +15
U
-15 +15
600
150
8k
U
MON
+15
U
FX
FX
OO
FREQ
LOW
80Hz
AUX
SEND
U
1
+15
U
1
OO
1.5k
100
-15 +15
MON
OO
Keyboard
+15
U
150
8k
U
MID
-15 +15
600
Return
Line-Level Effect
(connected
to INSERT)
2
2
2
2
+15
U
FX
OO
FREQ
HI
12kHz
press
HI-Z
-15 +15
U
MID
-15 +15
600
LOW
80Hz
AUX
SEND
U
MON
2
+15
U
1.5k
100
-15 +15
1
OO
150
8k
U
MON
+15
U
FREQ
LOW
80Hz
AUX
SEND
U
1
OO
100
-15 +15
MON
OO
1.5k
HI
12kHz
EQ
U
PIN
1+
1
MAX
LEVEL
EQ ASSIGN
10
5
EQ
U
OO
M
15
0
HI-Z
EQ
U
M
MAIN OUT
R
MAIN EQUALIZER
+20
GAIN
5
-15 +15
U
MID
Send
150
LOW
80Hz
HI
12kHz
-15 +15
600
-20
+20
GAIN
10
EQ
2
POWER
MAX
U
-15 +15
U
MID
8k
U
LOW
80Hz
U
FREQ
EQ
HI
12kHz
-15 +15
600
150
OFF
FX RTN
2 X 800W PROFESSIONAL POWERED MIXER
COMP
MAX
U
-15 +15
U
MID
-15 +15
600
FREQ
OFF
EQ
U
-15 +15
U
MID
-15 +15
600
MAX
HI
12kHz
-15 +15
U
1.5k
OFF
EQ
U
HI
12kHz
-15 +15
U
150
MAX
R
U
LOW CUT
100 Hz
HI-Z
OFF
-20
FX RTN 1
11/12
U
GAIN
LOW CUT
100 Hz
R
INPUT 11 / 12
9/10
U
IC GAIN
M
GAIN
LOW CUT
100 Hz
R
INPUT 9/ 10
8
U
IC GAIN
M
GAIN
LOW CUT
100 Hz
COMP
7
U
IC GAIN
M
IC GAIN
M
GAIN
LOW CUT
100 Hz
COMP
U
IC GAIN
M
GAIN
LOW CUT
100 Hz
COMP
U
IC GAIN
M
GAIN
LOW CUT
100 Hz
5“Insert”6
4
U
IC GAIN
M
Owner’s Manual
Microphones
30
20
SOLO
30
20
SOLO
30
20
SOLO
30
20
20
SOLO
30
SOLO
30
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
C300z Passive Stage Monitors
(plays mon 1 output)
Electronic Drum Kit
SWA2801z
Powered Subwoofer
(plays right main mix)
SWA2801z
Powered Subwoofer
(plays left main mix)
This diagram shows microphones attached to the mic inputs of channels 1 to 4, electric guitars connected 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 SA1532z powered speakers and SWA2801z powered subwoofers are connected to the linelevel main mix outputs, and play the stereo main mix to your audience. The subs play the low frequencies, and the SA1532zs play the mid and top range.
C200 passive stage monitors are connected to the channel B speaker-level power output of the powered 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.
Band System
Owner’s Manual
9
PPM1012
PPM1012 Features
3
2
3
SPEAKER OUT
POWER
2 X 800W PROFESSIONAL POWERED MIXER
SPEAKER OUT
A
B
THIS DEVICE COMPLIES WITH PART 15 OF THE
FCC RULES AND THE ICES-003 FOR CANADA.
OPERATION IS SUBJECT TO THE FOLLOWING
TWO CONDITIONS: (1) THIS DEVICE MAY NOT
CAUSE HARMFUL INTERFERENCE, AND (2) THIS
DEVICE MUST ACCEPT ANY INTERFERENCE
RECEIVED, INCLUDING INTERFERENCE THAT
MAY CAUSE UNDESIRED OPERATION.
PIN
1+
1
AVIS: RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR
WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC
SHOCK, DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR
MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE
PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.
SERIAL NUMBER
PIN
1+
1
CAUTION
HOT SURFACE,
AVOID CONTACT
1
REVISION
OUTPUT POWER: @ 4 OHMS,
800 WATTS PEAK PER CH
MINIMUM LOAD: 4 OHMS PER CHANNEL
DESIGNED BY MACKOIDS IN WOODINVILLE, WA, USA • MANUFACTURED IN CHINA • FABRIQUE EN CHINE • COPYRIGHT ©2008
"MACKIE" AND THE RUNNING MAN FIGURE ARE TRADEMARKS OF LOUD TECHNOLOGIES, INC. • PATENT PENDING.
4
Rear Panel
1. POWER CONNECTION
4
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).
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
1–
1+
COLD
HOT
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.
1+
2–
Mono Speakon Connection
•
1/4" TS outputs are wired Tip positive, and
Sleeve negative.
SLEEVE
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.
1–
2+
SLEEVE
TIP
TIP
TIP
SLEEVE
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.
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.
10
PPM1012
4. VENTILATION
These holes in the rear 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. Do not remove the feet, as these help keep
the powered mixer off the ground for ventilation.
21
L
5
6
11
1
MIC 1
LINE
MIC 2
LINE
MIC 3
LINE
MIC 4
LINE
MIC 5
LINE
MIC 6
LINE
7
MIC 7
HI-Z
LINE
MIC 8
7
MON SEND
2
15
1
FX SEND
2
IN
R
TAPE
OUT
L
R
16
L
16
LAMP
12V 0.5A
L
FX
FOOTSWITCH
MAIN INSERT
TIP: FX1
RING: FX2
R
HI-Z
LINE
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
8
L
(MONO)
R
INPUT 9/ 10
8
L
(MONO)
R
INPUT 11 / 12
12
L
(MONO)
FX RTN 1
R
12
R
L
(MONO)
FX RTN
2
R
PHONES
17
M
MAIN OUT
OO
M
MAX
LEVEL
20
18
19
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 connector.
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-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.
Owner’s Manual
10 11 13 14
Never plug single-ended (unbalanced) microphones, 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 balanced 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 connection, 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.
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.)
Owner’s Manual
11
PPM1012
10 11 13 14
5
6
9
1
MIC 1
LINE
MIC 2
MIC 3
LINE
LINE
MIC 4
LINE
MIC 5
LINE
MIC 6
LINE
7
MIC 7
HI-Z
LINE
MIC 8
7
HI-Z
LINE
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
These unbalanced 1/4" jacks on channels 1 to 6, are
for connecting serial effects processors such as compressors, equalizers, de-essers, or filters. The insert
point is after the gain control [23] and compressor [25]
circuits (on channels 1 – 6), but before the channel’s
EQ [27-32] and fader [40]. 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:
tip
SEND to processor
ring
sleeve
(TRS plug)
This plug connects to one of the
mixer’s Channel Insert jacks.
“tip”
“ring”
RETURN from processor
Tip = send (output to effects device)
Ring = return (input from effects device)
Sleeve = common ground
Insert jacks can be used as channel direct outputs;
post-gain, and pre-EQ. See the connector section on
page 30 (figure G) showing three ways to use insert
cables.
10. MON SEND 1 and MON SEND 2
These 1/4" TRS connectors allow you to send the
monitor 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.
Mon send 1 and mon send 2 are independent of each
other, so you can set up two separate monitor mixes. If
you only need to set up one monitor mix, use monitor 1,
as it has its own graphic EQ [45].
The monitor 1 signal is the sum (mix) of all the
channels whose mon 1 control [33] is set to more than
minimum. The monitor 2 signal is the sum (mix) of all
the channels whose mon 2 control [34] is set to more
than minimum. The overall monitor 1 output level can
be adjusted with the mon 1 master level fader [58] and
its EQ tweaked with the monitor 1 graphic EQ [45].
PPM1012
MON SEND
2
15
1
FX SEND
2
IN
R
TAPE
OUT
L
R
16
L
16
LAMP
12V 0.5A
L
FX
FOOTSWITCH
MAIN INSERT
TIP: FX1
RING: FX2
R
9. INSERT (Ch. 1 to 8)
12
21
L
8
L
(MONO)
R
INPUT 9/ 10
8
L
(MONO)
R
INPUT 11 / 12
12
L
(MONO)
FX RTN 1
R
12
R
L
(MONO)
FX RTN
2
R
PHONES
17
M
MAIN OUT
OO
M
MAX
LEVEL
20
18
19
The monitor outputs are not affected by the main
fader [59], or the channel faders [40]. This allows you
to set up the monitor mixes and levels just right, and
not have them 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.
11. FX SEND 1 and FX SEND 2
These 1/4" TRS connectors allow you to send the FX
line-level outputs to external effects processors, while
disconnecting the internal effects processors.
FX send 1 and FX send 2 are independent of each
other, so you can set up two separate effects processors.
The FX 1 output signal is the mix of all the channels
whose FX 1 control [35] is set to more than minimum.
The FX 2 signal is the mix of all the channels whose FX
2 control [36] is set to more than minimum.
The FX outputs here do not include processed audio
from the internal effects processors. When something
is plugged into one of these outputs, the signals that
normally feed the internal effects processor are disconnected, and come out of these outputs instead. This
prevents you from doubling-up on effects.
Both FX outputs are affected by the channel level
faders [40]. This allows you to set up the FX level just
right, and have it follow any change made to the channel levels.
In normal use, the unprocessed (dry) mono FX sends
would go to an external effects processor. The stereo
processed (wet) output from the external effects processor would connect to the stereo FX returns [12]. The
FX return faders [57] allow you to adjust how much of
the wet signals appear in the main mix.
16. MAIN OUTPUTS
These 1/4" TRS input connectors allow you to add
the stereo processed output from external effects
processors to the main mix. Adjustment of the incoming signals is made with the FX return faders [57]. The
signals can also be muted and soloed (and so cued up in
headphones) like any other input.
These balanced 1/4" TRS and XLR outputs supply the
stereo main mix at line-level. You can connect these
outputs to the line-level inputs of external power amplifiers running passive loudspeakers, or to the inputs of
powered loudspeakers. This is useful if you need more
power, or if you already have this equipment. Then you
can use the internal amplifiers to power other loudspeakers, such as passive monitors, after setting the
amp mode switch [53] appropriately.
You can also use these inputs to add any stereo linelevel signals to your main mix, so it could be another
source, not just an effects processor. The inputs are
similar to the channel line-level inputs, only without the
gain control, channel EQ or pan. A sample of the FX 1
return can be added to monitor 1 and 2 using the FX 1
to mon 1 [56] and FX 1 to mon 2 controls.
13. TAPE INPUTS
These stereo unbalanced RCA inputs allow you to play
a tape, CD or other line-level source whenever the band
is taking a break. The input is only enabled when the
break switch [51] is engaged, at which time, the main
mix is bypassed, and only the tape input will play in the
main loudspeakers.
14. TAPE OUTPUTS
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 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, but it is not
affected by the main fader [59], or the main graphic EQ
[44].
15. MAIN INSERTS
These unbalanced 1/4" TRS jacks can be used for
connecting serial effects processors such as compressors, equalizers, de-essers, or filters. The insert point
is before the main mix master graphic EQ [44] and the
main mix fader [59]. The main mix signals 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 (just like a channel insert):
tip
SEND to processor
ring
sleeve
(TRS plug)
This plug connects to one of the
mixer’s Channel Insert jacks.
“tip”
“ring”
RETURN from processor
These line-level outputs play the same signal as the
speaker-level outputs [3] (when set to stereo mains).
Owner’s Manual
12. FX RTN 1 and FX RTN 2
17. MAIN MONO OUTPUT
These 1/4" TRS and XLR connectors supply a copy of
the main mix summed together in glorious living mono.
This is ideal for running a mono PA system, by connecting to the inputs of an external power amplifier running
a passive loudspeaker, or directly to a powered loudspeaker. Whatever adjustments you make to the main
mix, will affect this output. The output here can be
adjusted with the mono out control [55], and turned up
or down relative to the main left and right outputs.
When the low pass filter (LPF) switch [54] is engaged, the mono output passes only the frequency
range below the frequency set by the low-pass control
[54]. This allows you to use the mono output to run to
the inputs of powered subwoofers, or to the inputs of
amplifiers running passive subwoofers. (The main left
and right outputs still play the full frequency range.)
Tweaking the mono out control will allow you to balance
the subwoofer output with the left and right mains.
18. HEADPHONE OUTPUT
This 1/4" TRS connector supplies the output to your
stereo headphones.
In normal operation, you will hear the main left and
right mix, and the headphones volume level can be adjusted with the phones level control [19]. The main mix
fader [59] will also affect the headphones level.
Whenever a solo switch [41] 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. (Solo
signals reaching the headphones are not affected by the
channel faders or main fader, therefore turn down the
phones level first, as soloed channels may be loud.)
The phones output follows standard conventions:
Tip = Left channel
Tip = send (output to effects device)
Ring = Right channel
Ring = return (input from effects device)
Sleeve = Common ground
Sleeve = common ground
Owner’s Manual
13
PPM1012
10 11 13 14
21
L
5
6
9
1
MIC 1
LINE
MIC 2
LINE
MIC 3
LINE
MIC 4
LINE
MIC 5
LINE
MIC 6
LINE
7
MIC 7
HI-Z
LINE
MIC 8
7
MON SEND
2
15
1
FX SEND
2
IN
R
TAPE
OUT
L
R
16
L
16
LAMP
12V 0.5A
L
FX
FOOTSWITCH
MAIN INSERT
TIP: FX1
RING: FX2
R
HI-Z
LINE
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
WARNING: The headphone amp is loud, and
can cause permanent ear damage. Even
intermediate levels may be painfully loud with
some earphones. BE CAREFUL! Always turn the phones
level control [19] all the way down before connecting
headphones or pressing a solo switch, or doing anything
new that may affect the headphone volume. Then turn it
up slowly as you listen carefully.
8
L
(MONO)
R
INPUT 9/ 10
8
L
(MONO)
R
INPUT 11 / 12
12
L
(MONO)
FX RTN 1
R
12
R
L
(MONO)
FX RTN
2
R
PHONES
17
M
MAIN OUT
OO
M
MAX
LEVEL
21. BNC LAMP CONNECTION
Located in the top right corner of the mixer, this
12V socket will drive any standard BNC-type lamp, for
example, a Littlite® #12G or #12G-HI (high-intensity).
It will cast a light in the dark, so you can work your
audio magic like an ancient wizard. It will also attract
all the mosquitoes, moths, and other hungry flying critters within a one mile radius. Have fun with that.
19. LEVEL
This knob controls the level of the signal going to your
stereo headphones.
Make sure this is fully down whenever you are
making connections in your system, or putting
on the headphones, or before you press any
solo switch [41]. Bring up the level slowly and carefully
to protect your hearing.
20. FX FOOTSWITCH CONNECTOR
This is where you connect a footswitch. (Any two-button on/off footswitch will do). This allows you to easily
mute or un-mute the two internal effect processors
independently, while stamping your foot and looking
like you were mad about something.
The output is wired so the tip affects FX1, and the
ring affects FX2.
If the internal effects have already been muted with
the FX mute switches [64] then the footswitch has no
effect. It cannot un-mute or mute it.
The footswitch only affects the internal FX. It has no
effect on the output-to and input-from external effects
processors.
14
PPM1012
22. LUNCH-TIME DECOUPLER
Not available on Earth models, this control actually
slows down time, especially lunchtimes. Use this wisely,
and only engage it after receiving your food and beverages, or you may be in for a long wait.
Do not engage during drum solos or scats.
20
18
19
1+
1
1+
1
The 10 vertical channel strips look very similar, and
have a only few differences between them. Each channel works independently, and just controls the signals
plugged into the inputs directly above it.
Stereo Channels 9/10 and 11/12
1
MIC 1
MIC 2
LINE
LINE
MIC 4
LINE
MIC 5
LINE
MIC 6
LINE
MIC 7
MIC 8
HI-Z
LINE
LINE
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
1
2
3
U
U
+50
+30dB
0
-20dB
GAIN
+50
+30dB
0
-20dB
+50
+30dB
COMP
0
-20dB
+50
+30dB
COMP
0
-20dB
+50
+30dB
COMP
0
-20dB
+50
+30dB
COMP
0
-20dB
COMP
+50
+30dB
0
-20dB
+50
+30dB
MAX
OFF
EQ
U
MAX
OFF
EQ
U
HI
12kHz
1.5k
FREQ
1.5k
100
LOW
80Hz
MON
MON
1
+15
U
OO
+15
U
OO
+15
U
+15
U
OO
+15
U
OO
+15
U
MON
OO
5
L
OL
+10
L
2
5
U
OL
+10
SOLO
30
5
U
0
30
OL
+10
5
U
30
L
5
OL
+10
5
U
6
OL
+10
0
30
L
OL
+10
0
5
30
OL
5
U
0
30
FX
2
OO
+15
PAN
R
L
9/10
OL
+10
dB
10
R
11/12
5
U
0
5
30
OL
+10
0
5
-20
-20
10
20
SOLO
1
+15
10
20
SOLO
dB
10
-20
10
FX
PAN
L
+10
+15
U
2
2
R
5
-20
20
SOLO
5
U
OO
MON
FX
OO
8
+15
U
1
+15
dB
10
OO
FX
PAN
R
10
20
SOLO
5
U
+15
U
+15
U
2
2
OO
7
OO
1
OO
MON
FX
+15
dB
10
-20
10
20
30
L
+15
U
1
PAN
R
5
-20
10
SOLO
OO
dB
10
0
5
-20
20
SOLO
+15
OO
FX
2
PAN
R
+15
U
FX
2
OO
OO
MON
1
+15
U
2
1
AUX
SEND
U
MON
OO
MON
FX
FX
+15
dB
10
0
5
10
20
SOLO
L
+15
U
+15
U
2
1
PAN
R
OO
OO
MON
FX
2
OO
4
+15
U
+15
U
2
FX
+15
dB
10
-20
10
20
20
OL
+10
5
-20
10
30
5
U
0
5
-20
10
L
OO
OO
+15
U
-15 +15
AUX
SEND
U
1
OO
LOW
80Hz
-15 +15
MON
1
+15
U
MON
1
PAN
R
+15
U
FX
2
OO
3
+15
U
OO
2
FX
+15
dB
10
OO
MON
OO
-15 +15
U
LOW
80Hz
AUX
SEND
U
LOW
MID
400Hz
-15 +15
U
-15 +15
20
SOLO
The stereo channel EQ is a 4-band design with
shelving high, shelving low, and peaking lo-mid
and peaking hi-mid.
“U” like Unity gain
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 levelwise if you choose to change a control’s settings.
HI
MID
2.5kHz
-15 +15
U
LOW
MID
400Hz
FREQ
8k
U
LOW
80Hz
AUX
SEND
U
1
+15
U
1.5k
100
-15 +15
U
HI
MID
2.5kHz
-15 +15
U
150
-15 +15
MON
OO
MON
1
PAN
R
dB
10
0
5
OO
+15
U
FX
2
PAN
R
+15
U
OO
2
FX
+15
PAN
OO
+15
U
FREQ
8k
U
LOW
80Hz
AUX
SEND
U
1
OO
MON
1
2
+15
+15
U
FX
FX
2
U
+15
U
OO
2
1
FX
1
OO
+15
U
1.5k
100
HI
12kHz
-15 +15
U
MID
-15 +15
600
150
-15 +15
MON
1
OO
MON
FX
1
dB
10
+15
U
2
FX
L
OO
MON
2
OO
+15
U
FREQ
8k
U
LOW
80Hz
AUX
SEND
U
MON
1
OO
1.5k
100
EQ
U
HI
12kHz
-15 +15
U
MID
-15 +15
600
150
-15 +15
AUX
SEND
U
FREQ
8k
U
LOW
80Hz
-15 +15
MON
1
OO
1.5k
100
+20
GAIN
EQ
U
HI
12kHz
-15 +15
U
MID
-15 +15
600
150
LOW
80Hz
AUX
SEND
U
FREQ
EQ
U
HI
12kHz
-15 +15
U
MID
8k
U
-20
+20
GAIN
HI-Z
EQ
U
HI
12kHz
-15 +15
600
1.5k
100
EQ
U
-15 +15
U
150
-15 +15
AUX
SEND
U
FREQ
8k
U
LOW
80Hz
-15 +15
AUX
SEND
OO
1.5k
100
U
MAX
HI
12kHz
-15 +15
600
150
LOW
80Hz
-15 +15
U
FREQ
8k
U
OFF
MID
11/12
COMP
EQ
U
-15 +15
U
-15 +15
600
150
MAX
HI
12kHz
MID
-15 +15
600
8k
U
OFF
EQ
U
-15 +15
U
MID
-15 +15
600
MAX
HI
12kHz
-15 +15
U
MID
100
OFF
EQ
U
HI
12kHz
-15 +15
U
150
MAX
R
INPUT 11 / 12
LOW CUT
100 Hz
HI-Z
OFF
-20
•
L
9/10
GAIN
LOW CUT
100 Hz
Channels 9/10 and 11/12 are stereo channels,
and their controls affect signals coming into the
stereo line-level inputs
(MONO)
U
IC GAIN
M
GAIN
LOW CUT
100 Hz
R
U
IC GAIN
M
GAIN
LOW CUT
100 Hz
L
INPUT 9/ 10
2
FX SEND
(MONO)
8
U
IC GAIN
M
GAIN
LOW CUT
100 Hz
7
U
IC GAIN
M
GAIN
LOW CUT
100 Hz
6
U
IC GAIN
M
GAIN
LOW CUT
100 Hz
5
U
IC GAIN
M
GAIN
LOW CUT
100 Hz
4
U
IC GAIN
M
2
MON SEND
HI-Z
LINE
(BAL/UNBAL)
IC GAIN
M
0
-20dB
MIC 3
1
•
Owner’s Manual
Channel Controls
30
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
Signal Flow
The block diagram on page 33 shows the signal flow,
but here is a short description of the flow through the
channel strip section:
The input signals from the mic, or line inputs go
through a preamplifier whose gain is set by the gain
control .
The signal then passes through the low-cut filter
(mono channels only) the compressor circuit (ch. 1 to 6
only), the insert jack (mono channels only), the channel EQ, channel fader, pan control, and then onto the
main mix.
SOLO
Mono Channels 1 to 8
•
Channels 1 to 8 are mono channels, and their
controls affect either the mono mic input or the
mono line-level input.
•
Channels 1 to 6 each have an internal signal inline compressor circuit with adjustable threshold.
•
Channels 7 and 8 each have a hi-z switch, so
you can connect guitars directly, without the
need for a DI box.
•
The 3-band EQ has shelving high, shelving
low, and peaking mid EQ with adjustable mid
frequency.
The mon 1 [33] and mon 2 controls [34] tap the
signal off just before (pre) the channel fader.
The FX 1 [35] and FX 2 controls [36] tap the signal
off after (post) the channel fader.
Owner’s Manual
15
PPM1012
1
2
U
U
23
24
25
27
28
29
32
IC GAIN
M
0
-20dB
+50
+30dB
0
-20dB
+50
+30dB
MAX
OFF
EQ
U
OFF
EQ
FREQ
1.5k
100
U
33
34
35
36
U
OO
+15
U
OO
+15
U
OO
+15
U
+15
U
OO
+15
OO
PAN
L
+15
U
OO
+15
U
OO
L
1
OO
+15
U
OO
+15
U
MON
2
2
FX
FX
1
OO
1
+15
U
OO
+15
U
FX
FX
2
+15
OO
2
+15
PAN
R
MON
MON
2
PAN
R
OO
FX
+15
U
1
+15
U
2
AUX
SEND
MON
1
FX
U
-15 +15
FX
OO
2
U
OO
+15
PAN
R
L
FREQ
8k
PAN
R
L
R
38
dB
10
5
U
40
1
39
OL
+10
5
U
0
5
2
dB
10
OL
+10
5
10
5
U
0
-20
3
dB
10
OL
+10
5
10
5
U
0
-20
4
dB
10
OL
+10
5
10
5
U
0
10
10
20
20
20
20
30
30
30
30
OO
41
SOLO
SOLO
+10
-20
20
SOLO
OL
5
-20
30
40
50
60
5
dB
10
0
-20
SOLO
U
IC GAIN
M
0
-20dB
+50
+30dB
GAIN
If the signal originates through the
XLR jack of a mono channel (1 to 8), there will be 0 dB
of gain with the knob fully down, ramping to 50 dB of
gain fully up.
LOW
80Hz
AUX
SEND
2
+15
U
1.5k
100
LOW
80Hz
MON
1
FX
L
+15
U
150
-15 +15
FX
1
37
OO
2
FX
OO
+15
U
MON
2
U
1
OO
FREQ
8k
MON
1
MON
OO
U
MID
-15 +15
600
1.5k
100
AUX
SEND
MON
1
+15
U
U
HI
12kHz
The gain knobs adjust the input sensitivity of the mic and line inputs. This
allows signals from the outside world to
be adjusted to optimal internal operating levels.
-15 +15
U
150
-15 +15
AUX
SEND
MON
FREQ
EQ
MID
LOW
80Hz
-15 +15
AUX
SEND
OO
1.5k
MAX
U
HI
12kHz
8k
LOW
80Hz
-15 +15
OFF
-15 +15
600
150
100
COMP
EQ
MID
8k
LOW
80Hz
U
FREQ
MAX
U
-15 +15
600
150
LOW CUT
100 Hz
-15 +15
U
MID
8k
U
OFF
EQ
HI
12kHz
-15 +15
600
1.5k
MAX
U
+50
+30dB
GAIN
COMP
-15 +15
U
MID
0
-20dB
LOW CUT
100 Hz
COMP
-15 +15
U
-15 +15
600
+50
+30dB
23. GAIN CONTROL
If you haven’t already, please read the level-setting
procedure on page 3.
IC GAIN
M
GAIN
HI
12kHz
-15 +15
U
0
-20dB
LOW CUT
100 Hz
MAX
U
HI
12kHz
150
+50
+30dB
COMP
U
IC GAIN
M
GAIN
LOW CUT
100 Hz
COMP
100
0
-20dB
5
U
IC GAIN
M
GAIN
LOW CUT
100 Hz
4
U
IC GAIN
M
GAIN
OFF
3
40
50
60
40
50
60
40
50
60
40
50
60
OO
OO
OO
OO
SOLO
Through the 1⁄4" input, there is 20 dB of attenuation
fully down and 30 dB of gain fully up (20 dB on stereo channels), with unity gain at 12:00. This 20 dB of
attenuation can be very handy when you are inserting
a very hot signal, or when you want to add a lot of EQ
gain, or both. Without this “virtual pad,” this scenario
might lead to channel clipping and distortion.
Clipping occurs when the peaks of the audio
signal passing through the preamplifier are
too high, and can no longer be amplified in
a linear way. The audio signals reach a point
just below the preamp's supply voltages, and flatten out.
This is rather like a tall pointed volcano suddenly blowing its top, leaving behind a lower flatter top (clipped)
while thousands of tons of molten rock and ashes are
blasted into the earth's atmosphere to cause a kind of
global winter for thousands of years, leading to the disappearance of the dinosaurs and the appearance of jazz
drummers. Only not. Adjust the gain to prevent this.
24. LOW CUT (Channels 1–8 only)
The mono channels each have a low-cut switch, often
referred to as a high-pass filter (all depends on how you
look at it). When engaged, this cuts the bass frequencies below 100 Hz at a rate of 18 dB per octave. The mic
and line inputs of channels 1–8 are affected.
We recommend that you use low-cut on every microphone application except kick drum, bass guitar, or
bassy synth patches. These aside, there isn’t much down
there that you want to hear, and filtering it out makes
the low stuff you do want much more crisp and tasty.
Not only that, but low-cut can help reduce the possibility of feedback in live situations, and it helps to conserve
amplifier power.
16
PPM1012
Another way to consider low-cut’s function is that it
actually adds flexibility during live performances. With
the addition of low-cut, you can safely use low equalization on vocals. Many times, bass shelving EQ can really
benefit voices. Trouble is, adding low EQ also boosts
stage rumble, mic handling clunks and breath pops
from way-down low. Applying low-cut removes all those
problems, so you can add low EQ without losing a woofer
out the window.
When the incoming signals exceed the threshold level
set by this knob, the signal level is automatically compressed. This reduces the dynamic range, and reduces
the chance of distortion due to overloading the input
signals.
Dynamic range is the difference in level between 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.
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).
As an example, suppose the threshold is set to maximum. 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 compression, and harder on the ears too.
The graph on this page 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*.
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.
+20
+15
OUTPUT SIGNAL STRENGTH dBu
Channels 1 to 6 have an in-line compressor circuit
with a variable threshold. This is very useful for compression of vocals, and snare drums for example, so you
might consider connecting your microphones and drum
mics to channels 1 to 6, rather than other channels.
Owner’s Manual
25. COMPRESSOR (Channels 1–6 only)
+10
+5
SLOPE 6:1
FT
SO
+0
-5
E
OP
SL
EE
KN
1:1
-10
-10
-5
+0
+5
+10
+15
+20
INPUT SIGNAL STRENGTH dBu
At the maximum compression, the threshold is set at
0 dBu, and the input to output relationship is represented by the lower curve. If the input is -5 dBu (that
is, below the 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).
The other blue curves represent in-between positions
of the compressor knob, with higher thresholds before
compression begins.
Outboard compressors often have controls such as
compression ratio, threshold, soft knee/hard knee, attack 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 compressor, 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 screams and
high-notes, and adjust the compression as required.
* Mr. Little, my math teacher thought that graphs
might come in handy for me one day. Finally!
Owner’s Manual
17
PPM1012
1
2
23
24
25
27
28
29
32
IC GAIN
M
0
-20dB
3
U
U
IC GAIN
M
+50
+30dB
0
-20dB
GAIN
+50
+30dB
0
-20dB
+50
+30dB
COMP
0
-20dB
+50
+30dB
COMP
0
-20dB
+50
+30dB
COMP
0
-20dB
+50
+30dB
COMP
0
-20dB
LOW CUT
100 Hz
COMP
+50
+30dB
0
-20dB
+50
+30dB
GAIN
GAIN
26
26
MAX
OFF
EQ
U
MAX
OFF
EQ
U
HI
12kHz
100
FREQ
8k
U
1.5k
100
U
+15
U
OO
FX
+15
U
OO
OO
OO
37
L
OO
R
L
OO
R
L
OO
+15
PAN
R
L
OO
+15
PAN
R
L
OO
PAN
R
L
L
L
FX
1
1
+15
U
OO
+15
U
FX
FX
2
OO
2
+15
PAN
R
+15
U
FX
+15
PAN
R
OO
2
OO
2
+15
U
FX
+15
MON
2
OO
2
+15
U
MON
+15
U
FX
2
1
OO
1
OO
MON
+15
U
FX
+15
U
FX
2
+15
PAN
OO
AUX
SEND
U
1
OO
1
+15
U
FX
2
+15
PAN
OO
-15 +15
MON
+15
U
OO
+15
PAN
R
L
30
31
LOW
80Hz
AUX
SEND
U
OO
FX
1
+15
U
FX
2
+15
PAN
OO
OO
-15 +15
U
-15 +15
2
+15
U
FX
1
+15
U
FX
2
OO
FX
1
OO
+15
U
-15 +15
U
MON
2
LOW
MID
400Hz
LOW
80Hz
+15
U
MON
-15 +15
U
LOW
MID
400Hz
FREQ
1
OO
HI
MID
2.5kHz
-15 +15
U
MON
+15
U
2
OO
U
-15 +15
U
HI
MID
2.5kHz
AUX
SEND
1
OO
30
31
-15 +15
MON
MON
+15
U
FX
+15
U
FX
+15
OO
1
+15
U
2
+15
U
FX
1
FX
OO
OO
FX
1
OO
+15
U
8k
U
HI
12kHz
-15 +15
U
LOW
80Hz
AUX
SEND
U
+15
U
2
1.5k
100
-15 +15
1
MON
2
150
8k
U
MON
OO
FREQ
LOW
80Hz
AUX
SEND
U
+15
U
MON
2
OO
OO
100
-15 +15
1
+15
U
1.5k
EQ
U
HI
12kHz
MID
-15 +15
600
150
8k
U
MON
1
MON
+15
U
U
FREQ
LOW
80Hz
AUX
SEND
MON
OO
1.5k
100
-15 +15
AUX
SEND
U
+15
U
2
8k
U
MID
-15 +15
600
150
EQ
U
HI
12kHz
-15 +15
U
MID
LOW
80Hz
-15 +15
1
MON
2
100
FREQ
EQ
U
-15 +15
U
-15 +15
600
1.5k
+20
GAIN
HI-Z
HI
12kHz
-15 +15
U
150
8k
U
MON
OO
FREQ
LOW
80Hz
AUX
SEND
U
+15
U
MON
100
-15 +15
1
OO
1.5k
-20
LOW CUT
100 Hz
EQ
U
HI
12kHz
-15 +15
600
150
8k
U
MON
+15
U
FREQ
LOW
80Hz
AUX
SEND
1
OO
100
-15 +15
AUX
SEND
MON
OO
1.5k
LOW
80Hz
-15 +15
33
34
35
36
150
8k
U
LOW
80Hz
U
FREQ
EQ
MID
-15 +15
600
+20
MAX
U
HI
12kHz
MID
-15 +15
600
150
OFF
EQ
-15 +15
U
MID
-15 +15
600
MAX
U
-15 +15
U
MID
-15 +15
600
OFF
EQ
HI
12kHz
-15 +15
U
MID
MAX
U
HI
12kHz
-15 +15
U
1.5k
OFF
EQ
HI
12kHz
-15 +15
U
150
MAX
U
-20
U
GAIN
HI-Z
OFF
11/12
U
IC GAIN
M
LOW CUT
100 Hz
COMP
9/10
U
IC GAIN
M
GAIN
LOW CUT
100 Hz
8
U
IC GAIN
M
GAIN
LOW CUT
100 Hz
7
U
IC GAIN
M
GAIN
LOW CUT
100 Hz
6
U
IC GAIN
M
GAIN
LOW CUT
100 Hz
5
U
IC GAIN
M
GAIN
LOW CUT
100 Hz
4
U
PAN
R
L
R
38
dB
10
5
U
40
1
39
OL
+10
5
U
0
5
2
dB
10
OL
+10
5
10
5
U
0
-20
3
dB
10
OL
+10
5
10
5
U
0
-20
4
dB
10
OL
+10
5
10
5
U
0
-20
5
dB
10
OL
+10
5
10
5
U
0
-20
OL
+10
5
10
5
U
0
-20
7
dB
10
OL
+10
5
10
5
U
0
-20
8
dB
10
OL
+10
5
U
0
5
-20
10
dB
10
9/10
OL
+10
5
U
0
5
-20
10
dB
10
10
10
20
20
20
20
20
20
20
20
20
30
30
30
30
30
30
30
30
OO
41
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
OO
OO
OO
OO
OO
OO
OO
OO
OO
26. HI-Z SWITCH (Ch. 7 and 8 only)
Engage this switch if you want to connect a guitar
directly to the 1/4" inputs of channels 7 or 8.
Without this switch, you need to use a DI box first,
before connecting guitars directly. If these switches are
not pressed in, guitars will not sound good, particularly
the high frequency response.
CHANNEL EQUALIZATION (EQ)
The PPM1012 mono channels have 3-band equalization: low shelving, mid peaking with adjustable frequency, and high shelving. The stereo channels have 4-band
EQ: low shelving, low-mid and high-mid peaking, and
high shelving.
PPM1012
+10
0
30
SOLO
OL
-20
20
SOLO
11/12
5
-20
30
40
50
60
18
6
dB
10
SOLO
Shelving EQ means that the circuitry boosts or cuts
all frequencies past the specified frequency. For example, the low EQ boosts bass frequencies below 80 Hz and
continuing down to the lowest note you never heard.
Peaking EQ means that certain frequencies 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. Equalize subtly and use the left
sides of the knobs (cut), more than 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.
The high EQ provides up to 15
dB of boost or cut above 12 kHz,
and it is also flat at the detent. 0
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.
The low EQ provides up to 15
dB of boost or cut below 80 Hz.
0
The circuit is flat (no boost or
cut) 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.
28. MID EQ LEVEL (Ch. 1 to 8)
33. MON 1 AUX SEND and
34. MON 2 AUX SEND
+15
+10
+5
–5
–10
–15
20Hz
The mid EQ , or “midrange,”
has a fixed bandwidth. The mid
knob sets the amount of boost
0
or cut, up to 15 dB, and is effectively bypassed at the center
detent. The frequency at which
the cut or boost occurs is set by
the mid EQ frequency control [29].
100Hz
1kHz
10kHz 20kHz
+15
+10
–5
–10
–15
100Hz
1kHz
10kHz 20kHz
29. MID EQ FREQUENCY (Ch. 1 to 8)
This knob sets the center
frequency of the mid EQ level
control [28]. This is sweepable
from 100 Hz to 8 kHz.
+15
+10
+5
0
–5
–10
Once this is set, the mid EQ
level can be adjusted with the
mid EQ level control.
–15
20Hz
+10
+5
–5
–10
–15
20Hz
100Hz
1kHz
10kHz 20kHz
These controls allow you set up two independent
mixes for running stage monitors.
+5
20Hz
+15
Owner’s Manual
32. LOW EQ
27. HIGH EQ
100Hz
1kHz
10kHz 20kHz
Most of the root and lower harmonics that define
a sound are located in the 100 Hz–8 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. Sounds silly, but it works. Sometimes.
30. HIGH MID EQ LEVEL (Ch. 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. This control
is only available on the stereo channels.
31. LOW MID EQ LEVEL (Ch. 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.
Adjust these controls on each channel until your band
is happy with the stage monitor mix. The controls are
off when turned fully down, deliver unity gain at the
center, and can provide up to 15 dB of gain turned fully
up. Chances are you’ll never need this extra gain, but
it’s nice to know it’s there if you do. Adjustments to the
channel faders [40] or main mix fader [59] will not
affect the monitor output, but channel EQ [27–32] and
gain [23] will.
One or both of the powered mixer's internal amplifiers
can be used to power passive stage monitors if you set
the power amp mode switch [53].
Mon 1 and mon 2 send [10] are line-level outputs, and
are used if you want to connect powered stage monitors,
or external power amps with passive stage monitors.
35. FX1 AUX SEND and
36. 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 [27–32] 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.
Owner’s Manual
19
PPM1012
37. PAN
41. SOLO
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.
It has no effect on the aux, as these are mono. In the
center position, the mono channel is split equally to the
left and right.
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.
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.
38. MUTE switch and LED
The mute switch cuts the signal from the channel
from reaching the main mix bus and the aux busses. The
LED acts as a reminder of its on-ness.
The mute switches near the FX RTN 1 and FX RTN 2
faders will stop the signals from the internal effects (or
any external effects) from reaching the main mix, or
monitor 1 or monitor 2.
39. –20, 0, +10, OL CHANNEL METER LEDs
The OL (overload) LED will come on when the channel’s input signal is too high. This should be avoided, as
distortion will occur.
If the OL LED is coming on regularly, check that the
gain control [23] is set correctly for your input device,
and that the channel EQ [27–32] is not set with too
much boost.
The –20, 0, and +10 LEDs show the channel signal
strength.
40. CHANNEL FADER
The channel faders adjust 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 10 dB, should you need
to boost a section of a song. If you find that the overall
level is too quiet or too loud with the level near unity,
check that the gain control [23] is set correctly.
20
PPM1012
You can also use solo to set the gain of each channel
correctly. 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.
The rude solo light [49] will turn on as a reminder
that what you are listening to in the headphones is just
the soloed channel(s).
For stereo channels, the mono sum of the left and
right are heard in the headphones and the level seen on
the left meter.
The output from the FX processors can also be soled
and auditioned, as can the output to monitor 1 and
monitor 2.
43. 48V PHANTOM SWITCH
PHANTOM
POWER
2 X 800W PROFESSIONAL POWERED MIXER
EQ ASSIGN
MAIN EQUALIZER
44
MAIN
MON 2
POWER AMP
LIMITER
A
46
15
15
10
10
5
5
0
0
5
5
10
10
15
15
63
125
250
500
1K
2K
4K
8K
MAIN
METERS
0dB = 0dBu
OL
15
10
6
3
0
2
4
7
10
20
30
16K
MON 1 EQUALIZER
z
45
15
15
10
10
5
5
0
0
5
5
10
10
15
15
63
125
250
500
1K
60
62
63
64
4K
8K
48
L
R
LEVEL
SET
49
50
RUDE
SOLO
16K
POWER AMP
61
FX 1
2K
FX 2
SIG/OL
SIG/OL
U
U
OO +15
SEND MASTER
OO +15
SEND MASTER
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
51
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
MON 1
MAINS
MON 2
MON 1
A (L)
LPF
52
54
120
U
100
TAP
DELAY
MUTES
CH 1-12
+20
TAPE IN
FX 1
INT FX
MUTE
OO
+15
OO
56
55
+15
OO
MAX
56
38
dB
10
FX RTN 1
dB
10
FX RTN 2
MON 1
dB
10
dB
10
MON
2
dB
10
5
5
5
5
5
U
U
U
U
U
5
5
5
5
5
10
10
10
10
10
20
20
20
20
41
20
30
SOLO
30
SOLO
30
SOLO
30
SOLO
40
50
60
40
50
60
40
50
60
40
50
60
OO
OO
OO
OO
OO
57
57
58
58
MAIN
Never plug single-ended (unbalanced)
microphones, or ribbon mics into the mic
input jacks if phantom power is on. 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.
44. MAIN EQUALIZER
The 9-band stereo graphic equalizer allows you
to tailor the sound of your main mix to suit your extraordinarily-delicate sense of audio right and wrong.
Each slider allows up to 15 dB of boost and cut,
with 0 dB (no change in level) at the center. The
frequency bands are: 63, 125, 250, 500, 1 k, 2 k, 4 k,
8 k, and 16 kHz
The EQ affects the main mix line-level outputs
[16] and mono output [17], as well as the speakerlevel outputs [3] if the internal amplifiers are playing
the main mix.
30
40
50
60
Most modern professional condenser mics require
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.
200Hz
MONO OUT
TO MON 2
U
TO MON 1
U
180
75Hz
OO
FX 1
INT FX
MUTE
53
B (R)
STEREO
MAIN
TAP TO EDIT
BREAK
TAP
DELAY
47
B
Press in this switch to add +48 VDC phantom power to all the XLR microphone inputs of the mixer. The
LED next to the switch will turn on as a reminder.
Owner’s Manual
42 43
59
Master Controls
42. POWER LED
This LED comes on when the powered mixer is
plugged into the correct-voltage AC mains supply, and
the power switch [2] is on.
If the LED is not on, then make sure the AC power is
live, and that both ends of the power cord are correctly
inserted. If Zombies have taken over the power station
again, and all the lights in town are off, this LED may
not come on. (This would be the least of your worries.)
The EQ section comes before the main fader [59],
and the main meters [48]. As you adjust the EQ,
keep an eye on the meters in case you overdo it and
take the levels into overload.
The main EQ assign switch (46) allows you to use
this EQ to adjust the monitor 2 output instead of the
main mix.
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. Remember that even the happiest audience of old ladies
can turn on you like a pack of wild dogs. Although it
may not seem cool to turn down controls, with EQ it
is often your best option. Turn down any offending
frequency range, rather than boost the wanted range.
Having many sliders will allow you to reduce the level
of some frequency bands where feedback occurs.
Owner’s Manual
21
PPM1012
42 43
45. MON 1 EQUALIZER
PHANTOM
POWER
47
This 9-band, constant-Q, mono graphic equalizer
allows you to adjust the monitor 1 mix line-level
outputs [10] and the speaker-level output [3] if the
internal amplifier is playing the monitor 1 mix.
48
Each control allows up to 15 dB of boost and cut,
with 0 dB (no change in level) at the center. The
frequency bands are: 63, 125, 250, 500, 1 k, 2 k, 4 k,
8 k, and 16 kHz
2 X 800W PROFESSIONAL POWERED MIXER
EQ ASSIGN
MAIN EQUALIZER
44
MAIN
MON 2
POWER AMP
LIMITER
A
46
15
15
10
10
5
5
0
0
5
5
10
10
15
15
63
125
250
500
1K
2K
4K
8K
B
MAIN
METERS
0dB = 0dBu
OL
15
10
6
3
0
2
4
7
10
20
30
16K
MON 1 EQUALIZER
z
45
15
15
10
10
5
5
0
0
5
5
10
10
15
15
63
125
250
500
1K
60
62
63
64
4K
8K
R
49
50
RUDE
SOLO
16K
POWER AMP
61
FX 1
2K
L
LEVEL
SET
FX 2
SIG/OL
SIG/OL
U
U
OO +15
SEND MASTER
OO +15
SEND MASTER
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
51
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
MON 1
MAINS
MON 2
MON 1
A (L)
LPF
52
TAP TO EDIT
54
120
U
BREAK
100
TAP
DELAY
TAP
DELAY
MUTES
CH 1-12
+20
TAPE IN
FX 1
OO
+15
OO
56
200Hz
MONO OUT
TO MON 2
U
TO MON 1
U
INT FX
MUTE
180
75Hz
OO
FX 1
INT FX
MUTE
53
B (R)
STEREO
MAIN
55
+15
OO
MAX
56
FX RTN 1
dB
10
FX RTN 2
dB
10
MON 1
dB
10
MON
2
dB
10
5
5
5
5
5
U
U
U
U
U
5
5
5
5
5
10
10
10
10
10
20
20
20
20
41
20
30
SOLO
30
SOLO
30
SOLO
30
SOLO
40
50
60
40
50
60
40
50
60
40
50
60
OO
OO
OO
OO
OO
57
58
58
MAIN
PPM1012
This is useful in cases where your monitor 2 mix is
having feedback troubles or needs your special touch.
If you are not using the monitor 2 system, keep this
switch out. The EQ will then operate on your main
left and right mix.
47. POWER AMP LIMITER LEDs
59
With this constant-Q graphic EQ, the bandwidth (and Q) of a frequency band doesn't
vary with the amount of boost or cut, and the
adjustment of one slider 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 frequency response across the audio band.
With non-constant types of EQ (on other mixers), for
example, if you're boosting 500 Hz and 2 kHz slightly,
the 1 kHz band will also be boosted, even though the
1 kHz slider is in the flat position.
22
46. MAIN EQ ASSIGN
30
40
50
60
57
You will find this EQ useful for reducing feedback in
the stage monitors. Stage monitors point towards the
performers and their microphones, so feedback can
often occur. You can reduce the level of the problem
frequency band, by adjusting the graphic EQ sliders.
This delightful little switch allows you to assign
the main equalizer [44] to either the main mix when
pressed out, or to monitor 2 when pressed in.
38
dB
10
The EQ comes before the monitor 1 fader [58].
Adjust the EQ carefully, in case you over-do it and
take the stage monitor 1 levels into overload. As with
the channel EQ, just take it easy. There are no prizes
for who can EQ the most (or is there?). If lots of EQ
seems to be needed, then chances are your system
can be improved by careful re-positioning of the microphones and other equipment.
These independent LEDs turn on when power amplifier channel A or B is being overloaded internally
and its internal automatic limiter is actively working.
The LED will pulse in time with how much the limiter
is being used.
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.
Developed from professional hamster drag-racing association (PHDRA) starting lights, these stereo meters
show the level of the left and right main mix, after the
main fader [59] and graphic EQ [44] sections.
Use the nearby tape in control [52] to turn up the
level of the tape input to play in your system during the
break(age).
52. TAPE IN
The top LEDs are marked OL (overload), and you
should adjust the levels to avoid these coming on too often, if at all. Check the levels after changing the graphic
EQ, the main fader, or any channel settings.
When the break switch [51] is pressed in, this knob
allows you to turn up the level of the tape input. This
will then play in your main system instead of the main
mix. Fully down is off, U is unity gain, and fully up gives
20 dB of gain.
When a channel is soloed, the left meter indicates the
soloed channel level, and the 0 dB mark shows the optimum level for adjustment of the channel gain control.
See page 3 for details.
Keep this control fully down, until a break is required,
then press the break switch and carefully bring up the
level, while you play the tape or CD.
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).
49. RUDE SOLO LIGHT
This rather impertinent LED will light whenever a
solo button [41] is pressed. This acts as a reminder that
one or more channels is soloed, so the headphones play
one or more soloed channels, and the left meter [48]
indicates the soloed level, not the main mix level.
50. PRECISION PASSIVE EQ
If you are using Mackie passive speakers such as the
C200, C300z, S215, and S225, then press this switch in
for enhanced clarity and low-frequency response. If
you are not using Mackie speakers, then press it and
listen for any improvement. The passive EQ circuit is
added just before the internal power amplifiers, so only
loudspeakers connected to the rear panel speaker-level
outputs [3] will be affected.
51. BREAK SWITCH and LED
This important "take-a-break" switch quickly disconnects the main mix from playing in the main loudspeakers [3] and line-level outputs [16, 17], and allows the
tape input [13] to play instead. For example, you could
play a soothing CD to restore order while the band is
hiding, and before the police arrive. As the audience
is trashing the stage, there will be no upsetting microphone yells, noise, thumps or rumbles heard in the main
speakers.
The monitor 1 and monitor 2 outputs are not affected
by the break switch, so you could turn down the monitor
faders [58] if needed.
Owner’s Manual
48. MAIN MIX METERS
Any line-level source can be connected to the tape
inputs [13], including iPod docks, CD/DVD players and
so forth.
53. 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 flexibility in the use of the powered mixer. For example, if
you already have powered main loudspeakers, you could
use the PPM1012 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 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 amplifiers could power two passive stage
monitors (or sets of monitors).
Note: This switch does not affect any line
level output, it just affects what is sent to the
internal power amplifiers.
The break LED will come on as a reminder that the
break switch is engaged. Check this LED first, if you are
not hearing any sound in your system.
Owner’s Manual
23
PPM1012
42 43
54. LPF (Low-Pass-Filter)
PHANTOM
POWER
2 X 800W PROFESSIONAL POWERED MIXER
EQ ASSIGN
MAIN EQUALIZER
44
MAIN
MON 2
POWER AMP
LIMITER
A
46
15
15
10
10
5
5
0
0
5
5
10
10
15
15
63
125
250
500
1K
2K
4K
8K
MAIN
METERS
0dB = 0dBu
OL
15
10
6
3
0
2
4
7
10
20
30
16K
MON 1 EQUALIZER
z
45
15
15
10
10
5
5
0
0
5
5
10
10
15
15
63
125
250
500
1K
60
62
63
64
4K
8K
48
L
R
LEVEL
SET
49
50
RUDE
SOLO
16K
POWER AMP
61
FX 1
2K
FX 2
SIG/OL
SIG/OL
U
U
OO +15
SEND MASTER
OO +15
SEND MASTER
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
51
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
MON 1
MAINS
MON 2
MON 1
A (L)
LPF
52
54
120
U
100
TAP
DELAY
MUTES
CH 1-12
+20
TAPE IN
FX 1
INT FX
MUTE
OO
+15
OO
56
200Hz
MONO OUT
TO MON 2
U
TO MON 1
U
180
75Hz
OO
FX 1
INT FX
MUTE
53
B (R)
STEREO
MAIN
TAP TO EDIT
BREAK
TAP
DELAY
47
B
55
+15
OO
MAX
56
38
dB
10
FX RTN 1
dB
10
dB
10
MON 1
dB
10
MON
2
dB
10
5
5
5
5
5
U
U
U
U
U
5
5
5
5
5
10
10
10
10
10
20
20
20
20
41
20
30
SOLO
30
SOLO
30
SOLO
30
SOLO
40
50
60
40
50
60
40
50
60
40
50
60
OO
OO
OO
OO
OO
PPM1012
57
58
58
MAIN
Most active subwoofers have their own
crossover, and you should keep the LPF
switch off in these cases. They usually
accept the full frequency range, and their crossover
filters out the unused mids and highs.
If you want to run an external power amplifier with
a passive subwoofer, connect the mono output to the
amplifier's line-level input. Press the LPF switch in,
and adjust the frequency knob to suit your subwoofer.
For example, if your sub is still good out to 150 Hz,
then set the frequency knob a little higher. The
amplifier will then just receive the lows, and will not
have to waste energy and reserves powering the mids
and highs.
When LPF is engaged, the adjacent LED will light
as a reminder. The LPF frequency is adjustable from
75 Hz to 200 Hz, with 100 Hz straight up.
Whatever you use the mono outputs for, remember
that the mono out knob [55] allows you to balance
the level compared to the main left and right outputs
[16] and speaker-level outputs [3].
The low pass filter only affects the mono line-level
outputs. The main outputs and the internal amplifiers still receive the full frequency range.
55. MONO OUT
30
40
50
60
57
24
FX RTN 2
Press this switch in to add a low-pass filter to the
line-level mono outputs [17]. It turns them into linelevel subwoofer outputs that play the low frequency
range below the frequency setting of the LPF control
knob.
59
This knob allows you to adjust the level of the
mono line-level outputs [17]. Adjust it to make your
powered subwoofer, or mono loudspeaker match the
level of the other loudspeakers in your system.
The mono output can be the full frequency range to
run a mono PA for example, or just the low frequencies to run a subwoofer if the LPF [54] is engaged.
Either way, this mono out control will let you adjust
the level.
59. MAIN FADER
These knobs let you adjust the level of the internal
effects processor 1 output (summed mono) being added
to the monitor 1 mix and the monitor 2 mix.
This stereo fader controls the levels of the main mix
signals sent to the main line-level outputs [16, 17], and
the main speaker-level outputs [3] if the internal power
amplifiers are playing the main mix. The fader comes
after the EQ [44] and before the meters [48].
Adjust the level carefully, compared to the other channels playing in the monitor 1 and 2 stage monitors.
At the fully-down position, no FX 1 effects are added,
the center U mark is unity gain, and there is 15 dB of
effects gain fully up.
57. FX RTN 1 FADER and FX RTN 2 FADER
These stereo faders let you adjust how much of the internal effects from processor 1 and processor 2 is added
to the main mix. (The output from the internal effects
processors is in stereo, and is added to the main left and
right mix.) The faders also allow you to adjust the level
of signals coming into the FX 1 and FX 2 return inputs
[12] from external processors (for example), being
added to the main mix.
Adjust each fader and listen to the effects compared
to the other channels playing in the main mix.
This gives you the ultimate feeling of power and control over the sound levels sent to your audience. Adjust
it carefully, with your good eye on the meters to check
against overloading, and your good ear to the levels to
make sure your audience is happy.
The fader does not affect the monitor 1 or monitor 2
outputs [10], or the internal power amp if it is playing a
monitor.
Owner’s Manual
56. FX 1 TO MON 1 and FX 1 TO MON 2
The main mix signals are off with the fader fully down,
the “U” marking is unity gain, and fully up provides 10
dB of additional gain. This additional gain will typically
never be needed, but once again, it’s nice to know it’s
there. The fader is stereo, as it affects both the left and
right of the main mix equally. This is the ideal control to
slowly bring down at the end of a song (or quickly in the
middle of a song if the need ever arises).
At the fully-down position, no effects are added, the
U mark is unity gain, and there is 10 dB of effects gain
fully up.
The solo buttons [41] next to these faders
allow you to listen to the output of the effects
processor in your headphones. These faders
have no effect on the solo level, so protect your hearing
by making sure the phones knob [19] is turned down
before you press solo.
The mute buttons [38] above these faders allow you
to quickly turn off the effects being added to the main
mix and monitors. (You can still solo them.)
58. MONITOR 1 FADER and MONITOR 2 FADER
These faders control the level of the monitor 1 mix
and monitor 2 signals sent to the mon 1 and mon 2
line-level outputs [10], and the monitor speaker-level
outputs [3] if the internal power amplifiers are playing
monitor 1 or 2.
These give you ultimate control over your stage monitors. Adjust them carefully to prevent overloading, and
check to see that your band are happy with the levels.
The controls do not affect the main mix level.
The monitor signals are off with the levels fully down,
the “U” marking is unity gain, and fully up provides 10
dB of additional gain.
The solo buttons [41] next to these faders allow you to listen to the monitor output in your
headphones. These faders have no effect on
the solo level, so to protect your hearing, make sure the
phones knob [19] is turned down before you press solo.
Owner’s Manual
25
PPM1012
42 43
Stereo Effects Processors
PHANTOM
POWER
2 X 800W PROFESSIONAL POWERED MIXER
EQ ASSIGN
MAIN EQUALIZER
44
MAIN
MON 2
POWER AMP
LIMITER
A
46
15
15
10
10
5
5
0
0
5
5
10
10
15
15
63
125
250
500
1K
2K
4K
8K
MAIN
METERS
0dB = 0dBu
OL
15
10
6
3
0
2
4
7
10
20
30
16K
MON 1 EQUALIZER
z
45
15
15
10
10
5
5
0
0
5
5
10
10
15
15
63
125
250
500
1K
60
62
63
64
4K
8K
48
L
R
LEVEL
SET
49
50
RUDE
SOLO
16K
POWER AMP
61
FX 1
2K
FX 2
SIG/OL
SIG/OL
U
U
OO +15
SEND MASTER
OO +15
SEND MASTER
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
51
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
MON 1
MAINS
MON 2
MON 1
A (L)
LPF
52
54
120
U
100
TAP
DELAY
MUTES
CH 1-12
+20
TAPE IN
FX 1
INT FX
MUTE
OO
+15
OO
56
FX RTN 1
dB
10
FX RTN 2
dB
10
55
+15
OO
MAX
56
MON 1
dB
10
MON
2
dB
10
5
5
5
5
5
U
U
U
U
U
5
5
5
5
5
10
10
10
10
10
20
20
20
20
20
30
30
30
30
30
SOLO
SOLO
SOLO
SOLO
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
OO
OO
OO
OO
OO
57
57
58
58
Very careful thought and lots of audio love has
gone into the design of the 24 presets. The engineers
spent a lot of time lounging about in warm lounges,
visiting theaters, bright rooms and stages, going to
concerts, and visiting cathedrals on Sundays, just to
get these sounds right for you. Initially, they wanted
to investigate "warm beach in Hawaii," but had to
make do with "cold beach in Washington" instead.
60. FX1 SEND MASTER and FX2 SEND MASTER
38
dB
10
The stereo output from each processor can be
added to the main mix using the FX return faders
[57]. The output from FX1 can also be added to the
monitor 1 mix or monitor 2 mix by adjusting the FX1
to mon1 and FX1 to mon 2 [56] controls.
200Hz
MONO OUT
TO MON 2
U
TO MON 1
U
There are two identical Mackie Running-Man
32-bit internal effects processors. They are mono-in,
stereo-out effects processors, with 24 presets each.
Signals to these effects processors come from adjusting the FX1 aux send [35] and the FX2 aux send
[36] on each channel.
180
75Hz
OO
FX 1
INT FX
MUTE
53
B (R)
STEREO
MAIN
TAP TO EDIT
BREAK
TAP
DELAY
47
B
MAIN
These knobs control the level of the signals going
into each internal effects processor. Adjust them
carefully, with your inner magical eye on the adjacent SIG/OL LED [61] to prevent overloading the
effects processor.
These knobs also affect the levels going out of
the FX send line-level outputs [11], so you can use
them to adjust the level going to external effects
processors.
61. SIG/OL LED
59
These dual-LEDs illuminate in green when the
signal level going into each effects processor is in a
good operating range (SIG). They illuminate in red
if the effects processor is being overloaded with too
strong a signal (OL). Turn down the send master
levels [60] if these come on regularly.
The signals going into the processors are affected
by the channel FX 1 and 2 aux sends [35, 36], and
the channel gain [23], EQ [27–32], and channel
faders [40]. If the OL LEDs come on after you adjust
any of these controls, turn down the send master
levels [60].
If you have an external processor connected (and
so the internal FX processors are not used) you can
still use these LEDs to judge the level going out.
26
PPM1012
64. INTERNAL FX MUTE
These displays show the number of the currently
selected effects preset, as shown in the list of presets
silkscreened to the right. Rotate the preset selector
knob to choose a preset.
When engaged, the internal effects processor is muted, and its output will not appear on the main mix or
monitor 1 mix (or anywhere). The adjacent mute LED
will come on as a reminder that the effects are muted.
The footswitch connection [20] becomes disabled, and
you will not be able to use the footswitch to mute or
unmute the effects.
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.
63. PRESET SELECTOR, TAP DELAY and LED
Rotate these endless controls to select one of the 24
preset effects. When you stop the rotation, that preset
will be loaded and become operational. The current preset number is shown in the display [62]. 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 34.
1
Plate Reverb
13
Chorus
2
Vocal Plate
14
Chorus + Reverb
3
Warm Room
15
Doubler
4
Bright Room
16
Tape Slap
5
Warm Lounge
17
Delay 1 Brt 350ms
6
Small Stage
18
Delay 1 Wrm 300ms
7
Warm Theater
19
Delay 2 Brt 250ms
8
Bright Stage
20
Delay 2 Wrm 200ms
9
Warm Hall
21
Delay 3 Brt 175ms
10
Concert Hall
22
Delay 3 Wrm 150ms
11
Cathedral
23
Chorus + Dly 300ms
12
Gated Reverb
24
Reverb + Dly 200ms
If this switch is not engaged, then the internal effects
are set free and can be added as required to the main
mix and monitor 1 mix, and can be muted or unmuted
with the footswitch.
Owner’s Manual
62. PRESET DISPLAY
Congratulations! You’ve just read about all the features of your powered mixer. Time for a cold one.
The knob also offers a tap delay function for the presets 17 to 24. This works as follows:
1. Use the knob to select a preset from 17 to 24.
2. Press the knob in at least two times.
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 your 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 second apart,
they will be ignored. Try again a bit faster.
3. The LED will flash in time with the new tap
delay time.
Owner’s Manual
27
PPM1012
Appendix A: Service Information
If you think your powered mixer has a problem, please
check out the following troubleshooting tips and do your
best to confirm the problem. Visit the Support section of
our website (www.mackie.com) where you will find lots
of useful information such as FAQs, documentation and
user forums. You may find the answer to the problem
without having to send your mixer away.
•
Unplug anything from the main line-level outputs, main inserts, or other line-level outputs,
such as mono out, mon 1 send, mon 2 send, FX1
and FX2 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.
Troubleshooting
Bad Channel
•
Is the channel EQ set up nicely?
•
Is the channel gain set correctly?
•
Is the channel fader up enough?
•
Is the channel OL led on?
•
Is the channel pan set in the middle?
•
Is there too much compression on channels
1-6?
•
Are the hi-z instrument switches set OK for
guitars connected to channels 7 and 8?
•
Try unplugging any insert devices from the
insert jacks on channels 1 to 8.
•
•
Try the same source signal in another channel,
set up exactly like the suspect channel.
Is phantom power required for your microphones?
Bad Output
•
Is the main fader turned up?
•
Check the power amp mode switch is set correctly.
•
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.
•
28
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 wiring, or any speaker fuses.
PPM1012
Noise
•
Turn the channel gains 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
•
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.
Levitation
•
The heavy combined weight of all the loudspeaker electrons is balanced by the fans and
warm air that make things lighter. During
louder moments when all the electrons are sent
rushing out to your loudspeakers, you may find
that the powered mixer will rise in the air and
hover up and down in sync with the music. This
is perfectly normal.
Repair
For warranty repair or replacement, refer to the warranty information on page 35.
Non-warranty repair for Mackie products is available
at a factory-authorized service center. To locate your
nearest service center, visit www.mackie.com, click
“Support” and select “Locate a Service Center.” Service
for Mackie products living outside the United States can
be obtained through local dealers or distributors.
If you do not have access to our website, you can call
our Tech Support department at 1-800-898-3211, Monday-Friday, 7 am to 5 pm Pacific Time, to explain the
problem. Tech Support will tell you where the nearest
factory-authorized service center is located in your area.
“XLR” Connectors
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.
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
COLD
SHIELD
•
1⁄4"
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).
TS Phone Plugs and Jacks
“TS” stands for Tip-Sleeve, the two connections available on a “mono” 1⁄4" phone jack or plug. See Figure C.
1
3
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.
1
SLEEVE
COLD 3
HOT
1
3
SLEEVE
TIP
TIP
2
TIP
SHIELD
SLEEVE
COLD
2
Owner’s Manual
Appendix B: Connections
HOT
Figure C: TS Plug
Figure A: XLR Connectors
1⁄4"
TRS Phone Plugs and Jacks
“TRS” stands for Tip-Ring-Sleeve, the three
connections available on a “stereo” 1⁄4" or “balanced”
phone jack or plug. See Figure B.
RING SLEEVE
SLEEVE RING TIP
TIP
RING
TIP
SLEEVE
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:
•
Unbalanced microphones
•
Electric guitars and electronic instruments
•
Unbalanced line-level connections
•
Speaker connections
Don’t use guitar cords for speaker cables!
They’re not designed to handle speaker-level
signals and could overheat.
Figure B: 1⁄4" TRS Plugs
RCA Plugs and Jacks
TRS jacks and plugs are used in several different applications:
•
Balanced mono circuits. When wired as a balanced connector, a 1⁄4" TRS jack or plug is connected tip to signal high (hot), ring to signal
low (cold), and sleeve to ground (earth).
•
Stereo Headphones, and rarely, stereo microphones 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.
They must be separated into a left cord and a
right cord, which are plugged into the two mic
preamps.
RCA-type plugs (also known as phono plugs) and
jacks are often used in home stereo and video equipment and in many other applications (Figure D). They
are unbalanced and electrically identical to a 1⁄4" TS
phone plug or jack. See Figure C. Connect the signal to
the center post and the ground (earth) or shield to the
surrounding “basket.”
SLEEVE TIP SLEEVE TIP
Figure D: RCA Plug
Owner’s Manual
29
PPM1012
Speakons
MONO PLUG
When using the Speakon outputs to connect your loudspeakers, wire the Speakon connectors as shown below:
Channel Insert jack
Direct out with no signal interruption to master.
Insert only to first “click.”
1–
MONO PLUG
1+
Channel Insert jack
COLD
HOT
1–
Direct out with signal interruption to master.
Insert all the way in to the second “click.”
1+
2+
2–
Figure E
STEREO
PLUG
TRS Send/Receive Insert Jacks
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
SEND to processor
ring
sleeve
(TRS plug)
This plug connects to one of the
mixer’s Channel Insert jacks.
“tip”
Channel Insert jack
For use as an effects loop.
(TIP = SEND to effect, RING = RETURN from effect.)
Figure G
Loudspeaker Cable
Use loudspeaker cables with a minimum conductor
size for the length you need as listed in these tables.
“ring”
RETURN from processor
Figure F
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.
Using the Send-only on an Insert Jack
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).
This allows you to tap out the channel signal without
interrupting normal operation.
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.
This will minimize
power losses to less
than 0.5 dB. The cable
lengths listed are “up
to” lengths. For inbetween lengths, use
the next larger conductor gauge. Using
larger than the recommended conductor
size is always permissible. Using smaller
than recommended
conductor size will
result in higher power
losses.
Minimum AWG
4 ohm
8 ohm
18
10 ft
25 ft
16
25
50
14
25
75
12
50
125
10
100
200
Min Metric WG 4 ohm
8 ohm
12
3m
8m
14
8
15
16
8
25
20
15
40
25
30
60
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.
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 needed 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.
30
PPM1012
Specifications
Distortion (THD + N)
9-Band Graphic EQ
(1 kHz, 30 kHz bandwidth)
Main and Monitor 1:
±15 dB @
63, 125, 250, 500, 1k,
2k, 4k, 8k and 16 kHz
Mic mono:
<0.003%
<0.003%
Line mono:
<0.005%
Connections
Line stereo
<0.003% at main out
Mic input:
XLR balanced
Main mix output noise
Line mono input:
1/4" TRS balanced
(1 kHz, 30 kHz bandwidth)
Line stereo input:
1/4" TRS balanced
Main mix level down, all channel levels down:
–95 dBu
Main outputs:
1/4" TRS balanced
Main mix level 0 dB, all channel levels down:
–89 dBu
Monitor outputs:
1/4" TRS balanced
Main mix level 0 dB, all channel levels 0 dB:
–84 dBu
Inserts:
1/4" TRS unbalanced
Loudspeaker outputs:
1/4" TS and Neutrik
Speakon
Frequency Response
(+0 dB/–3 dB)
Mic mono input:
< 10 Hz–100 kHz
Line mono inputs:
< 10 Hz–32 kHz
Line stereo inputs:
< 10 Hz–80 kHz
Loudspeaker outputs
(Both channels loaded and driven at 1 kHz.)
Peak output power @ 4 ohms:
2 x 800 watts peak
Average output power @ 4 ohms:
2 x 400 Wrms, 1% THD
2 x 500 Wrms, 3% THD
Average output power @ 8 ohms:
2 x 250 Wrms, 1% THD
2 x 300 Wrms, 3% THD
Recommended load impedance:
4 – 8 ohms per side
Equivalent Input Noise (EIN)
Mic input (20 Hz – 20 kHz)
150 ohm termination:
–128 dBu
Gain
Mic mono input:
Line mono inputs:
Line stereo inputs:
0 dB to +50 dB
–20 dB to +30 dB
–20 dB to +20 dB
Maximum Levels
Mic mono input:
Line mono inputs:
Line stereo inputs:
Preamp main and monitor outputs:
+21 dBu minimum gain
+21 dBu
+21 dBu
+21 dBu
Impedances
Mic mono input:
3.6 kilohms balanced
Line mono input:
20 kilohms balanced
Line mono input, Ch 7, 8 Hi-Z:
500 kilohms unbalanced
Line stereo inputs:
20 kilohms balanced
Main and monitor outputs:
240 ohms balanced
120 ohms unbalanced
Channel EQ
High Shelving (all channels)
±15 dB @ 12 kHz
Mid Mono Channels:
Mid Peaking, sweepable
±15 dB
Mid sweep range:
100 Hz to 8 kHz
Mid Stereo Channels:
Hi Mid Peaking:
±15 dB @ 2.5 kHz
Lo Mid Peaking:
±15 dB @ 400 kHz
Low Shelving (all channels)
±15 dB @ 80 Hz
Phantom Power
+48 VDC, globally switchable to all Mic inputs
Owner’s Manual
Appendix C: Technical Information
Running Man Effects
Type:
Two 32-bit internal
processors,
mono in, stereo out
Effects presets:
24 Mackie-designed
presets
Power Consumption
100–120 VAC, 50/60 Hz:
250 watts
220–240 VAC, 50/60 Hz:
250 watts
Dimensions (H x W x D)
19.2" x 17.4" x 5.2"
(487 mm x 442 x 133)
Weight
29 lb (13.2 kg)
LOUD Technologies Inc. is always striving to improve our products by incorporating new and improved materials, components,
and manufacturing methods. Therefore, we reserve the right to
change these specifications at any time without notice.
“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 holders, and are hereby acknowledged.
The technical writer responsible for this manual tends to fade
in and out of various different realities, depending on how
many cups of tea he has had. Please check our website for any
updates to this manual: www.mackie.com.
©2008 LOUD Technologies Inc. All Rights Reserved.
Owner’s Manual
31
PPM1012
Dimensions
WEIGHT
29.0 lb
13.2 kg
These
shorts are
killing me!
19.2 in/ 487 mm
11 Rack Spaces
5.2 in/
133 mm
17.4 in/ 442 mm
19.0 in/ 483 mm
(with rack ears)
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.
32
PPM1012
48V
R
L
FX1 sum
Stereo Channels
(9-12)
Line
Mic
Mono
Channels
(1-8)
-
+
-
+
Gain
-
+
OL
display
(Ch. 1-6 only)
Comp
FX 1
FX1 out
R
L
400
MID
LO
80
400
MID
80
LO
12K
HI
12K
HI
Insert
-
+
-
+
to FX2 bypass
bypass
FX return 1
2.5K
MID
2.5K
MID
4-Band EQ
(Ch. 7-8 only)
footswitch
tap
delay
Sig
select/tap
FX1
level
HI-Z
LINE
Hi-Z
100Hz
HPF
Mic: 0 ~ +50dB
Line: -20 ~ +30dB
Gain
-20dB ~ +20dB
phtm
phtm
80
LO
100~8K
MID
FX2
identical to
FX1 except
as noted
PK
+10
0
-20
12K
HI
3-Band EQ
PK
+10
0
-20
Mute
Mute
FX2
FX1
Pan
* FX1 to Mon2
* FX1 only
* FX1 to Mon1
FX1 to Main
Solo (pfl)
Mon1
Mon2
Fader
Solo (pfl)
Mon2
FX2
FX1
Pan
Mon1
Mute Fader
Solo (pfl)
L
R
Mon 1
Mon 2
FX1
FX2
Solo
Solo logic
L
R
Mon 1
Mon 2
FX1
FX2
Solo
Solo logic
Global phantom power
Solo
Mon2
Solo
Mon1
Solo
Mon 2
Mon 1
L
Solo
level
Solo
Logic
Main
meters
R
9-band
Graphic EQ
R
L
Tape out
Break
Phones
Limiter
Mon2
level
Mon1
level
Main level
Thermal
power limit
Precision
Passive EQ
Phones level
Rude
Solo
Main
Mon2
9-band
Graphic EQ
©2008 Loud Technologies Inc. All rights reserved
Note: all switches are shown in their default (out) position
All twoggles are stowed amidships, abaft of the leeward gunnels
R Insert
L
Tape in
R
R sum
L sum
L Insert
Power Amps
Amp Mode
Low Pass
75Hz ~ 200Hz
Mono level
B
out
A
Mon2 Out
Mon1 Out
Right
Main Out
Mono Out
Left
Main Out
Owner’s Manual
Block Diagram
Owner’s Manual
33
PPM1012
Appendix D: Table of Effects Presets
No. Title
Description
Example of its use
01 Plate Reverb
This preset emulates vintage mechanical reverberation
that was generated with a metal plate. Its sound is characterized by lots of early reflections and no pre-delay.
Perfect for thickening percussive instruments, such
as a snare drum, or tight vocal arrangements.
02 Vocal Plate
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.
03 Warm Room
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,
ambient effect to vocals and acoustic instruments.
wood paneled room.
04 Bright Room
This room has a bright tone with lots of scattered reflections to simulate harder, more reflective surfaces.
05
Warm Lounge
Useful on vocals that require a brighter reverb to
cut through the mix, or for giving acoustic instruments 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.
06 Small Stage
This preset simulates the sound of a small concert stage,
with a medium reverb time and reverberant space.
Useful for vocals or guitars in fast paced, highenergy songs that call for a “live” sounding
reverberation.
07 Warm Theater
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.
08 Bright Stage
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.
09 Warm Hall
This reverb simulates the sound of a spacious, yet cozy,
heavily draped and carpeted concert hall with an especially warm tone.
Perfect for adding natural concert hall ambience
to close-mic’ed orchestral instruments.
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
This preset incorporates an age-old trick whereby an
extremely dense reverb is processed through a fast gate
for an interesting, albeit artificial, sound.
13 Chorus
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
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 spaciousness thanks to the smooth reverb.
15 Doubler
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
18
19
20
21
22
DLY 1 Bright (350ms)
DLY 1 Warm (300ms)
DLY 2 Bright (250ms)
DLY 2 Warm (200ms)
DLY 3 Bright (175ms)
DLY 3 Warm (150ms)
Most often used to fatten snare drums and toms
without clutter.
These 6 delay presets provide one (delay 1), three (delay
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 [63] more than once.
These work best with full, up-beat music like rock
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 dimenthe 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 knobs [63] more than once.
34
PPM1012
Please keep your sales receipt in a safe place.
A. LOUD Technologies Inc. warrants all materials,
workmanship and proper operation of this product for a period
of three years from the original date of purchase. You may
purchase an additional 24-month Extended Warranty (for a
total of 60 months of coverage). Visit our website and follow
the “Product Registration” links for details (www.mackie.com).
If any defects are found in the materials or workmanship or
if the product fails to function properly during the applicable
warranty period, LOUD Technologies, at its option, will repair
or replace the product. This warranty applies only to
equipment sold and delivered within the U.S. and
Canada by LOUD Technologies Inc. or its authorized
dealers.
B. For faster processing, register online at www.mackie.com,
or you may mail in the product registration card included with
this manual.
C. Unauthorized service, repairs, or modification of Mackie
products will void this warranty. To obtain repairs or
replacement under warranty, you must have a copy of your
sales receipt from the authorized Mackie dealer where you
purchased the product. It is necessary to establish purchase
date and determine whether your Mackie product is within
the warranty period.
D. To obtain warranty repair or replacement:
1. Call Mackie Technical Support at 800/898-3211, 7
AM to 5 PM Monday through Friday (Pacific Time) to get
authorization for repair or replacement. Alternately, go
to the Mackie website, click “Support” (www.mackie.
com/support), and follow the instructions for reporting
a warranty issue and submitting a request for an advance
replacement.
2. Advance Replacement: Mackie will ship a
replacement unit to you along with an invoice for the
suggested retail price of the replacement unit. You must
return the defective unit immediately to cancel the invoice.
If you do not return the defective unit within 30 days, you
must pay the full amount stated in the invoice to satisfy
your debt.
3. Repair: When you call Mackie Technical Support,
explain the problem and obtain a Service Request Number.
Have your Mackie product’s serial number ready. You must
have a Service Request Number before you can obtain
factory-authorized service.
• Pack the product in its original shipping carton. Also
include a note explaining exactly how to duplicate the
problem, a copy of the sales receipt with price and date
showing, your daytime phone number and return street
address (no P.O. boxes or route numbers, please!), and
the Service Request Number. If we cannot duplicate the
problem or establish the starting date of your Limited
Warranty, we may, at our option, charge for service time
and parts.
• Ship the product in its original shipping carton, freight
prepaid to the authorized service center. Write the Service
Request Number in BIG PRINT on top of the box. The
address of your closest authorized service center will be
given to you by Technical Support, or it may be obtained
from our website. Once it’s repaired, the authorized service
center will ship it back by ground shipping, pre-paid (if it
qualified as a warranty repair).
Note: Under the terms of the warranty, you must ship or dropoff the unit to an authorized service center. The return ground
shipment is covered for those units deemed by us to be under
warranty.
Note: You must have a sales receipt from an authorized
Mackie dealer for your unit to be considered for warranty
repair.
IMPORTANT: Make sure that the Service Request
Number is plainly written on the shipping carton.
No receipt, no warranty service.
E. LOUD Technologies reserves the right to inspect
any products that may be the subject of any warranty
claims before repair or replacement is carried out. LOUD
Technologies may, at our option, require proof of the original
date of purchase in the form of a dated copy of the original
dealer’s invoice or sales receipt. Final determination of
warranty coverage lies solely with LOUD Technologies.
F. Any products returned to one of the LOUD Technologies
factory-authorized service centers, and deemed eligible
for repair or replacement under the terms of this warranty
will be repaired or replaced. LOUD Technologies and its
authorized service centers may use refurbished parts for
repair or replacement of any product. Products returned
to LOUD Technologies that do not meet the terms of this
Warranty will not be repaired unless payment is received
for labor, materials, return freight, and insurance. Products
repaired under warranty will be returned freight prepaid by
LOUD Technologies to any location within the boundaries of
the USA or Canada.
G. LOUD Technologies warrants all repairs performed
for 90 days or for the remainder of the warranty period.
This warranty does not extend to damage resulting from
improper installation, misuse, neglect or abuse, or to
exterior appearance. This warranty is recognized only if
the inspection seals and serial number on the unit have not
been defaced or removed.
H. LOUD Technologies assumes no responsibility for the
timeliness of repairs performed by an authorized service
center.
I. This warranty is extended to the original purchaser.
This warranty may be transferred to anyone who may
subsequently purchase this product within the applicable
warranty period for a nominal fee (extended warranties
are not transferable). A copy of the original sales receipt is
required to obtain warranty repairs or replacement.
J. This is your sole warranty. LOUD Technologies does
not authorize any third party, including any dealer or
sales representative, to assume any liability on behalf of
LOUD Technologies or to make any warranty for LOUD
Technologies Inc.
K. THE WARRANTY GIVEN ON THIS PAGE IS THE SOLE
WARRANTY GIVEN BY LOUD TECHNOLOGIES INC.
AND IS IN LIEU OF ALL OTHER WARRANTIES, EXPRESS
AND IMPLIED, INCLUDING THE WARRANTIES OF
MERCHANTABILITY AND FITNESS FOR A PARTICULAR
PURPOSE. THE WARRANTY GIVEN ON THIS PAGE
SHALL BE STRICTLY LIMITED IN DURATION TO THREE
YEARS FROM THE DATE OF ORIGINAL PURCHASE
FROM AN AUTHORIZED MACKIE DEALER. UPON
EXPIRATION OF THE APPLICABLE WARRANTY PERIOD,
LOUD TECHNOLOGIES INC. SHALL HAVE NO FURTHER
WARRANTY OBLIGATION OF ANY KIND. LOUD
TECHNOLOGIES INC. SHALL NOT BE LIABLE FOR ANY
INCIDENTAL, SPECIAL, OR CONSEQUENTIAL DAMAGES
THAT MAY RESULT FROM ANY DEFECT IN THE MACKIE
PRODUCT OR ANY WARRANTY CLAIM. Some states do
not allow exclusion or limitation of incidental, special,
or consequential damages or a limitation on how long
warranties last, so some of the above limitations and
exclusions may not apply to you. This warranty provides
specific legal rights and you may have other rights which
vary from state to state.
Owner’s Manual
Owner’s Manual
PPM1012 Limited Warranty
35
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
Fax: 425.487.4337 • www.mackie.com
E-mail: [email protected]