SOUND REINFORCEMENT CONSOLES
The SR24•4 and SR32•4 do for live sound what Mackie’s already done for studio recording. Like our acclaimed 8•Bus series, these professional grade mixing consoles were built to deliver the same kind of useful features and pro specifications as those found on “bigger boards.” And to stand up to continuous, 24-hr.-a-day use.
Many of today’s large hotels, convention centers, theaters and places of worship require mixers that can handle advanced sound reinforcement. At the same time, they need to be portable and compact enough to move around, flexible enough to work in a variety of applications, and be easy to use. Of course, they must be affordable. The SR24•4 & 32•4 mixing consoles are all that. And they feature the
same high headroom and ultra-low noise components and circuitry as our 8•Bus series, with many of the same features.
24 or 32 in, 4 x 2 x 1 out.
The SR Series mixers are true 4-bus consoles. Any
channel can be assigned to any bus (or directly to the main mix), and each
bus can be assigned to the main L/R or mono
mixes, or fed out directly to, for instance, an 8-track recorder. The SR24•4 and 32•4 each have 6 aux sends, 3-band EQ with sweepable mids, and Mackie’s unique “AIR” EQ circuit.
At a price that belies their durability and features, the SR24•4 and 32•4 are easily affordable workhorses that’ll be as welcome as live mixing consoles as they are in a recording studio.
Durability. A word Mackie lives by.
The SR Series of mixing consoles can take just about any kind of punishment. They’re built like tanks. Because we knew they would be moved around and used as both live and recording consoles, we made them to stand up to continuous duty. Not only can they take active abuse — they’re as rugged as anything Mackie makes — the SR24•4 and 32•4’s insides are made to stand up to more passive problems.
MORE INFORMATION
SR32•4/SR24•4
ARCHITECTS’ AND
ENGINEERS’
SPECIFICATIONS
“IN YOUR FACE”
ALL-PRODUCT BROCHURE
FEATURES
Fast, easy, accurate level-setting via Solo
4 Submix Buses
8•Bus-style mic preamps with –129.5dBm
“Double-Bussed” sub outs for 8-tk. recording
6 aux sends available at all times
Globally-switchable AFL/PFL
3 Band EQ on mono chs.:
•80Hz Lo Shelving
•Sweepable, 100Hz to 8kHz Mid
•12kHz Hi Shelving
AIR EQ Circuit for Extra Sheen
Very Low Impedance (VLZ) circuitry for low noise
Trim Control on each channel for wide gain
range
Balanced Inputs and Outputs
Tape Return to Main Mix
Mono Out with level control
®
Monitor mixes with effects can be created by folding back Aux Returns 1 & 2 into Aux Sends 1 & 2, respectively. This is great for shy vocalists who “need” a little reverb on their voice.
EQ’s no problem on the SR24•4 and SR32•4. They have three bands on their mono channels, with 80Hz Lo shelving, sweepable 100Hz to 8kHz mids, and 12kHz Hi shelving EQ. (On the stereo channels mid EQ is fixed at 3k and 800Hz.) A low cut filter with 18dB/octave roll-off at 75Hz severely lessens room rumble, wind noise and mic thumps. It allows Lo EQ to be used safely on vocals because the audible bass range is boosted but the unwanted frequencies below 75Hz get cut off. No more using Mid EQ for low frequency tasks.
Another Mackie breakthrough is an EQ circuit we call “AIR.” It works on the top end of the mix (via the submix buses), adding clarity to the higher frequencies without affecting the lower treble octaves. The result is positively brilliant, giving a little atmosphere to the vocals, making old guitar strings sound new, and generally breathing life into the whole mix.
The SR Series have amazingly high headroom. Like the 8•Bus and the CR-1604 before them, their bus and main mix amplifiers use Mackie’s distinctive negative gain mix amplifier architecture, for up to twice as much extra headroom. Since the mix amp is where all the signals come together, we built ours to deal with lots of hot signals and still supply astonishing headroom and low noise.
VLZ — Very Low Impedance — is another reason that the SR24•4 and 32•4 are such low-noise marvels. VLZ architecture means minuscule noise levels in both live and recording situations. Thermal noise is created in every bit of circuitry inside a console; Mackie’s VLZ design reduces thermal noise by making internal console impedances as low as possible, in as many places as possible. In the live arena, the sound in the mains will be as quiet as a church mouse (when there’s no other sound coming through). And in recording, VLZ’s low noise will garner pristine tracks on analog tape, digital tape, hard disk — whatever the medium, the SR Series consoles are incredibly quiet.
Recording flexibility.
Because the SR Series’ buses are “double-bussed,” outputs to an 8-track recorder (like ADAT or DA-88) are a snap and can be achieved without repatching. Plus, the Phones/Control Room switch and level control is connected to two stereo phone outputs and the Control Room output, letting you route the stereo Tape Return to Phones/ Control Room for 2-track recording and monitoring.
With the Tape Return feature, a stereo tape deck can be monitored, whether it’s being used to record a live event, or for music playback. Tape Return to Phones/C-R routes the tape playback signal into the monitor system and meters, and the Tape Return knob adjusts the level of the tape playback. The playback signal from the tape deck can be listened to via headphones and levels can be checked via the SR24•4 or 32•4’s meters. Of course, the SR24•4 and 32•4 have RCAstyle Tape Outs for output to conventional cassette decks, as well as 1/4” balanced outs. They also have XLR outs for use with DAT recorders and other pro equipment. Tape signals can also be assigned directly to the Main Mix, replacing its usual signals, making it ideal for playing “canned” music between events.
VLZ |
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VERY LOW IMPEDANCE DESIGN |
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A-I1N0 |
TRIM |
A-I1N0 |
TRIM |
A-I1N0 |
TRIM |
A-I1N0 |
TRIM |
A-I1N0 |
TRIM |
A-I1N0 |
TRIM |
A-I1N0 |
TRIM |
A-I1N0 |
TRIM |
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1 |
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2 |
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3 |
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4 |
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5 |
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6 |
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7 |
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8 |
AUX |
AUX |
AUX |
AUX |
AUX |
AUX |
AUX |
AUX |
PRE1 |
PRE1 |
PRE1 |
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PRE1 |
PRE1 |
PRE1 |
PRE1 |
PRE1 |
+15 |
+15 |
+15 |
+15 |
+15 |
+15 |
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+15 |
+15 |
PRE2 |
PRE2 |
PRE2 |
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PRE2 |
PRE2 |
PRE2 |
PRE2 |
PRE2 |
+15 |
+15 |
+15 |
+15 |
+15 |
+15 |
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+15 |
+15 |
3 |
3 |
3 |
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3 |
3 |
3 |
3 |
3 |
+15 |
+15 |
+15 |
+15 |
+15 |
+15 |
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+15 |
+15 |
4 |
4 |
4 |
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4 |
4 |
4 |
4 |
4 |
+15 |
+15 |
+15 |
+15 |
+15 |
+15 |
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+15 |
+15 |
PRE |
PRE |
PRE |
PRE |
PRE |
PRE |
PRE |
PRE |
5 |
5 |
5 |
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5 |
5 |
5 |
5 |
5 |
+15 |
+15 |
+15 |
+15 |
+15 |
+15 |
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+15 |
+15 |
6 |
6 |
6 |
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6 |
6 |
6 |
6 |
6 |
+15 |
+15 |
+15 |
+15 |
+15 |
+15 |
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+15 |
+15 |
EQ |
EQ |
EQ |
EQ |
EQ |
EQ |
EQ |
EQ |
HI |
HI |
HI |
HI |
HI |
HI |
HI |
HI |
12k |
12k |
12k |
12k |
12k |
12k |
12k |
12k |
-15 |
+15 |
-15 |
+15 |
-15 |
+15 |
-15 |
+15 |
-15 |
+15 |
-15 |
+15 |
-15 |
+15 |
-15 |
+15 |
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MID |
MID |
MID |
MID |
MID |
MID |
MID |
MID |
-15 |
+15 |
-15 |
+15 |
-15 |
+15 |
-15 |
+15 |
-15 |
+15 |
-15 |
+15 |
-15 |
+15 |
-15 |
+15 |
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FREQ |
FREQ |
FREQ |
FREQ |
FREQ |
FREQ |
FREQ |
FREQ |
100 8kHz |
100 8kHz |
100 8kHz |
100 8kHz |
100 8kHz |
100 8kHz |
100 8kHz |
100 8kHz |
100 |
LOW |
LOW |
LOW |
LOW |
LOW |
LOW |
LOW |
LOW |
80Hz |
80Hz |
80Hz |
80Hz |
80Hz |
80Hz |
80Hz |
80Hz |
-15 |
+15 |
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-15 |
+15 |
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-15 |
+15 |
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-15 |
+15 |
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-15 |
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-15 |
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-15 |
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-15 |
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LOW CUT |
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LOW CUT |
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LOW CUT |
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LOW CUT |
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LOW CUT |
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LOW CUT |
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LOW CUT |
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LOW CUT |
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LOW |
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75 Hz |
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75 Hz |
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75 Hz |
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75 Hz |
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75 Hz |
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75 Hz |
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75 Hz |
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75 Hz |
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75 |
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18dB/OCT |
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18dB/OCT |
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18dB/OCT |
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18dB/OCT |
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18dB/OCT |
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18dB/OCT |
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18dB/OCT |
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18dB/OCT |
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18dB/ |
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OL |
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OL |
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OL |
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OL |
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OL |
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OL |
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R |
-20 |
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-20 |
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-20 |
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R |
-20 |
L |
R |
-20 |
L |
R |
-20 |
L |
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-20 |
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-20 |
L |
PAN |
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PAN |
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PAN |
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PAN |
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PAN |
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PAN |
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PA |
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MUTE |
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MUTE |
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MUTE |
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MUTE |
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MUTE |
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MUTE |
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MUTE |
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MUTE / SOLO |
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MUTE / SOLO |
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MUTE / SOLO |
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MUTE / SOLO |
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MUTE / SOLO |
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MUTE / SOLO |
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MUTE / SOLO |
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MUTE / SOLO |
M |
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dB |
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dB |
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dB |
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dB |
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dB |
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dB |
10 |
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SOLO |
10 |
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SOLO |
10 |
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SOLO |
10 |
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SOLO |
10 |
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SOLO |
10 |
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SOLO |
10 |
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SOLO |
10 |
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SOLO |
10 |
5 |
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5 |
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5 |
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5 |
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5 |
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5 |
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5 |
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5 |
U |
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1-2 |
U |
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1-2 |
U |
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1-2 |
U |
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1-2 |
U |
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1-2 |
U |
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1-2 |
U |
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1-2 |
U |
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1-2 |
U |
5 |
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3-4 |
5 |
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3-4 |
5 |
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3-4 |
5 |
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3-4 |
5 |
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3-4 |
5 |
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3-4 |
5 |
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3-4 |
5 |
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3-4 |
5 |
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10 |
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10 |
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10 |
20 |
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L-R |
20 |
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L-R |
20 |
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L-R |
20 |
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L-R |
20 |
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L-R |
20 |
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L-R |
20 |
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L-R |
20 |
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L-R |
20 |
30 |
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30 |
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30 |
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30 |
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30 |
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30 |
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30 |
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40 |
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40 |
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40 |
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40 |
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40 |
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40 |
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50 |
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50 |
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50 |
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50 |
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50 |
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50 |
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50 |
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60 |
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60 |
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60 |
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60 |
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60 |
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60 |
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60 |
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60 |
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60 |
®
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