Mackie ProFX16v2 Manual De Propietario

Owner’

s Manual

As one might expect, this knob controls the levels 

of both the stereo control room and the headphones. 
Make sure that this knob is fully off [counter-clockwise] 
before selecting or adding a new source.

Whatever the selection, the control room outputs  

may also be used for other applications. The sound  
quality is just as impeccable as the main outputs.  
It may be used as an additional main mix output  
and this one will have its own level control.  
However, be aware that if a solo switch is engaged,  
the mix will be interrupted: 

When a channel's solo switch is engaged, any existing 

selection is replaced by the solo signal, appearing at  
the control room outputs, phones and at the left meter. 
The audible solo levels are then controlled by the  
control room knob. The solo levels appearing on  
the meters are not controlled by the control room  
knob – you would not want that, anyway. What you  
do want to see is the actual channel level on the meters 
regardless of how loud the control room and phones 
output levels might be.

Control room is available on the ProFX16v2, 
ProFX22v2 and ProFX30v2.

Solo signals reaching the headphones  
and monitor outputs are not affected by  
the channel level or main level; therefore, 

turn down the phones level and monitor level first,  
as soloed channels may be loud.

One popular use of the subs is to use them as  

master faders for a group of channels on their way to the 
main mix fader. Let us say you have a drum kit hogging 
up seven channels and you are going to want to control 
their group volume more conveniently. You do not want 
to try that with seven hands or seven fingers, so just 
unassign these channels from the main mix and reas-
sign them to subs 1-2, engage the assign to main mix left 
on sub 1 and assign to main mix right on sub 2.  
Now you may ride the entire drum mix with two  

 

faders – subs 1 and 2.

If you engage just one assign to main mix button per 

group (left or right), the signal sent to the main mix 
fader will be the same level as the sub outs. If you want 
the subgroup to appear in the center of the main mix, 
engage both the assign to main mix left and right but-
tons. The signal will be sent to both sides, and reduced 
in level by 3 dB like a pan pot, so the overall level is the 
same, whether the group is assigned to main left, main 
right, or both.

As you might expect, these faders control the levels  

of the signals sent to the sub out jacks. All channels  
that are assigned to subs, not muted, and not turned 
fully down will appear at the sub outs. 

The sub signal is off when its fader is fully down,  

the “U” marking is unity gain, and fully up provides  
10 dB additional gain. Remember that if you are treating 
two subs as a stereo pair, sub 1 and 2 for example,  
make sure that both sub faders “ride” together to 
maintain the left/right balance.

This stereo fader allows you to adjust the levels  

of  the main mix signals sent to the XLR and 1/4" main 
line-level outputs and the tape outputs.

This gives you the ultimate feeling of power and  

control over the sound levels sent to your audience.

 

Adjust this control carefully, with your good eye on  
the meters to check against overloading, and your  
good ear to the levels to make sure your audience  
(if any) is happy.

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 that 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).

This control does not affect the mon send or FX send 

outputs.

54

60

55

56 58

59

62

61