Mackie 32.8Bus, 24.8Bus Specifications

RECORDING AND PA CONSOLES

voltages for the expander
console shall be supplied by
a two rack space external
power unit that shall con­nect to the expander frame
via a 7-conductor cable
terminated in an appropriate

1. GENERAL CONFIGURA­TION. The audio mixer shall

have a mainframe capable
of accommodating
16/24/3 2 inline input/
output channels, with an
optional meter bridge
consisting of 16/24/32
precision LED bargraph
meters to monitor signal
levels in all inline input
channels and VU meters to
monitor control room
source selection, and an
optional separate expander
console capable of accom­modating an additional 24
inline input/output chan­nels that shall connect to
the mainframe via 37-pin D­sub connectors. Note: The
separate expander frame is
not available for the 16•8
mixer. The mainframe shall
also include an overall
master control section, and
provision for directly
mounting 12V gooseneck
type panel lighting via BNC
connectors.

2. POWER SUPPLIES. All
necessary operating volt­ages for the mainframe
shall be supplied by a two­rack- space external power
unit that shall connect to
the mainfram via a 7­conductor cable terminated
in an appropriate connector,
and all necessary operating

connector.

3. CHANNEL INPUTS/
OUTPUT TERMINA TIONS.

Each inline input/output
channel shall have the
following inputs and outputs:
a) one balanced
transformerless input for low­impedance microphone via
3-pin female XLR connector
with gold-plated pins, b) one
balanced/unbalanced
transformerless input for line­level signals via 3-conductor

1

/4" connector , c) one
balanced/unbalanced
transformerless input for
signals from tape, which shall
be switchable globally for 8
channels for a nominal
–10dBV or +4dBU operating
level, d) one unbalanced
line-level direct output via
2-conductor 1/4" connector ,
e) one unbalanced output/
input channel patching insert
via 3-conductor 1/4" connec­tor (tip = send, ring =return).

4. INPUT SWITCHING. Each
inline input/output channel
shall have: a) a mic/line
switch to select signals from
either the mic input or the
line input, b) a flip switch to
determine whether the
mic/line input is fed to the
channel’s primary signal path
while the tape input feeds
the Mix-B (Monitor) signal
path, or whether the tape
input feeds the channel’s

2/6/98

MORE INFORMATION

THESE SPECIFICATIONS

ARE AVAILABLE ON 3.5"

PC & MAC FORMA T DISK IN

POPULAR WORD

PROCESSOR FORMATS

■

CALL 800/258-6883

FAX [phone]

OUTSIDE THE U.S., CALL

425/487-4333

primary signal path while the
mic/line input feeds the Mix-B
(Monitor) signal path.

5. INPUT LEVEL ADJUSTMENT .

Each inline input/output
channel shall be equipped
with a channel trim control to
adjust the gain of the input
amplifier stage to appropri­ately match levels presented
to the mic and line inputs.

®

2

6. DUAL I/O SIGNAL P ATHS.

Each inline input/output
channel shall provide
separate but selectable
routing for input signals: a)
the primary signal path
(“channel”) shall route
signals from the mic or line
input to the channel controls
via the main channel fader,
with signals from the tape
input routed to the channel’s
Mix-B (Monitor) controls as
determined by the Mix-B
Source selector switch, b)
the routing of the primary
and Mix-B signals shall be
reversible via the Flip switch,
which shall therefore send
the signal from the mic or
line input to the Mix-B
(Monitor) controls, and send
the signals from the tape
input to the primary signal
path controls via the main
channel fader.

7. AUXILIARY SEND CON­TROLS AND SWIT CHES.

Each inline input/output
channel shall also include
AUX send controls as
follows: a) rotary controls for
AUX Send 1 and AUX Send 2
that allow the level from
each individual channel
output sent to the AUX 1 or
AUX 2 output to be sepa­rately adjusted, along with
an associated pre/post
selector switch that deter­mines whether the output is
taken post EQ/post fader or
post EQ/pre fader, b) rotary
controls for AUX Send 3/5
and AUX Send 4/6 that allow
the level from each individual
channel sent to the the AUX
output 3 or 5 or to the AUX
outputs 4 or 6 to be sepa­rately adjusted, along with an
associated shift switch, an
associated pre/post selector
switch, and an associated
source selector switch.

The shift switch shall select
whether the signal as
adjusted by its associated
rotary controls is sent to AUX
outputs 3 and 4, or AUX
outputs 5 and 6, while the
pre/post switch determines
whether these outputs are
taken post EQ/post fader or
post EQ/pre fader, and the
source switch selects
whether the signal appearing
at AUX outputs 3/4 or AUX
outputs 5/6 is derived from
the primary signal path or
from the Mix-B (Monitor)
signal path.

8. I/O CHANNEL EQUALIZA­TION. Each inline input/

output channel shall include
an equalizer section consist­ing of one fully parametric hi­mid equalizer utilizing
separate rotary controls for
boost/cut, frequency sweep
and bandwidth (“Q”), with a
control range of ±15dB
boost/cut, a frequency range
500Hz to 18kHz sweep, and
a bandwidth (“Q”) range
from 1/12 of an octave to 3
octaves, one semi-parametric
lo-mid equalizer consisting of
separate rotary controls for
boost/cut and frequency
sweep, with a control range
of ±15dB boost cut, and a
frequency range of 45Hz to
3kHz, a shelving high fre­quency equalizer providing
±15dB boost/cut at 1 2kHz,
and a shelving low frequency
equalizer providing ±15dB
boost/cut at 80Hz. All
equalizer circuitry shall be
able to be inserted into or
removed from the primary
signal path via a n as so cia te d
in/out switch. Additionally,
the high and low shelving
equalizers shall be assign­able to operate only in the
Mix-B (Monitor) signal
path, without regard to
whether the parametric and
semi-parametric equalizers
are used in the primary
signal path.

9. I/O CHANNEL HIGH PASS
FILTER. Each inline

input/output channel shall
include an 18dB/octave,
75Hz low cut (high pass)
filter, with an associated
on/off switch.

10. I/O CHANNEL LEVEL
INDICATORS. Each inline

input/output channel
primary signal path shall
have two LED signal level
indicators: a) a red LED that
indicates signals 3dB below
the onset of clipping in the
input stage, the equalizer
stages, and/or the output
stage, b) a green “activity”
LED that indicates signals at
–20dB or greater @ 1KHz.

11. I/O CHANNEL FADER
AND PAN. Each inline input/

output channel shall utilize a
100mm main channel fader
that incorporates a complex
precision resistive network to
deliver true logarithmic
attenuation. The main
channel fader shall provide
10dB of gain over Unitey
while also providing 100dB
of attenuation. In addition,
each input/output channel
shall include an active
buffered constant power pan
control (–3dB @ center),
providing a maximum of
85dB of attenuation.

12. I/O CHANNEL MIX-B
(MONITOR) CONTROLS
AND SWITCHES. An addi-

tional signal path and pair of
L/R I/O Buses shall be
provided in each inline
input/output channel, and
shall be dual purpose, and
shall therefore be labeled
Mix-B (Monitor). The Mix-B
(Monitor) controls shall
include switching that allows
these Buses to derive their
signals from either the tape
input, mic/line preamp
output or the channel output
pre-fader, and additional
switching that allows the
high and low shelving
equalizers to be removed

2