Mackie Designs PPM Series Owner's Manual · 2019-03-27 · 808M/808S 1200 total watts (600 watts x...
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OWNER’S MANUAL AND WARRANTY REGISTRATION EFX MON HI 12kHz HI 12kHz MID 2.5kHz MON MID 2.5kHz MON HI 12kHz MID 2.5kHz MON HI 12kHz MID 2.5kHz MON HI 12kHz MID 2.5kHz MON HI 12kHz MID 2.5kHz MON HI 12kHz MID 2.5kHz MON HI 12kHz MID 2.5kHz LOW 80Hz PAN PAN PAN PAN PAN PAN PAN PAN VOLUME CH. VOLUME CH. VOLUME CH. VOLUME CH. VOLUME CH. VOLUME CH. VOLUME CH. VOLUME CH. 1 EFX LOW 80Hz 2 2 EFX LOW 80Hz 3 3 EFX LOW 80Hz 4 4 EFX LOW 80Hz 5 5 EFX LOW 80Hz 6 6 EFX LOW 80Hz 7 8 7 EFX LOW 80Hz 8 EFX BYPASS EFX DRIVE LEVEL 12 0 NORMAL INPUT LEVEL SET INPUT LEVEL SET INPUT LEVEL SET INPUT LEVEL SET INPUT LEVEL SET INPUT LEVEL SET INPUT LEVEL SET INPUT LEVEL SET EFX CLIP PARAMETERS 10 0 10 0 REVERBS DELAYS CHORUS FLANGE DAMPING DEPTH PHASER TIME RATE NORMAL NORMAL CUSTOM 32-BIT PRECISION DIGITAL STEREO EFFECTS PROCESSING EFX WIDE MAIN-STEREO/MONO EQUALIZER 30 CLIP 5 5 0 10 15 20 EFX FOOT SWITCH RIGHT RETURN LEFT RETURN SEND L MIXER OUT R MIXER OUT COMPRESSOR L POWER AMP IN R POWER AMP IN EFFECTS (OVERRIDES INTERNAL EFX) MONITOR MAINS TAPE IN TAPE OUT LEVEL MIC 1 MIC 2 MIC 3 MIC 4 MIC 5 MIC 6 INSERT INSERT INSERT INSERT INSERT LINE LINE LINE LINE LINE LINE INSERT +15 U O O 1K 500 250 63 125 16K LEVEL 2K 4K 8K MAIN MASTER EFX TO MAIN U O O +10 MASTER OUTPUT SECTION LINE U +12dB O O L R R L POWER OUT MONITOR EQUALIZER 15- 15+ 5 10 0 5 10 -15 +15 5 10 0 5 10 15- 15+ 5 10 0 5 10 -15 +15 5 10 0 5 10 1K 500 250 63 125 16K 2K 4K 8K MONITOR MASTER EFX TO MON U O O +10 U +12dB O O 75Hz RUMBLE REDUCTION LEFT/MONO RIGHT LEFT/MONO RIGHT MIC 7 MIC 8 75Hz RUMBLE REDUCTION PHANTOM POWER CH 1-8 BREAK (MUTES CH 1-6) 808S POWER AMP ROUTING STEREO MIC/ LINE HI-Z STEREO MIC/ LINE HI-Z SM. ROOM MD. PLATE LG. PLATE LG. HALL GATED REVERSE CATHEDRAL MD. HALL SPRING PHASER DELAY 4 CHORUS DELAY 3 DELAY 1 FLANGE DELAY 2 IN OUT STEREO MAINS LEFT = MAIN RIGHT = MONITOR 2 X 600W STEREO LEVEL 30 CLIP 5 5 0 10 15 20 L R U O O +10 U +15 -15 U +15 -15 U +12 -12 1 U +20dB O O HI LOW NORMAL U O O +15 U O O +10 U +15 -15 U +15 -15 U +12 -12 U +20dB O O HI LOW NORMAL U O O +15 U O O +10 U +15 -15 U +15 -15 U +12 -12 U +20dB O O HI LOW NORMAL U O O +15 U O O +10 U +15 -15 U +15 -15 U +12 -12 U +20dB O O HI LOW NORMAL U O O +15 U O O +10 U +15 -15 U +15 -15 U +12 -12 U +20dB O O HI LOW NORMAL U O O +15 U O O +10 U +15 -15 U +15 -15 U +12 -12 U +20dB O O HI LOW NORMAL U O O +15 U O O +10 U +15 -15 U +15 -15 U +12 -12 U +20dB O O HI LOW NORMAL U O O +15 U O O +10 U +15 -15 U +15 -15 U +12 -12 U +20dB O O HI LOW NORMAL R L R L R L R L R L R L R L R L U O O +15
Transcript of Mackie Designs PPM Series Owner's Manual · 2019-03-27 · 808M/808S 1200 total watts (600 watts x...
OWNER’S MANUALAND WARRANTY REGISTRATION
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CAUTION AVISRISK OF ELECTRIC SHOCK
DO NOT OPENRISQUE DE CHOC ELECTRIQUE
NE PAS OUVRIR
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCKDO NOT REMOVE COVER (OR BACK)
NO USER-SERVICEABLE PARTS INSIDEREFER SERVICING TO QUALIFIED PERSONNEL
ATTENTION: POUR EVITER LES RISQUES DE CHOCELECTRIQUE, NE PAS ENLEVER LE COUVERCLE. AUCUN
ENTRETIEN DE PIECES INTERIEURES PAR L'USAGER. CONFIERL'ENTRETIEN AU PERSONNEL QUALIFIE.
AVIS: POUR EVITER LES RISQUES D'INCENDIE OUD'ELECTROCUTION, N'EXPOSEZ PAS CET ARTICLE
A LA PLUIE OU A L'HUMIDITE
The lightning flash with arrowhead symbol within an equilateral triangle is intended to alert the user to the presence of uninsulated"dangerous voltage" within the product's enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons. Le symbole éclair avec point de flèche à l'intérieur d'un triangle équilatéral est utilisé pour alerter l'utilisateur de la présence à l'intérieur du coffret de "voltage dangereux" non isolé d'ampleur suffisante pour constituer un risque d'éléctrocution.
The exclamation point within an equilateral triangle is intended to alert the user of the presence of important operating and maintenance (servicing) instructions in the literature accompanying the appliance. Le point d'exclamation à l'intérieur d'un triangle équilatéral est employé pour alerter les utilisateurs de la présence d'instructions importantes pour le fonctionnement et l'entretien (service) dans le livret d'instruction accompagnant l'appareil.
7. Heat — This Mackie product should be situated away from heatsources such as radiators, or other devices which produce heat.
8. Power Sources — This Mackie product should be connected to apower supply only of the type described in these operationinstructions or as marked on this Mackie product.
9. Power Cord Protection — Power supply cords should be routedso that they are not likely to be walked upon or pinched by itemsplaced upon or against them, paying particular attention to cords atplugs, convenience receptacles, and the point where they exit thisMackie product.
10. Object and Liquid Entry — Care should be taken so thatobjects do not fall into and liquids are not spilled into this Mackieproduct.
11. Damage Requiring Service — This Mackie product should beserviced only by qualified service personnel when:
A. The power-supply cord or the plug has beendamaged; or
B. Objects have fallen, or liquid has spilled into thisMackie product; or
C. This Mackie product has been exposed to rain; or
D. This Mackie product does not appear to operatenormally or exhibits a marked change in performance;or
E. This Mackie product has been dropped, or its chassisdamaged.
12. Servicing — The user should not attempt to service thisMackie product beyond those means described in this operatingmanual. All other servicing should be referred to the Mackie ServiceDepartment.
13. To prevent electric shock, do not use this polarized plug with anextension cord, receptacle or other outlet unless the blades can befully inserted to prevent blade exposure.
Pour préevenir les chocs électriques ne pas utiliser cette fichepolariseé avec un prolongateur, un prise de courant ou une autresortie de courant, sauf si les lames peuvent être insérées à fondsans laisser aucune pariie à découvert.
14. Grounding or Polarization — Precautions should be taken sothat the grounding or polarization means of this Mackie product isnot defeated.
15. This apparatus does not exceed the Class A/Class B (whicheveris applicable) limits for radio noise emissions from digital apparatusas set out in the radio interference regulations of the CanadianDepartment of Communications.
ATTENTION —Le présent appareil numérique n’émet pas de bruitsradioélectriques dépassant las limites applicables aux appareilsnumériques de class A/de class B (selon le cas) prescrites dans lerèglement sur le brouillage radioélectrique édicté par les ministeredes communications du Canada.
SAFETY INSTRUCTIONS1. Read Instructions — All the safety and operation instructionsshould be read before this Mackie product is operated.
2. Retain Instructions — The safety and operating instructionsshould be kept for future reference.
3. Heed Warnings — All warnings on this Mackie product and inthese operating instructions should be followed.
4. Follow Instructions — All operating and other instructionsshould be followed.
5. Water and Moisture — This Mackie product should not be usednear water – for example, near a bathtub, washbowl, kitchen sink,laundry tub, in a wet basement, near a swimming pool, swamp orsalivating St. Bernard dog, etc.
6. Ventilation — This Mackie product should be situated sothat its location or position does not interfere with its properventilation. For example, the Component should not be situatedon a bed, sofa, rug, or similar surface that may block anyventilation openings, or placed in a built-in installation such as abookcase or cabinet that may impede the flow of air throughventilation openings.
PORTABLE CART WARNING
Carts and stands - TheComponent should be usedonly with a cart or standthat is recommended bythe manufacturer.A Component and cartcombination should bemoved with care. Quickstops, excessive force, anduneven surfaces may causethe Component and cartcombination to overturn.
WARNING — To reduce the risk of fire or electricshock, do not expose this appliance to rain or moisture.
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Part No. 820-077-00 Rev. A 1/99©1999 Mackie Designs Inc. All Rights Reserved. Printed in the U.S.A.
Lend Me Your EarsExposure to extremely
high noise levels may causepermanent hearing loss.Individuals varyconsiderably in
susceptibility to noise-induced hearing loss,but nearly everyone will lose some hearing ifexposed to sufficiently intense noise for a periodof time. The U.S. Government’s OccupationalSafety and Health Administration (OSHA) hasspecified the permissible noise level exposuresshown in this chart.
®
According to OSHA, any exposure in excessof these permissible limits could result in somehearing loss. To ensure against potentiallydangerous exposure to high sound-pressurelevels, it is recommended that all personsexposed to equipment capable of producingthese levels use hearing protectors while thisunit is in operation. Ear plugs or protectors inthe ear canals or over the ears must be wornwhen operating this amplification system inorder to prevent a permanent hearing loss ifexposure is in excess of the limits set forth here.
Duration Per Day Sound Level dBA, Typical In Hours Slow Response Example
8 90 Duo in small club6 924 95 Subway Train3 972 100 Very loud classical music
1.5 1021 105 Lori screaming at Ron about deadlines
0.5 110 0.25 or less 115 Loudest parts at a rock concert
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INTRODUCTION
406M 408M 808M 408S 808S6 Mono Channels
2 Mono/Stereo Channels * *
Pan Controls
Effects Return(s) 1 1 1 2 2Tape Inputs * * *
Tape Outputs ** ** **
Mixer Line Output(s) 1 1 1 2 2Two 250W Amplifiers
Two 600W Amplifiers
** Summed to Main Bus** Mono Tape Outputs
PPM Series Features
In addition, the PPM Series boast solid designfeatures such as:• Two FR Series™ (Fast Recovery)
power amplifiers 808M/808S 1200 total watts (600 watts x 2 into 2 ohms) 406M/408M/408S 500 total watts (250 watts x 2 into 2 ohms)
• Built-in compressor to prevent clipping• Two built-in graphic equalizers for Mains
and Monitors• Two switchable low-cut Rumble Reduction
filters for Mains and Monitors• EMACTM custom 32-bit precision digital
stereo effects processor• Global phantom power switch• Exclusive Break switch mutes channels 1-6
while break music is playing• Power amp routing switch selects main out
only or main on one output and monitor onthe other output
• 3-band EQ on each channel• Monitor and Effects send on each channel• Balanced/unbalanced 1/4" and XLR inputs
on each channel• 1/4" Insert jacks on channels 1-6• 1/4" Mixer line output(s) and Monitor line
output• 1/4" Power Amp line inputs• Two 1/4" Speaker outputs per side• RCA stereo Tape In and Tape Out• Three year warranty
At Mackie, we know what it takes to beroadworthy. After all, our mixers have traveledall over the world under the worst of conditions,and we’ve applied what we’ve learned to themechanical design of our powered mixers.
Reliability is paramount to sound reinforce-ment. That’s why our engineers have subjectedour powered mixers to the most rigorous andfiendish tests imaginable to fine-tune thedesign and extend its limits beyond those ofordinary mixers or amplifiers.
Our Fast Recovery (FR) amplifiers used inthe Professional Powered Mixer Series performbetter than conventional designs when present-ed with adverse conditions such as clipping.Conventional designs use lots of negative feed-back to provide stability and lower distortion.When clipping occurs, this “feedback” causeshigh-frequency sticking, keeping the amplifier“latched” in the clipping state longer thannecessary. This results in painfully audibledistortion. The Fast Recovery design eliminatesthis high-frequency sticking and allows theamplifier to remain stable when poweringhighly reactive loads at high volume levels.
Please read the “Quick Start” section onpage 6. It gives an overview of the powered mixer,and the rest of the manual explains the wealth offeatures and operating instructions in more detail.
Please write your serial number here forfuture reference (i.e., insurance claims, techsupport, return authorization, etc.):
Purchased at:
Date of purchase:
Thank you for choosing a Mackie DesignsPPM Series™ Powered Mixer! These powerful,compact mixers are designed to meet theneeds of almost any small to medium-sized
club/meeting room/sanctuary/outdoorgathering.
This chart illustrates the differences be-tween the various models at a glance:
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CONTENTS
INTRODUCTION ...................................................4 QUICK START .................................................6 APPLICATION DIAGRAMS ................................7
FEATURES AND CONTROLS .................................. 14Channel Strip Description ............................... 14
INPUT LEVEL SET .................................... 14 VOLUME ............................................... 14 PAN ..................................................... 14 LOW EQ ................................................ 14 MID EQ ................................................. 14 HI EQ.................................................... 14 EFX Send .............................................. 15 MON Send ............................................ 15
EMAC Section Description .............................. 15 EFX DRIVE LEVEL ................................... 15 EFX CLIP ............................................... 15 EFX BYPASS .......................................... 15 EFX WIDE ............................................. 16 Preset Select ......................................... 16 TIME/RATE PARAMETER ......................... 18 DAMPING/DEPTH PARAMETER ............... 18
MASTER OUTPUT SECTION Description ........... 18 POWER LED........................................... 18 MONITOR EQUALIZER ............................ 18 MAIN EQUALIZER .................................. 18 75Hz RUMBLE REDUCTION...................... 18 EFX TO MON ......................................... 19 MONITOR MASTER ................................. 19 EFX TO MAIN ........................................ 19 MAIN MASTER ....................................... 19 LEVEL Meters ......................................... 19 PHANTOM POWER Switch ...................... 19 BREAK Switch ........................................ 20 POWER AMP ROUTING .......................... 20 COMPRESSOR........................................ 20 TAPE IN LEVEL ........................................ 21 POWER Switch ....................................... 21
MAKING THE CONNECTIONS ............................... 22Front Panel Connections ................................ 22Connecting Microphones and
Line-Level Signals ......................... 22 Channel Inserts ....................................... 22 EFFECTS SEND and RETURN ...................... 23 EFX FOOT SWITCH .................................. 24 POWER AMP IN 1 and 2 ......................... 24 MIXER LINE OUT .................................... 24 MONITOR LINE OUT ............................... 24 TAPE IN and TAPE OUT ............................ 24
Rear Panel Connections ................................. 25 SPEAKER OUT ........................................ 25 IEC Socket ............................................. 25
GENERAL PRECAUTIONS AND CONSIDERATIONS .... 26Thermal Considerations ................................. 26AC Power Considerations .............................. 26
APPENDIX A: Service Info ................................... 27Warranty Service ......................................... 27Troubleshooting ........................................... 27Repair ........................................................ 28
APPENDIX B: Some Arcane Mysteries Illuminated ... 29Balanced Lines ............................................. 29Unbalancing a Line ....................................... 29Grounding ................................................... 30
APPENDIX C: Technical Info .................................. 31Specifications .............................................. 31Contributors and Colophon ............................ 32Block Diagrams ............................................ 33
PPM SERIES LIMITED WARRANTY ........................ 35PRODUCT REGISTRATION CARD........................... 35Attached to
back cover
Don’t forget to visit our website at www.mackie.comfor more information about these and other Mackie products.
®
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READ THIS PAGE! QUICK START
We know you can’t wait toget your new mixer set upand working. Who has timeto read the manual? Butplease, take a moment to
read through this section at least to get thebare essentials.
The Mackie Designs powered mixers are de-signed to set up and operate quickly and easily.Just follow these simple directions.
SetupPlace the powered mixer in a position where
it is easy to reach the controls. All the controlsand input connection points are located on thefront panel so you can make quick adjustmentsand connections onstage.
Make sure there is at least 6inches of airspace behindthe powered mixer for ven-tilation. There is no fanbuilt into the Mackie PPM
Series. It relies on convection cooling, whichmeans the heatsink on the back is cooled by thenatural flow of air through the heatsink fins.
Connections1. Be sure the POWER switch on the back
is OFF before making any connections.2. Plug a balanced microphone into one of
the MIC XLR (3-pin) connectors on thefront panel. Or you can connect any line-level signal (keyboard, guitar preamp, DIbox) to the LINE jack using a TS or aTRS 1/4" plug.
3. The INSERT jacks are used to connect anexternal effects or dynamics processorinto the signal chain. See page 23 formore info.
4. Plug the speakers (2 ohms or greater)into the SPEAKER OUT jacks on the rearpanel. If you plug two speakers into a side,each speaker must be 4 ohms or greaterto maintain a 2-ohm minimum load onthe amplifier. Use at least 18 gaugespeaker cable with 1/4" TS plugs.
Don’t use guitar cords forspeaker cables! They’renot designed to handlespeaker-level signals andcould overheat.
Level Setting1. Turn down the channel MON, EFX,
INPUT LEVEL SET, and VOLUME knobs(fully counterclockwise). Set all the EQcontrols to center, including the graphicEQ sliders. Turn down the MAIN MASTERand MONITOR MASTER controls.
2. If your microphone is a condenser mic,push in the PHANTOM POWER switch. Ifyou are using both condenser and dynamicmics, don’t worry. Phantom power will nothurt most dynamic mics. Check the micro-phone’s user manual if you’re not sure.
3. Leave the POWER AMP ROUTINGswitch in the OUT position (MAIN/MAINor STEREO MAINS).
4. Push the linecord securely into the IECconnector on the rear panel, and plug itinto a 3-prong AC outlet properly config-ured for the type of plug supplied withyour powered mixer. Turn on the POWERswitch, which is located on the rear panel.
5. Play something into the selected input.This could be an instrument, a singing orspeaking voice, or a line input such as aCD player or tape recorder output. Besure that the volume of the input signalis the same as it would be during normaluse. If it isn’t, you might have to readjustthese levels during the middle of the set.
6. Turn up the INPUT LEVEL SET controluntil the LED next to it begins to blink.
7. Turn up the channel VOLUME control tounity (center).
8. Slowly turn up the MAIN MASTER controluntil you can hear the signal in the speakers.
9. Repeat steps 5, 6, and 7 for the remain-ing channels.
10. Now you’re ready to rock and roll!
Things You Must Remember:• Never plug amplifier outputs into
anything except speakers (unless youhave an outboard box specificallydesigned to handle high-power speaker-level signals).
• Before making connections to an exter-nal amp or reconfiguring an amp’srouting, turn the amp’s level (gain)controls down, turn the power off, makethe changes, turn the power back on,and then turn the level controls back up.
• When you shut down your equipment, turnoff any external amplifiers first. Whenpowering up, turn on the amplifiers last.
• Save the shipping box and packingmaterial! You may need them someday,and you probably don’t want to have topay for them again.
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MID
2.5k
Hz
MO
N
HI
12kH
z
MID
2.5k
Hz
MO
N
HI
12kH
z
MID
2.5k
Hz
MO
N
HI
12kH
z
MID
2.5k
Hz
LOW
80H
z
VO
LUM
E C
H.
VO
LUM
E C
H.
VO
LUM
E C
H.
VO
LUM
E C
H.
VO
LUM
E C
H.
VO
LUM
E C
H.
VO
LUM
E C
H.
VO
LUM
E C
H.
1
EFX
LOW
80H
z 22
EFX
LOW
80H
z 33
EFX
LOW
80H
z 44
EFX
LOW
80H
z 55
EFX
LOW
80H
z 66
EFX
LOW
80H
z 78
7
EFX
LOW
80H
z
8
EFX
BY
PASS
EFX
DR
IVE
LEV
EL12
0NO
RMA
L
INPU
T LE
VE
LSE
T
INPU
T LE
VE
LSE
T
INPU
T LE
VE
LSE
T
INPU
T LE
VE
LSE
T
INPU
T LE
VE
LSE
T
INPU
T LE
VE
LSE
T
INPU
T LE
VE
LSE
T
INPU
T LE
VE
LSE
T
EFX
CLI
P
PAR
AM
ETE
RS
100
100
RE
VE
RB
SD
ELA
YS
CH
OR
US
FLA
NG
E
DA
MPI
NG
DE
PTH
PHA
SER
TIM
E
RA
TE
NO
RM
AL
NO
RM
AL
CU
STO
M 3
2-B
IT P
RE
CIS
ION
DIG
ITA
L ST
ER
EO
EFF
EC
TS P
RO
CE
SSIN
G
EFX
WID
E
MA
IN E
QU
ALI
ZER
30CLI
P
5 50 10 15 20
EFX
FO
OT
SWIT
CH
RE
TUR
N
SEN
D
MIX
ER
LIN
E O
UT
POW
ER
AM
P 1
INPO
WE
RA
MP
2 IN
EFF
EC
TS(O
VE
RR
IDE
S IN
TER
NA
L E
FX)
MO
NIT
OR
MA
INS
TAPE
IN
TAPE
OU
T
LEV
EL
MIC
1M
IC 2
MIC
3M
IC 4
MIC
5M
IC 6
INSE
RT
INSE
RT
INSE
RT
INSE
RT
INSE
RT
LIN
ELI
NE
LIN
ELI
NE
LIN
ELI
NE
INSE
RT
+15
U
OO
1K50
025
063
125
16K
LEV
EL 30C
LIP
5 50 10 15 20
LEV
EL
2K4K
8K
MA
IN
MA
STE
R
EFX
TO
MA
IN
U
OO
+10
MA
STE
R O
UTP
UT
SEC
TIO
N
LIN
E
U +12
dB
OO
LR R
L
POW
ER
OU
T
CO
MPR
ESS
OR
2 X
250
WA
TTS
MO
NIT
OR
EQ
UA
LIZE
R
15-
15+
510 0 5 10
-15
+15 510 0 5 10
15-
15+
510 0 5 10
-15
+15 510 0 5 10
1K50
025
063
125
16K
2K4K
8K
MO
NIT
OR
MA
STE
R
EFX
TO
MO
N
U
OO
+10
U +12
dB
OO
75H
z R
UM
BLE
RE
DU
CTI
ON
LEFT
RIG
HT
LEFT
RIG
HT
MIC
7M
IC 8
75H
z R
UM
BLE
RE
DU
CTI
ON
PHA
NTO
MPO
WE
R C
H 1
-8B
RE
AK
(MU
TES
CH
1-6
)
408M
PO
WE
R A
MP
RO
UTI
NG
SUM
MO
NO
MIC
/LI
NE
HI-Z
SUM
MO
NO
MIC
/LI
NE
HI-Z
AM
P 1
MA
INM
AIN
M
ON
ITO
R
AM
P 2
MA
IN
SM. R
OO
MM
D.
PLA
TELG
. PL
ATE
LG.
HA
LL
GA
TED
RE
VE
RSE
CA
THE
DR
AL
MD
. H
ALL
SPR
ING
PHA
SER
DE
LAY
4C
HO
RU
S
DE
LAY
3
DE
LAY
1
FLA
NG
E
DE
LAY
2
INO
UT
U
OO
+10
U +15
-15
U +15
-15
U +12
-12
1
U +20
dB
OOH
ILO
WNO
RM
AL
U
OO
+15
U
OO
+10
U +15
-15
U +15
-15
U +12
-12
U +20
dB
OOH
ILO
WNO
RM
AL
U
OO
+15
U
OO
+10
U +15
-15
U +15
-15
U +12
-12
U +20
dB
OOH
ILO
WNO
RM
AL
U
OO
+15
U
OO
+10
U +15
-15
U +15
-15
U +12
-12
U +20
dB
OOH
ILO
WNO
RM
AL
U
OO
+15
U
OO
+10
U +15
-15
U +15
-15
U +12
-12
U +20
dB
OOH
ILO
WNO
RM
AL
U
OO
+15
U
OO
+10
U +15
-15
U +15
-15
U +12
-12
U +20
dB
OOH
ILO
WNO
RM
AL
U
OO
+15
U
OO
+10
U +15
-15
U +15
-15
U +12
-12
U +20
dB
OOH
ILO
WNO
RM
AL
U
OO
+15
U
OO
+10
U +15
-15
U +15
-15
U +12
-12
U +20
dB
OOH
ILO
WNO
RM
AL
U
OO
+15
Voca
lM
ics
Mon
itor
Spea
ker
Mon
itor
Spea
ker
Stereo Processor
Processor
Direct Box
FOH
Spe
aker
FOH
Spe
aker
From
MAI
NSP
EAKE
R OU
TFr
om M
AIN
SPEA
KER
OUT
From
MON
ITOR
SPEA
KER
OUT
From
MON
ITOR
SPEA
KER
OUT
POW
ER A
MP
ROUT
ING
Bu
tton
Pus
hed
IN
(MA
IN/M
ON
ITO
R)
This
is h
ow t
o po
wer t
he M
ain
Fron
t of
Hou
se (F
OH
) spe
aker
s an
d th
e m
onit
or s
peak
ers
with
the
bui
lt-in
am
plifi
ers.
Not
e: S
ince
eac
h am
plifi
er is
driv
ing
two
spea
kers
in p
aral
lel,
each
sp
eake
r mus
t be
4 o
hms
or g
reat
er.
APPLICATION DIAGRAMS
408M — Small Club Gig using a Mono PA System
8
EFX
MO
N
HI
12kH
zH
I12
kHz
MID
2.5k
Hz
MO
N
MID
2.5k
Hz
MO
N
HI
12kH
z
MID
2.5k
Hz
MO
N
HI
12kH
z
MID
2.5k
Hz
MO
N
HI
12kH
z
MID
2.5k
Hz
MO
N
HI
12kH
z
MID
2.5k
Hz
MO
N
HI
12kH
z
MID
2.5k
Hz
MO
N
HI
12kH
z
MID
2.5k
Hz
LOW
80H
z
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
VO
LUM
E C
H.
VO
LUM
E C
H.
VO
LUM
E C
H.
VO
LUM
E C
H.
VO
LUM
E C
H.
VO
LUM
E C
H.
VO
LUM
E C
H.
VO
LUM
E C
H.
1
EFX
LOW
80H
z 22
EFX
LOW
80H
z 33
EFX
LOW
80H
z 44
EFX
LOW
80H
z 55
EFX
LOW
80H
z 66
EFX
LOW
80H
z 78
7
EFX
LOW
80H
z
8
EFX
BY
PASS
EFX
DR
IVE
LEV
EL12
0NO
RMA
L
INPU
T LE
VE
LSE
T
INPU
T LE
VE
LSE
T
INPU
T LE
VE
LSE
T
INPU
T LE
VE
LSE
T
INPU
T LE
VE
LSE
T
INPU
T LE
VE
LSE
T
INPU
T LE
VE
LSE
T
INPU
T LE
VE
LSE
T
EFX
CLI
P
PAR
AM
ETE
RS
100
100
RE
VE
RB
SD
ELA
YS
CH
OR
US
FLA
NG
E
DA
MPI
NG
DE
PTH
PHA
SER
TIM
E
RA
TE
NO
RM
AL
NO
RM
AL
CU
STO
M 3
2-B
IT P
RE
CIS
ION
DIG
ITA
L ST
ER
EO
EFF
EC
TS P
RO
CE
SSIN
G
EFX
WID
E
MA
IN-S
TER
EO
/MO
NO
EQ
UA
LIZE
R
30CLI
P
5 50 10 15 20
EFX
FO
OT
SWIT
CH
RIG
HT
RE
TUR
NLE
FT R
ETU
RN
SEN
D
L M
IXE
R O
UT
R M
IXE
R O
UT
CO
MPR
ESS
OR
L PO
WE
RA
MP
INR
PO
WE
RA
MP
IN
EFF
EC
TS(O
VE
RR
IDE
S IN
TER
NA
L E
FX)
MO
NIT
OR
MA
INS
TAPE
IN
TAPE
OU
T
LEV
EL
MIC
1M
IC 2
MIC
3M
IC 4
MIC
5M
IC 6
INSE
RT
INSE
RT
INSE
RT
INSE
RT
INSE
RT
LIN
ELI
NE
LIN
ELI
NE
LIN
ELI
NE
INSE
RT
+15
U
OO
1K50
025
063
125
16K
LEV
EL
2K4K
8K
MA
IN
MA
STE
R
EFX
TO
MA
IN
U
OO
+10
MA
STE
R O
UTP
UT
SEC
TIO
N
LIN
E
U +12
dB
OO
LR R
L
POW
ER
OU
T
MO
NIT
OR
EQ
UA
LIZE
R
15-
15+
510 0 5 10
-15
+15 510 0 5 10
15-
15+
510 0 5 10
-15
+15 510 0 5 10
1K50
025
063
125
16K
2K4K
8K
MO
NIT
OR
MA
STE
R
EFX
TO
MO
N
U
OO
+10
U +12
dB
OO
75H
z R
UM
BLE
RE
DU
CTI
ON
RIG
HT
RIG
HT
MIC
7M
IC 8
75H
z R
UM
BLE
RE
DU
CTI
ON
PHA
NTO
MPO
WE
R C
H 1
-8B
RE
AK
(MU
TES
CH
1-6
)
408S
POW
ER
AM
P R
OU
TIN
G
SM. R
OO
MM
D.
PLA
TELG
. PL
ATE
LG.
HA
LL
GA
TED
RE
VE
RSE
CA
THE
DR
AL
MD
. H
ALL
SPR
ING
PHA
SER
DE
LAY
4C
HO
RU
S
DE
LAY
3
DE
LAY
1
FLA
NG
E
DE
LAY
2
INO
UT
STE
RE
O M
AIN
SLE
FT =
MA
INR
IGH
T =
MO
NIT
OR
2 X
25
0W
STE
RE
O
LEV
EL
30CLI
P
5 50 10 15 20
LR
LEFT
/MO
NO
LEFT
/MO
NO
STE
RE
OM
IC/
LIN
EH
I-Z
STE
RE
OM
IC/
LIN
EH
I-Z
U
OO
+10
U +15
-15
U +15
-15
U +12
-12
1
U +20
dB
OOH
ILO
WNO
RM
AL
U
OO
+15
U
OO
+10
U +15
-15
U +15
-15
U +12
-12
U +20
dB
OOH
ILO
WNO
RM
AL
U
OO
+15
U
OO
+10
U +15
-15
U +15
-15
U +12
-12
U +20
dB
OOH
ILO
WNO
RM
AL
U
OO
+15
U
OO
+10
U +15
-15
U +15
-15
U +12
-12
U +20
dB
OOH
ILO
WNO
RM
AL
U
OO
+15
U
OO
+10
U +15
-15
U +15
-15
U +12
-12
U +20
dB
OOH
ILO
WNO
RM
AL
U
OO
+15
U
OO
+10
U +15
-15
U +15
-15
U +12
-12
U +20
dB
OOH
ILO
WNO
RM
AL
U
OO
+15
U
OO
+10
U +15
-15
U +15
-15
U +12
-12
U +20
dB
OOH
ILO
WNO
RM
AL
U
OO
+15
U
OO
+10
U +15
-15
U +15
-15
U +12
-12
U +20
dB
OOH
ILO
WNO
RM
AL
RL
RL
RL
RL
RL
RL
RL
RL
U
OO
+15
Voca
lM
ics
Mon
itor
Ampl
ifier Mon
itor
Spea
kers
Stereo Processor
Processor
Direct Box
Left
FOH
Spe
aker
Righ
t FOH
Spe
aker
From
LEF
TSP
EAKE
R OU
TFr
om R
IGH
TSP
EAKE
R OU
T
From
MON
ITOR
LINE
OUT
POW
ER A
MP
ROUT
ING
Bu
tton
OUT
This
is a
typi
cal s
etup
usi
ng b
oth
built
-in a
mpl
ifier
s fo
r the
mai
n Fr
ont
of H
ouse
(FOH
) spe
aker
s an
d an
ex
tern
al a
mpl
ifier
for t
he m
onito
r sp
eake
rs.
Note
: If yo
u ha
ve a
406
M, 4
08M
, or
808M
, the
re is
no
ster
eo o
utpu
t be
caus
e the
se a
re m
ono
vers
ions
. Th
e Mai
n M
ix bu
s is
rout
ed to
bot
h in
tern
al a
mpl
ifier
s in
thes
e mod
els.
408S — Small Club Gig using a Stereo PA System
9
EFX
MO
N
HI
12kH
zH
I12
kHz
MID
2.5k
Hz
MO
N
MID
2.5k
Hz
MO
N
HI
12kH
z
MID
2.5k
Hz
MO
N
HI
12kH
z
MID
2.5k
Hz
MO
N
HI
12kH
z
MID
2.5k
Hz
MO
N
HI
12kH
z
MID
2.5k
Hz
MO
N
HI
12kH
z
MID
2.5k
Hz
MO
N
HI
12kH
z
MID
2.5k
Hz
LOW
80H
z
VO
LUM
E C
H.
VO
LUM
E C
H.
VO
LUM
E C
H.
VO
LUM
E C
H.
VO
LUM
E C
H.
VO
LUM
E C
H.
VO
LUM
E C
H.
VO
LUM
E C
H.
1
EFX
LOW
80H
z 22
EFX
LOW
80H
z 33
EFX
LOW
80H
z 44
EFX
LOW
80H
z 55
EFX
LOW
80H
z 66
EFX
LOW
80H
z 78
7
EFX
LOW
80H
z
8
EFX
BYP
ASS
EFX
DRI
VE
LEV
EL
120N
ORM
AL
INPU
T LE
VEL
SET
INPU
T LE
VEL
SET
INPU
T LE
VEL
SET
INPU
T LE
VEL
SET
INPU
T LE
VEL
SET
INPU
T LE
VEL
SET
INPU
T LE
VEL
SET
INPU
T LE
VEL
SET
EFX
CLI
P
PARA
MET
ERS
100
100
REV
ERB
SD
ELA
YS
CH
ORU
SFL
AN
GE
DA
MPI
NG
DEP
TH
PHA
SER
TIM
E
RATE
NO
RMA
LN
ORM
AL
CU
STO
M 3
2-B
IT P
REC
ISIO
ND
IGIT
AL
STER
EO E
FFEC
TS P
ROC
ESSI
NG
EFX
WID
E
MA
IN E
QU
ALI
ZER
30CLI
P
5 50 10 15 20
EFX
FO
OT
SWIT
CH
RETU
RN
SEN
D
MIX
ER L
INE
OU
T
POW
ERA
MP
1 IN
POW
ERA
MP
2 IN
EFFE
CTS
(OV
ERRI
DES
INTE
RNA
L EF
X)
MO
NIT
OR
MA
INS
TAPE
IN
TAPE
OU
T
LEV
EL
MIC
1M
IC 2
MIC
3M
IC 4
MIC
5M
IC 6
INSE
RTIN
SERT
INSE
RTIN
SERT
INSE
RT
LIN
ELI
NE
LIN
ELI
NE
LIN
ELI
NE
INSE
RT
+15
U
OO
1K50
025
063
125
16K
LEV
EL
30CLI
P
5 50 10 15 20
LEV
EL2K
4K8K
MA
IN
MA
STER
EFX
TO
MA
IN
U
OO
+10
MA
STER
OU
TPU
T SE
CTI
ON
LIN
E
U +12
dB
OO
LR R
L
POW
ER
OU
T
CO
MPR
ESSO
R
MO
NIT
OR
EQU
ALI
ZER
15-
15+
510 0 5 10
-15
+15 510 0 5 10
15-
15+
510 0 5 10
-15
+15 510 0 5 10
1K50
025
063
125
16K
2K4K
8K
MO
NIT
OR
MA
STER
EFX
TO
MO
N
U
OO
+10
U +12
dB
OO
75H
z RU
MB
LERE
DU
CTI
ON
LEFT
RIG
HT
LEFT
RIG
HT
MIC
7M
IC 8
75H
z RU
MB
LERE
DU
CTI
ON
PHA
NTO
MPO
WER
CH
1-8
BRE
AK
(MU
TES
CH
1-6
)
POW
ER A
MP
ROU
TIN
G
SUM
MO
NO
MIC
/LI
NE
HI-Z
SUM
MO
NO
MIC
/LI
NE
HI-Z
AM
P 1
MA
INM
AIN
M
ON
ITO
R
AM
P 2
MA
IN
SM. R
OO
MM
D.
PLA
TELG
. PL
ATE
LG.
HA
LL
GA
TED
REV
ERSE
CA
THED
RAL
MD
. H
ALL
SPRI
NG
PHA
SER
DEL
AY
4C
HO
RUS
DEL
AY
3
DEL
AY
1
FLA
NG
E
DEL
AY
2
INO
UT
2 X
600
WA
TTS
808M
U
OO
+10
U +15
-15
U +15
-15
U +12
-12
1
U +20
dB
OOHI
LOWNO
RMA
L
U
OO
+15
U
OO
+10
U +15
-15
U +15
-15
U +12
-12
U +20
dB
OOH
ILO
WNO
RMA
L
U
OO
+15
U
OO
+10
U +15
-15
U +15
-15
U +12
-12
U +20
dB
OOH
ILO
WNO
RMA
L
U
OO
+15
U
OO
+10
U +15
-15
U +15
-15
U +12
-12
U +20
dB
OOH
ILO
WNO
RMA
L
U
OO
+15
U
OO
+10
U +15
-15
U +15
-15
U +12
-12
U +20
dB
OOH
ILO
WNO
RMA
L
U
OO
+15
U
OO
+10
U +15
-15
U +15
-15
U +12
-12
U +20
dB
OOH
ILO
WNO
RMA
L
U
OO
+15
U
OO
+10
U +15
-15
U +15
-15
U +12
-12
U +20
dB
OOH
ILO
WNO
RMA
L
U
OO
+15
U
OO
+10
U +15
-15
U +15
-15
U +12
-12
U +20
dB
OOH
ILO
WNO
RMA
L
U
OO
+15
Voca
lM
ics
CD P
laye
r
Voca
l Enh
ance
r
Effe
cts
Proc
esso
r
FOH
Spea
ker
FOH
Spea
ker
From
PO
WER
AM
P 1
SPEA
KER
OUT
From
PO
WER
AM
P 2
SPEA
KER
OUT
From
MON
ITOR
LINE
OUT
POW
ER A
MP
ROUT
ING
Bu
tton
OUT
Cass
ette
Dec
k
Mon
itor
Ampl
ifier
Mon
itor
Spea
kers
This
sys
tem
use
s th
e hi
gher
pow
ered
8
08M
(600
W p
er s
ide)
wit
h tw
o sp
eake
rs p
er s
ide
to p
rovid
e m
ore
powe
r and
cov
erag
e fo
r a la
rger
clu
b,
hall,
or a
udit
oriu
m, a
nd a
n ex
tern
al
ampl
ifier
for t
he m
onit
or s
peak
ers.
It
also
dem
onst
rate
s ho
w to
con
nect
a
seria
l pro
cess
or t
o th
e ch
anne
l IN
SERT
jack
, an
exte
rnal
(par
alle
l) pr
oces
sor u
sing
the
EFF
ECTS
SEN
D an
d RE
TURN
jack
s, a
nd a
cas
sett
e de
ck t
o th
e TA
PE IN
and
OUT
jack
s.N
ote:
Sin
ce e
ach
ampl
ifier
is d
rivin
g tw
o sp
eake
rs in
par
alle
l, ea
ch
spea
ker m
ust
be 4
ohm
s or
gre
ater
.
Not
e: T
urn
down
the
TAPE
IN
LEVE
L co
ntro
l (or
bet
ter y
et,
disc
onne
ct t
he TA
PE IN
jack
s at
the
mixe
r) w
hen
the
cass
ette
dec
k is
in re
cord
m
ode
to a
void
cre
atin
g a
feed
back
loop
.
808M — Large Club or Auditorium using a Mono PA System
10
EFX
MO
N
HI
12kH
zH
I12
kHz
MID
2.5k
Hz
MO
N
MID
2.5k
Hz
MO
N
HI
12kH
z
MID
2.5k
Hz
MO
N
HI
12kH
z
MID
2.5k
Hz
MO
N
HI
12kH
z
MID
2.5k
Hz
MO
N
HI
12kH
z
MID
2.5k
Hz
MO
N
HI
12kH
z
MID
2.5k
Hz
MO
N
HI
12kH
z
MID
2.5k
Hz
LOW
80H
z
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
VO
LUM
E C
H.
VO
LUM
E C
H.
VO
LUM
E C
H.
VO
LUM
E C
H.
VO
LUM
E C
H.
VO
LUM
E C
H.
VO
LUM
E C
H.
VO
LUM
E C
H.
1
EFX
LOW
80H
z 22
EFX
LOW
80H
z 33
EFX
LOW
80H
z 44
EFX
LOW
80H
z 55
EFX
LOW
80H
z 66
EFX
LOW
80H
z 78
7
EFX
LOW
80H
z
8
EFX
BY
PASS
EFX
DR
IVE
LEV
EL12
0NO
RMA
L
INPU
T LE
VE
LSE
T
INPU
T LE
VE
LSE
T
INPU
T LE
VE
LSE
T
INPU
T LE
VE
LSE
T
INPU
T LE
VE
LSE
T
INPU
T LE
VE
LSE
T
INPU
T LE
VE
LSE
T
INPU
T LE
VE
LSE
T
EFX
CLI
P
PAR
AM
ETE
RS
100
100
RE
VE
RB
SD
ELA
YS
CH
OR
US
FLA
NG
E
DA
MPI
NG
DE
PTH
PHA
SER
TIM
E
RA
TE
NO
RM
AL
NO
RM
AL
CU
STO
M 3
2-B
IT P
RE
CIS
ION
DIG
ITA
L ST
ER
EO
EFF
EC
TS P
RO
CE
SSIN
G
EFX
WID
E
MA
IN-S
TER
EO
/MO
NO
EQ
UA
LIZE
R
30CLI
P
5 50 10 15 20
EFX
FO
OT
SWIT
CH
RIG
HT
RE
TUR
NLE
FT R
ETU
RN
SEN
D
L M
IXE
R O
UT
R M
IXE
R O
UT
CO
MPR
ESS
OR
L PO
WE
RA
MP
INR
PO
WE
RA
MP
IN
EFF
EC
TS(O
VE
RR
IDE
S IN
TER
NA
L E
FX)
MO
NIT
OR
MA
INS
TAPE
IN
TAPE
OU
T
LEV
EL
MIC
1M
IC 2
MIC
3M
IC 4
MIC
5M
IC 6
INSE
RT
INSE
RT
INSE
RT
INSE
RT
INSE
RT
LIN
ELI
NE
LIN
ELI
NE
LIN
ELI
NE
INSE
RT
+15
U
OO
1K50
025
063
125
16K
LEV
EL
2K4K
8K
MA
IN
MA
STE
R
EFX
TO
MA
IN
U
OO
+10
MA
STE
R O
UTP
UT
SEC
TIO
N
LIN
E
U +12
dB
OO
LR R
L
POW
ER
OU
T
MO
NIT
OR
EQ
UA
LIZE
R
15-
15+
510 0 5 10
-15
+15 510 0 5 10
15-
15+
510 0 5 10
-15
+15 510 0 5 10
1K50
025
063
125
16K
2K4K
8K
MO
NIT
OR
MA
STE
R
EFX
TO
MO
N
U
OO
+10
U +12
dB
OO
75H
z R
UM
BLE
RE
DU
CTI
ON
RIG
HT
RIG
HT
MIC
7M
IC 8
75H
z R
UM
BLE
RE
DU
CTI
ON
PHA
NTO
MPO
WE
R C
H 1
-8B
RE
AK
(MU
TES
CH
1-6
)
808S
PO
WE
R A
MP
RO
UTI
NG
SM. R
OO
MM
D.
PLA
TELG
. PL
ATE
LG.
HA
LL
GA
TED
RE
VE
RSE
CA
THE
DR
AL
MD
. H
ALL
SPR
ING
PHA
SER
DE
LAY
4C
HO
RU
S
DE
LAY
3
DE
LAY
1
FLA
NG
E
DE
LAY
2
INO
UT
STE
RE
O M
AIN
SLE
FT =
MA
INR
IGH
T =
MO
NIT
OR
2 X
600W
STE
RE
O
LEV
EL
30CLI
P
5 50 10 15 20
LR
LEFT
/MO
NO
LEFT
/MO
NO
STE
RE
OM
IC/
LIN
EH
I-Z
STE
RE
OM
IC/
LIN
EH
I-Z
U
OO
+10
U +15
-15
U +15
-15
U +12
-12
1
U +20
dB
OOH
ILO
WNO
RM
AL
U
OO
+15
U
OO
+10
U +15
-15
U +15
-15
U +12
-12
U +20
dB
OOH
ILO
WNO
RM
AL
U
OO
+15
U
OO
+10
U +15
-15
U +15
-15
U +12
-12
U +20
dB
OOH
ILO
WNO
RM
AL
U
OO
+15
U
OO
+10
U +15
-15
U +15
-15
U +12
-12
U +20
dB
OOH
ILO
WNO
RM
AL
U
OO
+15
U
OO
+10
U +15
-15
U +15
-15
U +12
-12
U +20
dB
OOH
ILO
WNO
RM
AL
U
OO
+15
U
OO
+10
U +15
-15
U +15
-15
U +12
-12
U +20
dB
OOH
ILO
WNO
RM
AL
U
OO
+15
U
OO
+10
U +15
-15
U +15
-15
U +12
-12
U +20
dB
OOH
ILO
WNO
RM
AL
U
OO
+15
U
OO
+10
U +15
-15
U +15
-15
U +12
-12
U +20
dB
OOH
ILO
WNO
RM
AL
RL
RL
RL
RL
RL
RL
RL
RL
U
OO
+15
Voca
lM
ics
Mon
itor
Ampl
ifier
Auxil
iary
FOH
Ampl
ifier
Mon
itor
Spea
kers
Stereo Processor
Processor
Direct Box
Left
FOH
Spe
aker
sRi
ght F
OH S
peak
ers
From
LE
FTSP
EAKE
R OU
T
From
RI
GH
TSP
EAKE
R OU
T
POW
ER A
MP
ROUT
ING
Bu
tton
OUT
This
sho
ws h
ow t
o co
nnec
t an
aux
iliar
y FO
H a
mpl
ifier
, wh
ich
allo
ws y
ou t
o ad
d ad
diti
onal
spe
aker
s to
you
r PA
sys
tem
and
incr
ease
th
e ov
eral
l pow
er.
Note
: If yo
u ha
ve a
406
M,
408M
, or 8
08M
, the
re is
no
ster
eo o
utpu
t bec
ause
thes
e ar
e mon
o ve
rsio
ns. T
he M
ain
Mix
bus
is ro
uted
to b
oth
inte
rnal
am
plifi
ers
and
ther
e is
just
one
MIXE
R LI
NE O
UT in
th
ese m
odels
.
From
MON
ITOR
LINE
OUT
From
M
IXER
OUT
808S with Auxiliary Amplifier to Reinforce Front of House
11
EFX
MO
N
HI
12kH
zH
I12
kHz
MID
2.5k
Hz
MO
N
MID
2.5k
Hz
MO
N
HI
12kH
z
MID
2.5k
Hz
MO
N
HI
12kH
z
MID
2.5k
Hz
MO
N
HI
12kH
z
MID
2.5k
Hz
MO
N
HI
12kH
z
MID
2.5k
Hz
MO
N
HI
12kH
z
MID
2.5k
Hz
MO
N
HI
12kH
z
MID
2.5k
Hz
LOW
80H
z
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
VO
LUM
E C
H.
VO
LUM
E C
H.
VO
LUM
E C
H.
VO
LUM
E C
H.
VO
LUM
E C
H.
VO
LUM
E C
H.
VO
LUM
E C
H.
VO
LUM
E C
H.
1
EFX
LOW
80H
z 22
EFX
LOW
80H
z 33
EFX
LOW
80H
z 44
EFX
LOW
80H
z 55
EFX
LOW
80H
z 66
EFX
LOW
80H
z 78
7
EFX
LOW
80H
z
8
EFX
BY
PASS
EFX
DR
IVE
LEV
EL12
0NO
RMA
L
INPU
T LE
VE
LSE
T
INPU
T LE
VE
LSE
T
INPU
T LE
VE
LSE
T
INPU
T LE
VE
LSE
T
INPU
T LE
VE
LSE
T
INPU
T LE
VE
LSE
T
INPU
T LE
VE
LSE
T
INPU
T LE
VE
LSE
T
EFX
CLI
P
PAR
AM
ETE
RS
100
100
RE
VE
RB
SD
ELA
YS
CH
OR
US
FLA
NG
E
DA
MPI
NG
DE
PTH
PHA
SER
TIM
E
RA
TE
NO
RM
AL
NO
RM
AL
CU
STO
M 3
2-B
IT P
RE
CIS
ION
DIG
ITA
L ST
ER
EO
EFF
EC
TS P
RO
CE
SSIN
G
EFX
WID
E
MA
IN-S
TER
EO
/MO
NO
EQ
UA
LIZE
R
30CLI
P
5 50 10 15 20
EFX
FO
OT
SWIT
CH
RIG
HT
RE
TUR
NLE
FT R
ETU
RN
SEN
D
L M
IXE
R O
UT
R M
IXE
R O
UT
CO
MPR
ESS
OR
L PO
WE
RA
MP
INR
PO
WE
RA
MP
IN
EFF
EC
TS(O
VE
RR
IDE
S IN
TER
NA
L E
FX)
MO
NIT
OR
MA
INS
TAPE
IN
TAPE
OU
T
LEV
EL
MIC
1M
IC 2
MIC
3M
IC 4
MIC
5M
IC 6
INSE
RT
INSE
RT
INSE
RT
INSE
RT
INSE
RT
LIN
ELI
NE
LIN
ELI
NE
LIN
ELI
NE
INSE
RT
+15
U
OO
1K50
025
063
125
16K
LEV
EL
2K4K
8K
MA
IN
MA
STE
R
EFX
TO
MA
IN
U
OO
+10
MA
STE
R O
UTP
UT
SEC
TIO
N
LIN
E
U +12
dB
OO
LR R
L
POW
ER
OU
T
MO
NIT
OR
EQ
UA
LIZE
R
15-
15+
510 0 5 10
-15
+15 510 0 5 10
15-
15+
510 0 5 10
-15
+15 510 0 5 10
1K50
025
063
125
16K
2K4K
8K
MO
NIT
OR
MA
STE
R
EFX
TO
MO
N
U
OO
+10
U +12
dB
OO
75H
z R
UM
BLE
RE
DU
CTI
ON
RIG
HT
RIG
HT
MIC
7M
IC 8
75H
z R
UM
BLE
RE
DU
CTI
ON
PHA
NTO
MPO
WE
R C
H 1
-8B
RE
AK
(MU
TES
CH
1-6
)
808S
PO
WE
R A
MP
RO
UTI
NG
SM. R
OO
MM
D.
PLA
TELG
. PL
ATE
LG.
HA
LL
GA
TED
RE
VE
RSE
CA
THE
DR
AL
MD
. H
ALL
SPR
ING
PHA
SER
DE
LAY
4C
HO
RU
S
DE
LAY
3
DE
LAY
1
FLA
NG
E
DE
LAY
2
INO
UT
STE
RE
O M
AIN
SLE
FT =
MA
INR
IGH
T =
MO
NIT
OR
2 X
600W
STE
RE
O
LEV
EL
30CLI
P
5 50 10 15 20
LR
LEFT
/MO
NO
LEFT
/MO
NO
STE
RE
OM
IC/
LIN
EH
I-Z
STE
RE
OM
IC/
LIN
EH
I-Z
U
OO
+10
U +15
-15
U +15
-15
U +12
-12
1
U +20
dB
OOH
ILO
WNO
RM
AL
U
OO
+15
U
OO
+10
U +15
-15
U +15
-15
U +12
-12
U +20
dB
OOH
ILO
WNO
RM
AL
U
OO
+15
U
OO
+10
U +15
-15
U +15
-15
U +12
-12
U +20
dB
OOH
ILO
WNO
RM
AL
U
OO
+15
U
OO
+10
U +15
-15
U +15
-15
U +12
-12
U +20
dB
OOH
ILO
WNO
RM
AL
U
OO
+15
U
OO
+10
U +15
-15
U +15
-15
U +12
-12
U +20
dB
OOH
ILO
WNO
RM
AL
U
OO
+15
U
OO
+10
U +15
-15
U +15
-15
U +12
-12
U +20
dB
OOH
ILO
WNO
RM
AL
U
OO
+15
U
OO
+10
U +15
-15
U +15
-15
U +12
-12
U +20
dB
OOH
ILO
WNO
RM
AL
U
OO
+15
U
OO
+10
U +15
-15
U +15
-15
U +12
-12
U +20
dB
OOH
ILO
WNO
RM
AL
RL
RL
RL
RL
RL
RL
RL
RL
U
OO
+15
Voca
lM
ics
Mon
itor
Ampl
ifier
Subw
oofe
rAm
plifi
erM
onito
rSp
eake
rs
Processor
Direct Box
Left
FOH
Spe
aker
Righ
t FOH
Spe
aker
From
LE
FTSP
EAKE
R OU
T
From
RI
GH
TSP
EAKE
R OU
T
Full-
Rang
eSi
gnal
Full-
Rang
eSi
gnal
POW
ER A
MP
ROUT
ING
Bu
tton
OUT
This
sho
ws h
ow t
o us
e su
bwoo
fers
wit
h th
e po
were
d m
ixer.
The
MIX
ER
LIN
E O
UTs
are
rout
ed t
o an
el
ectr
onic
cro
ssov
er, w
hich
sp
lits
the
sign
al in
to h
ighs
an
d lo
ws. T
he lo
w-fr
eque
ncy
(LF)
out
puts
from
the
cr
osso
ver a
re c
onne
cted
to
an e
xter
nal a
mpl
ifier
tha
t po
wers
the
sub
wooo
fers
. Th
e cr
osso
ver's
hig
h-fr
eque
ncy
outp
uts
aren
't us
ed s
ince
the
full-
rang
e si
gnal
pas
ses
thro
ugh
to
the
inte
rnal
am
plifi
ers
and
the
FOH
spe
aker
s.N
ote:
If y
ou h
ave
a 40
6M
, 408
M, o
r 808
M, t
here
is n
o st
ereo
out
put
beca
use
thes
e ar
e m
ono
vers
ions
. The
Mai
n M
ix bu
s is
rout
ed t
o bo
th in
tern
al a
mpl
ifier
s an
d th
ere
is
just
one
MIX
ER L
INE
OUT
in t
hese
mod
els.
Elec
tron
icCr
osso
ver
Righ
tLF Ou
t
Left LF Out
Subw
oofe
rSu
bwoo
fer
From MIXER OUT
808S with Electronic Crossover and Subwoofers
12
EFX
MO
N
HI
12kH
zH
I12
kHz
MID
2.5k
Hz
MO
N
MID
2.5k
Hz
MO
N
HI
12kH
z
MID
2.5k
Hz
MO
N
HI
12kH
z
MID
2.5k
Hz
MO
N
HI
12kH
z
MID
2.5k
Hz
MO
N
HI
12kH
z
MID
2.5k
Hz
MO
N
HI
12kH
z
MID
2.5k
Hz
MO
N
HI
12kH
z
MID
2.5k
Hz
LOW
80H
z
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
VO
LUM
E C
H.
VO
LUM
E C
H.
VO
LUM
E C
H.
VO
LUM
E C
H.
VO
LUM
E C
H.
VO
LUM
E C
H.
VO
LUM
E C
H.
VO
LUM
E C
H.
1
EFX
LOW
80H
z 22
EFX
LOW
80H
z 33
EFX
LOW
80H
z 44
EFX
LOW
80H
z 55
EFX
LOW
80H
z 66
EFX
LOW
80H
z 78
7
EFX
LOW
80H
z
8
EFX
BY
PASS
EFX
DR
IVE
LEV
EL12
0NO
RMA
L
INPU
T LE
VE
LSE
T
INPU
T LE
VE
LSE
T
INPU
T LE
VE
LSE
T
INPU
T LE
VE
LSE
T
INPU
T LE
VE
LSE
T
INPU
T LE
VE
LSE
T
INPU
T LE
VE
LSE
T
INPU
T LE
VE
LSE
T
EFX
CLI
P
PAR
AM
ETE
RS
100
100
RE
VE
RB
SD
ELA
YS
CH
OR
US
FLA
NG
E
DA
MPI
NG
DE
PTH
PHA
SER
TIM
E
RA
TE
NO
RM
AL
NO
RM
AL
CU
STO
M 3
2-B
IT P
RE
CIS
ION
DIG
ITA
L ST
ER
EO
EFF
EC
TS P
RO
CE
SSIN
G
EFX
WID
E
MA
IN-S
TER
EO
/MO
NO
EQ
UA
LIZE
R
30CLI
P
5 50 10 15 20
EFX
FO
OT
SWIT
CH
RIG
HT
RE
TUR
NLE
FT R
ETU
RN
SEN
D
L M
IXE
R O
UT
R M
IXE
R O
UT
CO
MPR
ESS
OR
L PO
WE
RA
MP
INR
PO
WE
RA
MP
IN
EFF
EC
TS(O
VE
RR
IDE
S IN
TER
NA
L E
FX)
MO
NIT
OR
MA
INS
TAPE
IN
TAPE
OU
T
LEV
EL
MIC
1M
IC 2
MIC
3M
IC 4
MIC
5M
IC 6
INSE
RT
INSE
RT
INSE
RT
INSE
RT
INSE
RT
LIN
ELI
NE
LIN
ELI
NE
LIN
ELI
NE
INSE
RT
+15
U
OO
1K50
025
063
125
16K
LEV
EL
2K4K
8K
MA
IN
MA
STE
R
EFX
TO
MA
IN
U
OO
+10
MA
STE
R O
UTP
UT
SEC
TIO
N
LIN
E
U +12
dB
OO
LR R
L
POW
ER
OU
T
MO
NIT
OR
EQ
UA
LIZE
R
15-
15+
510 0 5 10
-15
+15 510 0 5 10
15-
15+
510 0 5 10
-15
+15 510 0 5 10
1K50
025
063
125
16K
2K4K
8K
MO
NIT
OR
MA
STE
R
EFX
TO
MO
N
U
OO
+10
U +12
dB
OO
75H
z R
UM
BLE
RE
DU
CTI
ON
RIG
HT
RIG
HT
MIC
7M
IC 8
75H
z R
UM
BLE
RE
DU
CTI
ON
PHA
NTO
MPO
WE
R C
H 1
-8B
RE
AK
(MU
TES
CH
1-6
)
808S
PO
WE
R A
MP
RO
UTI
NG
SM. R
OO
MM
D.
PLA
TELG
. PL
ATE
LG.
HA
LL
GA
TED
RE
VE
RSE
CA
THE
DR
AL
MD
. H
ALL
SPR
ING
PHA
SER
DE
LAY
4C
HO
RU
S
DE
LAY
3
DE
LAY
1
FLA
NG
E
DE
LAY
2
INO
UT
STE
RE
O M
AIN
SLE
FT =
MA
INR
IGH
T =
MO
NIT
OR
2 X
600W
STE
RE
O
LEV
EL
30CLI
P
5 50 10 15 20
LR
LEFT
/MO
NO
LEFT
/MO
NO
STE
RE
OM
IC/
LIN
EH
I-Z
STE
RE
OM
IC/
LIN
EH
I-Z
U
OO
+10
U +15
-15
U +15
-15
U +12
-12
1
U +20
dB
OOH
ILO
WNO
RM
AL
U
OO
+15
U
OO
+10
U +15
-15
U +15
-15
U +12
-12
U +20
dB
OOH
ILO
WNO
RM
AL
U
OO
+15
U
OO
+10
U +15
-15
U +15
-15
U +12
-12
U +20
dB
OOH
ILO
WNO
RM
AL
U
OO
+15
U
OO
+10
U +15
-15
U +15
-15
U +12
-12
U +20
dB
OOH
ILO
WNO
RM
AL
U
OO
+15
U
OO
+10
U +15
-15
U +15
-15
U +12
-12
U +20
dB
OOH
ILO
WNO
RM
AL
U
OO
+15
U
OO
+10
U +15
-15
U +15
-15
U +12
-12
U +20
dB
OOH
ILO
WNO
RM
AL
U
OO
+15
U
OO
+10
U +15
-15
U +15
-15
U +12
-12
U +20
dB
OOH
ILO
WNO
RM
AL
U
OO
+15
U
OO
+10
U +15
-15
U +15
-15
U +12
-12
U +20
dB
OOH
ILO
WNO
RM
AL
RL
RL
RL
RL
RL
RL
RL
RL
U
OO
+15
Voca
lM
ics
Mon
itor
Ampl
ifier M
onito
rSp
eake
rs
Stereo Processor
Processor
Direct Box
War
m-u
p ba
nd's
mixe
r (c
lose
ly re
sem
blin
g a
Mac
kie C
R160
4-VL
Z)
Optio
nal
mon
itor
conn
ectio
n
POW
ER A
MP
ROUT
ING
Bu
tton
OUT
This
sho
ws h
ow t
o co
nnec
t an
othe
r mixe
r’s o
utpu
t to
the
PP
M S
erie
s PO
WER
AM
P IN
jack
s.
You
mig
ht u
se t
his
met
hod
to
patc
h a
warm
-up
band
’s m
ixer
into
the
PPM
Ser
ies
so t
hey
can
use
the
PPM
am
plifi
ers
and
PA
spea
kers
wit
hout
hav
ing
to
chan
ge t
he P
PM m
ixer s
etti
ngs
or s
et u
p a
sepa
rate
PA
sys
tem
.N
ote:
If y
ou c
onne
ct t
he M
onit
or
Line
Out
from
the
ext
erna
l mixe
r to
an
unus
ed c
hann
el o
f the
po
were
d m
ixer,
be s
ure
to t
urn
down
the
VO
LUM
E co
ntro
l on
that
cha
nnel
and
tur
n up
the
M
ON
con
trol
to
unit
y (c
ente
r po
siti
on).
Left
FOH
Spe
aker
Righ
t FOH
Spe
aker
From
LEF
TSP
EAKE
R OU
TFr
om R
IGH
TSP
EAKE
R OU
T
Mixe
rLin
eOu
ts
Mon
itor
Line
Out
From
MON
ITOR
LINE
OUT
To POWER AMP IN
808S with External Mixer using PPM Amplifiers
13
EFX
MO
N
HI
12kH
zH
I12
kHz
MID
2.5k
Hz
MO
N
MID
2.5k
Hz
MO
N
HI
12kH
z
MID
2.5k
Hz
MO
N
HI
12kH
z
MID
2.5k
Hz
MO
N
HI
12kH
z
MID
2.5k
Hz
MO
N
HI
12kH
z
MID
2.5k
Hz
MO
N
HI
12kH
z
MID
2.5k
Hz
MO
N
HI
12kH
z
MID
2.5k
Hz
LOW
80H
z
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
VO
LUM
E C
H.
VO
LUM
E C
H.
VO
LUM
E C
H.
VO
LUM
E C
H.
VO
LUM
E C
H.
VO
LUM
E C
H.
VO
LUM
E C
H.
VO
LUM
E C
H.
1
EFX
LOW
80H
z 22
EFX
LOW
80H
z 33
EFX
LOW
80H
z 44
EFX
LOW
80H
z 55
EFX
LOW
80H
z 66
EFX
LOW
80H
z 78
7
EFX
LOW
80H
z
8
EFX
BY
PASS
EFX
DR
IVE
LEV
EL12
0NO
RMA
L
INPU
T LE
VE
LSE
T
INPU
T LE
VE
LSE
T
INPU
T LE
VE
LSE
T
INPU
T LE
VE
LSE
T
INPU
T LE
VE
LSE
T
INPU
T LE
VE
LSE
T
INPU
T LE
VE
LSE
T
INPU
T LE
VE
LSE
T
EFX
CLI
P
PAR
AM
ETE
RS
100
100
RE
VE
RB
SD
ELA
YS
CH
OR
US
FLA
NG
E
DA
MPI
NG
DE
PTH
PHA
SER
TIM
E
RA
TE
NO
RM
AL
NO
RM
AL
CU
STO
M 3
2-B
IT P
RE
CIS
ION
DIG
ITA
L ST
ER
EO
EFF
EC
TS P
RO
CE
SSIN
G
EFX
WID
E
MA
IN-S
TER
EO
/MO
NO
EQ
UA
LIZE
R
30CLI
P
5 50 10 15 20
EFX
FO
OT
SWIT
CH
RIG
HT
RE
TUR
NLE
FT R
ETU
RN
SEN
D
L M
IXE
R O
UT
R M
IXE
R O
UT
CO
MPR
ESS
OR
L PO
WE
RA
MP
INR
PO
WE
RA
MP
IN
EFF
EC
TS(O
VE
RR
IDE
S IN
TER
NA
L E
FX)
MO
NIT
OR
MA
INS
TAPE
IN
TAPE
OU
T
LEV
EL
MIC
1M
IC 2
MIC
3M
IC 4
MIC
5M
IC 6
INSE
RT
INSE
RT
INSE
RT
INSE
RT
INSE
RT
LIN
ELI
NE
LIN
ELI
NE
LIN
ELI
NE
INSE
RT
+15
U
OO
1K50
025
063
125
16K
LEV
EL
2K4K
8K
MA
IN
MA
STE
R
EFX
TO
MA
IN
U
OO
+10
MA
STE
R O
UTP
UT
SEC
TIO
N
LIN
E
U +12
dB
OO
LR R
L
POW
ER
OU
T
MO
NIT
OR
EQ
UA
LIZE
R
15-
15+
510 0 5 10
-15
+15 510 0 5 10
15-
15+
510 0 5 10
-15
+15 510 0 5 10
1K50
025
063
125
16K
2K4K
8K
MO
NIT
OR
MA
STE
R
EFX
TO
MO
N
U
OO
+10
U +12
dB
OO
75H
z R
UM
BLE
RE
DU
CTI
ON
RIG
HT
RIG
HT
MIC
7M
IC 8
75H
z R
UM
BLE
RE
DU
CTI
ON
PHA
NTO
MPO
WE
R C
H 1
-8B
RE
AK
(MU
TES
CH
1-6
)
808S
PO
WE
R A
MP
RO
UTI
NG
SM. R
OO
MM
D.
PLA
TELG
. PL
ATE
LG.
HA
LL
GA
TED
RE
VE
RSE
CA
THE
DR
AL
MD
. H
ALL
SPR
ING
PHA
SER
DE
LAY
4C
HO
RU
S
DE
LAY
3
DE
LAY
1
FLA
NG
E
DE
LAY
2
INO
UT
STE
RE
O M
AIN
SLE
FT =
MA
INR
IGH
T =
MO
NIT
OR
2 X
600W
STE
RE
O
LEV
EL
30CLI
P
5 50 10 15 20
LR
LEFT
/MO
NO
LEFT
/MO
NO
STE
RE
OM
IC/
LIN
EH
I-Z
STE
RE
OM
IC/
LIN
EH
I-Z
EFX
MO
N
HI
12kH
zH
I12
kHz
MID
2.5k
Hz
MO
N
MID
2.5k
Hz
MO
N
HI
12kH
z
MID
2.5k
Hz
MO
N
HI
12kH
z
MID
2.5k
Hz
MO
N
HI
12kH
z
MID
2.5k
Hz
MO
N
HI
12kH
z
MID
2.5k
Hz
MO
N
HI
12kH
z
MID
2.5k
Hz
MO
N
HI
12kH
z
MID
2.5k
Hz
LOW
80H
z
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
VO
LUM
E C
H.
VO
LUM
E C
H.
VO
LUM
E C
H.
VO
LUM
E C
H.
VO
LUM
E C
H.
VO
LUM
E C
H.
VO
LUM
E C
H.
VO
LUM
E C
H.
1
EFX
LOW
80H
z 22
EFX
LOW
80H
z 33
EFX
LOW
80H
z 44
EFX
LOW
80H
z 55
EFX
LOW
80H
z 66
EFX
LOW
80H
z 78
7
EFX
LOW
80H
z
8
EFX
BY
PASS
EFX
DR
IVE
LEV
EL12
0NO
RMA
L
INPU
T LE
VE
LSE
T
INPU
T LE
VE
LSE
T
INPU
T LE
VE
LSE
T
INPU
T LE
VE
LSE
T
INPU
T LE
VE
LSE
T
INPU
T LE
VE
LSE
T
INPU
T LE
VE
LSE
T
INPU
T LE
VE
LSE
T
EFX
CLI
P
PAR
AM
ETE
RS
100
100
RE
VE
RB
SD
ELA
YS
CH
OR
US
FLA
NG
E
DA
MPI
NG
DE
PTH
PHA
SER
TIM
E
RA
TE
NO
RM
AL
NO
RM
AL
CU
STO
M 3
2-B
IT P
RE
CIS
ION
DIG
ITA
L ST
ER
EO
EFF
EC
TS P
RO
CE
SSIN
G
EFX
WID
E
MA
IN-S
TER
EO
/MO
NO
EQ
UA
LIZE
R
30CLI
P
5 50 10 15 20
EFX
FO
OT
SWIT
CH
RIG
HT
RE
TUR
NLE
FT R
ETU
RN
SEN
D
L M
IXE
R O
UT
R M
IXE
R O
UT
CO
MPR
ESS
OR
L PO
WE
RA
MP
INR
PO
WE
RA
MP
IN
EFF
EC
TS(O
VE
RR
IDE
S IN
TER
NA
L E
FX)
MO
NIT
OR
MA
INS
TAPE
IN
TAPE
OU
T
LEV
EL
MIC
1M
IC 2
MIC
3M
IC 4
MIC
5M
IC 6
INSE
RT
INSE
RT
INSE
RT
INSE
RT
INSE
RT
LIN
ELI
NE
LIN
ELI
NE
LIN
ELI
NE
INSE
RT
+15
UOO
1K50
025
063
125
16K
LEV
EL
2K4K
8K
MA
IN
MA
STE
R
EFX
TO
MA
IN
U
OO
+10
MA
STE
R O
UTP
UT
SEC
TIO
N
LIN
E
U +12
dB
OO
LR R
L
POW
ER
OU
T
MO
NIT
OR
EQ
UA
LIZE
R
15-
15+
510 0 5 10
-15
+15 510 0 5 10
15-
15+
510 0 5 10
-15
+15 510 0 5 10
1K50
025
063
125
16K
2K4K
8K
MO
NIT
OR
MA
STE
R
EFX
TO
MO
N
U
OO
+10
U +12
dB
OO
75H
z R
UM
BLE
RE
DU
CTI
ON
RIG
HT
RIG
HT
MIC
7M
IC 8
75H
z R
UM
BLE
RE
DU
CTI
ON
PHA
NTO
MPO
WE
R C
H 1
-8B
RE
AK
(MU
TES
CH
1-6
)
808S
PO
WE
R A
MP
RO
UTI
NG
SM. R
OO
MM
D.
PLA
TELG
. PL
ATE
LG.
HA
LL
GA
TED
RE
VE
RSE
CA
THE
DR
AL
MD
. H
ALL
SPR
ING
PHA
SER
DE
LAY
4C
HO
RU
S
DE
LAY
3
DE
LAY
1
FLA
NG
E
DE
LAY
2
INO
UT
STE
RE
O M
AIN
SLE
FT =
MA
INR
IGH
T =
MO
NIT
OR
2 X
600W
STE
RE
O
LEV
EL
30CLI
P
5 50 10 15 20
LR
LEFT
/MO
NO
LEFT
/MO
NO
STE
RE
OM
IC/
LIN
EH
I-Z
STE
RE
OM
IC/
LIN
EH
I-Z
U
OO
+10
U +15
-15
U +15
-15
U +12
-12
1
U +20
dB
OOH
ILO
WNO
RM
AL
U
OO
+15
U
OO
+10
U +15
-15
U +15
-15
U +12
-12
U +20
dB
OOH
ILO
WNO
RM
AL
U
OO
+15
U
OO
+10
U +15
-15
U +15
-15
U +12
-12
U +20
dB
OOH
ILO
WNO
RM
AL
U
OO
+15
U
OO
+10
U +15
-15
U +15
-15
U +12
-12
U +20
dB
OOH
ILO
WNO
RM
AL
U
OO
+15
U
OO
+10
U +15
-15
U +15
-15
U +12
-12
U +20
dB
OOH
ILO
WNO
RM
AL
U
OO
+15
U
OO
+10
U +15
-15
U +15
-15
U +12
-12
U +20
dB
OOH
ILO
WNO
RM
AL
U
OO
+15
U
OO
+10
U +15
-15
U +15
-15
U +12
-12
U +20
dB
OOH
ILO
WNO
RM
AL
U
OO
+15
U
OO
+10
U +15
-15
U +15
-15
U +12
-12
U +20
dB
OOH
ILO
WNO
RM
AL
RL
RL
RL
RL
RL
RL
RL
RL
U
OO
+15
U
OO
+10
U +15
-15
U +15
-15
U +12
-12
1
U +20
dB
OOH
ILO
WNO
RM
AL
U
OO
+15
U
OO
+10
U +15
-15
U +15
-15
U +12
-12
U +20
dB
OOH
ILO
WNO
RM
AL
U
OO
+15
U
OO
+10
U +15
-15
U +15
-15
U +12
-12
U +20
dB
OOH
ILO
WNO
RM
AL
U
OO
+15
U
OO
+10
U +15
-15
U +15
-15
U +12
-12
U +20
dB
OOH
ILO
WNO
RM
AL
U
OO
+15
U
OO
+10
U +15
-15
U +15
-15
U +12
-12
U +20
dB
OOH
ILO
WNO
RM
AL
U
OO
+15
U
OO
+10
U +15
-15
U +15
-15
U +12
-12
U +20
dB
OOH
ILO
WNO
RM
AL
U
OO
+15
U
OO
+10
U +15
-15
U +15
-15
U +12
-12
U +20
dB
OOH
ILO
WNO
RM
AL
U
OO
+15
U
OO
+10
U +15
-15
U +15
-15
U +12
-12
U +20
dB
OOH
ILO
WNO
RM
AL
RL
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Two 808S’ Stacked for More Inputs
14
FEATURES AND CONTROLS3-Band EQ
The PPM Series has 3-band equalization atcarefully selected points — LOW shelving at80Hz, MID peaking at 2.5kHz, and HI shelvingat 12kHz. “Shelving” means that the circuitryboosts or cuts all frequencies past the specifiedfrequency. For example, rotating the LOW EQknob 15 dB to the right boosts bass starting at80Hz and continuing down to the lowest noteyou ever heard. “Peaking” means that only aselected band of frequencies surrounding acenter frequency is affected by the EQ control— the frequencies around 2.5kHz in this case.
LOW EQThis control gives you up to 15 dB boost or
cut at 80Hz and below. The circuit is flat (noboost or cut) at the center detent position.This frequency represents the punch in bassdrums, bass guitar, fat synth patches, and somereally serious male singers.
MID EQShort for “midrange,” this knob provides
12 dB of boost or cut, centered at 2.5kHz, alsoflat at the center detent. Midrange EQ is oftenthought of as the most dynamic, because thefrequencies that define any particular soundare almost always found in this range. You cancreate many interesting and useful EQ changesby turning this knob down as well as up.
HI EQThis control gives you up to 15 dB of boost
or cut at 12kHz and above, and it is also flat atthe detent. Use it to add sizzle to cymbals, andan overall sense of transparency or edge to key-boards, vocals, guitar, and bacon frying. Turn itdown a little to reduce sibilance, or to hidetape hiss.
Moderation during EQWith EQ, you can also screw things up roy-
ally. We’ve designed a lot of boost and cut intoeach equalizer circuit because we know every-one will occasionally need that. But if you maxthe EQs on every channel, you’ll get mix mush.Equalize subtly and use the left sides of theknobs (cut), as well as the right (boost).
EFX
MON
HI12kHz
MID2.5kHz
LOW80Hz
PAN
VOLUME CH.
1
INPUT LEVEL
SET
MIC 1
INSERT
LINE
U
OO+10
U
+15-15
U
+15-15
U
+12-12
1
U
+20dBOO
HILOW
NORMAL
U
OO+15
RL
Stereo VersionChannel Strip
Channel Strip Description
INPUT LEVEL SET
If you haven’t done so already, please readthe “Level-Setting” procedure on page 6.
The INPUT LEVEL SET control adjusts theinput sensitivity of the mic and line inputs (onchannels 7 & 8 it affects only the mic input).This allows signals from the outside world to beadjusted to optimal internal operating levels.
To correctly adjust the INPUT LEVEL SETcontrol, apply a signal to the channel and turnup the INPUT LEVEL SET control until the LEDnext to it just begins to blink. This provides thebest signal-to-noise ratio for the channel.
VOLUMEThe rotary VOLUME knob controls the
channel’s level…from off to unity gain at thecenter detent, on up to +20 dB of additionalgain when turned all the way up. The VOLUMEcontrol is equivalent to a channel fader.
These are mono controls except on chan-nels 7 and 8 of the 408S and 808S models,which use stereo controls.
Unity gain means there is nochange in signal level. Inother words, the signal enter-ing the control is the samevolume (or in this case, the
same voltage level) as the signal leaving thecontrol. Once you have adjusted the INPUTLEVEL SET controls on all the channels, youcan set the remaining controls to their unity(U) positions and your signals will travelthrough the mixer at optimal levels. What’smore, all the labels on our level controls are indecibels (dB), so you’ll know what you’re doinglevel-wise if you choose to change a control’ssettings.
PANThis control appears on the stereo models
(408S and 808S). PAN adjusts the amount ofchannel signal sent to the left versus the rightoutputs. On the mono channels 1-6 these con-trols act as true pan pots. On the stereochannels 7 and 8, the PAN knob acts like thebalance control on your home stereo.
15
EFX SendThis taps the channel’s signal out to either
the internal EMAC Digital Stereo EffectsProcessor or to an external device via theEFFECTS SEND jack for parallel effects pro-cessing. Each channel’s effects send signal iscontrolled by the channel’s EFX knob, and theoverall effects send level is controlled by theEFX DRIVE LEVEL knob (located in theEMAC section).
The effects send signal is post-EQ and post-VOLUME, so these controls affect the signalgoing to the effects processor, be it internal orexternal.
Each EFX send control ranges from offthrough unity (the center detent position) onup to +10 dB of extra gain (when turned fullyclockwise). Chances are you’ll never need thismuch extra gain, but it’s nice to know it’s thereif you do.
Normally the effects send signal is routedto the internal EMAC Digital Stereo EffectsProcessor (more on EMAC coming up). However,if you plug into the EFFECTS SEND jack(located just below the EMAC section) youcan send the effects signal to an externaleffects device. You can return the signal fromthe external effects device by plugging itsoutput into the EFFECTS RETURN jack(s)just below the SEND jack. This disconnectsthe EMAC from the internal effects bus.
You mix the amount of effects you wantreturned to the main mix by adjusting the EFXTO MAIN control located just above theMAIN MASTER . You can also add effects tothe monitor mix by adjusting the EFX TOMON control located just above theMONITOR MASTER .
Note: See “Effects Send and Return” onpage 23 to see how to use EMAC and anexternal effects processor at the same time.
MON SendThis taps the channel’s signal out to an
external amplifier, which powers your moni-tor speakers, via the MONITOR LINE OUTjack. Each channel’s monitor send signal iscontrolled by the channel’s MON knob, andthe overall monitor send level is controlled bythe MONITOR MASTER control.
The monitor send signal is pre-EQ and pre-VOLUME, so if you adjust these controls they willaffect only the main mix and not the monitor mix.
Each MON send control ranges from offthrough unity (the center detent position) onup to +15 dB of extra gain.
EMAC Section DescriptionEMAC™ stands for Extended Multiply and
Accumulate, which is a proprietary 32-bit digitalstereo processor developed by our DigitalEngineering Group. It provides 16 preset digitaleffects algorithms for you to select. In additionto the presets, there are two parameter controls
/ you can adjust to change the sound andmake it unique for your particular application.
EFX BYPASS
EFX DRIVELEVEL
120
NORMAL
EFXCLIP
CUSTOM 32-BIT PRECISIONDIGITAL STEREO EFFECTS PROCESSING
EFX WIDE
EFX DRIVE LEVELThis controls the signal level being sent to
the input of the EMAC module (and to the EFXSEND jack). Use the EFX controls on the indi-vidual channels to adjust the amount of eachchannel’s signal you want to go to the EMAC.Leave the EFX DRIVE LEVEL set at the NOR-MAL position. If you find that you’re not gettingenough of the effect in the main mix, makesure that the EFX TO MAIN control is turnedup at least to unity (the center detent posi-tion). It’s okay to turn up the EFX DRIVELEVEL some more if you need to. Just makesure the EFX CLIP LED never lights more thanoccasionally. Read on to find out why.
EFX CLIPThis indicates when the EMAC is 6 dB
below clipping. This LED should only lightoccasionally. If it blinks frequently, you shouldturn down the EFX DRIVE LEVEL a little.Digital clipping is not pleasant to behold.
EFX BYPASSPushing in this button causes the EFX
BYPASS indicator to light and mutes theeffects signal. It affects both the internalEMAC effects and any external effectsprocessor you may have connected to theEFFECTS RETURN jack.
EFX
MON
HI12kHz
MID2.5kHz
LOW80Hz
VOLUME CH.
1
INPUT LEVEL
SET
MIC 1
INSERT
LINE
U
OO+10
U
+15-15
U
+15-15
U
+12-12
1
U
+20dBOO
HILOW
NORMAL
U
OO+15
Mono VersionChannel Strip
16
EFX WIDEDepending on the effect selected, this
switch adds more width or depth to the effect.Note that it doesn’t work with the DELAY andPHASER effects because they are monophonic.
REVERSE: Standard reverse reverb, simulat-ing a tail-first effect increasing to the originalnote. Decay range adjustable from 35ms to515ms. No pre-delay.
GATED: Standard gated reverb where thereverb tail is cut off sharply after preset decaylength. Decay range adjustable from 35ms to515ms. No pre-delay.
CATHEDRAL: Dense, smooth reverb withvery long tail, long pre-delay, and late reflec-tions. Tails are very warm with some additionalhigh-end reflections imitating the stone wallsof a cathedral. A very dramatic effect thatworks well with wind instruments such asflute, slow finger picking on acoustic guitar,and quiet vocal group harmony and choirs. Alsoworks well with keyboards and drums usingshort decay. Decay range adjustable from 2 sec-onds to 10 seconds. Pre-delay set at 75ms.
LG. HALL : Dense, smooth reverb with longtail, long pre-delay, and some early reflections.Tails are warm with more apparent high end.Works well with vocals and electric and acous-tic guitar. Decay range adjustable from 1second to 5 seconds. Pre-delay set at 75ms.
MD. HALL: Dense, smooth reverb with nor-mal tail, normal pre-delay, and increased earlyreflections. Tails are warm with more apparenthigh end. Works well with vocals and electricand acoustic guitar. Decay range adjustablefrom 750ms to 2.5 seconds. Pre-delay set at65ms.
LG. PLATE: Good early reflections and nopre-delay. Tails are normal and warm withstrong high end for increased presence. Perfectfor vocals and snare. Decay range adjustablefrom 1 second to 5 seconds. No pre-delay.
MD. PLATE: Good early reflections and nopre-delay. Tails are short and warm with stronghigh end for increased presence. Perfect fortight vocals and snare. Decay range adjustablefrom 750ms to 2.5 seconds. No pre-delay.
SM. ROOM: Reverb featuring very fast andscattered early reflections with a short pre-delay. Tails are very short and warm withnormal high-end imitating absorbent wallmaterials and audience. Good for tight vocaleffects. Decay range adjustable from 250ms to1 second. Pre-delay set at 30ms.
SPRING: Mimics the vintage 60's-style wetspring reverb effect. Tails are normal withstrong high end and a slight waver imitatingthe slow flutter of the mechanical spring sys-tem. Very good with acoustic guitar. Decayrange adjustable from 1 second to 5 seconds.No pre-delay.
EFX BYPASS
EFX DRIVELEVEL
120
NORMAL
EFXCLIP
PARAMETERS
100 100
REVERBSDELAYS
CHORUSFLANGE
DAMPING
DEPTH
PHASER
TIME
RATE
NORMAL NORMAL
CUSTOM 32-BIT PRECISIONDIGITAL STEREO EFFECTS PROCESSING
EFX WIDE
SM. ROOMMD. PLATELG. PLATE
LG. HALL
GATEDREVERSE
CATHEDRAL
MD. HALL
SPRINGPHASER
DELAY 4CHORUS
DELAY 3
DELAY 1
FLANGE
DELAY 2
Preset SelectRotate this detented switch to select the
preset effect you want to use.
Preset Effects Descriptions
ReverbsThe reverbs are designed to provide a wide
variety of reverb sounds for vocal and instrumentapplications. The TIME/RATE PARAMETER controls the length of the tail, with the shortesttail at the 0 position and the longest tail at 10.The DAMPING/DEPTH PARAMETER controls the damping, with the darkest tone at 0and the brightest tone at 10. The EFX WIDE switch is very effective at increasing the stereoimage of the reverb effect in the stereo versionsand enhancing reverb density in mono versions.
17
DelaysThere are four delays available. Delay 1 has
one repeat after the original note. Delay 2 hastwo repeats, Delay 3 has three, and Delay 4 hasfour. The TIME/RATE PARAMETER controls thetime between repeats, with the fastest repeatsat the 0 position and the slowest repeats at 10.The DAMPING/DEPTH PARAMETER controlsthe damping, with the darkest tone at 0 andthe brightest tone at 10. For an analog tapedelay sound, use a darker setting so that eachsubsequent repeat is darker than the prior one.For a crisp digital delay sound, use a brightersetting so the tone retains its high end on eachsubsequent repeat. Since the delay effect is notstereo, it is not affected by the EFX WIDE switch.
DELAY 1 : One repeat. Works best forslapback delay used in country and swing gui-tar, and for rockabilly and some country vocals.Delay range adjustable from 5ms to 524ms.
DELAY 2 : Two repeats. Provides a fuller,more dramatic effect for rock and gospel vocals,acoustic guitar, and wind instruments such asflute. Especially effective for some finger-pickingstyles. Delay range adjustable from 5ms to 524ms.
DELAY 3 : Three repeats. An excellent delayfor slow, bluesy vocals and melodic flute music.This delay usually works best when the chan-nel EFX send is set at less than halfway. Delayrange adjustable from 5ms to 524ms.
DELAY 4 : Four repeats. This is for very dra-matic delay effects, particularly for enhancinglong vocal notes and dramatic instrumentalnote-chopping effects. Be sure to set the chan-nel EFX send at about halfway. Delay rangeadjustable from 5ms to 524ms.
Modulation EffectsThese include Chorus, Flange and Phaser,
and are generally used for enhancement ofinstrumental music. However, Chorus adds adramatic effect to vocals as well. The EFX WIDEswitch is very effective at dramatically increas-ing the strength and thickness of a modulationeffect. For example, using the EFX WIDE onChorus mimics a multi-voiced chorus effect.
The TIME/RATE PARAMETER controls theeffect Rate, which is the speed of the sweepingeffect. Fully counter-clockwise produces theslowest sweeps and fully clockwise producesthe fastest. DAMPING/DEPTH PARAMETERcontrols the effect depth, which is the strengthof the sweeping effect. Fully counter-clockwiseproduces the lightest sweeping effect and fullyclockwise produces the thickest.
CHORUS : Provides a soft, ethereal sweepingeffect. Perfect for enhancement of electric andacoustic guitar and bass. Also adds a dramaticeffect to vocals, particularly group harmoniesand choirs. The channel EFX send should be sethalfway or higher. Rate adjustable from 0.5Hz to30Hz. Depth adjustable from 0% to 100%.
FLANGE : Creates a strong sweeping effect,particularly effective on rock electric guitar, leadand rhythm. The channel EFX send should be sethalfway or higher. Rate adjustable from 0.5Hz to20Hz. Depth adjustable from 0% to 100%.
PHASER : This effect is perfect for enhanc-ing strummed acoustic guitar or electric guitarpower chords. The PHASER effectively dupli-cates the popular 70's phase shift effect usedfor guitar. Rate adjustable from 0.5Hz to 35Hz.Depth adjustable from 50% to 100%.
Name Parameters Typical ApplicationsReverbs Decay/Pre-delay
REVERSE 35ms-515ms/none Special effects on instruments or drumsGATED 35ms-515ms/none Special effects on instruments or drumsCATHEDRAL 2sec-10sec/75ms Wind instruments; acoustic guitar; choirLG. HALL 1sec-5sec/75ms Vocals; electric and acoustic guitarMD. HALL 750ms-2.5sec/65ms Vocals; electric and acoustic guitarLG. PLATE 1sec-5sec/none Vocals; snareMD. PLATE 750ms-2.5sec/none Tight vocals; snareSM. ROOM 250ms-1sec/30ms Tight vocalsSPRING 1sec-5sec/none Acoustic guitar
Delays Delay/No. of RepeatsDELAY 1 5ms-524ms/1 Country, swing guitar; rockabilly vocalsDELAY 2 5ms-524ms/2 Rock, gospel vocals; acoustic guitar; wind instrumentsDELAY 3 5ms-524ms/3 Slow, bluesy vocals; melodic fluteDELAY 4 5ms-524ms/4 Long vocal notes
Chorus/Flange/Phase Modulation/DepthCHORUS 0.5Hz-30Hz/0%-100% Electric, acoustic guitars; bass; choirFLANGE 0.5Hz-20Hz/0%-100% Rock electric guitarPHASER 0.5Hz-35Hz/50%-100% Strummed acoustic guitar, electric guitar power chords
EMAC SELECTIONS
18
TIME/RATE PARAMETERIf you have a reverb effect selected, this
control adjusts how long the reverberationlasts, with 0 being a short reverb time and 10being the longest.
If you have a delay effect selected, thisadjusts the amount of time between the origi-nal signal and the delayed signal, with 0 beinga short delay time and 10 being the longestdelay time.
If you have a chorus, flange, or phaser effectselected, this control adjusts the rate or speedof the modulation of the effect.
DAMPING/DEPTH PARAMETERIf you have a reverb or delay effect selected,
this control adjusts how fast the higher frequen-cies roll off in the reverberation or delay, with 0having no roll off and 10 having the most roll off.
If you have a chorus, flange, or phaser effectselected, this control adjusts the depth of themodulation of the effect.
MAIN EQUALIZERThe MAIN EQUALIZER is used to shape
the overall frequency response for the mainspeakers. The equalizer is the last thing in thechain prior to the signal being routed to thepower amplifiers and the MIXER LINE OUT.
How to Adjust the Graphic Equalizers:Note: These instructions are written on the
top of the PPM Series cabinet, but we’ll repeatthem here because they are so important.
Reducing Feedback (Do monitor first)1. Set the MIC channels to working volume
levels (see “Level Setting” on page 6).2. Set the Graphic EQ sliders to zero (center).3. Slowly turn up the MAIN MASTER
volume until feedback just begins tooccur. BE CAREFUL! Feedback can occurquickly and become very LOUD, very fast.
4. Cut the appropriate slider until feedbackstops.
Suggestions for Better Sound1. For better vocal sound, set the 125, 250,
and 16K sliders to +5.Note: Make sure the singer is within 3 to6 inches of the microphone. No amountof EQ can save a vocal when the singer istoo far away from the microphone.
2. For more presence, set the 4K and 8Ksliders to +5.
3. To warm up the overall sound, set the 2Kslider to –5.
4. Use the RUMBLE REDUCTION switch toreduce the noise floor.
5. REMEMBER, LESS IS BETTER.
75Hz RUMBLE REDUCTIONThere are two of these switches; one for the
monitor output and one for the main output.Pushing in this switch places a low-cut filterinto the circuit path, rolling off the frequenciesbelow 75Hz.
Use the RUMBLE REDUCTION switch onthe main output to reduce stage rumble (low-frequency noise from footsteps picked up bymicrophones on stage) and microphone-handling noise. Use the RUMBLE REDUCTIONswitch on the monitor output to reduce themuddiness caused by the lows feeding back intothe main output through the stage microphones.
Note: This filter is separate from the graphicequalizer. The main RUMBLE REDUCTIONswitch affects only channels 1-6 and not thestereo channels 7 & 8, EFX TO MAIN, or TAPEIN. The monitor RUMBLE REDUCTION switchdoes affect the EFX TO MON signal.
PARAMETERS
100 100
REVERBSDELAYS
CHORUSFLANGE
DAMPING
DEPTH
PHASER
TIME
RATE
NORMAL NORMAL
MASTER OUTPUT SECTION Description
POWER LEDThis indicator lights up whenever the
POWER switch is turned on and the PPM Seriesis plugged into a live outlet, just to let youknow you’re ready for action.
MONITOR EQUALIZERThe MONITOR EQUALIZER is used to
shape the overall frequency response for themonitor speakers on stage. This is called agraphic equalizer because the position of thesliders provides a graphic display of thefrequency response at its output. The equalizeris the last thing in the signal chain prior tobeing routed to the MONITOR LINE OUT (and the power amplifier if the POWER AMPROUTING switch is pushed in).
19
EFX TO MONUse this control to add the EMAC internal
effects (or external effects, if connected) to themonitor mix. The effects signal is added to themonitor signal path just prior to the RUMBLEREDUCTION switch and the MONITORMASTER control.
The EFX TO MON control ranges from offthrough unity (the center detent position) onup to +10 dB of extra gain.
MONITOR MASTERThis controls the overall signal level at the
MONITOR LINE OUT. The control ranges fromoff through unity on up to +12 dB of extra gain.
Turning up the MONITORMASTER too much cancause feedback. To reducethe possibility of feedback,try to position the micro-
phones so they are pointing away from thestage monitors. This will minimize the amountof monitor signal that is picked up by themicrophones.
EFX TO MAINUse this control to add the EMAC internal
effects (or external effects, if connected) tothe main mix. The effectssignal is added to the mainsignal path just after theRUMBLE REDUCTION switchand just prior to the MAINMASTER control.
The EFX TO MAIN controlranges from off through unity(the center detent position) onup to +10 dB of extra gain.
MAIN MASTERThis controls the overall signal level at the
MIXER LINE OUT(s) and at the input tothe power amplifiers. The control ranges fromoff through unity on up to +12 dB of extra gain.
LEVEL MetersThese 8-segment LED meters indicate the
signal level at the MONITOR LINE OUT and the MIXER LINE OUT . To attain thebest signal-to-noise ratio while still maintain-ing adequate headroom, set the MONITORMASTER and MAIN MASTER controls so the0 dB indicator on the LEVEL meters blinksfrequently. It’s okay for the +5 dB indicator toblink occasionally, but avoid allowing the CLIPindicator to light. Clipping occurs at a +20 dBuoutput level.
PHANTOM POWER SwitchPush in this switch to provide phantom
power to the XLR MIC input connectors. All ofthe XLR mic inputs are capable of providingphantom power. Phantom power is requiredto operate most condenser microphones(some condenser microphones are battery-powered). The PPM Series provide +15V DCphantom powering on pins 2 and 3 of the XLRconnectors.
MAIN-STEREO/MONO EQUALIZER
30
CLIP
5
5
0
10
15
20
1K50025063 125 16K
LEVEL
2K 4K 8K
MAIN MASTER
EFX TOMAIN
U
OO +10
MASTER OUTPUT SECTION
U
+12dBOO
POWER
MONITOR EQUALIZER
15-
15+
5
10
0
5
10
-15
+15
5
10
0
5
10
15-
15+
5
10
0
5
10
-15
+15
5
10
0
5
10
1K50025063 125 16K2K 4K 8K
MONITORMASTER
EFX TOMON
U
OO +10
U
+12dBOO
75Hz RUMBLEREDUCTION
75Hz RUMBLEREDUCTION
PHANTOMPOWER CH 1-8
BREAK(MUTES CH 1-6)
LEVEL
30
CLIP
5
5
0
10
15
20
L R
Stereo Version Master Output Section
20
If you are using condenser microphones, orany mic that requires phantom power, engagethe PHANTOM POWER switch (located justbelow the EMAC section). If you have dynamic,ribbon, or tube mics that do not require phan-tom power, leave the PHANTOM POWERswitch out. If you are using both condenser anddynamic mics, don’t worry. Phantom power willnot hurt most dynamic mics. Check the micro-phone’s user manual if you’re not sure.
Caution: Turn all outputlevels down before operat-ing this switch to avoid thepossibility of a “pop” inyour speakers.
Connecting a line-level input to an XLR in-put connector with the phantom powerswitched on could damage the output of thesource device. We recommend using the 1/4"jacks for line-level inputs.
PHANTOMPOWER CH 1-8
BREAK(MUTES CH 1-6)
BREAK SwitchAs in “take a break.” Push this switch in dur-
ing your breaks and the mono channels (1-6),monitor send, and effects send are muted so youdon’t run the danger of something going haywireduring your break, like having your system startfeeding back or having some would-be poet jumpup on stage and start reciting his latest epic.
This switch doesn’t affect the TAPE IN orthe stereo channels (7&8) so you can go aheadand run your cassette or CD player while youare on break.
POWER AMP ROUTINGThis handy switch provides the flexibility to
use the internal power amplifiers to powerboth the main and monitor outputs, or topower two main speakers with the internalamplifiers and use a separate power amplifierto power the monitor speakers.
When the switch is in the OUT position, themain mix is routed to the inputs of bothamplifiers. For the mono versions (406M,408M, 808M), the same signal is routed to theinputs of both amplifiers. You must have anotheramplifier to power your monitor speakers.
When the switch is pushed IN, the main mixis routed to the input of the MAIN power amp,and the monitor mix is routed to the input ofthe MONITOR power amp. You can still con-nect up to two speakers to each amplifieroutput, since there are two parallel SPEAKEROUTPUT jacks for each amplifier on the backpanel. Just remember to maintain a 2 ohmload or greater for each amplifier.
Note: On the stereo versions (408S, 808S),the left and right signals are summed togetherjust prior to the MAIN power amp input whenthe POWER AMP ROUTING switch is pushed in.
COMPRESSORPushing this switch in activates a circuit at
the input to the power amplifiers that sensesthe signal level and reduces the possibility ofdriving the amplifier into clipping. Clippingcreates distortion that not only sounds bad, butcan actually damage your loudspeakers. Werecommend that you leave this switch pushedin (unless you hate your speakers).
EFX FOOTSWITCH
RIGHT RETURNLEFT RETURN
SEND
L MIXER OUT R MIXER OUT COMPRESSOR
L POWERAMP IN
R POWERAMP IN
EFFECTS(OVERRIDES INTERNAL EFX) MONITORMAINS
TAPE IN
TAPE OUT
LEVEL
+15
U
OO
LINE
L R
RL
OUT
408S POWER AMP ROUTING
INOUT
STEREO MAINSLEFT = MAINRIGHT = MONITOR
2 X 250W STEREO
Stereo Version Connector Section
21
POWER
120 VAC 60HZ 320W
ON
TAPE IN LEVELYou can connect a tape deck or CD player
to the PPM Series and play back prerecordedmusic during your breaks. The tape signal isadded to the main signal path just after theRUMBLE REDUCTION switch and just prior tothe MAIN MASTER control. This is a stereocontrol, but for the mono versions (406M, 408M,808M), the left and right inputs are summed.
The TAPE IN LEVEL control ranges from offthrough unity (the center detent position) onup to +15 dB of extra gain. Note that thiscontrol only affects the TAPE IN level and notthe TAPE OUT level (there is no tape out levelcontrol). The TAPE OUT level is pre-fader(actually pre-Master in this case) and is notaffected by the MAIN MASTER control.
Caution: When using theTAPE OUT connectors forrecording, don’t connectthe output of the tape deckto the TAPE IN connectors.
If you do, MAKE SURE the TAPE IN LEVELcontrol is turned all the way down or you willcreate a feedback loop that will suddenly makeyou the focus of attention.
EFX FOOTSWITCH
RETURN
SEND
MIXER LINE OUT
POWERAMP 1 IN
POWERAMP 2 IN
EFFECTS(OVERRIDES INTERNAL EFX) MONITORMAINS
TAPE IN
TAPE OUT
LEVEL
+15
U
OO
LINE
L R
RL
OUT
POWER AMP ROUTINGAMP 1
MAINMAIN MONITOR
AMP 2
MAIN
COMPRESSOR
INOUT
2 X 250 WATTS408M
POWER switchThe POWER switch is located on the rear
panel of the mixer, near the linecord socket.Switch up to turn the mixer on, and switchdown to turn it off.
Mono Version Connector Section
22
MAKING THE CONNECTIONSFront Panel Connections
Connecting Microphones and Line-Level Signals
2
2
3 1
1
SHIELD
COLD
HOT
SHIELD
COLD
HOT
3
SHIELD
COLDHOT
3
2
1
Balanced XLR Connectors
SLEEVE (SHIELD)
TIPSLEEVE
TIP (HOT)
RING (COLD)
RING
TIP
SLEEVERING
Balanced 1/4" TRS Plug
SLEEVE (SHIELD)
TIP (HOT)
TIPSLEEVE
TIP
SLEEVE
Unbalanced 1/4" TS Plug
VOLUME CH.
MIC 1
INSERT
LINE
1
U
+20dBOO
HILOW
VOLUME CH.8
RIGHT
MIC 8
U
+20dBOO
O
LEFT/MONO
STEREOMIC/LINEHI-Z
Stereo Channel Strip
Mono Channel Strip
XLR TRSHot (+) Pin 2 TipCold (–) Pin 3 RingShield (Ground) Pin 1 Shield
Unbalanced TS (tip-sleeve) lines can be ac-commodated via the TRS jack. Make sure thecord terminates with a TS plug (like a guitarplug), or if it’s a TRS plug (like a headphoneplug), make sure the ring is tied to the shield,preferably at the source.
You can connect an input signal to both theMIC input and the LINE input. The signals aresummed together prior to the INPUT LEVEL
SET control so they are both affected by it. Onthe stereo channels 7 & 8, the inputs aresummed after the INPUT LEVEL SET controland only the MIC input is affected by it.
Channel InsertsThe mono channels are equipped with INSERT
jacks for connecting external processors intoeach channel’s signal path. The insert pointcomes after the Mic/Line preamp’s INPUT LEVELSET control and just before the EQ controls.
This is a TRS jack specially configured as acombination Send/Return connection point. It is
Each channel has both anXLR MIC input and a 1/4"TRS LINE input. Inaddition, the two stereochannels on the 408M, 408S,808M, and 808S each havetwo 1/4" TRS line inputs, leftand right . These twoinputs are summed togetherin the 408M and 808M, andare routed to the left andright buses respectively in the408S and 808S. You can plug amono signal into the LEFTstereo input and the signal isautomatically routed to boththe left and right inputs.
Mackie mixers have 3-pinfemale XLR connectors on allmicrophone inputs, so use amale XLR connector to con-nect to the mixer’s micpreamps.
The XLR and 1/4" TRS in-puts are balanced analoginputs. When connecting abalanced signal using the XLRor 1/4" jacks, be sure they’rewired — per AES (Audio En-gineering Society) standards— like this:
23
configured with the Tip = Send, Ring = Return,and Sleeve = Ground. This has become some-what of a standard in the industry, and manycable manufacturers make cables especiallyfor this purpose. With nothing plugged into theINSERT jack, the send signal is directly connectedto the return pin via the normalling jack.
Tip = Send (output to effects device)Ring = Return (input from effects device)Sleeve = Common ground (connect shield to all
three sleeves)
The INSERT jack can also be used as a di-rect out from the mic preamps to tape. If youinsert a TS (mono) 1/4" plug halfway into theINSERT jack (to the first click), the plug willnot activate the jack switch and will not openthe insert loop in the circuit (thereby allowingthe channel signal to continue on its merry waythrough the mixer). This allows you to tap thechannel signal at that point in the circuit with-out interrupting normal operation.
If you push the 1/4" TS plug in to the secondclick, you will open the jack switch and createa direct out, which does interrupt the signal inthat channel.
Do not overload or short-circuit the signalyou are tapping from the mixer. Doing so willaffect the internal signal.
EFFECTS SEND and RETURN
EFX FOOTSWITCH
RIGHT RETURNLEFT RETURN
SEND
EFFECTS(OVERRIDES INTERNAL EFX)
The EFFECTS SEND jack is a 1/4" connectorthat produces an unbalanced line-level signal.This signal is fed from the internal EFX bus,just after the EFX DRIVE LEVEL control.
Use a cable with 1/4" TS plugs to connect theEFFECTS SEND jack to the input of an externaleffects processor. Use a similar cable (or cables)to return the external effects processor’s signalto the EFFECTS RETURN jack(s).
The mono versions (406M, 408M, 808M)have one EFFECTS RETURN jack and the stereoversions (408S, 808S) have two RETURN jacks.These are 1/4" connectors that accept an un-balanced line-level signal.
The EFFECTS SEND and RETURN arenormalling jacks, so with nothing plugged intothe SEND or RETURN jacks, the internal ef-fects signal from the EMAC is routed to theEFX TO MON and EFX TO MAIN controls. Ifyou plug a 1/4" TS plug into the EFFECTS RE-TURN jack(s), the effects signal from theEMAC is disconnected from the signal path.Instead, the external effects signal is routed tothe EFX TO MON and EFX TO MAIN controls.
Note: If you want to use the internal EMACand an external effects processor at the sametime, you have two options.
Serial effects device: The EFFECTS SENDjack is wired the same as the channel INSERTjacks, so you can use it to insert a processor inseries with the EMAC effects. Refer to the“Channel Inserts” section to see how tomake this connection.
Parallel effects device: Plug a TS plug half-way into the EFFECTS SEND jack (to the firstclick). This allows you to use the EFFECTSSEND jack as a direct out without affecting thesignal going to the EMAC. However, you mustuse one of the LINE inputs (or one of the stereochannel’s stereo line inputs if it’s a stereo pro-cessor) to return the signal from the external
“tip”
This plug connects to one of the mixer’s Channel Insert jacks. “ring”
tipring
sleeve
SEND to processor
RETURN from processor
(TRS plug)
Direct out with no signal interruption.Insert only to first “click.”
Channel Insert jack
Channel Insert jack
Channel Insert jack
Direct out with signal interruption.Insert all the way in to the second “click.”
For use as an effects loop.(TIP = SEND to effect, RING = RETURN from effect.)
MONO PLUG
MONO PLUG
STEREO PLUG
24
effects processor. If you plug into the EFFECTSRETURN jack, the signal from the EMAC is dis-connected from the signal path.
EFX FOOT SWITCHYou can connect a normally-open foot
switch to this connector to duplicate thefunction of the EFX BYPASS switch. Closingthe switch connection causes the EFX BYPASSindicator to light and mutes the effects signal.This affects both the internal EMAC and anexternal effects processor (if connected) usingthe EFFECTS SEND and RETURN jacks.
Note: When a foot switch is plugged into theFOOT SWITCH jack, the EFX BYPASS switchis disabled.
POWER AMP IN 1 and 2This is a 1/4" connector that accepts an un-
balanced line-level signal. Whatever signal youplug into these jacks is combined with the in-ternal mixer signals and routed to the poweramplifiers. You could connect the MIXER LINEOUT jacks from another powered mixer tothe POWER AMP IN jacks to increase thenumber of channels available.
You might use these inputs to connect theoutputs from the opening band’s mixing board.This way you don’t have to set up two sets ofspeakers; the other band can plug right intothe PPM Series and use its amplifiers and con-nected speakers (see application diagram onpage 12).
MIXER LINE OUTThis is a 1/4" connector that produces an
unbalanced line-level signal. This signal is fedfrom the internal mixer bus, just after theMAIN MASTER control and MAIN EQUALIZER,and just before the POWER AMP IN jacks.
You can use the MIXER LINE OUTs to connecta second power amplifier, giving you the optionof adding more power and more speakers (seeapplication diagram on page 10).
MONITOR LINE OUTThis is a 1/4" connector that produces an
unbalanced line-level signal. This signal is fedfrom the internal monitor bus, just after theMONITOR MASTER control and MONITOREQUALIZER.
Use this connection to drive an externalmonitor amplifier and speakers, or to supple-ment the PPM Series’ monitor amplifier (whenthe POWER AMP ROUTING switch ispushed in) with another amplifier and speakers(see application diagram on page 8).
TAPE IN and TAPE OUTThese are unbalanced RCA-type connectors
that match those typically used on tape decksand CD players. Use RCA-to-RCA patch cablesto make these connections.
The TAPE IN signal is routed to the mixerbus just after the RUMBLE REDUCTION switchand just before the TAPE IN LEVEL control,MAIN MASTER control, and MAIN EQUALIZER.The TAPE OUT signal is tapped just after theRUMBLE REDUCTION switch, and before theMAIN MASTER control and MAIN EQUALIZER.
Caution: When using theTAPE OUT connectors forrecording, don’t connectthe output of the tape deckto the TAPE IN connectors.
If you do, MAKE SURE the TAPE IN LEVELcontrol is turned all the way down or you willcreate a feedback loop that will cause great dis-tress to you and everyone around you.
EFX FOOTSWITCH
RIGHT RETURNLEFT RETURN
SEND
L MIXER OUT R MIXER OUT COMPRESSOR
L POWERAMP IN
R POWERAMP IN
EFFECTS(OVERRIDES INTERNAL EFX) MONITORMAINS
TAPE IN
TAPE OUT
LEVEL
+15
U
OO
LINE
L R
RL
OUT
408S POWER AMP ROUTING
INOUT
STEREO MAINSLEFT = MAINRIGHT = MONITOR
2 X 250W STEREO
Stereo Version Connector Section
25
Rear Panel Connections
SPEAKER OUTThis is a 1/4" connector that produces an
unbalanced speaker-level signal.Use 1/4" TS speaker cables to connect the
SPEAKER OUTs to the inputs of your speakers.Use at least 18 gauge (18AWG) speaker wire.
Caution: Don’t use standardguitar cables to make theseconnections. Guitar cordsare designed for line-levelsignals (millivolts and
milliamps), not speaker-level signals (severalvolts and several amps).
There are two SPEAKER OUT jacks for eachamplifier. The jacks are wired in parallel so ifyou connect two speakers to an amplifier, theload presented to the amplifier is the parallelimpedance of both speakers. This impedancemust be two ohms or greater.
For parallel connections:8 ohms + 8 ohms = 4 ohms4 ohms + 4 ohms = 2 ohms
SPEAKER OUT
OUTPUT POWER: 250 WATTS / CHANNELMINIMUM SPEAKER LOAD: 2 OHMS / CHANNEL
SPEAKER OUTLEFT / MAIN RIGHT / MONITOR
POWER
T
W
120 VAC 60HZ 320W
ON
SPEAKER OUT
OUTPUT POWER: 250 WATTS / CHANNELMINIMUM SPEAKER LOAD: 2 OHMS / CHANNEL
SPEAKER OUTPOWER AMP 1 / MAIN POWER AMP 2 / MONITOR
Stereo Version Speaker Connectors (408S) Mono Version Speaker Connectors (408M)
EFX FOOTSWITCH
RETURN
SEND
MIXER LINE OUT
POWERAMP 1 IN
POWERAMP 2 IN
EFFECTS(OVERRIDES INTERNAL EFX) MONITORMAINS
TAPE IN
TAPE OUT
LEVEL
+15
U
OO
LINE
L R
RL
OUT
POWER AMP ROUTINGAMP 1
MAINMAIN MONITOR
AMP 2
MAIN
COMPRESSOR
INOUT
2 X 250 WATTS408M
Mono Version Connector Section
IEC SocketThis is where you connect the supplied AC
linecord to provide AC power to the PPM Seriespowered mixer. Plug the linecord into an ACsocket properly configured for your particularmodel.
Note: If you happen to lose the AC linecord,replacements are easily available at any office/computer supply store or Radio Shack® (askfor part number 278-1257).
26
GENERAL PRECAUTIONS AND CONSIDERATIONSNEVER bypass the ACplug’s ground pin. This isdangerous!
It is recommended that a stiff (robust)supply of AC power be used because the amp-lifiers place high momentary current demandson the AC line. The more power that is availableon the line, the louder the amplifiers will playand the more peak output power will beavailable for cleaner, punchier bass. A suspectedproblem of “poor bass performance” is oftencaused by a weak AC supply to the amplifiers.
AC Power DistributionThe majority of AC outlets encountered in
homes and clubs (in the U.S.) are served by a240VAC center-tapped service entrance trans-former. This provides two phases of AC poweron either side of the center tap, at 120V each.
If lighting is used in a show, it is preferableto power the lights from one leg of the service,and power the audio equipment from the otherleg. This will help minimize noise from thelights coupling into the audio (particularly ifSCRs, or light-dimmer switches, are used).
In order to minimize ground loops, the safetygrounds for all the outlets should be connectedto a common (“star”) grounding point, and thedistance between the outlets and the commongrounding point should be as short as possible.
When setting up for a show, oftentimes youare plugging into an AC power distribution sys-tem you know nothing about. You may even befaced with 2-wire outlets that are missing thethird safety ground pin. It’s a good idea to havea three-wire AC outlet tester in your toolbox soyou can check the outlets yourself to makesure they are wired correctly. These testers willtell you if the polarity of the hot and neutralwires is reversed and if the safety ground isdisconnected. Don’t use an outlet if it is wiredimproperly! This is to protect yourself as wellas your equipment.
If you find that you must plug into a two-wireoutlet, you will need to use a two-wire to three-wire adapter (cheater plug). These come with ametal tab that you put underneath the centerscrew that holds the AC outlet faceplate in place.This center screw must be grounded. You cancheck it by connecting the adapter to the outletand then plugging in your handy-dandy ACoutlet tester.
Thermal ConsiderationsThe PPM Series Powered Mixers contain
two powerful built-in amplifiers. All amplifiersproduce heat, and the more power it produces,the more heat is produced. It is important todissipate the heat away from an amplifier asquickly as possible. This results in increasedreliability and longevity for the amplifier. That’swhat the massive die-cast aluminum heatsinkon the rear panel is for.
Heat from the output transistors is coupledto the heatsink, which draws the heat awayfrom the transistors and out to the heatsinkfins. Cool air is drawn through the fins due to aprocess called convection, warming the air andtaking the heat away.
In order for this convection cooling to workefficiently, it is important to provide adequateairspace behind the mixer. We recommendleaving at least six inches of air space behindthe mixer when you set it up.
In the unlikely event of the amplifier overheat-ing, a thermal switch activates and shuts downthe mixer until it cools off. Double-check thespeaker load on each amplifier and make surethat the total impedance of each load is 2 ohms orgreater. If the load impedance drops below 2 ohms,it can cause the amplifier to overheat. If the loadimpedance is okay, overheating may be caused byexcessive ambient temperature (the room’s toohot!). Try using a fan aimed at the heatsink tomove air through the fins faster.
AC Power ConsiderationsBe sure the PPM Series Powered Mixer is
plugged into an outlet that is able to supply thecorrect voltage specified for your model. If thevoltage should drop below 97% of the specifiedline voltage, the built-in amplifiers will nolonger be able to supply rated power. (They willcontinue to operate down to 75% of the ratedvoltage, but won’t reach full power, resulting inlower headroom.)
Under typical conditions, reproducing musicwhere musical peaks are just below clipping,the powered mixers draw the following averagecurrents:
Average Current
Amplifier Loading 406M, 408M, 408S 808M, 808S
8Ω per side 2.0 A 2.2 A
4Ω per side 3.1 A 3.3 A
2Ω per side 4.8 A 5.0 A
(Above current based on using 120V AC line)
27
APPENDIX A: Service Info• Is the channel’s VOLUME control and
the MAIN MASTER control properly set?Refer to the “Level Setting Procedure” onpage 6.
• Is there something plugged into thechannel’s INSERT jack? Plugging into theINSERT jack breaks the signal path forthe channel. Try unplugging any INSERTdevices. If that fixes the problem, makesure you’re using a properly wired send/return cable (see “Making the Connec-tions” on page 22). Make sure thevolume (gain) controls on the externalprocessor connected to the INSERT jackare properly set.
• Is there something plugged into thePOWER AMP IN jacks? Plugging into thePOWER AMP IN jacks breaks the signalpath between the mixer and the ampli-fier. However, the signal source you haveplugged into the POWER AMP IN jacksshould be heard over the speakersconnected to the SPEAKER OUT jacks.
• Are there fuses in the speaker or in-linefuses in the speaker wire? Check ’em tosee if they’re blown.
• Are the speakers working properly? Ifyou have another amplifier that youknow works, plug the speakers into it tomake sure they work.
One side is way louder than the other!For the 408S and 808S:• Do the LEVEL meters read the same on
both sides? If not, the PAN control onthe signal source’s channel strip may beturned too far to one side. If you’re usinga stereo signal source, it may be deliver-ing an out-of-balance stereo signal.
• Try swapping sides: Turn off the poweredmixer, swap the speaker cables at theSPEAKER OUT jacks, turn the mixerback on. If the same side is still louder,the problem is with your speakers orspeaker cabling. If the other side islouder now, the problem is with themixer, the amp, or the signal source.
The bass frequencies diminish whenstanding center, but get louder as youapproach one side!• Check the polarity of the speaker cable
connections. You may have your positiveand negative connections reversed atone end of one speaker cable.
Warranty ServiceDetails concerning Warranty Service are
spelled out on page 35 of this manual.If you think your powered mixer has a prob-
lem, please do everything you can to confirm itbefore calling for service, including readingthrough the following Troubleshooting section.
Of all Mackie products returned for service(which is hardly any at all), many are coded“CND” — Could Not Duplicate, which usuallymeans the problem lay somewhere else in thesystem. Here are some things you can check:
Troubleshooting
No power!• Our favorite question: Is it plugged in?
Make sure the AC outlet is live (checkwith a tester or lamp).
• Our next favorite question: Is the POWERswitch on? If not, try turning it on.
• Is the green POWER light on the frontpanel illuminated? If not, make sure theAC outlet is live. If so, refer to “Nosound” below.
• The AC line fuse inside the mixer isblown. This is not a user-serviceablepart. Refer to “Repair” on page 28 to findout how to proceed.
No sound!• Are the INPUT LEVEL SET controls
turned all the way down? Follow theprocedures in the “Quick Start” sectionon page 6 to verify that all the level andvolume controls are properly adjusted.
• Is the signal source working (andmaking union scale)? If it’s a micro-phone, make sure the mic cable is ingood repair and securely connected atboth ends. If it’s a condenser micro-phone, make sure the PHANTOMPOWER switch is turned on. If it’s aninstrument, again make sure the con-necting cables are in good repair andsecurely connected at both ends. Makesure the output volume (gain) controlfor the instrument is turned up suffi-ciently to drive the inputs of the mixer.You should be able to see the INPUTLEVEL SET LED blink when you turn upthe INPUT LEVEL SET control.If you’re monitoring the TAPE IN, makesure the tape deck’s Tape/Source switchis set to “Tape,” and make sure the TAPEIN LEVEL control on the powered mixeris turned up to unity (center position).
28
As soon as the music gets loud, the mixershuts down!• Check the LEVEL meters. Be sure that
the CLIP LED is not lighting upfrequently or continuously.
• Make sure there is room behind thepowered mixer to provide sufficientventilation to the heatsink. If it gets toohot, it will shut down the show.
• Is the total speaker impedance connectedto each amplifier 2 ohms or greater? Ifthe impedance is too low, the amplifiermay overheat and shut down.
It hurts when I touch my arm, or my leg, oreven my head!• You have a broken finger.
Bad sound!• Is it loud and distorted? Follow the
procedures described in the “QuickStart” section to verify that the levels areset properly.
• Is the input connector plugged completelyinto the jack? Check the speaker connec-tions and verify that all connections aretight and that there are no stray strands ofwire shorting across the speaker terminals.
• Keep practicing.
Noise/Hum• Turn the channel VOLUME knobs down
one by one. If the noise disappears, it’seither that channel or whatever isplugged into it. If not, turn down the EFXTO MAIN control. If the noise disappears,it could be coming from an externaleffects device plugged into the EFFECTSRETURN jack(s).
• Make sure all connections to the pow-ered mixer are good and sound.
• Make sure none of the signal cables arerouted near AC cables, power transform-ers, or other EMI-inducing devices.
• Is there a light dimmer or other SCR-based device on the same AC circuit asthe powered mixer? Use an AC line filteror plug the powered mixer into a differ-ent AC circuit.
• Is there an external processor or otherelectronic device connected to thepowered mixer? Make sure it is pluggedinto the same AC circuit as the poweredmixer to reduce the possibility of creat-ing a ground loop.
• Refer to “Grounding” in Appendix B.
There’s sound in the monitors even thoughall the channel MONitor controls are turneddown!• Make sure the EFX TO MON control is
turned down. This control adds the “wet”effects signal to the monitor output evenwhen there is no monitor signal present.
RepairService for the PPM Series Powered Mixers
is available only from one of our authorized do-mestic service stations or at the factory, locatedin sunny Woodinville, Washington. Service forMackie Powered Mixers living outside theUnited States can be obtained through localdealers or distributors.
If your powered mixer needs service, followthese instructions:1. Review the preceding troubleshooting
suggestions. Please.2. Call Tech Support at 1-800-258-6883, 8am
to 5pm PST, to explain the problem andrequest an RA (Return Authorization)number. Have your powered mixer’s serialnumber ready. You must have an RAnumber before you can obtain service atthe factory or an authorized service center.
3. Keep this owner’s manual. We don’t need itto repair the powered mixer.
4. Pack the powered mixer in its originalpackage, including endcaps and box. Thisis very important. When you call for theRA number, please let Tech Support knowif you need new packaging. Mackie is notresponsible for any damage that occursdue to non-factory packaging.
5. Include a legible note stating your name,shipping address (no P.O. boxes), daytimephone number, RA number, and a detaileddescription of the problem, including howwe can duplicate it.
6. Write the RA number in BIG PRINT ontop of the box.
7. Ship the powered mixer to us. We recom-mend United Parcel Service (UPS). Wesuggest insurance for all forms of cartage.Ship to this address:
Mackie DesignsSERVICE DEPARTMENT16220 Wood-Red Rd. NEWoodinville, WA 98072
29
Unbalancing a LineIn most studio, stage, and sound reinforce-
ment situations, there is a combination ofbalanced and unbalanced inputs and outputson the various pieces of equipment. Thisusually will not be a problem in makingconnections.
• When connecting a balanced output toan unbalanced input, be sure the signal high(hot) connections are wired to each other, andthat the balanced signal low (cold) goes to theground (earth) connection at the unbalancedinput. In most cases, the balanced ground willalso be connected to the ground at the unbal-anced input. If there are ground-loop problems,this connection may be left disconnected at thebalanced end.
• When connecting an unbalanced outputto a balanced input, be sure that the signalhigh (hot) connections are wired to eachother. The unbalanced ground (earth) connec-tion should be wired to the low and the groundconnections of the balanced input. If there areground-loop problems, try connecting the un-balanced ground connection only to the inputlow connection, and leaving the input groundconnection disconnected.
• In some cases, you will have to make upspecial adapters to interconnect your equip-ment. For example, you may need a balancedXLR female connected to an unbalanced 1/4"
APPENDIX B: Some Arcane Mysteries Illuminated
Balanced LinesBalanced lines offer increased immunity
to external noise (specifically, hum and buzz).Because a balanced system is able to minimizenoise, it is the preferred interconnect method,especially in cases where very long lengths ofcable are being used. A long unbalanced cablecarries with it more opportunity for noise to getinto a system — having balanced inputs meansvery little noise will enter the system via snakesand other cables that typically must run a longlength.
A balanced line is a three-wire system wheretwo wires carry the signal and the third is aground wire that shields the inner conductorsfrom EMI. The two inner conductors carry thesame signal, but with opposite polarity. Thebalanced input amplifies only the differencebetween the two conductors. But a signal thatis common to both conductors, and in phase, isrejected (canceled out) at the balanced input.This includes hum from AC lines or other EMIinduced noise.
An unbalanced line does not have thisnoise-rejecting capability because it has onlytwo conductors. One conductor carries the sig-nal and the other is a ground wire that shieldsthe inner conductor. Any hum or EMI noisethat gets through the shield is added to the sig-nal and amplified at the unbalanced input.Often the hum can be louder than the signal itself!
8. We’ll try to fix the mixer within threebusiness days. Ask Tech Support for thelatest turn-around times when you call foryour RA number. We normally send every-thing back prepaid using UPS BLUE(Second Day Air). However, if you rushyour powered mixer to us by Next Day Air,we’ll treat it in kind by shipping it back toyou UPS RED (Next Day Air). This para-graph does not necessarily apply tonon-warranty service.
30
TS phone plug. The balanced-to-unbalancedconnection has been anticipated in the wiringof Mackie jacks. A 1/4" TS plug inserted into a1/4" TRS balanced input, for example, auto-matically unbalances the input and makes allthe right connections. Conversely, a 1/4" TRSplug inserted into a 1/4" unbalanced inputautomatically ties the ring (low or cold) toground (earth).
GroundingGrounding exists in your audio system for
two reasons: product safety and noise reduc-tion. The third wire on the power cord existsfor product safety. It provides a low-resistancepath back to the electrical service to protectthe users of the product from electrical shock.Hopefully, the resistance to ground through thesafety ground (third wire) is lower than thatthrough the user/operator to ground. If you re-move this connection (by breaking or cuttingthe pin off, or by using a ‘ground cheater’), thisalternate ground path ceases to exist, which isa safety hazard.
The metal chassis of the product, theground connections provided by the variousconnectors, and the shields within your con-necting cables provide a low-potential point fornoise signals. The goal is to provide a lower im-pedance path to ground for noise signals thanthrough the signal wiring. Doing so helpsminimize hum, buzz, and other extraneousnon-audio signals.
Many “authorities” tell you that shieldsshould be connected only at one end. Some-times this can be true, but for most (99%)audio systems, it is unnecessary. If you do ev-erything else correctly, you should be able toconnect every component of your audio systemusing standard, off-the-shelf connecting cablesthat are available at any music store.
Here are some guidelines:1. Use balanced lines if at all possible. They
provide better immunity to induced noiseand ground loops. Remember that you canbalance a line by inserting in-line a piece ofequipment that has a balanced output.
2. Avoid using three-phase power lines sincethey are usually used for air conditioningand other heavy power equipment. If using240VAC single phase with center-groundpower, connect all audio equipment to oneside of the AC power, and all lighting andother equipment to the other side.
3. Be sure all AC outlet safety grounds areconnected to one common point in a starground arrangement. This common groundpoint should then tie back to earth groundat the service entrance by one heavystranded wire, #2 gauge or larger.
4. Don’t cut the third pin off the power cord.Carry some ground-lifter adapters and usethem only if you have to plug into anancient two-wire outlet.
5. Cables that are too long are less likely topick up hum if you uncoil them in theirentirety, and then find a place to stow theexcess. Leaving the excess coiled only helpsthe cable pick up hum more efficiently.
6. If you bundle your cables together, don’tbundle AC wiring and audio wiring to-gether. Bundle them separately.
7. If your sound system insists on humming,you may want to teach it the words.
31
Maximum Input LevelsMic Input: –20 dBu, Trim @ 0 dB (HI)
+20 dBu, Trim @ –40 dB (LOW)Line Input: 0 dBu, Trim @ 0 dB (HI)
+40 dBu, Trim @ 40 dB (LOW)Insert Input: +20 dBuStereo Line Input: +20 dBuTape Input: +20 dBuEffects Return: +20 dBuPower Amp In: +22 dBu
Input SensitivityMinimum Input Level to produce +4 dBu @ Main
Mixer OutputMic Input: –68 dBuInsert Input: –28 dBuLine Input: –48 dBuStereo Line Input: –28 dBuTape Input: –18 dBuEffects Return: –18 dBu
Maximum Voltage GainMic Input to Insert Output: 40 dB Tape Output: 60 dB Main Mixer Output: 72 dBLine Input to Insert Output: 20 dB Tape Output: 20 dB Main Mixer Output: 52 dBStereo Line Input to Tape Output: 20 dB Main Mixer Output: 32 dBTape Input to Tape Output: 10 dB Main Mixer Output: 22 dBEffects Return to Main Mixer Output: 22 dB Monitor Output: 22 dB
Input ImpedanceMic Input: 3kΩ, balancedInsert Input: 10kΩ, unbalancedLine Input: 40kΩ, balancedStereo Line Input: 10kΩ, unbalancedTape Input: 10kΩ, unbalancedEffect Return: 10kΩ, unbalancedPower Amp In: 10kΩ, unbalanced
Output ImpedanceMain Mixer Output: 150ΩInsert Output: 150ΩTape Output: 150ΩMonitor Output: 150ΩEffects Send: 150ΩPower Amp Out: 0.032Ω @ 1kHz
Digital EffectsResolution: 16-bit, 2-channelSample Rate: 31.25kHzBandwidth: 15.6kHz
VU MetersMain and Monitor 8 segments: Clip, +5, 0, –5, –10, –15, –20, –30
APPENDIX C: Technical InfoSpecificationsPPM Series Powered Mixers406M, 408M, 408S, 808M, 808S
Mixer Section
Frequency ResponseMic Input to Main Mixer Output (Trim at 0 dB):
+0, –1 dB, 32Hz to 20kHz+0, –3 dB, 16Hz to 80kHz
Mic Input to Power Amp Output @ rated power output:+0, –1 dB, 32Hz to 20kHz+0, –3 dB, 16Hz to 55kHz
DistortionTHD and SMPTE IMD; 20Hz to 20kHz
Mic Input to Main Mixer Output:< 0.005% @ +4 dBu output
Mic Input to Power Amp Output:< 0.15%, 250mW to rated power
Common Mode Rejection Ratio (CMRR)60 dB @ 1kHz, Trim @ 0 dB
Noise20Hz to 20kHz BW (150Ω source impedance)
Equivalent Input Noise (EIN):–127 dBu
Residual Output Noise:Main Mixer, Monitor, & Effects outputsChannel & Master levels off–95 dBu
Main Mixer Output Noise:Master @ nominal (–10 dB), all channels off–92 dBuMaster & 1 input channel @ nominal(–10 dB & –20 dB), Trim @ 0 dB–85 dB
CrosstalkAdjacent Inputs or Input to Output:
–90 dB @ 1kHzFader Off
–90 dB @ 1kHzBreak Switch Mute
–80 dB @ 1kHz
Input Level Trim Control Range0 to –40 dB
Phantom Power+15V DC
EqualizationRumble Reduction: 75Hz, –18 dB/octaveChannel EQ:
High ±15 dB @ 12kHzMid ±12 dB @ 2.5kHzLow ±15 dB @ 80Hz
Graphic EQ (9 bands):Q = 1.414, ISO octave centers±15 dB @ 63, 125, 250, 500 1k, 2k, 4k, 8k, 16k Hz
Main Mixer Section Rated OutputMain Mixer, Monitor, & Effects: +4 dBuMaximum Main Mixer Section Output: +20 dBu
32
Power Amplifier Section
Maximum Power at 1% THD, midband, bothchannels driven406M, 408M, 408S
250 watts per channel into 2Ω200 watts per channel into 4Ω125 watts per channel into 8Ω
808M, 808S
600 watts per channel into 2Ω450 watts per channel into 4Ω300 watts per channel into 8Ω
Continuous Sine Wave Average Output Power,both channels driven (rated power)406M, 408M, 408S
180 watts per channel into 4Ω from 40Hz to 20kHz,with no more than 0.15% THD110 watts per channel into 8Ω from 40Hz to 20kHz,with no more than 0.10% THD
808M, 808S
340 watts per channel into 4Ω from 40Hz to 20kHz,with no more than 0.15% THD240 watts per channel into 8Ω from 40Hz to 20kHz,with no more than 0.10% THD
Power Bandwidth< 10Hz to 30kHz (+0, –1 dB) @ rated power into 4Ω
Frequency Response< 10Hz to 30kHz (+0, –1 dB)< 10Hz to 55kHz (+0, –3 dB)
DistortionTHD, SMPTE IMD: < 0.10% @ 8Ω
< 0.15% @ 4Ω
Signal-to-Noise Ratio> 105 dB below rated power into 8Ω
Channel Separation> 75 dB @ 1kHz
Damping Factor> 250 @ 1kHz
Amp Input Impedance10kΩ unbalanced, 20kΩ balanced
Input Sensitivity406M, 408M, 408S 1.35 volts (+4.8 dBu) for rated power into 4 ohms
808M, 808S 1.76 volts (+7.1 dBu) for rated power into 4 ohms
Gain (Amp In to Speaker Out)26.4 dB (21V/V)
Maximum Input Level9.75 volts (+22 dBu)
Rise Time406M, 408M, 408S < 5µs808M, 808S < 6.2µs
Slew Rate406M, 408M, 408S > 40V/µs808M, 808S > 50V/µs
Load Angle8(±jx) time independent at 8Ω4(1±jx) time dependent at 4Ω
High Frequency Overload and Latching:No latch up at any frequency or level.
High Frequency Stability:Unconditionally stable, driving any reactive orcapacitive load
Turn On Delay:3 seconds
AC Power RequirementsUnited States: 120VAC, 60HzEurope: 240VAC, 50HzJapan: 100VAC, 50/60HzKorea: 220VAC, 60Hz(Capable of operation from 75% to 110% of rated linevoltage)
PhysicalHeight: 11.7 inches (297mm)Width: 20.5 inches (521mm)Overall Depth: 13 inches (330mm)Weight: 406M, 408M, 408S 32 pounds (14.5 kg) 808M, 808S 36 pounds (16.3 kg)
DisclaimerSince we are always striving to make our products
better by incorporating new and improved materials,components, and manufacturing methods, we reservethe right to change these specifications at any timewithout notice.
This product is sold by weight, not by volume.
Contributors and ColophonThis manual was written and laid out by David Franzwa at
Mackie Galactic Headquarters overlooking the beautifulSammamish Slough in sunny Woodinville, WA. Input wasprovided by the following Mackoids:
Steve Eborall, technical writer; Sara Delahan, Art Director;Paul Larson, Tech Support Maestro; Rick Bos, Powered MixerProduct Manager and on-staff tall person; Jeff Gilbert, long-time Mackoid and technical advisor; CJ Murray, project engineer.Proofreading provided by the ever-faithful Linn Compton.Additional tidbits provided by Rick Chinn and Ron Koliha.
Preliminary text was written on a Power Macintosh® 8100/100AV using Microsoft® Word 98. Typesetting was performedon the same Power Macintosh using Adobe® PageMaker® 6.5.Illustrations were created using Adobe® Illustrator® 7.0. Fontsused include ITC Century Light Condensed, Avenir Demi, andTekton. Subheadings were made with Futura Condensed. Fontmanagement provided by Adobe® Type Manager® Deluxe 4.0and Type Reunion® Deluxe 2.0.
“Mackie,” the “Running Man” figure, “PPM Series,”“FR Series,” and “EMAC” are trademarks or registered trademarksof Mackie Designs Inc.
All other brand names mentioned are trademarks or registeredtrademarks of their respective holders, and are hereby acknowledged.
®©1999 Mackie Designs Inc.All Rights Reserved.Printed in the U.S.A.
33
Block DiagramsPPM Series Powered MixersStereo Versions (408S, 808S)
63
125
250
500
1K2K
4K8
K16
K
DAM
PIN
G/D
EPTH
TIM
E/RA
TE
EFX
WID
E
10 5 0 -5 -10 -15
-30
-40
-20d
B
L R
MID
HI
80
2K5
12K
LO
75H
zH
PF
75H
zH
PF6
312
525
050
01K
2K4K
8K
16K
10 5 0 -5 -10 -15
-30
-40
10 5 0 -5 -10 -15
-30
-40
75H
zH
PF6
312
525
050
01K
2K4K
8K
16K
PHA
NTO
M
+15V
DC
MID
HI
80
2K5
12K
LO
MID
HI
80
2K5
12K
LO
COM
PRES
SOR
COM
PRES
SOR
PHA
NTO
M
TRIM
(IN
PUT
LEVE
L SE
T)0
to 4
0dB
GLO
BAL
PHAN
TOM
POW
ER
PWR
AM
PG
ROUN
DCH
ASS
ISG
ROUN
D
PWR
AM
PG
ROUN
DCH
ASS
ISG
ROUN
D
RIG
HT
POW
ERA
MP
IN
MIC
/LIN
ECH
1-6
3-BA
ND
EQ+/
- 15d
B
+/- 1
5dB
+/- 1
5dB
+VDC
+VDC
BREA
K(M
UTES
CH
1-6
, EFX
, A
ND
MO
NIT
OR)
PHA
NTO
M
L'R'
EFXMON
LR
EFX
EFX
TO M
ON
ITO
R
EFX
TO M
AIN
EFX
BYPA
SS
EFX
CLIP
EFX
RETU
RN L
EFX
SEN
D
LEFT
PO
WER
AM
P IN
LEFT
MIX
ERO
UT
AM
P RO
UTIN
G
TAPE
IN
TAPE
OUT
L
STER
EO M
AIN
S
MA
IN/M
ON
ITO
R
MO
NIT
OR
EFX
PAN
VOLU
ME
MO
NIT
OR
EFX
PAN
TRIM
(IN
PUT
LEVE
L SE
T)
TAPE
OUT
R
MA
IN M
AST
ER
LEVE
L
MO
NIT
OR
LEVE
L
STER
EOCH
7-8
INSE
RT0
to 4
0dB
Off
to
+20d
B
Off
to
+20d
B
Off
to
+10d
B
+/- 1
5dB
Off
to
+12d
B
Off
to
+20d
B
Off
to
+10d
B
Off
to
+12d
B
Off
to
+10d
B
Off
to
+10d
B
Off
to
+12d
B
Off
to
+10d
B
EFX R
ETUR
N R
RIG
HT
MIX
ERO
UT
MO
NIT
OR
LIN
E O
UT
+/- 1
5db
+/- 1
5db
3-BA
ND
EQ
9-BA
ND
EQ
9-BA
ND
EQ
9-BA
ND
EQ
3-BA
ND
EQ
EFX
FOO
TSW
ITCH
LEVE
L
MAC
KIE
DESI
GNS
PPM
STE
REO
BLOC
K DI
AGRA
M(#
1209
9CJM
/DF)
LEFT
AM
P
LEFT
SPE
AKE
RO
UT
RIG
HT
AM
P
RIG
HT
SPEA
KER
OUT
RUM
BLE
FILT
ER
RUM
BLE
FILT
ER
RUM
BLE
FILT
ER
TAPE
INLE
VEL
VOLU
ME
Off
to
+20d
B
LEFT
/M
ON
O
RIG
HT
EMAC
DSP
34
Mono Versions (406M, 408M, 808M)
63
125
250
500
1K2K
4K8
K16
K
EFX
RET
L
EFX
RET
REF
X W
IDE
10 5 0 -5 -10 -15
-30
-40
-20d
B
L R
MID
HI
80
2K5
12K
LO
75H
zH
PF
10 5 0 -5 -10 -15
-30
-40
75H
zH
PF6
312
525
050
01K
2K4K
8K
16K
MID
HI
80
2K5
12K
LO
COM
PRES
SOR
COM
PRES
SOR
PHA
NTO
M
TRIM
(IN
PUT
LEVE
L SE
T)0
to 4
0dB
PHA
NTO
M
+15V
DC
GLO
BAL
PHAN
TOM
POW
ER
PWR
AM
PG
ROUN
DCH
ASS
ISG
ROUN
D
LEFT
PO
WER
AM
P IN
PWR
AM
PG
ROUN
DCH
ASS
ISG
ROUN
D
RIG
HT
POW
ERA
MP
IN
DAM
PIN
G/D
EPTH
TIM
E/RA
TE
MIC
/LIN
ECH
1-6
3-BA
ND
EQ+/
- 15d
B
+/- 1
5dB
+VDC
+VDC
BREA
K(M
UTES
CH
1-6
, EFX
, A
ND
MO
NIT
OR)
PHA
NTO
M
MAIN'EFX
MONMAIN
EFX
EFX
TO M
ON
ITO
R
EFX
TO M
AIN
EFX
BYPA
SS
EFX
CLIP
EFX
RETU
RN
MIX
ERLI
NE
OUT
AM
P RO
UTIN
G
TAPE
IN
TAPE
OUT
L
MA
INS
MA
IN/M
ON
ITO
R
MO
NIT
OR
EFX
VOLU
ME
MO
NIT
OR
EFX
TRIM
(IN
PUT
LEVE
L SE
T)
TAPE
OUT
RM
AIN
MA
STER
LE
VEL
MO
NIT
OR
LEVE
L
STER
EOCH
7-8
(Not
Ava
ilabl
eon
the
406
M)
INSE
RT0
to 4
0dB
Off
to
+20d
B
Off
to
+20d
B
Off
to
+10d
B
+/- 1
5dB
Off
to
+12d
B
Off
to
+20d
B
Off
to
+10d
B
Off
to
+12d
B
Off
to
+10d
B
Off
to
+10d
B
Off
to
+12d
B
Off
to
+10d
B
MO
NIT
OR
LIN
E O
UT
+/- 1
5db
3-BA
ND
EQ
9-BA
ND
EQ
9-BA
ND
EQ
EFX
FOO
TSW
ITCH
LEVE
L
MAC
KIE
DESI
GNS
PPM
MON
OBL
OCK
DIAG
RAM
(#12
099C
JM/D
F)
LEFT
AM
P
LEFT
SPE
AKE
RO
UT
RIG
HT
AM
P
RIG
HT
SPEA
KER
OUT
RUM
BLE
FILT
ER
RUM
BLE
FILT
ER
TAPE
INLE
VEL
VOLU
ME
Off
to
+20d
B
LEFT
/M
ON
O
RIG
HT
EFX
SEN
DLE
FT S
PEA
KER
OUT
EMAC
DSP
35
A. Mackie warrants all materials, workmanship andproper operation of this PPM Series product for aperiod of one year from the original date ofpurchase. If you complete the optional question-naire portion of the Product Registration Card, thewarranty will be extended for an additional twoyears. If any defects are found in the materials orworkmanship or if the product fails to functionproperly during the applicable warranty period,Mackie, at its option, will repair or replace theproduct. This warranty applies only to equipmentsold and delivered within the U.S. by Mackie orits authorized dealers.B. Failure to return the card will not void the 1-yearwarranty.C. Service and repairs of Mackie products are to beperformed only at the factory (see D below) OR at anAuthorized Mackie Service Center (see E below).Unauthorized service, repairs, or modification willvoid this warranty.D. To obtain factory service:
1. Call Mackie at 800/258-6883, 8AM to 5PMMonday through Friday (Pacific Time) to get aReturn Authorization (RA). Products returnedwithout an RA number will be refused.2. Pack the PPM Series product in its originalshipping carton. If you do not have the carton,just ask for one when you get your RA number,and we’ll send a shipping carton out promptly.More information on packing can be found inthe Service section of the appropriate manual.Also include a note explaining exactly how toduplicate the problem, a copy of the sales receiptwith price and date showing, and your returnstreet address (no P.O. boxes or route numbers,please!). If we cannot duplicate the problem atthe Mackie Factory or establish the starting dateof your Limited Warranty, we may, at ouroption, charge for service time.3. Ship the product in its original shippingcarton, freight prepaid to:
Mackie Designs Inc.SERVICE DEPARTMENT
16220 Wood-Red Road NEWoodinville, WA, 98072, USA
IMPORTANT: Make sure that the RA number isplainly written on the shipping carton.
E. To obtain service from an Authorized Mackie ServiceCenter:
1. Call Mackie at 800/258-6883, 8AM to 5PMMonday through Friday (Pacific Time) to get 1)The name and address of your nearest MackieAuthorized Service Center and 2) A returnauthorization (RA). You must have an RA numberbefore taking your unit to a service center.2. Make sure that you have a copy of your PPMSeries sales receipt from the store where youbought the product. It is necessary to establishpurchase date and thus determine whether or notyour PPM Series product is still under warranty. Ifyou can't find it, the Authorized Service Centermay charge you for repairs even if your PPMSeries product is still covered by Mackie's 1-YearLimited Warranty.3. Make sure that the problem can be dupli-cated. If you bring your PPM Series product to
an Authorized Service Center and they can't findanything wrong with it, you may be charged aservice fee.4. If the Mackie Authorized Service Center islocated in another city, pack the PPM Seriesproduct in its original shipping carton. Moreinformation on packing can be found in theService section of the appropriate manual.5. Contact the Mackie Authorized Service Centerto arrange service or bring the PPM Seriesproduct to them.
F. Mackie and Mackie Authorized Service Centersreserve the right to inspect any products that maybe the subject of any warranty claims before repairor replacement is carried out. Mackie and MackieAuthorized Service Centers may, at their option,require proof of the original date of purchase in theform of a dated copy of the original dealer’s invoiceor sales receipt. Final determination of warrantycoverage lies solely with Mackie Designs Inc. or itsAuthorized Service Centers.G. Mackie PPM Series products returned to Mackieand deemed eligible for repair or replacementunder the terms of this warranty will be repaired orreplaced within thirty days of receipt by Mackie atour rainforest factory complex. Products returned toMackie that do not meet the terms of this Warrantywill be repaired and returned C.O.D. with billingfor labor, materials, return freight, and insurance.Products repaired under warranty at Mackie'sfactory will be returned freight prepaid by Mackieto any location within the boundaries of the USA.H. Mackie assumes no responsibility for the qualityor timeliness of repairs performed by MackieAuthorized Service Centers.I. This warranty is extended to the originalpurchaser and to anyone who may subsequentlypurchase this product within the applicablewarranty period.J. This is your sole warranty. Mackie does notauthorize any third party, including any dealer orsales representative, to assume any liability onbehalf of Mackie Designs or to make any warrantyfor Mackie Designs.K. THE WARRANTY GIVEN ON THIS PAGE IS THESOLE WARRANTY GIVEN BY MACKIE AND IS INLIEU OF ALL OTHER WARRANTIES, EXPRESSAND IMPLIED, INCLUDING THE WARRANTIESOF MERCHANTABILITY AND FITNESS FOR APARTICULAR PURPOSE. THE WARRANTY GIVENON THIS PAGE SHALL BE STRICTLY LIMITED INDURATION TO ONE YEAR FROM THE DATE OFORIGINAL PURCHASE FROM AN AUTHORIZEDMACKIE DEALER. UPON EXPIRATION OF THEAPPLICABLE WARRANTY PERIOD, MACKIESHALL HAVE NO FURTHER WARRANTY OBLIGA-TION OF ANY KIND. MACKIE SHALL NOT BELIABLE FOR ANY INCIDENTAL, SPECIAL, ORCONSEQUENTIAL DAMAGES THAT MAY RESULTFROM ANY DEFECT IN THE MACKIE PRODUCTOR ANY WARRANTY CLAIM. Some states do notallow exclusion or limitation of incidental, special,or consequential damages or a limitation on howlong warranties last, so some of the above limita-tions and exclusions may not apply to you. Thiswarranty provides specific legal rights and you mayhave other rights which vary from state to state.
Please keep your sales receipt in a safe place.
PPM SERIES LIMITED WARRANTY
Some of thepeople at ourWoodinvi l le,
Washington factorywho helped
design, bui ld, sel l ,and support your
product .
Some of thepeople at ourWoodinvi l le,
Washington factorywho helped
design, bui ld, sel l ,and support your
product .
®
®
®
™
Mackie Designs Inc.Mackie Designs Inc.
16220 Wood-Red Rd. NE • Woodinville, WA 98072 • USA800/898-3211 • Outside the US: 425/487-4333
Fax: 425/487-4337 • www.mackie.comE-mail: [email protected]
