Mackie ProFX12v2 Manual Do Proprietário

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If you are creating new tracks or bouncing existing 

ones, you will also use the 1-2 and 3-4 switches, but not 
the main mix switch. Here you do not want the groups 
sent back into the main mix bus, but sent out, via the 
sub out jacks, to your multitrack inputs.

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 CR/phones 
knob. The solo levels appearing on the meters are not 
controlled by the CR/phones 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.

PFL means Pre-Fader Listen (post-EQ). With the PFL 

Solo switch engaged, solo will not be affected by a  
channel's mute switch position.

Remember, PFL taps the channel signal before 
the fader. If you have a channel's fader set 
way below “U” (unity gain), solo will not know 

that and will send a unity gain signal to the CR outs, 
phones output and meter display, which may raise some 
eyebrows. 

This is the last control in a channel’s signal path, and 

it adjusts the level of each channel onto the main mix. 
The “U” mark  indicates unity gain, meaning no increase 
or decrease of signal level. All the way up provides an 
additional 10 dB, should you need to boost a section of a 
song. If you find that the overall level is too quiet or too 
loud with the level near unity, check that the gain 
control is set correctly.

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Each of the last four mono channels of the ProFXv2 

mixer has an in-line compressor circuit with a variable 
threshold. This is very useful for compression of vocals, 
and snare drums, for example, so you might consider 
connecting your vocal and drum mics to these channels, 
rather than one of the other channels.

When the incoming signal exceeds the threshold level 

set by this knob, the signal level is automatically  
compressed. This reduces the dynamic range and 
reduces the chance of distortion due to overloading the 
input signals.

Dynamic range is the difference in level  
between the quietest and loudest parts of a 
song. A compressor “squeezes” the dynamic 

range, resulting in an overall steadier, more constant 
volume level for the signal. It helps sources, such as 
vocals, “sit” properly in the mix; it is very useful for live 
sound.

The compression ratio is fixed at around 6:1, with a 

soft knee response. The threshold can be adjusted 
clockwise from off (no compression) to 0 dBu (max).

As an example, suppose the threshold is set to  

maximum. An incoming signal reaches the threshold of 
0 dBu. As it increases beyond the threshold, it becomes 
compressed at a ratio of 6:1. This means that even if the 
input further increases by 6 dB, the actual output only 
increases by 1 dB. This compresses the output signal, so 

SLOPE 6:1

SOFT KNEE

SLOPE 1:1

INPUT SIGNAL STRENGTH dBu

OUTPUT SIGNAL STRENGTH dBu

OFF

MAX

COMP

OFF

MAX

COMP

OFF

MAX

COMP