Mackie PPM1012 owner manual Connection Section, MIC Inputs, Phantom Power

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6

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MIC 1

LINE

(BAL/UNBAL)

INSERT

MIC 2

LINE

(BAL/UNBAL)

INSERT

MIC 3

LINE

(BAL/UNBAL)

INSERT

MIC 4

LINE

(BAL/UNBAL)

INSERT

MIC 5

LINE

(BAL/UNBAL)

INSERT

MIC 6

LINE

(BAL/UNBAL)

INSERT

7	MIC 7
	HI-Z
	LINE

(BAL/UNBAL)

INSERT

MIC 8

7 HI-Z LINE

(BAL/UNBAL)

INSERT

10		11	13	14
			L		15
1		1				L
2		2	R			R
			IN	OUT
MON SEND	FX SEND		TAPE		MAIN INSERT
L		L		L		L
8 (MONO) 8		(MONO) 12		(MONO) 12		(MONO)
R		R		R		R
INPUT 9/10	INPUT 11/12		FX RTN 1		FX RTN 2

L

16 16 L

R

R

17

M

MAIN OUT M

21

LAMP

12V 0.5A

FX

FOOTSWITCH

TIP:FX1

RING:FX2

PHONES

OO MAX

LEVEL

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Owner’s Manual

Connection Section

This is where you plug in things such as: microphones, line-level instruments, guitars, and effects, a recorder, PA system, powered monitors, powered subwoofer etc. (The speaker-level outputs from the internal power amplifiers are on the rear panel.) Check out the hookup diagrams for some connection ideas. See Appendix B (page 29) for further details and some rather lovely drawings of the connectors you can use with your mixer.

5. MIC 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 almost any kind of mic that has a standard XLR-type male mic con- nector.

Professional ribbon, dynamic, and condenser mics all sound excellent through these inputs. The mic inputs will handle any kind of mic level you can toss at them, without overloading.

Microphone-level signals are passed through the mixer's splendid microphone preamplifiers to become line-level signals.

Channels 1 to 6 have the extra benefit of dedicated in-line compressors [25]. These can be adjusted to add just the right amount of compression to your vocals and help prevent distortion and overloading.

PHANTOM POWER

Most modern professional condenser mics require 48V phantom power, which lets the mixer send low-cur- rent DC voltage to the mic’s electronics through the same wires that carry audio. (Semi-pro condenser mics often have batteries to accomplish the same thing.) “Phantom” owes its name to an ability to be “unseen” by dynamic mics (Shure SM57/SM58, for instance), which don’t need external power and aren’t affected by it anyway.

The mixer's phantom power is globally controlled by the phantom [43] switch. (The phantom power for all channels is turned on and off together.)

Never plug single-ended (unbalanced) micro-

phones, or ribbon mics into the mic input jacks if phantom power is on. Do not plug

instrument outputs into the mic XLR input jacks with phantom power on, unless you know for certain it is safe to do so.

6. MONO LINE INPUTS (Ch. 1 to 6)

These 1/4" jacks share circuitry (but not phantom power) with the mic preamps, and can be driven by bal- anced or unbalanced sources.

To connect balanced lines to these inputs, use a 1⁄4" Tip-Ring-Sleeve (TRS) plug.

To connect unbalanced lines to these inputs, use a 1⁄4" mono (TS) phone plug or instrument cable.

7. LINE/INSTRUMENT INPUTS (Ch. 7 and 8)

The line-level inputs for channels 7 and 8 can also accept instrument-level signals if the hi-z switches

[26]are pressed in. This allows you to connect guitars directly to channels 7 and 8, without the need for a DI box. The input impedance is optimized for direct con- nection, and high-frequency fidelity is assured.

8. STEREO LINE INPUTS (Ch. 9/10 and 11/12)

These channels have stereo line inputs. If you just have a mono source, plug it into the left input channel 9 or 11 (labeled left/mono), and the signal will appear (as if by magic) equally on the left and right of the main mix.

Owner’s Manual

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