Mackie ProFX4v2 Manual Do Proprietário

Pr

oFX4v2

These LEDs are used with the gain control to set the 

channel preamplifier gain just right for each source.

If one or more channels are distorting, check the level 

set LEDs. If they are on continuously, turn down the 
gain.

Both mono channels have a low-cut switch (often  

referred to as a high-pass filter) that cuts bass  
frequencies below 100 Hz at a rate of 18 dB per octave. 

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.

Another way to consider the 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 blowing the woofers.

7

9

8

The ProFX4v2 has 2-band equalization at carefully 

selected points — low shelving at 80 Hz, and hi shelving 
at 12 kHz. “Shelving” means that the circuitry boosts  
or cuts all frequencies past the  specified frequency.  
For example, rotating the low EQ knob 15 dB to the 
right boosts bass starting at 80 Hz and continuing  
down to the lowest note you never heard.

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), as well 
as the right (boost). If you find yourself repeatedly using 
a lot of boost or cut, consider altering the sound source, 
such as placing a mic differently, trying a different kind 
of mic, a different vocalist, changing the strings, or 
gargling.

The hi EQ provides up to  

15 dB of boost or cut above  
12 kHz, and it is also flat  
(no boost or cut) at the  
detent. 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. The circuit is flat 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.

10

11