4.1
Owner's of the Mackie Music Mixer ProFX12 gave it a score of 4.1 out of 5. Here's how the scores stacked up:
15
Owner’s Manual
Owner’s Manual
13. MON SEND
Stage monitors allow the talented musicians in your
band to hear themselves clearly on stage, and this can
often be a good thing. The monitor mix can be care-
fully adjusted in level using the aux mon controls [26].
These tap a portion of each channel's signal to provide
a 1/4" TRS output here to feed external stage monitors.
These could either be passive stage monitors powered
by an external amplifi er, or powered stage monitors with
their own amplifi er built in.
The monitor signal is the sum (mix) of all the chan-
nels whose aux mon control is set to more than mini-
mum. If they want "more me, and less Keith," you can
turn up their channel's aux mon control, and turn down
Keith's.
The overall output level can be adjusted with the
monitor fader [47] and its EQ tweaked with the graphic
EQ [37] if the main mix/mon switch [38] is pressed in.
Alternatively, you could add an external graphic EQ be-
tween this output and your powered monitors. This will
allow you to adjust the EQ, and minimize the chance of
feedback from nearby microphones.
The monitor output is not affected by the main fader
[48], or the channel faders [31]. This allows you to set
up the monitor mix and level just right, and not have it
change when a channel fader or the main mix fader is
adjusted. This is known as "pre-fader."
14. FX SEND
This
1
/4" TRS line-level output can be used to feed an
external effects processor (FX), such as a nice sound ef-
fect, or delay unit. The output from this jack is an exact
copy of what goes into the internal FX processor, being
the careful mix of all channels whose aux FX control
[14] is turned more than minimum.
(The processed output of the internal FX does not
come out of this output, but is added internally to the
main mix or monitor mix.)
The overall output level can be adjusted with the FX
master knob [52]. (This knob also effects the level go-
ing into the internal FX.)
The output is "post-fader," so any changes to the chan-
nel faders [31] will also affect the level going to the
external processor.
The processed output from the effects processor is
usually returned to the stereo returns [12] or a spare
channel, and you can carefully mix the original unpro-
cessed channel (dry) and the processed channel (wet).
Altering the original channel fader increases both the
wet and dry signals and keeps them at the same delicate
ratio. (For example, the reverb remains at the same
level relative to the original.)
15.
1
⁄4" MAIN OUTS
These outputs feed the main mix out into the waiting
world. You can feed your amplifi ers this way, or through
the XLR main outputs [4].
To use these outputs to drive balanced inputs, con-
nect 1⁄4" TRS (Tip–Ring–Sleeve) phone plugs like this:
Tip = + (hot)
Ring = –(cold)
Sleeve = Ground
To use these outputs to drive unbalanced inputs, con-
nect 1⁄4" TS (Tip-Sleeve) phone plugs like this:
Tip = + (hot)
Sleeve = Ground
16. FX FOOTSWITCH
This 1/4" TRS connector is where you can connect
your favorite footswitch. This will allow you to easily
mute or un-mute the internal effects, while stamping
your foot and looking like you were mad about some-
thing. Any one-button on/off footswitch will work.
If the internal effects have already been muted with
the internal FX mute switch [51] then the footswitch
has no effect, but you can still stamp your foot and pout
if that helps any. Cultivate that bad-boy image.
17. PHONES
This
1
/4" TRS stereo jack will drive any standard head-
phone to very loud levels. The wiring follows standard
conventions:
Tip = Left channel
Ring = Right channel
Sleeve = Common ground
The headphones output is the stereo main mix, not
affected by the main fader [48], or the graphic EQ [37].
Warning: when we say the headphone out-
put is loud, we’re not kidding. It can cause
permanent ear damage. Even intermediate
levels may be painfully loud with some earphones. Be
careful! Always turn the phones level control [42] all
the way down before connecting headphones, adding
new sources, or making any other changes. Keep it down
until you’ve put the phones on. Then turn it up slowly.
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