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With its built-in effects, compressors and graphic EQ, this compact console might just be ideal for small-scale live work. Although the manual doesn't say whether these preamps are based on earlier Mackie designs or not, they work well in practice, they sound clean, and they have adequate headroom and negligible noise.
Of course, there's phantom power for capacitor mics or active DI boxes, and this is switchable globally. There's no EQ bypass, unfortunately, so you have to rely on the centre detents on the controls if you want to set the EQ flat.
Each channel has its own mute button, with an accompanying LED that shows both mute and input overload status. The channel strips have access to three auxiliary sends, of which the first two are pre-fader and intended for monitoring, and the third is post-fader and designated for effects.
Channels additionally have a TRS jack insert point. For connecting external audio devices, there are stereo tape in and out sockets on RCA phonos. In addition to the main output, which is presented on both XLR and jack sockets, there are four 'sub' buses, each with its own jack output. The buses can individually be routed to the left, right or both channels of the master bus, via buttons labelled 'L' and 'R'.
The on-board effects are courtesy of the built-in bit effects processor. A rotary control scrolls through the available digital effects, and separate controls regulate the amount of effect being added to the main mix, or the two monitor auxes.
These are basic soft-knee compressors, and they sound fairly benign in action as long as you are sensible with the amount you use. The seven-band graphic EQ sits above the master section, and it can be applied either to the main mix output, or to the aux 1 output for EQ'ing the stage monitor.
The graphic equaliser is well suited to moulding the sound to different rooms, but it is far too coarse to be very useful in tackling feedback — you need 24 or more bands to do that. Having low-cut filters on the mic inputs makes it easy to attenuate unwanted low end, and can also reduce the likelihood of vocal popping. The mid-range EQ sweep, meanwhile, actually goes low enough to be useful in addressing boom and boxiness problems.
The USB side of things is somewhat limited, as it is only capable of handling two channels, but it's still better to have it than not. On the whole, though, the Pro FX16 is very useful for live work, as long as you don't require more than 10 mic inputs. It's well built and sounds good, while the built-in effects, compressors, graphic EQ and USB interfacing all add to its value.
Pros Traditional, solid construction. Clean sound quality with decent EQ. Useful effects built in, with footswitch bypass option.
Cons Only 10 physical microphone inputs. No tap-tempo for delay effects. No channel EQ bypass. Buy PDF version. Previous article Next article. New forum posts Re: Where is Administration soundonsound. Recent topics Where is Administration soundonsound. The analogue-summing '3D' effect: what actually is it? Equipment ID help! Does DSP have latency? Does acoustic foam actually do anything? Login You may login with either your assigned username or your e-mail address.
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Mackie Manuals and User Guides
With its built-in effects, compressors and graphic EQ, this compact console might just be ideal for small-scale live work. Although the manual doesn't say whether these preamps are based on earlier Mackie designs or not, they work well in practice, they sound clean, and they have adequate headroom and negligible noise. Of course, there's phantom power for capacitor mics or active DI boxes, and this is switchable globally. There's no EQ bypass, unfortunately, so you have to rely on the centre detents on the controls if you want to set the EQ flat.
Mackie ProFX16 Manuals
Mackie Pro FX16