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Mackie seems to have a knack for turning the ordinary into the extraordinary.
When I was asked to write a Hands-On Review of Mackie’s new
PPM1008
,
my first reaction was ho-hum. The world is filled with powered box
mixers and Mackie’s would be another, albeit one of the better ones. The unit I
pulled out of the box proved to be more than just better. It was amazing.
The
PPM1008
gives you the full set of tools found in many stage racks—a
sophisticated 8-channel mixer, two amps, effects, processing tools—and packs
them all into a compact, road-rugged case. What’s amazing is that the entire
package weighs only 20 pounds! That’s incredibly light.
Just how did Mackie manage to pack 1,600 watts and a full rack setup into a 20-pound system? One obvious and critical step was using Class D amplifiers and Mackie’s proven Fast Recovery circuitry. The design is stable, highly efficient, and capable of high power. Its efficiency allows the use of smaller transformers and less in the way of heat control systems. The ultimate result is a much lighter amp.
Despite its compact size and amazingly low weight, the
PPM1008
has plenty of power. Its 1,600 total watts of peak power (800W +
800W) are enough to drive a pair of 15" two-ways, or even four of them, at
brain-cell-destroying volume. The system is tailored for use with Mackie passive
speakers and has special EQ circuitry for perfect matching.
While my mains boxes aren’t Mackies, they are good ones and they seem to like the PPM1008 just fine. This is a system that deserves good speakers. When I cranked it up to full-tilt gig level, the PPM1008 amps stayed cool and ran distortion-free.
The
PPM1008
has just eight channels, but all eight are mic channels with premium
Mackie preamps, 48V phantom power, and three-band active EQ with sweepable mids
and TRS inserts on channels 1-6.
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The first four channels feature an inline compressor for pumping up vocal presence and punch. Channels 5 and 6 are equipped with Hi-Z inputs for instruments as well as the line inputs that are found on all channels. The Hi-Z inputs give you the functionality of two built-in DI boxes. Channels seven and eight can be used as mono mic channels or as stereo channels with their RCA and 1/4" inputs.
In its master section, the
PPM1008
again has all the right stuff. It includes two nine-band graphic EQs
with constant-Q filters, high-resolution 12-segment metering for mains and
monitors, switchable rumble filters on both mains and monitors, and a Precision
Passive EQ switch that optimizes output for use with Mackie Precision Passive
Series Loudspeakers. There’s also a switch that mutes the mic channels and mono
inputs, keeping stereo line channels open for break music.
There are many output options on the PPM1008. Powered outputs are accessible from the back of the mixer and feature both TRS and locking Speakon connectors. The main output section also features several line-level outputs that allow you to incorporate powered mains, monitors, or even an outboard effects processor. Record out RCAs are provided so you can easily record direct from the mixer. An automatic limiter keeps an eye on things and green and red LEDs keep you informed as to what it sees.
The effects section in the
PPM1008
is especially well done. It is mono in, stereo out, and can be fed
at different levels to the mains and monitors. It includes 24 selections of
32-bit reverbs, choruses, delays, and several combos—all of them usable and
great sounding. Mackie hasn’t stacked the deck with a bunch of junk just to run
up the numbers. The delays offer preset times ranging from a doubler to 350ms of
delay, and a tap tempo button allows you to program delays up to 500ms.
The effects section has other useful features: a bright display shows the effect preset number selected, a pair of LEDs indicate that a signal is reaching the processor. A green LED shows that the signal is within range, and a red LED alerts you that the processor is being overloaded. There’s a mute switch for temporarily disabling the effects, and a footswitch jack for onstage foot control of effect selection.
One look at the
PPM1008
tells you that it has the build to handle road use. The entire unit
is armored in a steel chassis with ABS end caps that keep it protected against
shock, beer, smoke, and all the other common hazards of rock-and-roll life. The
control panel is recessed so if it takes a tumble in the truck, the knobs are
less likely to be damaged.
Mackie has addressed all the issues that face gigging musicians in designing the PPM1008. They’ve created a unit that has the power, quality, functions, and ruggedness to do the job of a serious rack and do it well. It has the headroom. The effects sound fantastic. It’s easy to use and incredibly easy to transport. What more could one ask?