Mackie ProFX8v2 Manual Do Proprietário

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oFX8v2 • Pr

oFX12v2 • Pr

oFX16v2 • Pr

oFX22v2 • Pr

oFX30v2

All ProFXv2 mono channels – except for the 

ProFX4v2, which is covered in its own owner's manual 
– have 3-band EQ with shelving hi, peaking mid with 
adjustable mid frequency [ProFX16v2, ProFX22v2, 
ProFX30v2] and shelving low. The stereo channels  
have a peaking mid EQ control in addition to the  
shelving hi and shelving low EQ controls.

Shelving means that the circuitry boosts or cuts all 

frequencies past the specified frequency. For example, 
the low EQ boosts bass frequencies below 80 Hz and 
continuing down to the lowest note you never heard. 
Peaking means that certain frequencies form a “hill” 
around the center frequency.

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.

17

15

14

16

13

The mono channels employ 

a semi-parametric mid-sweep 
EQ. The gain (up to 15 dB  
of boost or cut) is set via the 
mid EQ, and then “aimed” at  
a specific frequency, from  
100 Hz to 8 kHz, via the freq 
control.

Short for “midrange,” this 

knob provides up to 15 dB of 
boost or cut, centered at  
2.5 kHz, also flat at the center 
detent. Midrange EQ is often 
thought of as the most    
dynamic, because the frequencies that define any  
particular sound are almost always found in this range. 
You can create many interesting and useful EQ changes 
by turning this knob down as well as up.

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.

These knobs tap a portion of each channel's signal to 

set up a nice monitor mix feeding stage monitors,    
independent of the main mix. Adjust these controls on 
each channel until the band is happy with the stage 
monitor mix.

The controls are off when fully turned down, deliver 

unity gain at the center detent, and can provide up to  
15 dB of gain turned fully up.

The pan, mute and channel fader do not affect the 

monitor output, but the other channel controls will.  
The aux mon is pre-fader.

The overall output level may be adjusted with the aux 

master mon controls and monitor 1's EQ tweaked with 
the graphic EQ if the main mix/mon 1 switch is engaged. 
Internal FX may also be added to the monitor mix with 
the internal FX to mon knobs.