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15

EFX Send

This taps the channel’s signal out to either

the internal 

EMAC

 Digital Stereo Effects

Processor or to an external device via the

EFFECTS SEND

 jack for parallel effects pro-

cessing. Each channel’s effects send signal is
controlled by the channel’s 

EFX

 knob, and the

overall effects send level is controlled by the

EFX DRIVE LEVEL

 

 knob (located in the

EMAC

 section).

The effects send signal is post-EQ and post-

VOLUME

, so these controls affect the signal

going to the effects processor, be it internal or
external.

Each 

EFX

 send control ranges from off

through unity (the center detent position) on
up to +10 dB of extra gain (when turned fully
clockwise). Chances are you’ll never need this
much extra gain, but it’s nice to know it’s there
if you do.

Normally the effects send signal is routed

to the internal 

EMAC

 Digital Stereo Effects

Processor (more on 

EMAC

 coming up). However,

if you plug into the 

EFFECTS SEND 

 jack

(located just below the 

EMAC

 section) you

can send the effects signal to an external
effects device. You can return the signal from
the external effects device by plugging its
output into the 

EFFECTS RETURN

 jack(s)

just below the 

SEND

 jack. 

This disconnects

the 

EMAC

 from the internal effects bus.

You mix the amount of effects you want

returned to the main mix by adjusting the 

EFX

TO MAIN

 

 control located just above the

MAIN MASTER 

. You can also add effects to

the monitor mix by adjusting the 

EFX TO

MON

 

 control located just above the

MONITOR MASTER 

.

Note:

 See “Effects Send and Return” on

page 22 to see how to use 

EMAC

 and an

external effects processor at the same time.

MON Send

This taps the channel’s signal out to an

external amplifier, which powers your moni-
tor speakers, via the 

MONITOR LINE OUT

jack. Each channel’s monitor send signal is
controlled by the channel’s 

MON

 knob, and

the overall monitor send level is controlled by
the 

MONITOR MASTER

 

 control.

The monitor send signal is pre-EQ and pre-

VOLUME

, so if you adjust these controls they will

affect only the main mix and not the monitor mix.

Each 

MON

 send control ranges from off

through unity (the center detent position) on
up to +15 dB of extra gain.

EMAC Section Description

EMAC™ stands for Extended Multiply and

Accumulate, which is a proprietary 32-bit digital
stereo processor developed by our Digital
Engineering Group. It provides 16 preset digital
effects algorithms for you to select. In addition
to the presets, there are two parameter controls

/

 you can adjust to change the sound and

make it unique for your particular application.

EFX BYPASS

EFX DRIVE

LEVEL

12

0

NORMAL

EFX

CLIP

CUSTOM 32-BIT PRECISION

DIGITAL STEREO EFFECTS PROCESSING

EFX WIDE

EFX DRIVE LEVEL

This controls the signal level being sent to

the input of the 

EMAC

 module (and to the 

EFX

SEND

 jack). Use the 

EFX

 controls on the indi-

vidual channels to adjust the amount of each
channel’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 getting

enough of the effect in the main mix, make
sure that the 

EFX TO MAIN

 control is turned

up at least to unity (the center detent posi-
tion). It’s okay to turn up the 

EFX DRIVE

LEVEL

 some more if you need to. Just make

sure the 

EFX CLIP 

LED never lights more than

occasionally. Read on to find out why.

EFX CLIP

This indicates when the 

EMAC

 is 6 dB

below clipping. This LED should only light
occasionally. If it blinks frequently, you should
turn down the 

EFX DRIVE LEVEL

 a little.

Digital clipping is not pleasant to behold.

EFX BYPASS

Pushing in this button causes the 

EFX

BYPASS

 indicator to light and mutes the

effects signal. It affects both the internal

EMAC

 effects and any external effects

processor you may have connected to the

EFFECTS RETURN

 jack.

EFX

MON

HI

12kHz

MID

2.5kHz

LOW
80Hz

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

Mono Version

Channel Strip

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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