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17

Delays

There are four delays available. Delay 1 has

one repeat after the original note. Delay 2 has
two repeats, Delay 3 has three, and Delay 4 has
four. The 

TIME/RATE PARAMETER

 controls the

time between repeats, with the fastest repeats
at the 

0

 position and the slowest repeats at 

10

.

The 

DAMPING/DEPTH PARAMETER

 controls

the damping, with the darkest tone at 

0

 and

the brightest tone at 

10

. For an analog tape

delay sound, use a darker setting so that each
subsequent repeat is darker than the prior one.
For a crisp digital delay sound, use a brighter
setting so the tone retains its high end on each
subsequent repeat. Since the delay effect is not
stereo, it is not affected by the 

EFX WIDE

 switch.

DELAY 1

: One repeat. Works best for

slapback 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 as
flute. Especially effective for some finger-picking
styles. Delay range adjustable from 5ms to 524ms.

DELAY 3

: Three repeats. An excellent delay

for slow, bluesy vocals and melodic flute music.
This delay usually works best when the chan-
nel EFX send is set at less than halfway. Delay
range adjustable from 5ms to 524ms.

DELAY 4

: Four repeats. This is for very dra-

matic delay effects, particularly for enhancing
long vocal notes and dramatic instrumental
note-chopping effects. Be sure to set the chan-
nel EFX send at about halfway. Delay range
adjustable from 5ms to 524ms.

Modulation Effects

These include Chorus, Flange and Phaser,

and are generally used for enhancement of
instrumental music. However, Chorus adds a
dramatic effect to vocals as well. The 

EFX WIDE

switch is very effective at dramatically increas-
ing the strength and thickness of a modulation
effect. For example, using the 

EFX WIDE

 on

Chorus mimics a multi-voiced chorus effect.

The 

TIME/RATE PARAMETER

 controls the

effect Rate, which is the speed of the sweeping
effect. Fully counter-clockwise produces the
slowest sweeps and fully clockwise produces
the fastest. 

DAMPING/DEPTH PARAMETER

controls the effect depth, which is the strength
of the sweeping effect. Fully counter-clockwise
produces the lightest sweeping effect and fully
clockwise produces the thickest.

CHORUS 

: Provides a soft, ethereal sweeping

effect. Perfect for enhancement of electric and
acoustic guitar and bass. Also adds a dramatic
effect to vocals, particularly group harmonies
and choirs. The channel 

EFX

 send should be set

halfway or higher. Rate adjustable from 0.5Hz to
30Hz. Depth adjustable from 0% to 100%.

FLANGE 

: Creates a strong sweeping effect,

particularly effective on rock electric guitar, lead
and rhythm. The channel 

EFX

 send should be set

halfway or higher. Rate adjustable from 0.5Hz to
20Hz. Depth adjustable from 0% to 100%.

PHASER 

: This effect is perfect for enhanc-

ing strummed acoustic guitar or electric guitar
power chords. The 

PHASER

 effectively dupli-

cates the popular 70's phase shift effect used
for guitar. Rate adjustable from 0.5Hz to 35Hz.
Depth adjustable from 50% to 100%.

Name

Parameters

Typical Applications

Reverbs

Decay/Pre-delay

REVERSE

35ms-515ms/none

Special effects on instruments or drums

GATED

35ms-515ms/none

Special effects on instruments or drums

CATHEDRAL

2sec-10sec/75ms

Wind instruments; acoustic guitar; choir

LG. HALL

1sec-5sec/75ms

Vocals; electric and acoustic guitar

MD. HALL

750ms-2.5sec/65ms

Vocals; electric and acoustic guitar

LG. PLATE

1sec-5sec/none

Vocals; snare

MD. PLATE

750ms-2.5sec/none

Tight vocals; snare

SM. ROOM

250ms-1sec/30ms

Tight vocals

SPRING

1sec-5sec/none

Acoustic guitar

Delays

Delay/No. of Repeats

DELAY 1

5ms-524ms/1

Country, swing guitar; rockabilly vocals

DELAY 2

5ms-524ms/2

Rock, gospel vocals; acoustic guitar; wind instruments

DELAY 3

5ms-524ms/3

Slow, bluesy vocals; melodic flute

DELAY 4

5ms-524ms/4

Long vocal notes

Chorus/Flange/Phase

Modulation/Depth

CHORUS

0.5Hz-30Hz/0%-100%

Electric, acoustic guitars; bass; choir

FLANGE

0.5Hz-20Hz/0%-100%

Rock electric guitar

PHASER

0.5Hz-35Hz/50%-100%

Strummed acoustic guitar, electric guitar power chords

EMAC SELECTIONS

Summary of Contents for 406M

Page 1: ...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...

Page 2: ...pr sent appareil num rique n met pas de bruits radio lectriques d passant las limites applicables aux appareils num riques de class A de class B selon le cas prescrites dans le r glement sur le broui...

Page 3: ...ally dangerous exposure to high sound pressure levels it is recommended that all persons exposed to equipment capable of producing these levels use hearing protectors while this unit is in operation E...

Page 4: ...s and we ve applied what we ve learned to the mechanical design of our powered mixers Reliability is paramount to sound reinforce ment That s why our engineers have subjected our powered mixers to the...

Page 5: ...ON 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 20 POWER switch 21 MAKING T...

Page 6: ...controls to center including the graphic EQ sliders Turn down the MAIN MASTER and MONITOR MASTER controls 2 If your microphone is a condenser mic push in the PHANTOM POWER switch If you are using bot...

Page 7: ...0 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 RIGHT LEFT RIGHT MIC 7 MIC 8 75Hz RUMBLE REDUCTION PHANTOM POWER CH 1 8 BREAK MUTES CH...

Page 8: ...EFX TO MON U O O 10 U 12dB O O 75Hz RUMBLE REDUCTION RIGHT RIGHT MIC 7 MIC 8 75Hz RUMBLE REDUCTION PHANTOM POWER CH 1 8 BREAK MUTES CH 1 6 408S POWER AMP ROUTING SM ROOM MD PLATE LG PLATE LG HALL GATE...

Page 9: ...INE HI Z SUM MONO MIC LINE HI Z AMP 1 MAIN MAIN MONITOR AMP 2 MAIN 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...

Page 10: ...EDUCTION RIGHT RIGHT MIC 7 MIC 8 75Hz RUMBLE REDUCTION PHANTOM POWER CH 1 8 BREAK MUTES CH 1 6 808S POWER AMP ROUTING SM ROOM MD PLATE LG PLATE LG HALL GATED REVERSE CATHEDRAL MD HALL SPRING PHASER DE...

Page 11: ...PHASER DELAY 4 CHORUS DELAY 3 DELAY 1 FLANGE DELAY 2 IN OUT STEREO MAINS LEFT MAIN RIGHT MONITOR 2 X 400W STEREO PROFESSIONAL POWERED MIXER LEVEL 30 CLIP 5 5 0 10 15 20 L R LEFT MONO LEFT MONO STEREO...

Page 12: ...10 15 20 L R LEFT MONO LEFT MONO STEREO MIC LINE HI Z STEREO MIC LINE HI Z 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 NORM...

Page 13: ...BREAK MUTES CH 1 6 808S POWER AMP ROUTING 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 R...

Page 14: ...obs cut as well as the right boost EFX MON HI 12kHz MID 2 5kHz LOW 80Hz PAN VOLUME CH 1 INPUT LEVEL SET MIC 1 INSERT LINE 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 R L Stere...

Page 15: ...is controlled by the MONITOR MASTER control Themonitorsendsignalispre EQandpre VOLUME soifyouadjustthesecontrolstheywill affectonlythemainmixandnotthemonitormix Each MON send control ranges from off...

Page 16: ...rfect for vocals and snare Decay range adjustable from 1 second to 5 seconds No pre delay MD PLATE Good early reflections and no pre delay Tails are short and warm with strong high end for increased p...

Page 17: ...the effect Rate which is the speed of the sweeping effect Fully counter clockwise produces the slowest sweeps and fully clockwise produces the fastest DAMPING DEPTH PARAMETER controls the effect depth...

Page 18: ...Note Make sure the singer is within 3 to 6 inches of the microphone No amount of EQ can save a vocal when the singer is too far away from the microphone 2 For more presence set the 4K and 8K sliders...

Page 19: ...al level at the MONITOR LINE OUT and the MIXER LINE OUT To attain the best signal to noise ratio while still maintain ing adequate headroom set the MONITOR MASTER and MAIN MASTER controls so the 0 dB...

Page 20: ...our monitor speakers When the switch is pushed IN the main mix is routed to the input of the MAIN power amp and the monitor mix is routed to the input of the MONITOR power amp You can still con nect u...

Page 21: ...rip 2 2 3 1 1 SHIELD COLD HOT SHIELD COLD HOT 3 SHIELD COLD HOT 3 2 1 Balanced XLR Connectors SLEEVE SHIELD TIP SLEEVE TIP HOT RING COLD RING TIP SLEEVE RING Balanced 1 4 TRS Plug MAKING THE CONNECTIO...

Page 22: ...a TS plug like a guitar plug or if it s a TRS plug like a headphone plug make sure the ring is tied to the shield preferably at the source You can connect an input signal to both the MIC input and th...

Page 23: ...el Inserts section to see how to make this connection Parallel effects device Plug a TS plug half way into the EFFECTS SEND jack to the first click This allows you to use the EFFECTS SEND jack as a di...

Page 24: ...the other band can plug right into the PPM Series and use its amplifiers and con nected speakers see application diagram on page 13 MIXER LINE OUT This is a 1 4 connector that produces an unbalanced l...

Page 25: ...everyone around you Rear Panel Connections SPEAKER OUT This 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 y...

Page 26: ...holdstheACoutletfaceplateinplace This center screw must be grounded You can check it by connecting the adapter to the outlet and then plugging in your handy dandy AC outlet tester Thermal Consideratio...

Page 27: ...ling If the other side is louder now the problem is with the mixer the amp or the signal source Warranty Service If you think your powered mixer has a prob lem please do everything you can to confirm...

Page 28: ...R based device on the same AC circuit as the powered mixer Use an AC line filter or plug the powered mixer into a differ ent AC circuit Is there an external processor or other electronic device connec...

Page 29: ...unity to external noise specifically hum and buzz Because a balanced system is able to minimize noise it is the preferred interconnect method especially in cases where very long lengths of cable are b...

Page 30: ...t 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 to connect every component of your audio system using stan...

Page 31: ...le Rate 31 25kHz Bandwidth 15 6kHz VU Meters Main and Monitor 8 segments Clip 5 0 5 10 15 20 30 APPENDIX C Technical Info Specifications PPM Series Powered Mixers 406M 408M 408S 808M 808S Mixer Sectio...

Page 32: ...40VAC 50Hz Japan 100VAC 50 60Hz Korea 220VAC 60Hz Capable of operation from 75 to 110 of rated line voltage Physical Height 11 7 inches 297mm Width 20 5 inches 521mm Overall Depth 13 inches 330mm Weig...

Page 33: ...6 EFX AND MONITOR PHANTOM L R EFX MON L R EFX EFX TO MONITOR EFX TO MAIN EFX BYPASS EFX CLIP EFX RETURN L EFX SEND LEFT POWER AMP IN AMP ROUTING TAPE IN TAPE OUT L STEREO MAINS MAIN MONITOR MONITOR E...

Page 34: ...NITOR PHANTOM MAIN EFX MON MAIN EFX EFX TO MONITOR EFX TO MAIN EFX BYPASS EFX CLIP EFX RETURN MIXER LINE OUT AMP ROUTING TAPE IN TAPE OUT L MAINS MAIN MONITOR MONITOR EFX VOLUME MONITOR EFX TRIM INPUT...

Page 35: ...35 NOTES...

Page 36: ...rope Asia Central South America 425 487 4333 Middle East Africa 31 20 654 4000 Fax 425 487 4337 www mackie com E mail sales mackie com Some of the people at our factory who helped design build sell an...

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