Mackie ProFX8 User Manual

Owner’

s Manual

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."

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.)

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

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.

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.