Setting Up Monitors With A Mackie Mixer: A Guide

Setting up stage monitors is a crucial aspect of achieving optimal sound quality for performers and audiences alike. In this guide, we will explore the process of connecting monitors to a Mackie mixer, a popular choice for live sound reinforcement and recording applications. By following the steps outlined in this article, you will be able to configure your monitors and mixer to create a seamless audio experience, ensuring that performers can hear themselves and their bandmates clearly, and that the audience receives a well-balanced mix.

Connecting active monitors

• Connections: Use an XLR or TRS cable to connect your active monitors to the mixer. For a simple, stereo-only connection, link the Mackie mains to a line input on the interface and the line outputs from the interface to the tape returns on the Mackie.
• Avoid Feedback Loops: Any connection back to the mixer can cause a feedback loop, so be cautious. Channels connected to interface outputs should never be added to a mix routed to the main outputs.
• Power: Do not connect XLR to XLR to a mic input, and do not turn on phantom power on the interface, as this can damage the mixer.
• Routing: If the connection is correct but the setup isn't working, the issue may be with the routing in the mixer or interface. Check the routing settings and consult the manuals for both devices to understand their capabilities and possible configurations.
• Alternative Setup: For a more flexible setup, tap some of the Mackie channel strip "Insert" outs and route them directly to the line inputs on the interface. This allows for separate track recording of up to 8 Mackie mic pres.
• Cables: Use "Tip jumpered to Ring" cables to tap off the Mackie mic pre outs, or use "Insert splitter" cables plugged into the "Insert" jacks to the first click only.
• Final Steps: Adjust the monitor volume to a comfortable level, and then fine-tune each channel's Aux send level to create a balanced monitor mix.

Remember to always refer to the user manuals for your specific devices, as improper connections can cause damage.

Passive monitors and power amps

Passive monitors require an external power amplifier to pass the signal, whereas active speakers have a built-in amplifier and are generally more convenient and neater. Passive speakers are also more lightweight and less expensive, but they require more research to find the right amplifier and there is a risk of underpowering or overpowering the speakers.

To connect passive monitors to a power amplifier, you will need to use a balanced cable such as SpeakON, TS, or speaker wire, depending on the connectors that your power amp and speakers have. The outputs of the mixer should then be connected to the inputs on the amplifier, and the outputs of the amp should be connected to the monitor's inputs.

It is important to note that improperly connecting speakers and amplifiers can cause damage, so it is crucial to carefully read the user manual for your specific equipment and pay attention to connection types, impedance, and power ratings.

When setting up passive monitors, it is recommended to start by placing the monitors 3-5ft in front of each performer or group of performers. The ideal location is somewhere in front of the performers and pointed away from as many microphones as possible to prevent feedback. Once the monitors are in the desired location, the next step is to run the cables. The monitors are fed by the outputs on the mixer, and if you have passive monitors, the signal will be sent from the aux or bus outputs to the power amp and then to the monitors.

Avoiding feedback loops

To avoid feedback loops when hooking up monitors to a Mackie mixer, there are several techniques you can employ:

• Microphone and speaker placement: Ensure that microphones are not placed in front of the speakers, as this can cause feedback. The ideal location for a stage monitor is in front of the performer(s) and pointed away from as many mics as possible. For floor monitors, vocalists should stand very close to their monitor, with the volume loud enough to hear, but not so loud that the microphone picks up the sound.
• Microphone technique: Anyone using a vocal microphone should hold it right up to their mouth. If the microphone is lowered, the gain will need to be increased, which can lead to feedback.
• Gain setting: When setting the channel gain, use the "gain-before-feedback method". Turn up the gain with the fader at 0 until feedback occurs, then turn the gain down a few notches.
• EQ settings: Feedback occurs when a sound is picked up by a microphone and amplified in a loop. To break this loop, adjust the position and orientation of microphones and speakers so they do not pick up each other's sound. You can also EQ the microphone or PA system to reduce the sensitivity to certain frequencies.
• Monitor mixes: A good monitor mix can help to reduce feedback. Ensure that the monitor mixes are pre-fader, so that the main mix level controls do not change the monitor mixes.
• Use the correct cables: When connecting the Mackie mixer to an audio interface, use balanced XLR to TRS cables. Do not connect using XLR/XLR to a mic input, as this can damage the mixer if phantom power is turned on.

Creating a monitor mix

To create a monitor mix, start by turning up one of the Aux sends on a channel strip. This sends the channel to an Aux Master, which is then sent to an output of the mixer and the stage monitor connected to the respective Aux output jack.

The main mix controls how much of each channel goes to the master fader and then out to the main speakers. Similarly, in a monitor mix, the aux send knob controls how much of a channel goes to the aux master and then out to the stage monitors. If you want to hear a particular channel more clearly through the stage monitors, simply turn up the Aux Send knob.

It is recommended to finalise monitor mixes with the performers while the mains are on, allowing both the sound engineer and the musicians to acclimatise to the performance's sound.

To create a balanced monitor mix, consider the following steps:

• Turn up the mixer's Aux output level to 0 (unison).
• Play a sound through your mixer (this could be from a microphone, instrument, or phone/computer playback).
• Turn that channel's Aux send level to 0 (unison).
• Adjust the stage monitor's level to a comfortable volume.
• Once you have a good base volume, adjust each channel's Aux send level to customise the monitor mix according to the performer's needs.

Remember, creating a monitor mix is a creative process that may vary depending on the specific requirements of each performer and the performance space.

Pre-fader vs post-fader

When connecting monitors to a Mackie mixer, it is important to understand the difference between pre-fader and post-fader settings, especially when using aux/return channels. The distinction lies in the fader position on a given track and determines the "input" level of that track for the aux channel.

Pre-fader means that the aux channel uses the volume at the end of the signal chain for every track as their input, regardless of the fader position. This is the level of gain at the end of the signal chain after all the inserted effects on that track. In other words, the output level of a pre-fader send is independent of the position of the channel fader.

On the other hand, setting an aux channel to "post-fader" means that the fader volume will be used as the input. Therefore, depending on the fader setting, each track could have a much higher or lower input for the aux channel.

For most mixers, monitor sends and outputs are configured as pre-fader. This is particularly common for stage monitors, as you don't want the main mix level controls simultaneously changing the monitor mixes. If the mixer allows you to select between pre-fader and post-fader, always choose pre-fader for stage monitors. This allows the sound engineer to create a mix for the musicians on stage and leave it untouched once they are satisfied.

Effects sends, on the other hand, are almost always post-fader and post-EQ. This is because you typically want to send a signal to the effects processor in proportion to its level in the mix. When you turn something down in a mix, you usually want the effect level to decrease as well. However, there may be times when you want the dry signal to fade out, leaving only the effected version. In such cases, a pre-fader send can be used.

Frequently asked questions