Mackie ProFX4v2 オーナーマニュアル

Pr

oFX4v2

Stage monitors allow the talented musicians in the 

band to hear themselves clearly on stage. This can be a 
good thing! The monitor mix may be carefully adjusted 
in level using the aux mon controls. These tap a portion 
of each channel's signal to provide a 1/4" TRS output 
here to feed external stage monitors. These could  
either be passive stage monitors powered by an  
external amplifier, or powered stage monitors with  
their own built-in amplifier.

The monitor signal is the sum (mix) of all the  

channels whose aux mon control is set to more  
than minimum. If they want “more me and less Brian,” 
you may turn up their channel's aux mon control,  
and turn down Brian's.

The overall output level may be adjusted with the  

aux master mon knob and mon 1 may have its EQ 
tweaked with the graphic EQ if the main mix/mon 
switch is engaged. Alternatively, you could add an  
external graphic EQ between this output and your  
powered monitors. This will allow you to adjust  
the EQ, and minimize the chance of feedback from 
nearby microphones.

The monitor output is not affected by the main  

mix fader or the channel faders. This allows you to set 
up the monitor mix and level just right, and not have  
it change when a channel fader or the main mix fader  
is adjusted. This is known as “pre-fader.”

This 1/4" TRS line-level output may be used to feed  

an external effects processor (FX), such as a nice  
sound effect, or delay unit. The output from this jack  
is an exact copy of what goes into the internal FX  
processor, being the careful mix of all channels whose 
aux FX control is turned to more than minimum.

(The processed output of the internal FX does not 

come out of this output, but is added internally to the 
main mix or monitor mix.)

The output is “post-fader,” so any changes to the  

channel faders will also affect the level going to the 
external processor.

The processed output from the effects processor is 

usually returned to a spare channel or the tape input, 
and you may carefully mix the original unprocessed 
channel (dry) and the processed channel (wet).  
Altering the original channel fader increases both  
the wet and dry signals and keeps them at the same 
delicate ratio. For example, the reverb remains at  
the same level relative to the original.

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The 1/4" TRS output connectors provide balanced  

or unbalanced line-level signals. Connect these to  
the next device in the signal chain like an external  
processor (compressor/limiter), or directly to the  
inputs of the main amplifier or powered speakers.

The stereo unbalanced RCA inputs allow you to  

play a CD player, MP3 player, or other line-level source. 
The tape in jacks accept an unbalanced signal using 
standard hi-fi hookup cables.

The stereo unbalanced RCA outputs allow you to 

record the main stereo mix onto a hard disk recorder  
or automatic CD burner, for example. This lets you  
make a recording for posterity/archive/legal purposes 
whenever the band gets back together again.

The tape output is the stereo main mix, and it is  

not affected by the main mix knob.

 

The output could 

also be used as an extra set of main outputs for feeding 
another zone.

This 1/4" TRS connector supplies the output to stereo 

headphones. It is the same signal that is routed to the 
main and tape outputs. The phones volume is controlled 
with the phones knob.

The phones output follows  standard conventions: 

 

Tip = Left channel 

 

Ring = Right channel 

 

Sleeve = Common ground

WARNING: The headphone amp is loud and 
can cause permanent hearing damage. Even 
intermediate levels may be painfully loud 

with some headphones. BE CAREFUL! Always turn the 
phones level control all the way down before connecting 
headphones or doing anything new that may affect the 
headphone volume. Then turn it up slowly as you listen 
carefully.

TIP

SLEEVE

TIP

SLEEVE