Introduction
The Mackie ProFXv3 Series Effects Mixers with USB offer an affordable and versatile solution for live sound, home recording, and content creation. Available in models ranging from 6 to 30 channels, these mixers are designed to elevate your sound quality. They feature Mackie's renowned Onyx™ mic preamps, delivering up to 60 dB of headroom and ultra-low noise for exceptional clarity, even with gain-hungry microphones. Enhanced with an integrated GigFX™ effects engine offering 24 distinct effects and a 24-Bit/192kHz 2x4 USB recording interface for zero-latency monitoring, the ProFXv3 series empowers users to record and produce like a pro. The package includes ProTools® | First and Waveform™™ OEM professional software and plugin bundles.
How to Use This Manual
This manual is structured to guide you through setup and operation. Following the introduction, a "Getting Started" section provides quick setup instructions. Hookup diagrams illustrate typical system configurations, while subsequent sections offer in-depth explanations of features and functions specific to the ProFXv3 Series mixers.
Key Icons:
- ℹ️ VERY IMPORTANT: Marks information that is critically important or unique to the ProFXv3 series.
- ? A CLOSER LOOK: Indicates in-depth explanations of features and practical tips.
- ⚠️ NOTE: Draws attention to certain features and functions related to usage.
Things to Remember:
- For hearing protection, please refer to the Safety Instructions on page 2.
- Save the original shipping box and packing materials for future use.
- Keep your sales receipt in a safe place.
Getting Started
Follow these steps to quickly set up your ProFXv3 mixer:
- Turn down all channel EQ and pan knobs, and set all faders fully down.
- Set all channel EQ and pan knobs to their center detent.
- Ensure all buttons are in the "out" position.
- Connect the main outputs to your powered speakers (or amplifier for passive speakers).
- Plug in the mixer's power cord and turn on the mixer.
- Turn on your powered speakers or amplifier. Adjust their level controls as recommended by the manufacturer.
- Plug signal sources into the mixer:
- Microphones into mic inputs (engage phantom power if needed).
- Line-level sources (keyboards, drum machines) into line inputs.
- Ensure input volume is consistent with normal use.
- Turn up the channel's gain knob until the level set LED illuminates.
- Engage the L-R assign switch (on applicable models) and bring up the channel fader to the "U" (unity gain) position.
- Slowly raise the main fader to a comfortable listening level.
- Repeat steps 7-10 for other channels.
Serial Number Recording: Please write your serial numbers here for future reference (e.g., insurance claims, tech support).
Purchased at: _________________________
Date of purchase: _________________________
Important Safety Instructions
Read and heed all warnings and instructions.
- Read these instructions.
- Keep these instructions.
- Heed all warnings.
- Follow all instructions.
- Do not use this apparatus near water.
- Clean only with a dry cloth.
- Do not block any ventilation openings. Install per manufacturer's instructions.
- Do not install near heat sources (radiators, heat registers, stoves, amplifiers).
- No naked flame sources (e.g., lighted candles) should be placed on the apparatus.
- Do not defeat the safety purpose of polarized or grounding-type plugs. Consult an electrician for outlet replacement if the plug does not fit.
- Protect the power cord from being walked on or pinched.
- Only use manufacturer-specified attachments/accessories.
- Use only with a cart, stand, tripod, bracket, or table specified by the manufacturer. Use caution when moving cart/apparatus combinations to avoid tip-over.
- Unplug this apparatus during lightning storms or when unused for long periods.
- Refer all servicing to qualified personnel. Servicing is required if the apparatus is damaged (e.g., cord, plug, liquid spilled, objects fallen, exposed to rain/moisture, not operating normally, or dropped).
- This apparatus shall not be exposed to dripping or splashing, and no liquid-filled objects shall be placed on it.
- Do not overload wall outlets and extension cords to avoid fire or electric shock.
⚠️ CAUTION: RISK OF ELECTRIC SHOCK! DO NOT OPEN!
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE COVER (OR BACK). NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.
The lightning flash with arrowhead symbol (⚡) within an equilateral triangle alerts users to the presence of uninsulated "dangerous voltage" within the product's enclosure, posing a risk of electric shock.
The exclamation point within an equilateral triangle (❗) alerts users to the presence of important operating and maintenance instructions in the accompanying literature.
- This apparatus is designed with Class-I construction and must be connected to a mains socket outlet with protective earthing (third grounding prong).
- This apparatus is equipped with a rocker-style AC mains power switch located on the rear panel, which should remain readily accessible.
- The MAINS plug or an appliance coupler serves as the disconnect device and must remain readily operable.
- The use of this apparatus is intended for tropical and/or moderate climates.
WARNING - To reduce the risk of fire or electric shock, do not expose this apparatus to rain or moisture.
Laite on liitettävä suojakoskettimilla varustettuun pistorasiaan. Apparatet må tilkoples jordet stikkontakt. Apparaten skall anslutas till jordat uttag.
FCC Compliance (USA)
NOTE: This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures:
- Reorient or relocate the receiving antenna.
- Increase the separation between the equipment and the receiver.
- Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.
- Consult the dealer or an experienced radio/TV technician for help.
CAUTION: Changes or modifications to this device not expressly approved by LOUD Audio, LLC could void the user's authority to operate the equipment under FCC rules.
This device complies with FCC radiation exposure limits set forth for an uncontrolled environment. This device should be installed and operated with minimum distance 20cm between the radiator & your body.
Canadian Compliance
This apparatus does not exceed the Class A/Class B (whichever is applicable) limits for radio noise emissions from digital apparatus as set out in the radio interference regulations of the Canadian Department of Communications.
ATTENTION - Le présent appareil numérique n'émet pas de bruits radioélectriques dépassant las limites applicables aux appareils numériques de class A/de class B (selon le cas) prescrites dans le réglement sur le brouillage radioélectrique édicté par les ministere des communications du Canada.
This device complies with Industry Canada's licence-exempt RSSs. Operation is subject to the following two conditions: (1) this device may not cause interference, and (2) this device must accept any interference, including interference that may cause undesired operation of the device.
Le présent appareil est conforme aux CNR d'Industrie Canada applicables aux appareils radio exempts de licence. L'exploitation est autorisée aux deux conditions suivantes: (1) l'appareil ne doit pas produire de brouillage, et (2) l'utilisateur de l'appareil doit accepter tout brouillage radioélectrique subi, même si le brouillage est susceptible d'en compromettre le fonctionnement.
Noise Exposure Information
Exposure to extremely high noise levels may cause permanent hearing loss. Individuals vary considerably in susceptibility to noise-induced hearing loss, but nearly everyone will lose some hearing if exposed to sufficiently intense noise for a period of time. The U.S. Government's Occupational Safety and Health Administration (OSHA) has specified the permissible noise level exposures shown in the following chart. According to OSHA, any exposure in excess of these permissible limits could result in some hearing loss. To ensure against potentially dangerous exposure to high sound pressure levels, it is recommended that all persons exposed to equipment capable of producing high sound pressure levels use hearing protectors while the equipment is in operation. Ear plugs or protectors in the ear canals or over the ears must be worn when operating the equipment in order to prevent permanent hearing loss if exposure is in excess of the limits set forth here:
| Duration, per day in hours | Sound Level dBA, Typical Example (Slow Response) | Example |
|---|---|---|
| 8 | 90 | Duo in small club |
| 6 | 92 | |
| 4 | 95 | Subway Train |
| 3 | 97 | |
| 2 | 100 | Very loud classical music |
| 1.5 | 102 | |
| 1 | 105 | Chaz screaming at Troy about deadlines |
| 0.5 | 110 | |
| 0.25 or less | 115 | Loudest parts at a rock concert |
Proper Disposal of This Product
Correct disposal of this product: This symbol (♻️) indicates that this product should not be disposed of with household waste, according to the WEEE directive (2012/19/EU) and your national law. This product should be handed over to 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 health due to potentially hazardous substances generally associated with EEE. Your cooperation in the correct disposal of this product will contribute to the effective usage of natural resources. For more information about where you can drop off your waste equipment for recycling, please contact your local city office, waste authority, or your household waste disposal service.
Features
Mix/Record/Create
The ProFXv3 Series offers a versatile solution for live sound, home recording, content creation, and live streaming. Models are available in 6, 10, 12, 16, 22, and 30 channels to suit various application needs.
Renowned Onyx™ Mic Preamps
With up to 60 dB of gain and ultra-low noise, ProFXv3 mixers provide superior sound quality, ideal for microphones popular with content creators requiring high-gain preamps.
High-Resolution GigFX™ Effects Engine
Features 24 distinct effects, including reverbs and delays, to add depth and character to your sound.
24-Bit/192kHz 2x4 USB Recording Interface
Offers high-quality recording capabilities. The 2x4 USB I/O allows for creating two custom mixes to send back into the mixer, useful for monitoring specific tracks during playback.
Effortless Latency-Free Monitoring
A single knob blends monitoring of your computer's output with a direct feed from the mixer, ideal for recording overdubs.
Single-Knob Compression
Helps control input levels and maximize channel headroom, perfect for vocals and instruments in live, recording, and streaming applications.
Rugged Design
Features Mackie's "Built-Like-A-Tank™" design with a solid steel chassis and tough ABS side protection for durability.
Record and Produce Like a Pro
Includes ProTools® | First and Waveform™™ OEM professional software and plugin packages. The Musician Collection for ProTools | First includes 23 plugins, and the DAW Essentials™™ Bundle for Waveform™™ OEM includes 16 powerful plugins.
Hookup Diagrams
The manual includes diagrams illustrating typical live sound and recording system setups. These diagrams show how to connect various sources like guitars, basses, microphones, keyboards, drum kits, and playback devices to the mixer and then to output devices such as subwoofers, PA speakers, stage monitors, and headphones.
Typical Live Sound System Diagram Description:
This diagram depicts a bass and guitar connected via mono effects processors to channels 1 and 2 (with Hi-Z engaged). A mic'd drum kit uses the next four channels. Microphones handle lead and background vocals on subsequent channels. A phone is connected to the 1/8" stereo input. Powered subwoofers are connected to the main outputs, which then feed PA loudspeakers. Stage monitors are connected to the aux (monitor) output via a graphic EQ. Aux mon controls allow for custom monitor mixes. Headphones are used for monitoring, and a footswitch controls internal effects. A laptop can connect via the rear USB port for recording the main mix to a DAW and for playback.
Typical Recording System Diagram Description:
Similar to the live sound setup, this diagram shows bass and guitar connected to channels 1 and 2 via mono effects processors (Hi-Z engaged). Microphones are connected to channels 3, 4, and 5. A keyboard connects to stereo channels 11/12, and an electronic drum kit to stereo channels 13/14. Powered reference subwoofers and monitors connect to the control room outputs. Headphones connect to aux out 1 via a headphone amp. A desktop computer connects via USB to record the main mix to a DAW and for playback.
Rear Panel Features
1. Power Connection
ProFX6v3, ProFX10v3: Feature a locking barrel connector that attaches to the mixer's power connector and then plugs into a live AC outlet. Rotate the ring clockwise to lock; do not overtighten.
ProFX12v3, ProFX16v3, ProFX22v3, ProFX30v3: Use a standard 3-prong IEC power connector. A detachable line cord is included.
The ProFXv3 Series mixers have a universal power supply accepting 100-240 VAC, working worldwide. This "Planet-Earth" supply is less susceptible to voltage fluctuations and provides greater electromagnetic isolation.
VERY IMPORTANT: Disconnecting the plug's ground pin is dangerous and should not be done.
2. Power Switch
A rocker switch turns the mixer on (indicated by a green Power LED) or off. It is recommended to turn the mixer on before external power amplifiers or powered speakers, and turn it off last to prevent thumps in the speakers.
3. USB Input / Output
The built-in USB interface provides a 2x4, 24-bit/192kHz high-resolution connection for recording stereo signals to a computer or returning two independent audio streams from a computer.
- USB Input TO the mixer (Playback): A USB 3-4 switch on the last stereo channel allows routing computer audio (e.g., Spotify, Apple Music) to the mixer. This stereo signal can be EQ'd and routed like any other channel. The associated gain knob adjusts the USB input level. A USB 1-2 blend knob and "To Phones / Control Room" switch allow routing DAW output (e.g., Pro Tools, Cubase) to the mixer for blending with live inputs for latency-free monitoring.
- USB Output FROM the mixer (Recording): The main mix can be recorded to a DAW. These levels are pre-fader, meaning that fades during the show do not affect recorded levels.
4. Main Outputs
These line-level outputs represent the final mixed stereo signal. They are used to connect to main power amplifiers, powered speakers, or serial effects processors. The outputs are available via male XLR connectors (balanced) and 1/4" connectors (balanced or unbalanced).
XLR Balanced Wiring: Pin 1 = Shield (ground), Pin 2 = Positive (+ or hot), Pin 3 = Negative (- or cold).
1/4" TRS Balanced Mono Wiring: Sleeve = Shield, Tip = Hot (+), Ring = Cold (-).
1/4" TS Unbalanced Mono Wiring: Sleeve = Shield, Tip = Hot.
The XLR outputs are 6 dB hotter than the TRS outputs.
Note: The main outputs are located on the front panel for ProFX6v3, ProFX10v3, and ProFX12v3, and on the rear panel for ProFX16v3, ProFX22v3, and ProFX30v3.
ProFXv3 Front Panel Features: Connections and Channel Strip
The vertical channel strips on each model are similar, with independent control for each channel.
Phantom Power
Most professional condenser microphones require 48V phantom power, supplied via the XLR connection. This is a global switch affecting all mic inputs simultaneously. VERY IMPORTANT: Never plug single-ended (unbalanced) microphones or ribbon microphones into mic input jacks if phantom power is on. Do not plug instrument outputs into mic XLR jacks with phantom power on unless certain it is safe. Turn down the main mix fader before connecting microphones to prevent pops.
5. XLR and 1/4" Combo Inputs [Chs. 1 and 2]
These inputs accept balanced mic or line-level signals via XLR. They also accept 1/4" line-level signals (balanced or unbalanced). The 1/4" input can also be used for Hi-Z sources (like guitars) without a DI box by engaging the Hi-Z switch.
6. Line / Hi-Z Switch [Chs. 1 and 2]
When engaged (pressed in), the 1/4" TRS input optimizes impedance for direct guitar connection. When out, the 1/4" TRS input functions as a standard line input.
7. Mic Ins
Female XLR connectors for balanced mic or line-level inputs. Feature Onyx™ mic preamps for high fidelity and headroom, excellent at rejecting hum and noise. These inputs handle a wide range of levels without overloading.
8. Line Ins
1/4" jacks for balanced or unbalanced sources. Can be driven by various line-level instruments, effects devices, or CD players.
9. Stereo Line Inputs
1/4" TRS or TS unbalanced inputs for line-level sources. If connecting a mono source, use the left (mono) input.
10. 1/8" Stereo Input
Accepts an 1/8" line-level signal from a phone, MP3 player, or other source.
VERY IMPORTANT: NEVER connect the output of an amplifier directly to any ProFXv3 input jack, as this could damage the input circuitry.
11. Insert Jacks
Unbalanced 1/4" jacks for connecting serial effects processors (compressors, EQs, de-essers, filters). The insert point is after gain and low cut, but before EQ and level. A standard insert cable (Tip = Send, Ring = Return) is required. Partially inserting a TS plug allows tapping the signal without interrupting operation; fully inserting opens the jack switch for a direct out.
12. Low Cut Switches
All channels with mic inputs have a 100 Hz low-cut (high-pass) filter (18 dB/octave). Recommended for most sources to clean up low-end rumble, mic handling noise, and breath pops, and to help prevent feedback.
13. Gain Knobs and Level Set LEDs
Adjust input sensitivity for mic and line inputs. The "U" symbol indicates unity gain. Level Set LEDs help set optimal gain levels to avoid distortion or lost signal. Gain ranges vary for mic (0 to +60 dB) and line (-20 to +40 dB) inputs.
14. Compressor Knobs
Available on select channels of each ProFXv3 model. Features a variable threshold with a fixed 6:1 soft knee ratio. Compresses incoming signals exceeding the threshold to reduce dynamic range and prevent overload. Useful for vocals and snare drums.
Channel Equalization (EQ)
ProFXv3 mixers (except ProFX6v3) feature 3-band EQ: shelving hi, peaking mid with adjustable frequency (ProFX16v3+), and shelving low.
ProFX6v3 has 2-band EQ: shelving hi and shelving low.
Shelving EQ: Boosts or cuts frequencies past a specified point.
Peaking EQ: Boosts or cuts frequencies around a center frequency.
- 15. Hi EQ Knobs: Shelving boost/cut up to 15 dB above 12 kHz.
- 16. Mid EQ Knobs & 17. Freq Knobs (ProFX16v3, ProFX22v3, ProFX30v3): Semi-parametric mid-sweep EQ, gain up to 15 dB, frequency adjustable from 100 Hz to 8 kHz.
- 18. Mid EQ Knobs (ProFX12v3): Peaking boost/cut up to 15 dB centered at 2.5 kHz.
- 19. Low EQ Knobs: Shelving boost/cut up to 15 dB below 80 Hz.
VERY IMPORTANT: Use EQ subtly. Excessive EQ can negatively impact sound quality.
20. Aux Mon Knobs
Tap a portion of each channel's signal to create a monitor mix, independent of the main mix. These are pre-fader. Adjusting these controls affects the monitor output, not the main mix.
21. Pre-Fader Switches
Aux sends 1-2 are always pre-fader. Aux send 3 can be set to pre- or post-fader using this switch, allowing use for monitors or effects.
- Pre-fader (switch engaged): Signal is post-insert, post-low cut, post-EQ, post-mute, and pre-fader.
- Post-fader (switch disengaged): Signal is post-insert, post-low cut, post-mute, post-EQ, and post-fader.
22. Aux FX Knobs
Tap a portion of each channel's signal to create an FX mix for the internal FX processor or external processors via the FX send. These are post-fader. Mute and channel faders affect FX output, but pan does not.
FX Switches (Chs. 1-2) [ProFX6v3]
When engaged (in), the channel is assigned to the FX send post-channel level knob. When out, no FX are added to the mix.
Stereo Pan Switch (Chs. 1-2) [ProFX6v3]
When out, mono channels feed both left and right sides equally. When pressed in, channel 1 pans left, and channel 2 pans right, allowing for stereo source separation.
23. Pan Knobs
Adjust the amount of channel signal sent to the left or right outputs. Features a "Constant Loudness" design to maintain apparent loudness when panning.
24. Mute Switches
Turn off the channel's signal, routing it into oblivion. Engaging a mute switch interrupts main mix and subgroup assignments and silences aux sends. The mute button illuminates when engaged.
25. Assign Switches
Determine the destination of the channel's signal (Main Mix, Sub 1-2, or Sub 3-4). Used in conjunction with the pan knob.
26. PFL Solo Switches
When engaged, the solo signal appears at control room outputs, phones, and the left meter. PFL (Pre-Fader Listen) taps the channel signal before the fader.
27. Channel Faders
Adjust the level of each channel sent to the main mix. The "U" mark indicates unity gain. Faders are stereo, affecting left and right equally.
28. USB Switch
When engaged, this switch overrides the 1/8" input and allows USB return (stereo playback from computer) to flow through the signal path. This signal can be EQ'd and routed like other inputs.
Additional Inputs and Outputs
29. Aux Out / Mon Send
1/4" TRS outputs for feeding external stage monitors. The monitor signal is a sum of channels with Aux Mon controls set above minimum. These are pre-fader, meaning they are not affected by the main mix fader or channel faders.
30. FX Send
1/4" TRS output for feeding external effects processors. This output is a copy of the mix going into the internal FX processor. It is post-fader.
31. FX Footswitch
1/4" TRS connector for an optional footswitch to easily mute or un-mute internal effects.
32. Sub Out Jacks
1/4" jacks typically patched to multitrack decks or secondary amplifiers.
33. Control Room Out Jacks
1/4" jacks for control room amplifiers or headphone distribution. Can be used as an additional main mix output with its own level control. Solo switch interrupts the mix.
34. Phones Jack
1/4" TRS connector for stereo headphones. Volume controlled by the Phones Knob. Soloed channels are heard in headphones. WARNING: Headphone amp is loud and can cause permanent hearing damage. Always turn volume down before connecting headphones or engaging solo.
35. Pencil Sharpener
A built-in pencil sharpener for convenience.
Blend, Control Room and Phones
46. Blend Knob
Adjusts the level of all inputs (except 1/8") and USB 1-2 Return delivered to the main outputs and phones/control room (if the adjacent switch is engaged). Offers zero-latency for recording overdubs.
- Full Left: Inputs = Full Volume, USB Return = No Volume.
- Center: Inputs and USB Return = Equal Volume.
- Full Right: Inputs = No Volume, USB Return = Full Volume.
47. To Phones / Control Room Switch
By default, control room and phones jacks output the main mix (or soloed channels). Pushing this switch in interrupts this signal and allows blended signals to be heard instead.
48. Control Room Knob
Adjusts the volume at the control room outputs from off (counter-clockwise) to maximum gain.
49. Phones Knob
Adjusts the volume at the phones output from off (counter-clockwise) to maximum gain.
50. Break Switch and LED
Quickly mutes all microphones and line-level inputs to the main outs, CR outs, and phones. Useful for muting the system between sets. Monitor and FX sends are not affected. The LED illuminates when engaged.
45. Theremin
A simple two-knob "theremin" effect (Frequency and Amplitude) built into the FX section.
FX, Sub and Main Faders and Switches!
51. FX Knob / Fader
Mixes stereo "wet" effect signals with the channels' "dry" signals into the main mix. Provides up to 10 dB of additional gain. Fully up is unity gain; fully down is off.
52. FX to Subs Switches
Allows routing FX signals to the sub groups (1-2 and/or 3-4) in addition to the main mix.
53. Sub 1-4 Faders
Control the signal levels sent to the sub out jacks. Each fader works as a stereo pair (e.g., Sub 1 and 2 on one fader) for easy left/right balance. Fully down is off; "U" is unity gain; fully up provides 10 dB additional gain.
54. Subs Assign Switches
Used to assign channels to subgroups (Sub 1-2 or Sub 3-4) to act as master faders for groups of channels. Can be used to control drum kits or other instrument groups more conveniently.
55. Main Mix Fader
This stereo fader adjusts the main mix signal levels sent to the XLR and 1/4" main line-level outputs. Provides control over sound levels sent to the audience. Fully down is off; "U" is unity gain; fully up provides 10 dB additional gain. Affects left and right equally. Does not affect aux/mon send or FX send outputs.
Aux Masters and Internal FX
40. Aux Master Knobs
Provide overall control for the aux mon and aux FX levels before they are delivered to the outputs, as well as internal FX for the FX master.
41. FX to Mon Knobs
Route the effects output to the monitors. Use these knobs to slowly add effects to monitors.
GigFX Effects Engine
42. Preset Selector: Endless control to select one of 24 preset effects. The selected preset number flashes for 10 seconds before reverting to the previously selected preset.
43. Preset Display: Shows the number of the currently selected effect preset.
44. FX Mute Switch and LED: When engaged, mutes the internal effects processor's output from the main and monitor mixes. The LED illuminates when muted.
Appendix B: Technical Information
ProFXv3 Specifications
Noise Characteristics
- Equivalent Input Noise (EIN): -126 dBu (Mic in to Insert Send out, max gain, 150 Ω Source Impedance, 20 Hz to 20 kHz)
- Residual Output Noise: -95 dBu (All outputs, master levels off), -80 dBu (All outputs, master levels unity, one channel level unity)
Frequency Response
- Mic input to any output (gain at unity, +0 dB / -1 dB): 20 Hz to 30 kHz
Distortion (THD+N)
- Mic in to Main Out (+4 dBu output, 22 Hz to 80 kHz bandwidth): <0.03%
- (22 Hz to 80 kHz bandwidth): <0.01%
Attenuation and Crosstalk
- Adjacent Inputs @1 kHz: -90 dB
- Inputs to Outputs @1 kHz: -80 dB
- Fader Off @1 kHz: -75 dB
- Mute Switch / Break Switch Mute @ 1 kHz: -90 dB¹ / -100 dB²
Common Mode Rejection Ratio (CMRR)
- Mic in to Main out, max gain, 1 kHz: 70 dB
Maximum Levels
- All inputs: +22 dBu
- Main Mix XLR: +28 dBu
- All other outputs: +22 dBu
Impedances
- Mic in: 3.3 kΩ
- Channel Insert Return: 10 kΩ
- All other inputs: ≥20 kΩ
- Phones out: 25 Ω
- All other outputs: 120 Ω Unbalanced, 240 Ω Balanced
Equalization
| Model | Frequency Band | Specification |
|---|---|---|
| ProFX6v3 | Low | ±15 dB @ 80 Hz |
| High | ±15 dB @ 12 kHz | |
| Low Cut Filter | 18 dB/octave @ 100 Hz | |
| ProFX10v3 • ProFX12v3 | Low | ±15 dB @ 80 Hz |
| Mid | ±15 dB @ 2.5 kHz | |
| High | ±15 dB @ 12 kHz | |
| Low Cut Filter | 18 dB/octave @ 100 Hz | |
| ProFX16v3 • ProFX22v3 • ProFX30v3 | Low | ±15 dB @ 80 Hz |
| Mid | ±15 dB @ 2.5 kHz | |
| High | ±15 dB @ 12 kHz | |
| Low Cut Filter | 18 dB/octave @ 100 Hz | |
| All Channels (except 1/8" stereo channel) | Low | ±15 dB @ 80 Hz |
| Mid | ±15 dB | |
| High | ±15 dB @ 12 kHz | |
| Low Cut Filter | 18 dB/octave @ 100 Hz | |
| 1/8" Stereo Channel | Low | ±15 dB @ 80 Hz |
| Mid | ±15 dB @ 2.5 kHz | |
| High | ±15 dB @ 12 kHz | |
| Low Cut Filter | 18 dB/octave @ 100 Hz |
Maximum Voltage Gain (EQ Flat)
| Input Channel to Output | Gain |
|---|---|
| Mic Input Channel to Insert Output | 60 dB |
| 1/4" Main Output | 80 dB |
| XLR Main Output | 86 dB |
| 1/4" Sub Output | 80 dB |
| Aux Output (Pre-Fader) | 80 dB |
| Aux Output (Post-Fader) | 90 dB |
| FX Send | 90 dB |
| FX Send [ProFX10v3] | 80 dB |
| USB Output | 70 dB |
| Mono Line Input Channel to Insert Output | 40 dB |
| 1/4" Main Output | 60 dB |
| XLR Main Output | 66 dB |
| 1/4" Sub Output | 60 dB |
| Aux Output (Pre-Fader) | 60 dB |
| Aux Output (Post-Fader) | 70 dB |
| FX Send | 70 dB |
| FX Send [ProFX10v3] | 60 dB |
| USB Output | 50 dB |
| Stereo Line Input Channel to 1/4" Main Output | 20 dB |
| XLR Main Output | 26 dB |
| 1/4" Sub Output | 20 dB |
| Aux Output (Pre-Fader) | 20 dB |
| Aux Output (Post-Fader) | 30 dB |
| FX Send | 30 dB |
| FX Send [ProFX10v3] | 20 dB |
| USB Output | 10 dB |
| 1/8" Input to 1/4" Main Output | 40 dB |
| XLR Main Output | 46 dB |
| 1/4" Sub Output | 40 dB |
| Aux Output (Pre-Fader) | 40 dB |
| Aux Output (Post-Fader) | 50 dB |
| FX Send | 50 dB |
| FX Send [ProFX10v3] | 40 dB |
| USB Output | 30 dB |
| USB Input to XLR Main Output | 46 dB |
Digital Effects
- Number of Presets: 24
- Favorite Preset: 25 [drats!]
Meters
- Main L/R Mix: ProFX6v3 has 8 LEDs per column (-24 to OL). Other ProFXv3 mixers have 12 LEDs per column (-30 to OL), with colors indicating signal level (-30, -15, -10, -6, -3, 0, +3, +6, +10, +15, +20, OL).
USB
- Format: USB 2.0
- I/O: 1 Stereo Input, 2 Stereo Outputs
- A/D/A: 24 bit, 44.1 kHz, 48 kHz, 96 kHz, 192 kHz
Phantom Power
- 48 VDC to all Mic channels simultaneously
AC Power Requirements
- Power Consumption: 30 watts (ProFX12v3), 40 watts (ProFX16v3), 45 watts (ProFX22v3), 50 watts (ProFX30v3).
- Universal AC Power Supply: 100-240 VAC, 50-60 Hz
- Power Connector: 12VDC @ 2A Class I Hard-Wired Wall Mount Adapter (ProFX6v3, ProFX10v3); 3 Pin IEC Line Cord (ProFX12v3, ProFX16v3, ProFX22v3, ProFX30v3)
Physical Dimensions and Weight
| Model | Height | Width | Depth | Weight |
|---|---|---|---|---|
| ProFX6v3 | 2.8 in / 71 mm | 7.5 in / 191 mm | 8.4 in / 213 mm | 2.6 lb / 1.2 kg |
| ProFX10v3 | 3.2 in / 81 mm | 10.7 in / 272 mm | 11.9 in / 302 mm | 4.9 lb / 2.2 kg |
| ProFX12v3 | 3.9 in / 99 mm | 13.0 in / 330 mm | 14.8 in / 376 mm | 7.9 lb / 3.6 kg |
| ProFX16v3 | 4.3 in / 109 mm | 17.7 in / 450 mm | 17.1 in / 434 mm | 15.2 lb / 6.9 kg |
| ProFX22v3 | 4.3 in / 109 mm | 24.1 in / 612 mm | 17.1 in / 434 mm | 19.8 lb / 9.0 kg |
| ProFX30v3 | 4.3 in / 109 mm | 32.3 in / 820 mm | 17.1 in / 434 mm | 26.5 lb / 12.0 kg |
Options
| Model | Option | Part Number |
|---|---|---|
| ProFX6v3 | Carry Bag | P/N 2051719 |
| ProFX10v3 | Carry Bag | P/N 2051720 |
| Dust Cover | P/N 2051726 | |
| ProFX12v3 | Carry Bag | P/N 2051721 |
| Dust Cover | P/N 2051727 | |
| Rack Ear Kit | P/N 2051623 | |
| ProFX16v3 | Carry Bag | P/N 2051722 |
| Dust Cover | P/N 2051728 | |
| Rack Ear Kit | P/N 2051634 | |
| ProFX22v3 | Carry Bag | P/N 2051723 |
| Dust Cover | P/N 2051729 | |
| ProFX30v3 | Dust Cover | P/N 2051730 |
Appendix C: Table of Effects Presets
The GigFX™ engine offers 24 presets. Below is a table detailing each preset, its description, and example uses.
| No. | Title | Description | Example of its use |
|---|---|---|---|
| 01 | Bright Room | Simulates a room with scattered reflections for a harder, more reflective surface. | Useful on vocals requiring a brighter reverb to cut through the mix, or for giving acoustic instruments a livelier vibe. |
| 02 | Warm Lounge | Features a medium-sized room sound with enhanced lower mids for a warm tone. | Useful for vocals on songs requiring a larger, more "wet" sound, or for giving dimension to bright horns without adding harshness. |
| 03 | Small Stage | Simulates a small concert stage with medium reverb time and reverberant space. | Useful for vocals or guitars in fast-paced, high-energy songs that call for a "live" sounding reverberation. |
| 04 | Warm Theater | Warm-bodied tone and medium-long reverb time simulating live acoustics of a theater space. | Perfect for vocals, drums, acoustic and electric guitars, keyboards and more. |
| 05 | Warm Hall | Simulates a spacious, cozy, heavily draped concert hall with a warm tone. | Perfect for adding natural concert hall ambience to close-mic'd orchestral instruments. |
| 06 | Concert Hall | Large, spacious sound with long pre-delay and vibrant tone. | Adds life to acoustic instruments and vocals from solos to full-on symphonies and choirs. |
| 07 | Cathedral | Extremely long tails, dense diffusion, and long pre-delays simulating a large, stone-walled house of worship. | Gives amazing depth to choirs, wind instruments, organs, and soft acoustic guitars. |
| 08 | Small Plate | Emulates vintage mechanical reverberation from a metal plate, with lots of early reflections and no pre-delay. | Perfect for thickening percussive instruments, such as a snare drum, or tight vocal arrangements. |
| 09 | Large Plate | Similar to Small Plate but with longer decay. | |
| 10 | Chorus 1 | Soft, ethereal sweeping effect for thickening and making sounds pop. | Perfect for enhancement of electric and acoustic guitar/bass, or to add a dramatic effect to vocals, particularly group harmonies and choirs. |
| 11 | Chorus 2 | Similar to Chorus 1 but with a slightly different character. | Useful for bands that employ the alternative rock, shoegaze and/or experimental rock sound. |
| 12 | Delay + Reverb | Combines delay and reverb for a rich, full sound. | Provides a vibe similar to chorus without the subtle swirl. |
| 13 | Doubler | Simulates recording a vocal or instrument twice for a thicker sound. | Also known as Slap Back Echo; use it to make a vocal or guitar stand out in the mix without extra volume. |
| 14 | Echo | A single-repeat echo with warmth from vintage tape units. | These work best with full, up-beat music like rock where the delay needs to cut through the mix. |
| 15 | DLY 1 (Fast) | Provides delay with fast time. | A guitarist may choose the ping-pong delay to create an interesting - and steady - delay. |
| 16 | DLY 2 (Med) | Provides delay with medium time. | |
| 17 | DLY 3 (Slow) | Provides delay with slow time. | |
| 18 | Ping-Pong Delay | Produces a bouncing sound as the delayed signal alternates between left and right channels. | This effect increases the gain, resulting in a "fuzzy" - overdriven / distorted - tone. |
| 19 | Overdrive / Distortion | Adds gain for an overdriven or distorted tone. | Useful in many situations, but typically used with guitar, bass, piano/keyboard. |
| 20 | Spring Reverb | Uses a transducer and spring to create reverberations. | Spring reverbs are typically used on guitar amplifiers or organs in a rock band format. |
| 21 | Early Reflections | Simulates the first reflections from venue walls, ceilings, and floors. | Because of its "quickness", early reflections FX is great for creating a stereo sound from a mono source. |
| 22 | Auto-Wah | Adjusts a peaking filter to amplify a specific frequency, cutting off others. Like a wah pedal, but automatic. | Mostly used on guitars, bass and piano... but feel free to experiment! |
| 23 | Flange | Modulated delay with feedback for a "whooshing" sound. | Check out Heart's "Barracuda"! |
| 24 | Slapback Reverb | Provides a single, rapid delay of the original signal with no feedback. | Slapback reverb is generally used to mimic vocals and sometimes drums - on '50s-era rock 'n roll. |
Appendix A: Service Information
Troubleshooting
No Power
- Ensure the AC outlet is live (check with a tester or lamp).
- Verify the power switch is on.
- Check that the line cord is securely seated in the mixer and plugged fully into the AC outlet.
- If the Power LED is off, check the AC outlet. If the LED is on but there's no sound, refer to "No sound" below.
- The internal AC line fuse may be blown (not user-serviceable). See "Repair" section.
Hum
- Try disconnecting the cable connected to the input jack. If noise disappears, it may be a "ground loop."
- Use balanced connections throughout the system for best noise rejection.
- Plug all audio equipment's line cords into outlets sharing a common ground, keeping distances short.
No Sound
- Check input source level knob and all volume controls. Verify level set LEDs and meters show signal.
- Ensure signal source is working and cables are secure.
- Make sure master volume is sufficient to drive speakers.
- Check if input source is muted or has a processor loop engaged.
- Ensure the main level is turned up.
- Check EQ settings.
- Check if any aux returns are maxed out.
Bad Channel
- Try the same source signal in another channel, set up identically.
- Is phantom power required for your microphone?
Noise
- Turn channel gains down one by one to isolate the source of noise.
- Ensure signal cables are not routed near AC cables, power transformers, or EMI-inducing devices.
- Check for light dimmers or SCR-based devices on the same AC circuit; use an AC line filter or a different circuit.
- Unplug other line-level outputs (monitor, etc.) to rule out external device issues.
- Ensure amplifiers are not being overdriven and speaker impedance is within amplifier limits. Check speaker wiring.
Repair
For warranty service, refer to the warranty information on page 41. Non-warranty service is available at factory-authorized service centers. Locate the nearest center via www.mackie.com/support/service-locator. For service outside the US, contact local dealers/distributors. If website access is unavailable, call LOUD technical support at 1-800-898-3211 (Monday-Friday, Pacific Time).
ASIO Blues?
Visit http://www.asio4all.org/ for information on ASIO driver downloads, FAQs, troubleshooting, and forums.
Other Issues
Email or call Technical Support if you have other issues: www.mackie.com/support-contact or 1-800-898-3211.
Limited Warranty
This Limited Product Warranty is provided by LOUD Audio, LLC and applies to products purchased in the United States or Canada through a LOUD-authorized reseller. The warranty is non-transferable. For products purchased outside the U.S. or Canada, contact your local distributor.
LOUD warrants the product to be free from defects in materials and workmanship under normal use during the Warranty Period. If the product fails to conform to the warranty, LOUD or its authorized service representative will, at its option, repair or replace the nonconforming product. Notice of noncompliance must be given within the Warranty Period to www.mackie.com or LOUD technical support at 1.800.898.3211. Retain the original dated sales receipt as proof of purchase.
Full terms and conditions, including warranty duration, are available at www.mackie.com.
Need help with the mixer?
- Visit www.mackie.com/support for FAQs, manuals, and other documents.
- Email: www.mackie.com/support-contact
- Telephone: 1-800-898-3211 (Monday-Friday, normal business hours, Pacific Time).
Company Information:
LOUD Audio, LLC
19820 North Creek Parkway #201
Bothell, WA 98011 • USA
Phone: 425.487.4333
Toll-free: 800.898.3211
Fax: 425.487.4337
www.mackie.com
LOUD Audio, LLC reserves the right to change specifications without notice. "The Running Man" is a registered trademark of LOUD Audio, LLC. All other brand names are trademarks of their respective holders.
