The Mackie Pro FX16 follows closely in the footsteps of earlier Mackie analogue mixers, though this particular incarnation has a few extra features, including a seven-band graphic equaliser, stereo USB recording and playback, built-in digital effects, and compression on four of the channels. Constructionally, the mixer is typical Mackie, with a robust steel case and tough, moulded end-cheeks (although these may be removed for fitting an optional rackmounting kit). A switching, multi-voltage PSU is built-in, so no wall-wart is needed, and all the connections are on the top for easy access. Although it’s designated as a 16-input mixer, there are actually only 10 channels with mic preamps, the remaining channels being line only — something I always find frustrating when I run out of mic inputs at a gig. However, the stereo inputs are still useful for accommodating keyboards, guitar-modelling preamps and the like. The way the input arrangement works on this model is that the last two mic-capable channels (9/10 and 11/12) may be used either as mono mic channels or as stereo line channels. There are two more line-only stereo channels at locations 13/14 and 15/16. The Ins & Outs All the mic inputs have a switchable 100Hz, 18dB/octave low-cut filter, and the gain controls can provide up to 50dB of gain, with a further 10dB available ‘in hand’ via the channel fader. 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. The mono mic channels (1-8) have a three-band EQ with sweepable mid-range (these have a wide range, from 100Hz to 8kHz), while the remaining channels (from 9/10 to 15/16) have a fixed mid-range band, set at 2.5kHz. 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. A further button below the bus routing switches activates the Solo/PFL function, with the usual Mackie flashing warning LED in the master section to indicate that one or more channels are solo’d. 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. By default, aux send 3 goes to the internal effects, but there is also a physical aux 3 output, should you wish to use external effects. Channels 1-4 additionally have a TRS jack insert point. For connecting external audio devices, there are stereo tape in and out sockets on RCA phonos. The tape out is a duplicate of the main mix, and the tape input has its own level knob, which sets the level of tape return going to the main mix. A switch next to this chooses between the analogue tape return and a two-track return via USB (of which more in a moment). A button marked ‘break’ mutes all the input channels except for the stereo tape/USB return, for playing background music between performances. 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 channels can be routed to these buses using ‘sub’ buttons 1/2 and 3/4, making this mixer a practical proposition for studio recording when there are multiple sound sources to deal with. The buses can individually be routed to the left, right or both channels of the master bus, via buttons labelled ‘L’ and ‘R’. The channels and buses are all controlled by 60mm faders, with the master bus using a single stereo fader. As well as the two monitor aux sends, and the aux 3 effects output, a stereo aux return is available (either for use with external effects or as another stereo line input), and three knobs allow this to be sent to the main mix and the two monitor sends. All the auxes have their own master level control, and a separate rotary level control feeds a set of control-room outputs and the headphone out, which mirrors the control-room feed. Effects The on-board effects are courtesy of the built-in 32-bit effects processor. It’s a simple preset system, but most of the 16 delays, choruses and reverbs are of the type you’d want to use — although you still get a Cathedral setting, which is probably only of use to Gregorian Chant cover outfits! I’d have appreciated a tap-tempo delay button, as it is often necessary to set delay time somewhere close to the song tempo. Mackie’s choice of effects is practical, however, especially in a live situation, where having 99 presets, only three or four of which are actually usable, isn’t much help. 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. The effects can be disabled using a bypass button, or by means of an optional footswitch. In addition to the onboard effects, four of the Pro FX16’s mic/line channels (5-8) feature compressors, adjustable with a single ‘more or less’ control, not unlike those on some Yamaha mixers. 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). A switch allows this to be bypassed if it’s not needed. Interface Value The USB socket is there to let you make quick recordings of a stereo mix at gigs, which you can then import into the bundled version of Mackie’s Traktion 3 Mac/PC software (or any other DAW of your choice) for editing and tweaking. You can record either the main mix or the group 1/2 mix, and you can also play back a USB source, either as an alternative to the tape return, as mentioned earlier, or via the stereo channel 15/16 (which has a button for selecting either the analogue or USB input). The USB side of things is very simple: my Mac Pro recognised the mixer as a class-compliant device without the need to install any audio drivers. However, on my Lion OS MacBook Pro, I found I had to switch the mixer on after it was connected for it to be recognised. Performance I took the mixer out to one of my gigs and, other than the lack of a tap-tempo delay, found it did everything I required of it, with the reverb and delay effects sitting pretty well in the overall mix when used on vocals. 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. I also liked the very conventional layout, as anyone who’s used a live mixer before should be able to find their way around the Pro FX16 without having to consult the manual. 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. The provision of the four buses plus two pre-fader sends allows for up to eight individual feeds (taking the master bus into account), making it useful as a recording mixer if used with an external interface. (If you want to record multiple parts without buying a separate audio interface, something like one of Mackie’s Onyx Firewire mixers would be more appropriate.) 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.   

The ProFX8 offers a complete and truly professional feature set, perfect for solo performers, small performing acts or any small venue that needs it all, without the hefty price tag. There’s even USB I/O for recording the set. The “Pro” in ProFX stands for Pro. Professional tools, rugged build quality, small footprint…everything you need.

The ProFX8 is fully stocked, featuring four Mackie high-headroom, low-noise mic preamps, 3-band EQ, a built-in DI for direct connection of a guitar or bass, integrated effects, precision 7-band GEQ and more. All of these great features are housed in a rugged enclosure, in true Mackie “Built-Like-A-Tank” tradition. The ProFX8 has the right set of great-sounding tools to make your gig sound better and run smoother.

Live Sound Toolbox
Your job is to make things sound good. Maybe you’re a solo performer playing covers at a Vegas hotel bar.

Perhaps you have the honor of being the “engineer” of your band and not only do you play bass, you’re also in control of the mix.

No matter what the situation is, you need the tools to get the job done perfectly each and every show. High-headroom mic preamps with great-sounding effects, channel EQ, a built-in DI, plus precision GEQ to tune-up the room or monitor mix. The ProFX8 comes with all these features-it is truly the perfect live sound toolbox.

“Gig-Ready” RMFX^TM Effects
The all-new RMFX^TM (Running Man FX) 32-bit effects processor brings “Gig Ready,” useable effects to your mixes. Why scroll through hundreds of bizarre effects, like “ghost ambience?” Yeah, like anyone even knows what that means. Or how about winners like “delay+phaser2”, which you’ll never use in a million years. Those other mixers will leave your fingers raw from all the scrolling you have to do. The RMFX^TM processor features 16 solid FX that are known for their utility and usability.

Small, medium and large room reverbs with a mix of a warm and bright characteristics puts your mix in the right space. Simple, rich choruses and an array of practical delays enable you to create professional mixes without requiring a two-hour sound check.

Basically, we’ve delivered the choicest parts of a full rack of gear, right at your fingertips, that is easy to master, allowing you to look and sound really good at your next gig. Really, really good.

Record and Stream via USB
With all the right tools for the job, the ProFX8 allows you to create memorable mixes, but even with all those features, portability is paramount and you can’t be burdened with lugging around additional equipment. No worries, integrated USB I/O takes the pain out of recording. Just connect the ProFX8 to a laptop, start up your included copy of Tracktion 3 Music Production Software (or almost any DAW software out there) and you can record the whole mix. You can even stream music from your laptop during breaks. Once you get home, record more tracks or use the ProFX8 to playback some tunes during the next BBQ. Unless you’re a vegetarian…not that there’s anything wrong with that.

The innovative “USB Thru” switch allows for an impressive live/recording setup when using performance software like Ableton Live or Reason. When gigging, stream the output of your performance software (or iTunes, for that matter) into the ProFX8. Combine that signal with anything plugged into the mixer, and send the whole thing back to the computer for recording. Archiving your integrated live performances has never been easier!

Legendary Mackie Durability
Mackie is known for building mixers that are “Built-Like-A-Tank” and the ProFX8 is no exception. All of its tender bits are securely encased in a solid steel chassis. No only that, the impact-resistant side pieces are made of ultra-tough ABS, adding extra protection where it is most likely to fall…not that you drop things.

PA Made Painless
Simple is better. A utility mixer like the ProFX8 is an integral part of a ludicrously simple Mackie PA system that sounds great. The only choice is whether to go “active” or “passive” with your loudspeaker setup.

Active- Just add Mackie SR, SA, SRM Series Active Loudspeakers or SWA Series Active Subwoofers

Passive – Add a Mackie FR or FRS Series Stereo Power Amplifier and S200 or C Series Precision Passive Loudspeakers

The legendary quality of Mackie loudspeakers combined with the utility of the ProFX8 is a lethal combination that will suit just about any size venue. Just add enough speakers, and you’re golden.

Live Sound Toolbox
Your job is to make things sound good. Maybe you’re a solo performer playing covers at a Vegas hotel bar. Perhaps you have the honor of being the “engineer” of your band and not only do you play bass, you’re also in control of the mix. No matter what the situation is, you need the tools to get the job done perfectly each and every show. High-headroom mic preamps with great-sounding effects, channel EQ, a built-in DI, plus precision GEQ to tune-up the room or monitor mix. The ProFX8 comes with all these features—it is truly the perfect live sound toolbox.

“Gig-Ready” RMFX™ Effects
The all-new RMFX™ (Running Man FX) 32-bit effects processor brings “Gig Ready,” useable effects to your mixes. Why scroll through hundreds of bizarre effects, like “ghost ambience?” Yeah, like anyone even knows what that means. Or how about winners like “delay+phaser2”, which you’ll never use in a million years. Those other mixers will leave your fingers raw from all the scrolling you have to do. The RMFX™ processor features 16 solid FX that are known for their utility and usability. Small, medium and large room reverbs with a mix of a warm and bright characteristics puts your mix in the right space. Simple, rich choruses and an array of practical delays enable you to create professional mixes without requiring a two-hour sound check. Basically, we’ve delivered the choicest parts of a full rack of gear, right at your fingertips, that is easy to master, allowing you to look and sound really good at your next gig. Really, really good.

Record and Stream via USB
With all the right tools for the job, the ProFX8 allows you to create memorable mixes, but even with all those features, portability is paramount and you can’t be burdened with lugging around additional equipment. No worries, integrated USB I/O takes the pain out of recording. Just connect the ProFX8 to a laptop, start up your included copy of Tracktion 3 Music Production Software (or almost any DAW software out there) and you can record the whole mix. You can even stream music from your laptop during breaks. Once you get home, record more tracks or use the ProFX8 to playback some tunes during the next BBQ. Unless you’re a vegetarian…not that there’s anything wrong with that.

The innovative “USB Thru” switch allows for an impressive live/recording setup when using performance software like Ableton Live or Reason. When gigging, stream the output of your performance software (or iTunes, for that matter) into the ProFX8. Combine that signal with anything plugged into the mixer, and send the whole thing back to the computer for recording. Archiving your integrated live performances has never been easier!

Legendary Mackie Durability
Mackie is known for building mixers that are “Built-Like-A-Tank” and the ProFX8 is no exception. All of its tender bits are securely encased in a solid steel chassis. No only that, the impact-resistant side pieces are made of ultra-tough ABS, adding extra protection where it is most likely to fall…not that you drop things.

Features:

Professional 8-channel Compact Mixer with onboard effects and USB I/O
4 low-noise, high-headroom Mackie mic preamps with easy LED metering
32-bit RMFX^TM processor with 16 “Gig-Ready” reverbs, choruses and delays

Precision 7-band graphic EQ for tuning Mains or Monitors
USB I/O for recording shows and music playback via Mac or PC
3 full stereo channels plus extra stereo return for keyboards, external effects or stereo playback devices
60mm faders for input channels, returns and Main/Monitor masters
3-band active EQ (80Hz, 2.5kHz and 12kHz) on all channels
Hi-Z input for direct connection of guitar, bass and other instruments

Insert, 100Hz low cut filter, and 48V phantom power on all mic channels
Stereo RCA tape I/O with input level control

Headphone output with separate rotary level control
Balanced XLR and balanced/unbalanced ¼-inch Main outputs
FX mute with remote control via footswitch
Break switch mutes all channels for music playback between sets
Built-like-a-tank steel chassis with rugged, yet stylish ABS sidecheeks

“Planet Earth” switching power supply for worldwide use

 Includes Tracktion 3 Music Production Software for Mac or PC

Software requirements:

Microsoft Windows 7 32 / 64, Vista 32 / 64 RTM or XP SP 2
Pentium 4, Celeron, or Athlon XP processor
512 MB RAM For the Mac::
Mac OS X 10.4.11 – 10.6.4
G4 processor
512 MB RAM

The ProFX12 is the perfect choice for smaller performing acts, solo performers or for small venues that don’t have the budget or space for a ton of outboard gear. The ProFX12 has everything needed to make your gig sound great and is really easy to operate. Plus, USB I/O lets you record the show or stream music straight from a laptop. The “Pro” in ProFX stands for Pro. Professional tools, rugged build quality, small footprint…everything you need.

The ProFX12 is loaded with six Mackie high-headroom, low-noise mic preamps, 3-band EQ, a built-in DI for direct connection of a guitar or bass, integrated “Gig-Ready” effects, precision 7-band GEQ and more. The ProFX12 has all the right tools, each and every one designed to sound great. Plus, everything is housed in an ultra-tough enclosure with additional impact-resistant sidecheeks, protecting your investment from the rigors of the road.

Live Sound Toolbox
Smaller performing acts typically play in places that may not have an engineer on hand. In fact, someone from the band might have double-duty as “The Sound Guy” for the group. If you are reading this, chances are that’s you. Let us pander to your obviously higher intellect… you are a professional and you need the tools to get the job done perfectly each and every show. High-headroom mic preamps with great-sounding effects, channel EQ, a built-in DI, plus precision GEQ to tune-up the room or monitor mix. Sounds good, right? The ProFX12 comes with all these features—it is truly the perfect live sound toolbox.

“Gig-Ready” RMFX™ Effects
The all-new RMFX™ (Running Man FX) 32-bit effects processor brings “Gig Ready,” useable effects to your mixes.  Why scroll through hundreds of bizarre effects, like “ghost ambience?” Yeah, like anyone even knows what that means. Or how about winners like “delay+phaser2”, which you’ll never use in a million years. Those other mixers will leave your fingers raw from all the scrolling you have to do. The RMFX™ processor features 16 solid FX that are known for their utility and usability.  Small, medium and large room reverbs with a mix of warm and bright characteristics puts your mix in the right space. Simple, rich choruses and an array of practical delays enable you to create professional mixes without requiring a two-hour sound check.  Basically, we’ve delivered the choicest parts of a full rack of gear, right at your fingertips, that is easy to master, allowing you to look and sound really good at your next gig. Really, really good.

Record and Stream via USB
With all the right tools for the job, the ProFX12 allows you to create memorable mixes, but even with all those features, portability is paramount and you can’t be burdened with lugging around additional equipment. No worries, integrated USB I/O takes the pain out of recording. Just connect the ProFX12 to a laptop, start up your included copy of Tracktion 3 Music Production Software (or almost any DAW software out there) and you can record the whole mix. You can even stream music from your laptop during breaks. Once you get home, record more tracks or use the ProFX12 to playback some tunes during your next party. Unless you’re anti-social, don’t have the right kind of place for a party or are just sick of buying food and beverages for everyone. In that case, you can play back whatever talk-radio show you listen to when alone.

Not only that, the innovative “USB Thru” switch allows for an impressive live/recording setup when using performance software like Ableton Live or Reason. When gigging, stream the output of your performance software (or iTunes, for that matter) into the ProFX12. Combine that signal with anything plugged into the mixer, and send the whole thing back to the computer for recording. Archiving your integrated live performances has never been easier!

Legendary Mackie Durability
Mackie is known for building mixers that are “Built-Like-A-Tank”, and the ProFX12 is no exception. All of its tender bits are securely encased in a solid steel chassis. No only that, the impact-resistant sidecheeks are made of ultra-tough ABS, adding extra protection where it is most likely to fall…not that you drop things.

PA Made Painless
Simple is better. A utility mixer like the ProFX12 is an integral part of a ludicrously simple Mackie PA system that sounds great. The only choice is whether to go “active” or “passive” with your loudspeaker setup.

Active— Just add Mackie SR, SA, SRMv2 Series Active Loudspeakers or SWA Series Active Subwoofers

Passive — Add a Mackie FR or FRS Series Stereo Power Amplifier and S200 or C Series Precision Passive Loudspeakers

The legendary quality of Mackie loudspeakers combined with the utility of the ProFX12 is a lethal combination that will suit just about any size venue. Just add enough speakers, and you’re golden.

Budget Friendly
The ProFX Series Compact Effects Mixers strike the perfect balance. They offer all the right tools to get the job done well, sport the popular compact footprint that Mackie is known for, and are also the most budget-friendly of all the Mackie sound reinforcement mixers. Our competition either doesn’t have the expansive feature set of the ProFX Series, or they simply will not survive the test of time. You are investing in your mixer and the ProFX will be there for you at every gig, ready to roll.