Mackie PPM1012 Owner'S Manual Download Page 34

34

PPM1012

PPM1012

Appendix D: Table of Effects Presets

No. Title

Description

Example of its use

01

Plate Reverb

This preset emulates vintage mechanical reverberation 

that was generated with a metal plate. Its sound is char-

acterized by lots of early refl ections and no pre-delay.

Perfect for thickening percussive instruments, such 

as a snare drum, or tight vocal arrangements.

02

Vocal Plate

This vintage plate emulation is warmer than your 

standard plate, with a long reverberant tail, lots of fast 

refl ections and a very short pre-delay. 

Particularly suited for vocal signals, but can also 

be used for extra-thick drum tracks.

03

Warm Room

This preset is characterized by lots of fast early refl ections 

with a short pre-delay to simulate the sound of a small, 

wood paneled room. 

Useful for adding a tight and controlled 

ambient effect to vocals and acoustic instruments.

04

Bright Room

This room has a bright tone with lots of scattered refl ec-

tions to simulate harder, more refl ective surfaces. 

Useful on vocals that require a brighter reverb to 

cut through the mix, or for giving acoustic instru-

ments a livelier vibe. 

05

 Warm Lounge

This preset features a medium sized room sound, with 

just enough enhancement of the lower mids to produce a 

warm tone. 

Useful for vocals on songs that require a larger, 

more “wet” sound, or for giving dimension to 

bright horns without adding harshness. 

06

Small Stage

This preset simulates the sound of a small concert stage, 

with a medium reverb time and reverberant space. 

Useful for vocals or guitars in fast paced, high-

energy songs that call for a “live” sounding 

reverberation.

07

Warm Theater

This reverb has a warm bodied tone and medium long 

reverb time to simulate the live acoustics of a theater 

space. 

Perfect for vocals, drums, acoustic and electric 

guitars, keyboards, and more. 

08

Bright Stage

This preset emulates the sound of a large performance 

stage, characterized by medium long reverb time and 

pre-delay, plus a touch of sizzle. 

Great for adding life and dimension to drums and 

other acoustic instruments, and for that big live 

vocal sound.

09

Warm Hall

This reverb simulates the sound of a spacious, yet cozy, 

heavily draped and carpeted concert hall with an espe-

cially warm tone. 

Perfect for adding natural concert hall ambience 

to close-mic’ed orchestral instruments. 

10

Concert Hall

This hall reverb is characterized by its large, spacious 

sound, long pre-delay, and vibrant tone. 

Adds life to acoustic instruments and vocals from 

solos to full-on symphonies and choirs. 

11

Cathedral

This reverb emulates the extremely long tails, dense dif-

fusion and long pre-delays and refl ections that would be 

found in a very large, stone walled house of worship. 

Gives amazing depth to choirs, wind instruments, 

organs, and soft acoustic guitars. 

12

Gated Reverb

This preset incorporates an age-old trick whereby an 

extremely dense reverb is processed through a fast gate 

for an interesting, albeit artifi cial, sound. 

Most often used to fatten snare drums and toms 

without clutter. 

13

Chorus

This preset provides a soft, ethereal sweeping effect that 

is useful for thickening and for making a particular sound 

pop out of the mix. 

Perfect for enhancement of electric and acoustic 

guitar and bass, or to add a dramatic effect to 

vocals, particularly group harmonies and choirs.

14

Reverb

This preset perfectly combines the chorus effect above 

with a large, roomy reverb. 

This lets you both thicken your sound with the 

chorus effect while adding warmth and spacious-

ness thanks to the smooth reverb.

15

Doubler

This effect simulates the sound of a vocal or instrument 

being recorded twice (double tracked) on a multi-track 

recorder. 

Provides a vibe that is similar to chorus without 

the subtle swirl. 

16

Tape Slap

This effect provides a single, relatively rapid delay of the 

original signal, with the added warmth that vintage tape-

based echo units provided.  

Often used on vocals for a 1950’s era feel, or on 

guitars for a surf-type tone. Often used by people 

whose favorite number is 16.

17
18
19
20
21
22

DLY 1 Bright (350ms)

DLY 1 Warm (300ms)

DLY 2 Bright (250ms)

DLY 2 Warm (200ms) 

DLY 3 Bright (175ms)

DLY 3 Warm (150ms)

These 6 delay presets provide one (delay 1), three (delay 

2), or six (delay 3) repeats of the original signal. The 

default delay time for each preset is shown in mS - the 

smaller the time, the faster the delay. Delay times can 

easily be customized to suit the moment by tapping the 

knob [63] more than once. 

These work best with full, up-beat music like rock 

where the delay needs to cut through the mix. 

Warm delays get progressively softer and warmer 

in tone with each repetition and work great with 

slow, mellow music. Bright delays have repeats 

that are consistent in tone with the original sound. 

23

DLY (300ms)

This effect combines the thickening effect of the chorus 

with the echoes of the 3-repeat delay effect. 

Delay times can easily be customized to suit the moment 

by using the Tap feature.

Useful on a clean electric guitar that needs a 

mildly swirling, ethereal tone. 

24

DLY (200ms)

This effect combines the Warm Theater reverb effect with 

the echoes of the 3-repeat delay effect. 

Delay times can easily be customized to suit the moment 

by using the Tap feature.

Perfect for thickening vocals while adding dimen-

sions, it can also be used as a spacey effect on 

electric guitars.

For presets 17 to 24, the delay can be entered by tapping the preset selector knobs [63] more than once.

Summary of Contents for PPM1012

Page 1: ...1 5k 150 8k 100 EQ 12kHz HI PAN AUX SEND MON 1 MON 2 FX 1 FX 2 U 15 O O U 15 O O U 15 O O U 15 O O R L PAN AUX SEND MON 1 MON 2 FX 1 FX 2 U 15 O O U 15 O O U 15 O O U 15 O O R L PAN AUX SEND MON 1 FX...

Page 2: ...sult the dealer or an experienced radio TV technician for help CAUTION Changes or modifications to this device not expressly approved by LOUD Technologies Inc could void the user s authority to operat...

Page 3: ...of turn on or turn off thumps in your speakers Save the shipping box Read This Page We realize that you must be really keen to try out your new powered mixer Please read the safety instructions on pag...

Page 4: ...power can be applied to all mics Built in compressors on the first 6 mono inputs dedicated in line compression Two independent internal FX processors each with 24 Running Man 32 bit effects with input...

Page 5: ...IX A SERVICE INFORMATION 28 APPENDIX B CONNECTIONS 29 APPENDIX C TECHNICAL INFORMATION 31 APPENDIX D TABLE OF EFFECTS PRESETS 34 PPM1012 LIMITED WARRANTY 35 IMPORTANT SAFETY INSTRUCTIONS 2 READ THIS P...

Page 6: ...LOW MID FREQ R L 600 1 5k 150 8k 100 EQ 12kHz HI PAN AUX SEND MON 1 MON 2 FX 1 FX 2 U 15 O O U 15 O O U 15 O O U 15 O O 15 U 15 15 U 15 15 U 15 80Hz LOW MID FREQ R L 600 1 5k 150 8k 100 EQ 12kHz HI PA...

Page 7: ...I PAN AUX SEND MON 1 MON 2 FX 1 FX 2 U 15 O O U 15 O O U 15 O O U 15 O O 15 U 15 15 U 15 15 U 15 80Hz LOW MID FREQ R L 600 1 5k 150 8k 100 EQ 12kHz HI PAN AUX SEND MON 1 MON 2 FX 1 FX 2 U 15 O O U 15...

Page 8: ...15 O O 15 U 15 15 U 15 15 U 15 80Hz LOW MID FREQ R L 600 1 5k 150 8k 100 EQ 12kHz HI PAN AUX SEND MON 1 MON 2 FX 1 FX 2 U 15 O O U 15 O O U 15 O O U 15 O O 15 U 15 15 U 15 15 U 15 80Hz LOW MID FREQ R...

Page 9: ...EQ R L 600 1 5k 150 8k 100 EQ 12kHz HI PAN AUX SEND MON 1 MON 2 FX 1 FX 2 U 15 O O U 15 O O U 15 O O U 15 O O 15 U 15 15 U 15 15 U 15 80Hz LOW MID FREQ R L 600 1 5k 150 8k 100 EQ 12kHz HI PAN AUX SEND...

Page 10: ...kon Connection 1 4 TS outputs are wired Tip positive and Sleeve negative 1 4 TS Connection These two types of outputs are wired in parallel and it is possible to use both types at once The minimum imp...

Page 11: ...INPUTS We use phantom powered balanced microphone inputs just like the big studio mega consoles for exactly the same reason This kind of circuit is excellent at rejecting hum and noise You can plug in...

Page 12: ...mpressor 25 circuits on channels 1 6 but before the channel s EQ 27 32 and fader 40 The channel signal can go out of the insert jack to an external device be processed or whatever and come back in on...

Page 13: ...uts to the line level inputs of external power ampli fiers running passive loudspeakers or to the inputs of powered loudspeakers This is useful if you need more power or if you already have this equip...

Page 14: ...o effect It cannot un mute or mute it The footswitch only affects the internal FX It has no effect on the output to and input from external effects processors MIC 1 MIC 2 MIC 3 MIC 4 MIC 5 MIC 6 MIC 7...

Page 15: ...5 O O 15 U 15 15 U 15 15 U 15 80Hz LOW MID FREQ R L 600 1 5k 150 8k 100 EQ 12kHz HI PAN AUX SEND MON 1 MON 2 FX 1 FX 2 U 15 O O U 15 O O U 15 O O U 15 O O 15 U 15 15 U 15 15 U 15 80Hz LOW MID FREQ R L...

Page 16: ...want to hear and filtering it out makes the low stuff you do want much more crisp and tasty Not only that but low cut can help reduce the possibili ty of feedback in live situations and it helps to c...

Page 17: ...e chance of distortion due to overloading the input signals Dynamic range is the difference in level be tween the quietest part of your song and the loudest part Using a compressor you are able to squ...

Page 18: ...LOW HI MID 2 5kHz LOW MID 400Hz U 15 15 U 15 15 U 15 15 U 15 15 12kHz HI 80Hz LOW HI MID 2 5kHz LOW MID 400Hz GAIN U 20 PAN AUX SEND EQ COMP COMP COMP COMP COMP COMP 20 MON 1 MON 2 FX 1 FX 2 U 15 O O...

Page 19: ...ent This control is only available on the stereo channels 32 LOW EQ The low EQ provides up to 15 dB of boost or cut below 80 Hz The circuit is flat no boost or cut at the center detent posi tion This...

Page 20: ...set correctly for your input device and that the channel EQ 27 32 is not set with too much boost The 20 0 and 10 LEDs show the channel signal strength 40 CHANNEL FADER The channel faders adjust the l...

Page 21: ...a pack of wild dogs Although it may not seem cool to turn down controls with EQ it is often your best option Turn down any offending frequency range rather than boost the wanted range Having many slid...

Page 22: ...eds your special touch If you are not using the monitor 2 system keep this switch out The EQ will then operate on your main left and right mix 47 POWER AMP LIMITER LEDs These independent LEDs turn on...

Page 23: ...is trashing the stage there will be no upsetting micro phone yells noise thumps or rumbles heard in the main speakers The monitor 1 and monitor 2 outputs are not affected by the break switch so you co...

Page 24: ...ur powered subwoofer or mono loudspeaker match the level of the other loudspeakers in your system The mono output can be the full frequency range to run a mono PA for example or just the low frequen c...

Page 25: ...2 signals sent to the mon 1 and mon 2 line level outputs 10 and the monitor speaker level outputs 3 if the internal power amplifiers are playing monitor 1 or 2 These give you ultimate control over you...

Page 26: ...n the send master levels 60 if these come on regularly The signals going into the processors are affected by the channel FX 1 and 2 aux sends 35 36 and the channel gain 23 EQ 27 32 and channel faders...

Page 27: ...current digital delay The minimum tap delay is 50 ms and the maxi mum is 500 ms If your taps are faster than 50 ms they will be set to 50 ms If taps are between 500 ms and 1 second they will be set t...

Page 28: ...puts main inserts or other line level outputs such as mono out mon 1 send mon 2 send FX1 and FX2 send just in case one of your external pieces has a problem If the power amp limiter lights come on oft...

Page 29: ...ophone adapter Y two cables out of a female 1 4 TRS jack to two male XLR plugs one for the Right signal and one for the Left Unbalanced Send Return circuits When wired as send return Y connector a 1 4...

Page 30: ...gnals in one connector See Figure F The sleeve is the common ground earth for both signals The send from the mixer to the external unit is carried on the tip and the return from the unit to the mixer...

Page 31: ...EQ Main and Monitor 1 15 dB 63 125 250 500 1k 2k 4k 8k and 16 kHz Connections Mic input XLR balanced Line mono input 1 4 TRS balanced Line stereo input 1 4 TRS balanced Main outputs 1 4 TRS balanced...

Page 32: ...an authorized collection site for recycling waste electrical and electronic equipment EEE Improper handling of this type of waste could have a possible negative impact on the environment and human he...

Page 33: ...o Mon 2 FX1 Mon 1 FX2 Solo logic R sum Pan Solo pfl FX2 Mon2 Mute Pan FX2 Mon2 L R Solo pfl Mute L Insert R Insert Tape in level Mon 2 Mon2 Out Mon2 Main 9 band Graphic EQ 9 band Graphic EQ Mon2 level...

Page 34: ...d reflections that would be found in a very large stone walled house of worship Gives amazing depth to choirs wind instruments organs and soft acoustic guitars 12 Gated Reverb This preset incorporates...

Page 35: ...r those units deemed by us to be under warranty Note You must have a sales receipt from an authorized Mackie dealer for your unit to be considered for warranty repair IMPORTANT Make sure that the Serv...

Page 36: ...Road NE Woodinville WA 98072 USA United States and Canada 800 898 3211 Europe Asia Central and South America 425 487 4333 Middle East and Africa 31 20 654 4000 Fax 425 487 4337 www mackie com E mail s...

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