Mackie D-2 User Manual

2-Channel DJ Mixer with FireWire Option

OWNER’S MANUAL

MIC CONTROL

OL

48V

SIG

OFF

+50+3

LEVEL

ON

U

U

U

ON

EQ

HIGH

+15-15

MID

+15-15

LOW

+15-15

PAN BAL

RL

PGM

TRANSFORM

OL

10

7

4

2

0

2

4

7

10

20

30

REVERSE REVERSE

PGM

1

SOURCE

U

LINE/

PHONO

OO

MAX

CD

LEVEL

EQ

HIGH

KILL +10

MID

KILL +10

LOW

KILL +10

FX

BAL

RLRL

1

MAIN

LR

OL

10

7

4

2

0

2

4

7

10

20

30

2PGM

SOURCE

U

MAIN

LINE/
PHONO

OO

MAX

CD

KILL +10

LEVEL

HIGH

BOOTH

STEREO
MONO

FX

EQ

MID

KILL +10

LOW

KILL +10

FX

PHONES

PGM
MAIN

111

2

PGM

TRANSFORM

OL

10

7

4

2

0

2

4

7

10

20

30

REVERSE

RETURN

PGM SOURCE

OO

LEVEL

OO

LEVEL

OO

SEND

OO

OO

LEVEL

MAX

U

MAX

+15

+15

U

MAX

2

infinium

contact-free
cross-fader

BA

Important Safety Instructions

13.

1. Read these instructions.

2. Keep these instructions.

3. Heed all warnings.

4. Follow all instructions.

5. Do not use this apparatus near water.

6. Clean only with dry cloth.

7. Do not block any ventilation openings. Install in accordance with the

manufacturer’s instructions.

8. Do not install near any heat sources such as radiators, heat registers,

stoves, or other apparatus (including amplifi ers) that produce heat.

9. Do not defeat the safety purpose of the polarized or grounding-type

plug. A polarized plug has two blades with one wider than the other.
A grounding-type plug has two blades and a third grounding prong.

d.2 2-channel DJ Mixer

The wide blade or the third prong are provided for your safety. If the
provided plug does not fi t into your outlet, consult an electrician for
replacement of the obsolete outlet.

10.

Protect the power cord from being walked on or pinched particularly at

plugs, convenience receptacles, and the point where they exit from the
apparatus.

11.

Only use attachments/accessories specifi ed by the manufacturer.

12.

Use only with a cart, stand, tripod, bracket, or table specifi ed by the

manufacturer, or sold with the apparatus. When a cart is used, use
caution when moving the cart/apparatus combination to avoid injury
from tip-over.

PORTABLE CART WARNING

Carts and stands - The
Component should be used
only with a cart or stand
that is recommended by
the manufacturer.
A Component and cart
combination should be
moved with care. Quick
stops, excessive force, and
uneven surfaces may cause
the Component and cart
combination to overturn.

CAUTION AVIS

RISK OF ELECTRIC SHOCK

DO NOT OPEN

RISQUE DE CHOC ELECTRIQUE

NE PAS OUVRIR

CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK

DO NOT REMOVE COVER (OR BACK)

NO USER-SERVICEABLE PARTS INSIDE

REFER SERVICING TO QUALIFIED PERSONNEL

ATTENTION: POUR EVITER LES RISQUES DE CHOC

ELECTRIQUE, NE PAS ENLEVER LE COUVERCLE. AUCUN

ENTRETIEN DE PIECES INTERIEURES PAR L'USAGER. CONFIER

L'ENTRETIEN AU PERSONNEL QUALIFIE.

AVIS: POUR EVITER LES RISQUES D'INCENDIE OU

D'ELECTROCUTION, N'EXPOSEZ PAS CET ARTICLE

A LA PLUIE OU A L'HUMIDITE

The lightning flash with arrowhead symbol within an equilateral
triangle is intended to alert the user to the presence of uninsulated
"dangerous voltage" within the product's enclosure, that may be
of sufficient magnitude to constitute a risk of electric shock to persons.

Le symbole éclair avec point de flèche à l'intérieur d'un triangle
équilatéral est utilisé pour alerter l'utilisateur de la présence à
l'intérieur du coffret de "voltage dangereux" non isolé d'ampleur
suffisante pour constituer un risque d'éléctrocution.

The exclamation point within an equilateral triangle is intended to
alert the user of the presence of important operating and maintenance
(servicing) instructions in the literature accompanying the appliance.

Le point d'exclamation à l'intérieur d'un triangle équilatéral est
employé pour alerter les utilisateurs de la présence d'instructions
importantes pour le fonctionnement et l'entretien (service) dans le
livret d'instruction accompagnant l'appareil.

Unplug this apparatus during lightning storms or when unused for long

periods of time.

14.

Refer all servicing to qualifi ed service personnel. Servicing is required

when the apparatus has been damaged in any way, such as power­supply cord or plug is damaged, liquid has been spilled or objects have
fallen into the apparatus, the apparatus has been exposed to rain or
moisture, does not operate normally, or has been dropped.

15.

This apparatus shall not be exposed to dripping or splashing, and no

object fi lled with liquids, such as vases or beer glasses, shall be placed
on the apparatus.

16.

This apparatus has been designed with Class-I construction and must

be connected to a mains socket outlet with a protective earthing con­nection (the third grounding prong).

17.

This apparatus has been equipped with an all-pole, rocker-style AC

mains power switch. This switch is located on the rear panel and
should remain readily accessible to the user.

18.

This apparatus does not exceed the Class A/Class B (whichever is

applicable)
set out in the radio interference regulations of the Canadian Department
of Com mu ni ca tions.

ATTENTION — Le présent appareil numérique n’émet pas de bruits
radioélectriques dépassant las limites applicables aux appareils numériques de
class A/de class B (selon le cas) prescrites dans le réglement sur le brouillage
radioélectrique édicté par les ministere des com mu ni ca tions du Canada.

19.

Exposure to extremely high noise levels may cause permanent hearing

loss. Individuals vary considerably in susceptibility to noise-induced
hearing loss, but nearly everyone will lose some hearing if exposed to
suffi ciently intense noise for a period of time. The U.S. Government’s
Occupational Safety and Health Administration (OSHA) has specifi ed
the permissible noise level exposures shown in the following chart.

According to OSHA, any exposure in excess of these permissible limits

could result in some hearing loss. To ensure against potentially danger­ous exposure to high sound pressure levels, it is recommended that all
persons exposed to equipment capable of producing high sound pres­sure levels use hearing protectors while the equipment is in operation.
Ear plugs or protectors in the ear canals or over the ears must be worn
when operating the equipment in order to prevent permanent hearing
loss if exposure is in excess of the limits set forth here.

Duration Per Day Sound Level dBA, Typical
In Hours Slow Response Example

8 90 Duo in small club

6 92

4 95 Subway Train

3 97

2 100 Very loud classical music

1.5 102

1 105 Dave screaming at Steve about deadlines

0.5 110

0.25 or less 115 Loudest parts at a rock concert

WARNING — To reduce the risk of fi re or

electric shock, do not expose this apparatus

limits for radio noise emissions from digital apparatus as

to rain or moisture.

2

d.2 DJ Mixer

Table of Contents

Safety Instructions................................... 2

Introduction............................................... 4

Getting Started ......................................... 5

READ THIS PAGE!!....................................................5

Hookup Diagrams.....................................6

Rear Panel Features................................ 10

Top Panel Features...................................12

Microphone Input Section .................................12

Program Input Section......................................... 13

Control Section......................................................14

Owner’s Manual

Program Output Section..................................... 15

Front Panel Features ...............................17

Appendix A: Service Information....... 18

Warranty Service...................................................18

Troubleshooting ....................................................18

Repair .......................................................................19

Appendix B: Connections .....................20

Appendix C: Technical Info ...................21

Specifi cations .........................................................21

Block Diagram........................................................23

Gain Structure Diagram......................................24

Appendix D: Transform Switch

Rotation and Fader Replacement......25

Limited Warranty...................................27

Don’t forget to visit our website at www.mackie.com for more

information about this and other Mackie products.

Part No. 0014096 Rev. A 7/05
©2005 LOUD Technologies Inc. All Rights Reserved. Printed in China.

Owner’s Manual

3

Introduction

Thank you for choosing a Mackie d.2 Premium VCA
Mixer for scratch and club DJs. It contains all your fa­vorite features in a scratch mixer, along with signifi cant
extras that you will come to appreciate.

The d.2 is the fi rst DJ mixer made by Mackie. We were
able to apply our extensive knowledge of mixer design
to the d.2, making it a truly professional product with
the high-end performance you’ve come to expect from
Mackie. Features like our “built like a tank” construc­tion, premium analog circuitry, infi nium
crossfader, optional FireWire
Earth” power supply add value to the d.2 not found in
any other scratch mixer in its class.

™

connectivity, and “Planet

™

contact-free

d.2 2-channel DJ Mixer

FEATURES

• Mighty strong construction to withstand the
rigors of DJ work.

• Integrated rack ears (Odyssey Battle Bridge
compatible).

• Removable top panel provides access to the
rotatable transform switches and to the
user-replaceable faders.

• Premium VCA-based design offers extremely
smooth fades and cross fades with very low
distortion characteristics for warm, hearty
sounding mixes.

• Mackie mic preamp with 3-band EQ for pro­quality vocals through the d.2.

• XLR main outputs with Mic/Line switch (mic
position allows stage connections with no D.I.
boxes required).

• RCA main outs with Live/Record switch
(Record position delivers a pre-main out).

• Endless-life optical crossfader from the UK­based Infi nium, with adjustable mechanical
tension accessible from the top panel.

• Optional user-installable FireWire card receives
four program channels from PC/Mac and sends
a stereo L-R recording stream to PC/Mac.

• Program faders and Crossfader have variable
contour curves and reverse switches.

• Ultra bright blue/white main meters plus
individual program meters for cueing and beat
matching.

• Separate mono/stereo switchable booth output
on balanced TRS connectors.

• Stereo FX loop for outboard effects.

• “Planet Earth” power-supply operates on volt­ages between 100 and 240 VAC.

• Standard IEC power receptacle and power cord.

HOW TO USE THIS MANUAL

™

We know that many of you can’t wait to get your new
mixer hooked up, and you’re probably not going to read
the manual fi rst (sigh!). So the fi rst section after this
Introduction is a Getting Started guide to help you get
the mixer set up fast so you can start using it right away.
Right after that are the ever popular hook-up diagrams
that show you some typical setups.

Then, when you have time, read the Features Descrip­tion section. This describes every knob, button, and
connection point on the d.2, roughly following the signal
fl ow through the mixer from top to bottom.

Throughout this section you’ll fi nd illustrations with
each feature numbered. If you want to know more about
a feature, simply locate it on the appropriate illustra­tion, notice the number attached to it, and fi nd that
number in the nearby paragraphs.

This icon marks information that is critically
important or unique to the d.2. For your own
good, read them and remember them. They

will be on the fi nal test.

Please write your serial number here for future
reference (i.e., insurance claims, tech support,
return authorization, etc.)

Purchased at:

Date of purchase:

4

d.2 DJ Mixer

This icon leads you to in-depth explanations
of features and practical tips. While not
mandatory, they usually have some valuable

nuggets of information.

Appendix B is a section on connectors: XLR connec­tors, TRS balanced connectors, TS unbalanced connec­tors, and RCA unbalanced connectors.

Appendix C shows the d.2 specifi cations, a block dia­gram, and a gain structure diagram.

Appendix D shows how to adjust the position of the
transform switches, and how to replace the faders if you
ever have to.

Getting Started

READ THIS PAGE!!

Even if you never reads manuals, please
read and digest the safety instructions
on page 2, and this page before you
begin using the d.2 mixer.

Zero the Controls

1. Turn the rear panel POWER switch off.

Owner’s Manual

Set the Levels

To set the LEVEL controls, it’s not even necessary
to hear what you’re doing at the outputs of the mixer.
If you want to listen while you work, plug headphones
into the PHONES jack on the front panel, then set the
PHONES knob up a little.

1. Select the input using the SOURCE switch.

2. Play something into the selected input. Be sure

that the volume of the input source is the same as
it would be during normal use. If it isn’t, you might
have to readjust these levels during the middle of a
set.

2. Turn down the LEVEL controls for MIC, PGM 1 and
PGM 2, and center all EQ, PAN, and BAL controls.

3. Set all push button switches to their “out” positions.

4. In the CONTROL section (right hand side), turn all
the rotary knobs down, and the switches out.

5. Set the PROGRAM Faders fully down.

6. On the front panel, set the REVERSE switches out.

7. Center the CROSSFADER.

Connections

If you already know how you want to connect the d.2,
go ahead and connect the inputs and outputs the way
you want them. If you just want to get sound through
the d.2 mixer, follow these steps:

1.

Plug a signal source to the d.2. This could be a:

• Microphone into the MIC input

• Turntable into a PHONO input (push in the
rear panel LINE/PHONO switch)

• Line-level source such as a CD player into the
PHONO input (push out the LINE/PHONO
switch)

• Line-level source such as a CD player into a CD
input.

2. If you are using the PHONO input, make sure you
set the LINE/PHONO switch correctly.

3. Connect cords from the d.2’s MAIN OUTs (XLR or
RCA connectors on the rear panel) to your powered
speakers or amplifi er.

4. Plug in the detachable linecord, connect it to a live
AC outlet, and turn on the d.2’s POWER switch.

5. If you have powered speakers, turn them on. Other­wise, hook up your speakers to the amp and turn it
on. Adjust your powered speaker or amplifi er level
controls to however the
(This is usually all the way up.)

manufacturer recommends.

3. Center the TRANSFORM switch. There will be no
output, but the PROGRAM METER will still work.

4. Adjust the channel’s rotary LEVEL control so that
the LEDs on the PROGRAM meter stay around “0”
and +4, and never go higher than “+7.”

5. Apply some EQ if needed, (return to step 4 if you
do, just to check the levels are still OK).

6. Repeat for the other channel (if you want to).

Set the MIC Levels

1. To level the microphone input, keep the ON button
off, and talk or sing at your highest expected level.

2. Adjust the MIC LEVEL until the OL LED next to it
only comes on occasionally.

Instant Mixing

1.

To get sound out of the speakers, press the TRANS­FORM switch up (the latched position), turn up the
PROGRAM fader,
to a comfortable listening level.

2. Sing and play. You’re a star! Bring in the other
channel, play with the CROSSFADER, and generally
have fun.

Other Nuggets of Wisdom

• Always turn down the MAIN, BOOTH, and PHONE
knobs before making any connections.

• When you shut down your equipment, turn off the
amplifi ers fi rst. When powering up, turn on the
amplifi ers last.

• Never listen to loud music for prolonged periods.
Please see the Safety Instructions on page 2 for
information on hearing protection.

and slowly

rotate the MAIN control

Owner’s Manual

5

Hookup Diagrams

(The following hookup diagrams show the d.2 with the optional FireWire card installed.)

d.2 2-channel DJ Mixer

SRM450
Powered Speaker
Main Left

Plug into

front panel

headphone jack

Headphones

SWA1501
Powered Subwoofer

Main Left

Main Right

MAIN OUT MIC

100-240 VAC 50-60Hz 20W

~

SRM450

Powered Speaker

Main Right

SWA1501

Powered Subwoofer

Pro CD Player

Microphone

DESIGNED BY MACKOIDS IN WOODINVILLE, WA, USA • MANUFACTURED IN CHINA

FABRIQUE EN CHINE • COPYRIGHT ©2005 • "MACKIE", AND THE RUNNING MAN

BOOTH

LINE
MIC

LIVE
RECORD

L

ON

SERIAL / DATE CODE

R

FIGURE ARE TRADEMARKS OF LOUD TECHNOLOGIES, INC. • PATENT PENDING.

FX

PGM 2

PHONO CD

SEND

LLLLLR

R

RR

RETURN

LRR

LINE

GND

PHONO

FIREWIRE

PGM 1

PHONO CD

LL

RR

LINE

GND

PHONO

Effects Processor

Laptop Computer

Mobile DJ System: Rental, Wedding, or Funeral

6

d.2 DJ Mixer

Owner’s Manual

Plug into

front panel

headphone jack

Headphones

Turntable with phono-level output

DESIGNED BY MACKOIDS IN WOODINVILLE, WA, USA • MANUFACTURED IN CHINA

FABRIQUE EN CHINE • COPYRIGHT ©2005 • "MACKIE", AND THE RUNNING MAN

MAIN OUT MIC

100-240 VAC 50-60Hz 20W

~

ON

BOOTH

LINE
MIC

LIVE
RECORD

L

SERIAL / DATE CODE

R

FIGURE ARE TRADEMARKS OF LOUD TECHNOLOGIES, INC. • PATENT PENDING.

FX

PGM 2

PHONO CD

SEND

LLLLLR

R

RR

RETURN

LRR

LINE

GND

PHONO

FIREWIRE

ground wire

Laptop Computer

cup of tea
(optional)

Microphone

PGM 1

PHONO CD

LL

RR

LINE

GND

PHONO

ground wire

Turntable with phono-level output

Radio Show Recording/Podcasting/having a good old time

Owner’s Manual

7

SRM450
Powered Speaker
Main Left

SRM450

Powered Speaker

Main Right

d.2 2-channel DJ Mixer

Plug into

front panel

headphone jack

Headphones

SWA1501
Powered Subwoofer

Main Left

Main Right

MAIN OUT MIC

100-240 VAC 50-60Hz 20W

~

Powered Subwoofer

SWA1501

Microphone

DESIGNED BY MACKOIDS IN WOODINVILLE, WA, USA • MANUFACTURED IN CHINA

FABRIQUE EN CHINE • COPYRIGHT ©2005 • "MACKIE", AND THE RUNNING MAN

BOOTH

LINE
MIC

LIVE
RECORD

L

ON

SERIAL / DATE CODE

R

FIGURE ARE TRADEMARKS OF LOUD TECHNOLOGIES, INC. • PATENT PENDING.

FX

PGM 2

PHONO CD

SEND

LLLLLR

R

RR

RETURN

LRR

LINE

GND

PHONO

FIREWIRE

PGM 1

PHONO CD

LL

RR

LINE

GND

PHONO

ground wire

Turntable with phono-level output

Turntable with phono-level output

ground wire

Two-Turntable Portable System

8

d.2 DJ Mixer

Owner’s Manual

SA1532z
Powered Speaker
Main Left

Plug into

front panel

headphone jack

Headphones

SWA1801

SWA1801
Powered
Subwoofers

Subwoofers

CD Turntable (PGM 2) CD Turntable (PGM 1)

Main Left

Main Right

DESIGNED BY MACKOIDS IN WOODINVILLE, WA, USA • MANUFACTURED IN CHINA

FABRIQUE EN CHINE • COPYRIGHT ©2005 • "MACKIE", AND THE RUNNING MAN

MAIN OUT MIC

100-240 VAC 50-60Hz 20W

~

ON

BOOTH

LINE
MIC

LIVE
RECORD

L

SERIAL / DATE CODE

R

FIGURE ARE TRADEMARKS OF LOUD TECHNOLOGIES, INC. • PATENT PENDING.

FX

PGM 2

PHONO CD

SEND

LLLLLR

R

RR

RETURN

LRR

LINE
PHONO

FIREWIRE

GND

Powered Speaker

Powered

PGM 1

PHONO CD

LL

RR

LINE

GND

PHONO

SA1532z

Main Right

Microphone

Booth Left

Booth Right

Turntable (PGM 2)

with phono-level output

SRM450 Powered Speaker
Booth Left

ground wire

Laptop Computer

Club System

ground wire

Turntable (PGM 1)
with phono-level output

SRM450 Powered Speaker

Booth Right

Owner’s Manual

9

Rear Panel Features

MAIN OUT MIC

LINE
MIC

LIVE
RECORD

100-240 VAC 50-60Hz 20W

~

d.2 2-channel DJ Mixer

1. MIC Input

L

ON

R

BOOTH

SERIAL / DATE CODE

DESIGNED BY MACKOIDS IN WOODINVILLE, WA, USA • MANUFACTURED IN CHINA

FABRIQUE EN CHINE • COPYRIGHT ©2005 • "MACKIE", AND THE RUNNING MAN

FIGURE ARE TRADEMARKS OF LOUD TECHNOLOGIES, INC. • PATENT PENDING.

FX

SEND

RETURN

LRR

PGM 2

PHONO CD

LLLLLR

R

RR

LINE

GND

PHONO

FIREWIRE

(ACCESSORY CARD REQUIRED)

5. GND Terminal

PGM 1

PHONO CD

RR

LINE
PHONO

LL

GND

This is a Neutrik “combo” input connector that ac­cepts either a balanced male XLR connector or a 1/4"
balanced or unbalanced connector. Use an XLR connec­tor for low-impedance microphones and a 1/4" connec­tor for high-impedance microphones.

The MIC Input signal is routed through the MIC Input
Section, MIC EQ, and then to the Main Mix bus.

2. CD Inputs

These RCA jacks accept a stereo line-level signal from
a CD player or other line-level playback device (such as
an MP3 player or DVD audio).

3. LINE/PHONO Inputs

These RCA jacks accept a stereo phono-level signal
from a turntable (when the LINE/PHONO [4] switch
is pushed in), or from a line-level playback device such
as a CD player or MP3 player (when the LINE/PHONO
switch is out). Check that your turntable has a phono­level output and a Moving Magnet cartridge.

4. LINE/PHONO Switch

If you connect a turntable with phono-level outputs
to the LINE/PHONO inputs [3], push this switch in to
select the phono-level input stage, which includes an
RIAA preamp for proper re-equalization of the incoming
phono signal.

If you are connecting a line-level playback device like
a CD or MP3 player, leave this switch out to select the
line-level preamp.

Do not press it in if you have a line-level

signal connected.

These terminals are provided to connect a ground
wire from your turntable(s) to the d.2. Most turntables
provide a ground wire to connect to the preamp for the
purpose of eliminating “hum” in the audio signal. Simply
turn the ground terminal on the d.2 counter-clockwise
to loosen it, wrap the end of the ground wire clockwise
around the terminal, and hand-tighten the ground ter­minal for a secure ground connection.

6. Stereo FX SEND

These 1/4" TRS jacks provide a balanced line-level
output signal from the stereo FX Send bus. Use these to
connect to the inputs of an external effects processor.
You can also use an unbalanced 1/4" TS cable to make
this connection.

7. Stereo FX RETURN

These 1/4" TRS jacks accept a balanced line-level
signal from an external effects processor. They will also
accept an unbalanced 1/4" TS connector.

If you are using a stereo effects processor, connect its
left and right outputs to the corresponding left and right
FX RETURN jacks. If it is a mono effects processor, con­nect its output signal to the left FX RETURN jack, and it
will appear on both the left and right Main Mix bus.

8. BOOTH Outputs

These 1/4" TRS jacks provide a balanced line-level
signal from the Main Mix bus, prior to the rotary MAIN
LEVEL control [32]. Use these to connect to a pair
of powered monitor speakers (or to the inputs of an
amplifi er powering the monitor speakers in the booth).

10

d.2 DJ Mixer

If you only have one monitor speaker, just use one of
the BOOTH Outputs and push in the BOOTH STEREO/
MONO switch [34] in the CONTROL section on the top
panel.

9. XLR MAIN OUTs

These male XLR connectors provide a balanced mic­or line-level signal from the MAIN LEVEL control [32].
The LINE/MIC Switch [10] determines if it is a mic­level or line-level output. Connect these to the balanced
inputs of the active speakers, or power amplifi er(s)
powering your main speakers.

If you are connecting the MAIN OUT of the d.2 to an
unbalanced input, use the RCA Main Outs [11] instead.

Note: Balanced connections offer better immunity to
external noise (specifi cally, hum and buzz) than unbal­anced connections. Because of this, it is the preferred
interconnect method, especially in cases where very
long lengths of cable are being used. A long unbalanced
cable carries with it more opportunity for noise to get
into the system — having balanced cables means very
little noise will enter the system. If you must use an
unbalanced connection, keep the cable length to 10 feet
or less (3 meters).

MAIN LEVEL control. This allows you to make a stereo

Owner’s Manual

recording that is not affected by Main Out level changes
during a performance.

13. POWER Switch

When the POWER switch is turned ON, power is sup-

plied to the d.2 and the cool blue EQ knobs light up.

14. Power Receptacle

This is a standard 3-prong IEC power connector. Con­nect the detachable linecord (included in the box with
your d.2) to the power receptacle, and plug the other
end of the linecord into an AC outlet.

The d.2 has a universal power supply that can accept
any AC voltage from 100 VAC to 240 VAC. No need for
voltage select switches. It will work virtually anywhere
in the world. That’s why we call it a “Planet-Earth”
power supply! This also means that it is less susceptible
to voltage sags or spikes, providing greater electromag­netic isolation and better protection against AC line
noise.

15. FIREWIRE I/O Option

10. LINE/MIC Switch

If you are connecting the XLR MAIN OUTs [9] to line­level inputs like a power amplifi er’s inputs, leave this
switch out, in the LINE position.

If you are using the d.2 as a submixer and connecting
the XLR MAIN OUTS to the mic inputs of another mixer,
push this switch in to the MIC position. This inserts a
30 dB pad to reduce the output signal to a mic level.
This great feature allows you to connect the d.2 output
directly to a snake without using direct boxes.

11. RCA Main Outs

These RCA connectors provide an unbalanced line­level signal from the MAIN OUT, either pre- or post­MAIN LEVEL control [32], depending on the setting of
the LIVE/RECORD switch [12].

12. LIVE/RECORD Switch

When this switch is out (LIVE position), the RCA
Main Outs provide the signal just after the MAIN LEVEL
control [32], so it essentially provides the same signal
as the XLR MAIN OUTs [9], except it is an unbalanced
signal rather than a balanced one.

When this switch is pushed in (RECORD position),
the RCA Main Outs provide the signal just prior to the

FireWire (a.k.a. IEEE 1394) is a high-speed serial I/O
interface for connecting digital devices, with more than
30 times the bandwidth of USB 1.1. You can install the
optional FireWire card here, to provide two FireWire
connectors for transferring digital audio to and from
your laptop computer or digital audio workstation
(DAW) with absolute zero latency.

FIREWIRE

The FireWire interface provides a stereo main output
to your computer. The signals are pre-MAIN LEVEL con­trol [32], so they are independent of any adjustments
made to the MAIN LEVEL control. This allows you to
record your live performance directly to your laptop.

The FireWire interface also lets you use your comput­er to playback music for mixing on the d.2. It provides
a return for four signals, which can be selected as the
program source for PGM 1 and PGM 2. Assign two chan­nels (or a stereo pair) to ASIO or CoreAudio outputs 1
and 2 for PGM 1, and two channels (or a stereo pair) to
outputs 3 and 4 for PGM 2.

The FireWire card can easily be installed with the
help of a small screwdriver. Ask your Mackie dealer
about it. (The FireWire card, not the screwdriver.) Each
card comes with installation instructions that I have
to write before the boss gets back from his vacation in
Gary, Indiana.

Owner’s Manual

11

Top Panel Features

MIC Input Section

16. MIC LEVEL Control

This knob adjusts the gain
of the mic preamp for any
microphone plugged into the
MIC input jack [1]. It ranges
from +13 dB to +63 dB of

LEVEL

U

gain. Adjust this knob so
that the loudest speaking or

U

shouting that you do into the
microphone just barely lights

d.2 2-channel DJ Mixer

the OL LED [18]. This gives

U

you the best signal-to-noise
ratio for the mic preamp.

ON

17. MIC SIGNAL LED

This green LED is a signal
present indicator. It lights
when the microphone signal
reaches –20 dBu, to give you a clue that the microphone
is working.

18. MIC OL LED

MIC CONTROL

OL

48V

SIG

OFF

+50+3

ON

EQ

HIGH

+15-15

MID

+15-15

LOW

+15-15

PAN BAL

RL

PGM

SOURCE

U

LINE/

PHONO

OO

MAX

LEVEL

HIGH

KILL +10

MID

KILL +10

LOW

KILL +10

FX

RLRL

1

CD

EQ

EQ

BAL

SOURCE

LINE/
PHONO

CD

KILL +10

KILL +10

KILL +10

2PGM

U

MAIN

OO

MAX

LEVEL

BOOTH

HIGH

MID

LOW

FX

STEREO
MONO

FX

PHONES

PGM
MAIN

111

PGM SOURCE

21. MID EQ

This knob gives you up to 15 dB of boost and cut at

2.5 kHz. At the center position the MID EQ has no effect
on the signal.

OO

LEVEL

U

OO

LEVEL

OO

SEND

OO

RETURN

U

OO

LEVEL

MAX

MAX

+15

+15

MAX

2

This red LED lights when the microphone signal
reaches 6 dB below clipping. It’s okay if this LED blinks
occasionally, but if it is blinking frequently or lit con­tinuously, turn down the MIC LEVEL control [16] until
it just blinks occasionally.

19. 48V Phantom Power Switch

If your microphone is a condenser design, it probably
requires phantom power to operate. Push in this switch
to supply 48 VDC to pins 2 and 3 of the XLR microphone
connector.

Dynamic microphones, like Shure’s SM57 and SM58,
do not require phantom power. However, phantom
power will not harm most dynamic microphones should
you accidentally plug one in while the phantom power
is turned on. Check your microphone’s user’s manual if
you are not sure whether your microphone needs phan­tom power or not.

20. HIGH EQ

This knob gives your mic signal up to 15 dB of boost
and cut at 12 kHz and above. At the center position the
HIGH EQ has no effect on the signal.

22. LOW EQ

This knob gives you up to 15 dB of boost and cut at
80 Hz and below. At the center position the LOW EQ has
no effect on the signal.

23. ON Switch

Press this switch in to send the microphone signal to
the MAIN outputs, otherwise, your dulcet tones will not
be heard, and people will say “huh?”

24. PAN

This knob adjusts the amount of microphone signal
that is sent to the left versus the right main outputs.
When the knob is turned hard left, the signal feeds only
the left main out, and when the knob is turned hard
right, it only feeds the right main out. When the knob is
in the center, the microphone signal is sent equally to
the left and right main mix. The fi endish design of the
pan circuit allows “constant pan power,” where the aver­age audio output level remains constant for all positions
of the PAN control.

12

d.2 DJ Mixer

Program Input Section

25. LEVEL Control

This knob adjusts the gain of the PGM input signals
selected by the position of the SOURCE Select switch
[26]. This knob ranges from off to +13 dB of gain at
maximum. Adjust this with your good eye on the PRO­GRAM METERS [42], so the level is typically bouncing
between the 0 and +4 LEDs.

26. SOURCE Select Switch

This switch selects one of three possible input sources
for the PGM channel:

FireWire: The signal coming in from the optional

FireWire interface is selected as the source.

LINE/PHONO: The signal connected to the PHONO

connectors on the rear panel is selected. This
could be from a turntable or from a line-level
playback device, depending on the setting of
the LINE/PHONO switch [4].

Owner’s Manual

30. FX Switch

Press this switch in to tap the PGM signal to the FX
SEND outputs. This allows you to send the signal to an
external effects processor, or even provide a direct feed
for the PGM signal to another mixer. This switch will
route the PGM signal to the FX send output connectors,
interrupting the signal to the Main Outputs. If there
is no effects processor connected to the FX send and
returns, then the PGM signal is muted.

31. BAL

This knob works like the balance control on a home
stereo. Turning the knob to the left turns down the right
side, and turning the knob to the right turns down the
left side. When the BAL control is in the center, the left
and right sides are equally as loud (assuming the left
and right inputs are equal loudness).

CD: The signal connected to the CD connectors on

the rear panel is selected.

You could have a signal coming in on all three inputs,
and quickly change from one input source to another
using this heavy duty switch.

27. HIGH EQ

This knob gives you up to 10 dB of boost at 4 kHz and
above, and turns off the signal at 4 kHz and above when
the knob is turned to the KILL position. At the center
position, the HIGH EQ has no effect on the signal.

28. MID EQ

This knob gives you up to 10 dB of boost at 1 kHz, and
turns off the signal at 1 kHz when the knob is turned to
the KILL position. At the center position, the MID EQ
has no effect on the signal.

29. LOW EQ

This knob gives you up to 10 dB of boost at 300 Hz
and below, and turns off the signal at 300 Hz and below
when the knob is turned to the KILL position. At the
center position, the LOW EQ has no effect on the signal.

Note: When all three EQ knobs are turned to the KILL
position, the signal is effectively muted and no signal
passes through to the output.

Owner’s Manual

13

Control Section

32. MAIN LEVEL Control

This knob adjusts the
main output level at the
MAIN OUT XLRs [9]
(and to the RCA Main
Outs [11] when the
LIVE/RECORD switch
[12] is out). (Remem­ber, when the LIVE RE­CORD switch is pushed
in, the RCA Main Outs
are not affected by the

d.2 2-channel DJ Mixer

MAIN LEVEL control.)

33. BOOTH LEVEL Control

MIC CONTROL

OL

48V

SIG

OFF

+50+3

LEVEL

U

U

U

ON

ON

EQ

HIGH

+15-15

MID

+15-15

LOW

+15-15

PAN BAL

RL

PGM

1

SOURCE

U

LINE/

PHONO

OO

MAX

LEVEL

HIGH

KILL +10

MID

KILL +10

LOW

KILL +10

FX

RLRL

CD

EQ

EQ

BAL

SOURCE

LINE/
PHONO

CD

KILL +10

KILL +10

KILL +10

2PGM

U

MAIN

OO

MAX

LEVEL

BOOTH

HIGH

MID

LOW

FX

STEREO
MONO

FX

PHONES

PGM
MAIN

111

RETURN

PGM SOURCE

OO

LEVEL

OO

LEVEL

OO

SEND

OO

OO

LEVEL

MAX

U

MAX

+15

+15

U

MAX

2

This knob adjusts
the output level at the
BOOTH outputs [8].

34. STEREO/MONO Switch

With this switch up, the BOOTH outputs [8] provide
a stereo left and right output of the main mix. Push the
switch in to combine the left and right signals to mono if
you only have one booth monitor speaker.

35. FX SEND LEVEL Control

This knob controls the amount of signal being sent to
FX SEND outputs [6]. Adjust this knob to provide an
appropriate input signal level to your external effects
processor (or whatever you have connected to the FX
SENDs). It ranges from off to +13 dB at maximum.

Note: The FX SENDs are affected by the TRANSFORM
switches [40], so if you mute a PGM channel with the
TRANSFORM switch, the FX SEND for that PGM chan­nel is muted as well.

37. PHONES LEVEL Control

This controls the volume of the PHONES output from

off to maximum gain.

Turn it to minimum before connecting and
putting on headphones. Increase it slowly to
a safe listening level. See page 17.

38. PGM/MAIN Switch

Use this switch to select the source for the head­phones signal. When the switch is up (PGM position),
the signal is tapped just after the BAL control [30] on
the PGM channels. You can use the PGM SOURCE cross­fader [39] to fade between PGM 1 and PGM 2.

When the switch is down (MAIN position), the signal
is tapped from the Main Mix bus, just before the MAIN
LEVEL control [32].

39. PGM SOURCE Cue Crossfader

36. FX RETURN LEVEL Control

This adjusts the signal level coming from your exter­nal effects processor via the FX RETURN jacks [7]. Use
it to adjust the processed signal going to the main mix
bus. It ranges from off to +13 dB at maximum.

14

d.2 DJ Mixer

When the PGM/MAIN switch [38] is up (in the PGM
position), you can use this crossfader to listen to PGM
1 and PGM 2 in the headphones. When the crossfader
is all the way to the left, PGM 1 is heard in the head­phones. When the crossfader is all the way to the right,
PGM 2 is heard in the headphones. When the knob is in
the center, the headphones get an even mix of PGM 1
and 2.

Note: When the PGM/MAIN switch is down (MAIN
position), this control has no effect on the PHONES
output.

Program Output Section

Owner’s Manual

40. TRANSFORM

PGM

Switch

The transform switch
has three positions: Latch­ing, Center, and Momen­tary.

When the switch is
Latched, this program’s
signal is on, and passes
through to the outputs.

When the switch is in
the center position, this
program’s signal is muted
at the outputs and FX
Sends.

The other position is a
momentary version of the
Latched position (in other
words, it won’t stay there
when you let go of it), and allows the signal to pass as
long as the switch is held down. Let go of the switch,
and the signal is muted again. This lets you quickly use
the transform switch for “stutter” effects.

If you prefer, you can rotate the Transform switch 45º
or 90º so the switch moves diagonally or horizontally in­stead of vertically. See Appendix D on page 25 for more
information.

Note: If this switch is in the center position, the
program can still be heard and cued in the headphones
if the PGM/MAIN switch [38] is up.

TRANSFORM

OL

10

7

4

2

0

2

4

7

10

20

30

REVERSE REVERSE

infini um

contact-free
cross-fader

1

MAIN

LR

OL

10

7

4

2

0

2

4

7

10

20

30

BA

PGM

TRANSFORM

OL

10

7

4

2

0

2

4

7

10

20

30

2

REVERSE

42. PGM LEVEL METERS

These meters have 12 LEDs, ranging from –30 to +20
(OL). They indicate the summed-mono signal strength
of the PGM signals just before the BAL controls [31].
The meters are not affected by the PROGRAM faders
[41].

Typically, you want to see these meters bouncing
between the “0” and the “+4” LEDs. It is okay if the OL
LED lights occasionally, but if it lights frequently or con­tinuously, turn down the PGM LEVEL control [25] until
the OL LED blinks occasionally or not at all.

41. PROGRAM FADER

This controls the volume for the PGM signal being
sent to the Main Mix bus. The characteristics of how the
fader affects the audio signal are determined by the cor­responding CONTOUR control [47] and the REVERSE
switch [48].

These faders have a very light touch
and are designed to last the lifetime of the
d.2. No audio passes through these faders.

Rather, they send a control voltage to a pair of VCAs
(Voltage-Controlled Amplifi ers) that determine the gain
of the signal. This is a very good thing, by the way, as the
audio will not be affected by any scratchy electrical con­tacts, and the design allows for customizing the fader
action using the CONTOUR and REVERSE controls.

43. REVERSE LED

These light when the front-panel REVERSE switches
[48] have been activated for PGM 1 or PGM 2 faders.
They show that the fader direction-of-action is reversed.
(The meters are not reversed, just the faders.)

44. MAIN LEVEL METERS

These meters are similar to the PGM LEVEL METERS
[42], but indicate the signal strength of the Main out­puts before the MAIN LEVEL control. As with the other
meters, you want to see the signals bouncing between
the “0” and the “+4” LEDs. It is okay if the OL LEDs light
occasionally, but if they light frequently or continuously,
turn down the PROGRAM FADERS [41] until the OL
LEDs blink occasionally, or not at all.

Owner’s Manual

15

45. REVERSE LED

This LED lights when
the REVERSE switch
[48] has been activated
for the Crossfader. For
more details, see the dis­cussion of the REVERSE
switches [48] on the
next page.

46. CROSSFADER

The crossfader is used
to fade between the
two PGM signals in the
MAIN outputs. When

d.2 2-channel DJ Mixer

the crossfader is all the
way to the left, PGM 1 is
heard in the MAIN outs.
When the crossfader is
all the way to the right,
PGM 2 is heard. When
the crossfader knob is
in the center, the MAIN outs get an even mix of PGM 1
and 2.

1

PGM

TRANSFORM

OL

10

7

4

2

0

2

4

7

10

20

30

REVERSE REVERSE

infini um

contact-free
cross-fader

MAIN

LR

OL

10

7

4

2

0

2

4

7

10

20

30

BA

PGM

TRANSFORM

OL

10

10

20

30

7

4

2

0

2

4

7

REVERSE

2

The characteristics of how the crossfader affects the
audio signal are determined by its corresponding CON­TOUR control [47] and the REVERSE switch [48].

The crossfader is a high-quality

infi nium

™

contact-free optical digital fader,
designed to last the lifetime of the d.2 with
no degradation in quality.

You can adjust the tension of the fader movement to

your specifi c taste.

To adjust the crossfader tension:

1. Move the crossfader all the way to the left.

2. Remove the fader cap (knob) by grasping it
fi rmly and pulling straight up.

3. Use a small slot-head screwdriver to turn the
screw located through the hole on the left side
of the crossfader slot.

16

Rotate the screw clockwise to tighten the ten­sion, and rotate the screw counter-clockwise to
loosen the tension. You might need a fl ashlight
to make sure you are lined up on the screw.

4. Replace the fader cap, and you’re all done.

d.2 DJ Mixer

Front Panel Features

Owner’s Manual

PGM 1 FADER

REVERSE

CROSS FADER

REVERSE

SLOW FASTSLOW FAST SLOW FAST

47. CONTOUR Controls

Use the CONTOUR controls to adjust how fast or
slow each fader responds to movement. In the SLOW
position, the faders respond in a linear fashion, increas­ing from minimum to maximum at the same rate. In
the FAST position, the faders respond logarithmically,
increasing from minimum to maximum very quickly, and
then changing very little for the remainder of the fader
travel. Adjust the CONTOUR controls between the two
extremes to get the fader response that works best for
your application.

The CONTOUR control for the crossfader works in
a similar fashion, crossfading linearly with the CON­TOUR control in the SLOW position, and crossfading
very quickly with the CONTOUR control in the FAST
position. In fact, in the FAST position, the crossfading
occurs within the fi rst 2 mm of fader travel. This is great
for “crabbing” techniques.

48. REVERSE Switches

Normally (with these switches out) when you move
the PGM 1 or PGM 2 faders up, the volume will increase.
When you move the crossfader left to right, PGM 1 will
fade into PGM 2.

These switches let you reverse the direction of the
action of the program faders and the crossfader:

With the PGM 1 or PGM 2 REVERSE switches on,
when you move the PGM 1 or PGM 2 faders up, the
volume will now decrease.

With the Crossfader REVERSE switch on, when you
move the crossfader left to right, PGM 2 will fade into
PGM 1. (This is sometimes called a hamster switch.)

PGM 2 FADER

REVERSE

CONTOURCONTOURCONTOUR

49. Headphones Jack

This is where you plug in your stereo headphones. It is

a 1/4" TRS stereo jack.

If you have the PGM/MAIN switch [38] up, you can
listen to the PGM 1 or PGM 2 signals, or a mix of both,
determined by setting the PGM SOURCE Slider [39].
The signals are taken just after the BAL controls [31],
but before the PROGRAM Faders [41].

If you have the PGM/MAIN switch [38] down, you can
listen to the MAIN MIX signals, taken just before the
MAIN LEVEL control [32].

The headphone volume is controlled by the PHONES
LEVEL control [37], and the position of the PGM
SOURCE Crossfader [39] if you are listening to PGM 1
or PGM 2.

WARNING: The headphone amp is de­signed to drive any standard headphones to
a very loud level. We’re not kidding! It can

cause permanent hearing damage. Even intermediate
levels may be painfully loud with some headphones. BE
CAREFUL!

Always start with the PHONES LEVEL
control [37] turned all the way down before
connecting headphones to the PHONES

jack, or making any connections. Keep it down until
you’ve put on the headphones. Set the PGM SOURCE
Slider [39] if you are listening to PGM 1 or PGM 2, then
turn up the PHONES LEVEL control [37] slowly. Why?
Always remember: “Engineers who fry their ears, fi nd
themselves with short careers.”

Note: These switches and the CONTOUR controls do

not affect the meters, just the faders.

Owner’s Manual

17

Appendix A: Service Information

Warranty Service

Details concerning Warranty Service are spelled out in
the Warranty section on page 27.

If you think your d.2 has a problem, please do everything
you can to confi rm it before calling for service. Doing so
might save you from the deprivation of your mixer and
the associated suffering.

These may sound obvious to you, but here are some
things you can check. Read on:

Troubleshooting

d.2 2-channel DJ Mixer

No Power

• Our favorite question: Is it plugged in?

• Make sure the power cord is securely seated in the
IEC socket [14] and plugged all the way into the
AC outlet.

• Make sure the AC outlet is live (check with a tester
or lamp).

• Make sure the rear panel POWER switch [13] is in
the ON position (up).

• Are the EQ controls on the front panel illuminated?
If not, make sure the AC outlet is live.

• Are all the lights out in your town? If so, contact
your local power company to get power restored.

• If no LEDs are illuminated, and you are certain that
the AC outlet is live, it will be
your d.2 serviced. There are no user serviceable parts
inside. Refer to “Repair” on the next page to fi nd out
how to proceed.

Bad Channel

• Check the TRANSFORM switch [40] is not in the
center position.

• Is a fader or crossfader REVERSE LED [48] on?

• Check the channel’s PROGRAM fader [41] is not
fully down.

• Are that channel’s EQ controls all turned down?

• Is the signal source turned up? Make sure the
signal level from the selected input source is high
enough to light up some of the PROGRAM METER
LEDs [42].

• Is the correct input chosen with the SOURCE SE­LECT switch [26], and its PGM LEVEL [25] turned
up far enough?

necessary to have

• If the FX button [30] is pressed on that channel,
make sure your effects processor is connected cor­rectly and is working.

• Try the same source signal in the other channel, set
up exactly like the suspect channel.

Bad Output

• Is the associated level control (if any) turned up?

• If it’s one of the MAIN OUTPUTS, try unplugging
the others. For example, if it’s the XLR LEFT MAIN
OUT, unplug the RCA LEFT OUT. If the problem
goes away, it’s not the mixer.

• If a left output is presumed dead, switch the left
and right cords at the mixer end. If the problem
stays on the left side, it’s not the mixer.

Bad Sound

• Is the input connector plugged completely into the
jack?

• Is it loud and distorted? Make sure the input
LEVEL control [25] is set correctly. Reduce the
signal level on the input source if possible.

• If possible, listen to the signal with headphones
plugged into the input source device. If it sounds
bad there, it’s not the d.2 causing the problem.

• If you are using a turntable with a phono-level out­put, and the sound is low and distorted, check that
the LINE/PHONO switch [4] is set to PHONO. Note
that the phono section requires your cartridge to be
a Moving Magnet type. It may be too low to amplify
the low levels of a Moving Coil type.

Noise/Hum

• Turn down the FX RETURN knob [36]. If the noise
disappears, it’s coming from whatever is plugged
into the FX RETURNS [7].

• Check that your turntable’s audio ground wire is
connected to the GND terminals [5].

• Turn down each channel, one by one. If the noise
disappears, it’s coming from whatever is plugged
into that channel. Check your whatever.

• Check the signal cables between the input sources
and the d.2. Disconnect them one by one. When the
noise goes away, you’ll know which input source is
causing the problem.

• Sometimes it helps to plug all the audio equipment
into the same AC circuit so they share a common
ground.

18

d.2 DJ Mixer

Repair

Service for Mackie products is available at a factory­authorized service center. Service for Mackie products
living outside the United States can be obtained through
local dealers or distributors.

If your d.2 needs service, follow these instructions:

1. Review the preceding troubleshooting suggestions.
Please.

2. Call Tech Support at 1-800-898-3211, 7 am to 5 pm
PST, to explain the problem and request a Service
Request Number. Have your d.2’s serial number
ready. You must have an Service Request Number

before you can obtain warranty service.

3.

Keep this owner’s manual and the detachable line­cord. We don’t need them to repair the mixer.

4. Pack the mixer in its original package, includ­ing endcaps and box. This is VERY IMPORTANT.

Mackie is not responsible for any damage that
occurs due to non-factory packaging.

Owner’s Manual

5. Include a legible note stating your name, shipping
address (no P.O. boxes), daytime phone
Service Request Number, and a detailed description
of the problem, including how we can duplicate it.

6.

Write the
top of the box. Units sent without the SR number will
be refused.

7. Tech Support will tell you where to ship the d.2 for
repair. We suggest insurance for all forms of cart­age.

8. You will need to contact the authorized service cen­ter for their latest turn-around times.
be packaged in its original packing box, and must
have the
it’s repaired,
it back by ground shipping, pre-paid (if it was a war­ranty repair).

Note: Under the terms of the warranty, you must ship

or drop-off the unit to an authorized service center.
The return ground shipment is covered for those
units deemed by us to be under warranty.

Service Request Number

Service Request Number

the authorized service center

number,

in BIG PRINT on

The d.2 must

on the box. Once

will ship

Note: You must have a sales receipt from

an authorized Mackie dealer for your
unit to be considered for warranty
repair.

Owner’s Manual

19

Appendix B: Connections

P

XLR Connectors

The d.2 MIC combo input accepts 3-pin male XLR
connectors; the MAIN OUTs accept 3-pin female XLR
connectors. These are wired as follows, according to
standards specifi ed by the AES (Audio Engineering
Society).

d.2 2-channel DJ Mixer

XLR Balanced Wiring:
Pin 1 = Shield
Pin 2 = Hot (+)
Pin 3 = Cold (–)

SHIELD

COLD

SHIELD

COLD

3

HOT

1

2

HOT

2

1

3

1

3

2

SHIELD

COLD

HOT

1/4"

TS Phone Plugs and Jacks

“TS” stands for Tip-Sleeve, the two connection points
available on a mono 1/4

"

phone jack or plug. They are

used for unbalanced signals.

SLEEVE

TIP

SLEEVE

TIP

TIP

SLEEVE

1/4" TS Unbalanced Wiring:
Sleeve = Shield
Tip = Hot (+)

RCA Plugs and Jacks

RCA-type plugs (also known as phono plugs) and jacks
are often used in home stereo and video equipment and
in many other applications. They are unbalanced and
electrically equivalent to a 1/4

"

TS phone plug.

1/4" TRS Phone Plugs and Jacks

“TRS” stands for Tip-Ring-Sleeve, the three connection
points available on a stereo 1/4
jack or plug. TRS jacks and plugs are used for balanced
signals and stereo headphones:

Balanced Mono

1/4" TRS Balanced Mono Wiring:
Sleeve = Shield
Tip = Hot (+)
Ring = Cold (–)

Stereo Headphones

1/4" TRS Stereo Unbalanced Wiring:
Sleeve = Shield
Tip = Left
Ring = Right

"

or balanced phone

SLEEVE

SLEEVE

RING

RING

SLEEVERING

TIP

SLEEVERING

TIP

TIP

RING

TIP

SLEEVE

TIP

RING

TIP

SLEEVE

RCA Unbalanced Wiring:
Sleeve = Shield
Tip = Hot (+)

TI

SLEEVE

TIPSLEEVE

20

d.2 DJ Mixer

Appendix C: Technical Info

Specifi cations

Owner’s Manual

Frequency Response :

Mic Input to any Output: (Trim at 0 dB):+0, –1 dB
20 Hz to 20 kHz

Line/CD Input to any Output: ±0.5 dB
20 Hz to 20 kHz

Phono input to any Output: ±1 dB of RIAA EQ curve

Distortion (THD and IMD):

THD @ Main Output, 20 Hz to 20 kHz

Mic Input @ 30 dB Gain: Less than 0.0075%

Line/CD Input @ 0 dB Gain: Less than 0.0075%

Phono Input: Less than 0.01%

THD @ Phones Output, 20 Hz to 20 kHz

Line Input @ 0 dB Gain: Less than 0.03%

SMPTE IMD @ +4 dBu Output:

Mic Input @ 30 dB Gain: Less than 0.008%

Line/CD Input @ 0 dB Gain: Less than 0.008%

Common Mode Rejection Ratio (CMRR):

Mic Input (Gain = maximum) Greater than 60 dB
@ 1 kHz

Crosstalk:

Adjacent Inputs or Input to Main Output:
Less than –85 dB
@ 1 kHz

Noise Characteristics:

Equivalent Input Noise (E.I.N.) (20 Hz to 20 kHz):

Mic Input (150 Ω source impedance): Less than –123 dBu

Phono Input (500 Ω/500 mH source impedance):
Less than 0.3 µV

CD/Line Input (150 Ω source impedance):
Less than –110 dBu

Dynamic Range (Main Out): Greater than 100 dB

Maximum Input Levels (rated at 1% THD):

Mic Input (Gain @ minimum): +9 dBu

CD and Line Inputs (PGM Gain = 0 dB):
+22 dBu

FX Input: +22 dBu

Phono Input: 78 mV @ 1kHz

Input Impedance:

Mic Input: 2.4 kΩ balanced

CD/ Line Input: 20 kΩ balanced

FX Return: 20 kΩ balanced

Phono Input: 47.5 kΩ shunted with 200 pF

Maximum Output Levels:

XLR Main Output: +22 dBu

RCA Main Output: +22 dBu

Booth Output: +22 dBu

FX Send: +22 dBu

Phones: 15 volts rms into 8Ω (28 watts)

Output Impedance:

Main XLR/RCA Output: 150 Ω

Booth Output: 150 Ω

FX Send: 150 Ω

Phones: 25 Ω

Equalization

Mic Channel

Low: ±15 dB @ 80 Hz

Mid: ±15 dB @ 2.5 kHz

High: ±15 dB @ 12 kHz

PGM Channel

Low: +10/–inf dB @ 300 Hz

Mid: +10/–inf dB @ 1 kHz

High: +10/–inf dB @ 4 kHz

VU Meters

12-segment pre-fader PGM meters

12-segment pre-fader Main Mix meters

OL (+20), +10, +7, +4, +2, 0, –2, –4, –7, –10, –20, –30

0 LED = +4 dBu

Mic Input Signal Present LED (Sensitivity): –20 dBu

Input/Output Characteristics:

Input Gain Control Range:

Mic Input: +13 dB to +63 dB

PGM Input: OFF to +13 dB

FX Return: OFF to +13 dB

continued

Owner’s Manual

21

AC Power Requirements:

Power Consumption: 20 watts

Universal AC Power Supply: 100 VAC – 240 VAC,
50-60 Hz

Physical Dimensions and Weight:

Height: 15.49”/393.4 mm (including knobs and connectors)

Width: 10"/254 mm

Depth: 4.62”/ 117.3 mm (including knobs and connectors)

Weight: 11 lb/5 kg (with FireWire card)

The d.2 mounting slots are compatible with the Odyssey Battle
Bridge. This consists of two L brackets which bolt to the d.2
and allow you to fi t it securely between two turntable cases.
See www.odysseygear.com for more details.

Options

d.2 FireWire Interface Card

d.2 2-channel DJ Mixer

4.62"

117.3 mm

15.49"

393.4 mm

9.06"

230.1 mm

3.59"

91.2 mm

0.28"

7.1 mm

7.1"

180.3 mm

WEIGHT

11 lb
5 kg

14.79"

375.7 mm

22

4.42"

112.3 mm

10.00"

254 mm

LOUD Technologies Inc. is always striving to improve our prod­ucts by incorporating new and improved materials, components,
and manufacturing methods. Therefore, we reserve the right to
change these specifi cations at any time without notice.

“Mackie,” and the “Running Man” are registered trademarks of
LOUD Technologies Inc. All other brand names mentioned are
trademarks or registered trademarks of their respective hold­ers, and are hereby acknowledged.

©2005 LOUD Technologies Inc. All Rights Reserved.

d.2 DJ Mixer

L

MAIN OUT

RCA

REC

LIVE

Post-Fader

Pre-Fader

R

FX

L

R

MAIN

L

R

20 dB Pad

Post-Fader

MAIN MIX

METERS

20 dB Pad

Pre-Fader

L

1

2

MAIN OUT

XLR

+–+

MIC

LINE

Mono

L Sum

3

30 dB Pad

Sum

R

1

2

3

Bal

–

BOOTH

L

OUTPUT

R

FX SEND

HEADPHONES

OUTPUT

OUTPUT

R

L

Owner’s Manual

FireWire I/O

30 dB Pad

MAIN

LEVEL

BOOTH

LEVEL

MONO

FireWire

Output

(option)

Cue

CROSS

PHONES

PROGRAM/

FADER

LEVEL

MAIN

FX SEND

LEVEL

R Sum

FX MIX RIGHT BUS

FX MIX LEFT BUS

MAIN MIX RIGHT BUS
MAIN MIX LEFT BUS

R

FX

L

R

MAIN

L

NO

ON Assign

PAN

LO MID HI

PGM1

PGM1 Fader

Curve Logic

Mute

Momentary

TRANSFORM

SWITCH

3-BAND EQ

FADER

Latching

REVERSE

CONTOUR

NC

FX Assign

PGM1
Control Voltage

VCA

BAL

PGM1

LEVEL

PGM2

Momentary

Mute

PGM2 Fader

Latching

FADER

Curve Logic

REVERSE

CONTOUR

TRANSFORM

SWITCH

NO

CROSSFADER

REVERSE

Crossfader

Curve Logic

CONTOUR

NC

FX Assign

PGM2
Control Voltage

NO

VCA

BAL

PGM2

PGM1

METER

3-BAND EQ

LO MID HI

SOURCE

SWITCH

PGM2

LEVEL

LO MID HI

METER

3-BAND EQ

SOURCE

SWITCH

FX RETURN

LEVEL

SIG CLIP

LEVEL

48VDC

48V

Mic

Line

Block Diagram

CD

Phono

Phono

Preamp

Preamp

1

LINE

PHONO

L

R

L

R

LINE/PHONO

2

FireWire

Inputs

(option)

FireWire I/O

L

CD INPUT

R

LINE

PHONO

Phono

Phono

Preamp

3

4

LINE/PHONO

Preamp

3

4

FireWire

Inputs

(option)

FireWire I/O

FX RETURN

Owner’s Manual

NOTE: Switches are shown in the default (out) position.

MACKIED2BLOCK DIAGRAM

(#072305_SSE)

L

R

23

d.2 2-channel DJ Mixer

(0 dB)

+13 dB

HEADPHONES

PHONES

PGM 1/2

(0 dB)

F

(+22 dBu max out)

Phones Output

LEVEL

CUE FADER

-inf dB

-inf dB

(0 dB)

(+6 dB)

(+22 dBu max out)

XLR Output

MIC/LINE

SWITCH

to D, E and F

RCA Output

MAIN

LEVEL

(-30 dB)

XLR Out

switch IN

-inf dB

SWITCH

LIVE/REC

(0 dB) (0 dB)

MAIN RCA

OUT

E

MAIN RCA OUT

(+22 dBu max out)

switch IN

RCA Out (-20 dB)

BOOTH

(0 dB) (0 dB)

BOOTH

OUT

OUT

(+22 dBu max out)

D

-inf dB
BOOTH LEVEL

+15 dB

+15 dB

PAN

to C

center

-3 dB @

-15 dB

-15 dB

Tap

to Bto F

+10 dB

+10 dB

+10 dB

(0 dB)

C

to C

(0 dB)

-3 dB @

BALANCE

LOW

CROSSFADER

PGM FADER

center

-inf dB

-inf dB

-inf dB

-inf dB

FX

SELECT

(+22 dBu max out)

(0 dB)

+13 dB

(0 dB)

FX SEND

B

EQ

-inf dB
SEND LEVEL

to C

MAIN MIX

FX Assign

PHONES CUE

EQ

24

TRS 1

+13 dB

GAIN = CCW

-15 dB

XLR I

+63 dB

GAIN = CW

PGM CHANNEL

+15 dB

LOW

(+13 dB) MID HIGH

(+19 dBu max in)

MIC CHANNEL

Gain Structure Diagram

d.2 DJ Mixer

+13 dB

GAIN

(+0 dB) MID HIGH

CD/Line In

(+22 dBu max in)

-inf dB

RIAA Gain = +33 dB @ 1 kHz

Phono In

(-11 dBu max in @ 1 kHz)

(0 dB)INPUT

+13 dB

FX RETURN

(+22 dBu max in)

LEVEL

-inf dB

Appendix D: Transform Switch Rotation and Fader Replacement

Owner’s Manual

Transform Switch Rotation

From the factory, the transform switches operate
vertically, that is (to get all technical for a moment)
fore and aft.

You can perform a simple modifi cation to make these
switches operate sideways, or even diagonally, to suit
your carefully cultivated set of operational preferences.

Tools

To do this procedure, you will need a small phillips
screwdriver, nerves of steel, grit, determination, and a
steady hand. People should fi nd you ruggedly charming,
yet approachable.

Procedure

1. Remove the power cord, and any other cords or
cables connected to the d.2.

2. Gently place the d.2 face upwards on a fl at,
clean and dry surface, such as the kitchen
table.

3. Remove the three slider knobs, by gently pull­ing them upwards. Keep them safe.

4. Undo the fi ve screws from the top panel and
two screws from the front, as shown. Keep the
screws in a safe place, away from Llamas.

5. Gently lift off the panel, taking care not to dam­age the front panel contour knobs. Keep it in a
safe place were it won’t get scratched, or fall off
the table and hit the cat.

6. Each transform switch has
four screws, but remove only
the outer two. These are
black, whereas the inner
screws are bright and shiny.

7. Rotate the switch assembly
to suit your preference, and replace the two
screws.

Diagonally

Sideways

8. If you need to replace a transform switch,
gently pull it out just enough so you can reach
and undo its connector. Connect the new switch
securely, and screw it in the desired position.
You might want to replace both switches, if they
are both aged and/or had a rough life.

1

PGM

TRANSFORM

OL

10

7

4

2

0

2

4

7

10

20

30

REVERSE REVERSE

infinium

contact-free
cross-fader

PGM 1 FADER

REVERSE

MAIN

LR

CROSS FADER

REVERSE

SLOW FASTSLOW FAST SLOW FAST

OL

10

7

4

2

0

2

4

7

10

20

30

PGM 2 FADER

REVERSE

CONTOURCONTOURCONTOUR

2

PGM

TRANSFORM

OL

10

7

4

2

0

2

4

7

10

20

30

REVERSE

BA

9. Replace the top cover, and make sure that all
the meter LEDs and the Reverse LEDs are pok­ing through before you tighten down the screws
securely.

Owner’s Manual

25

Replacing Faders

If the faders ever need to be replaced, this can be

done with the help of your trusty screwdriver.

10. Follow steps 1 to 5 and remove the top panel.

11. Take care to only remove the two outer screws
of each fader you are replacing, as shown below.

d.2 2-channel DJ Mixer

12. Gently lift up the fader assembly, just enough to
be able to pull the connector out of the recep­tacle on the bottom of the fader assembly.

14. Secure the fader assembly to the chassis with
the two screws you lost in step 11.

15. Replace the top cover, and make sure that all
the meter LEDs and the Reverse LEDs are pok­ing through before you tighten down the screws
securely.

16. Check that all the faders and switches are
working normally. (You might have to reset the
tension if you changed the cross fader.)

26

Removing the Cross Fader Connector

Removing a Program Fader Connector

13. Insert the connector into the receptacle on the
new fader assembly. (It will only fi t in one way.)

d.2 DJ Mixer

Limited Warranty

Please keep your sales receipt in a safe place.

Owner’s Manual

A. LOUD Technologies Inc. warrants all materials,
workmanship
period of three years
any defects are found in the materials or workmanship or if
the product fails to function properly during the applicable
warranty period, LOUD Technologies, at its option, will repair
or replace the product. This warranty applies only to

equipment sold and delivered within the U.S. by
LOUD Technologies Inc. or its authorized dealers.

B. Failure to register online or return the product registration
card will not void the three-year warranty.

C. Service and repairs of Mackie products are to be
performed only at a factory-authorized facility (see D below).
Unauthorized service, repairs, or modifi cation will void this
warranty. To obtain repairs under warranty, you must have a
copy of your sales receipt from the authorized Mackie dealer
where you purchased the product. It is necessary to establish
the purchase date and determine whether your Mackie
product is within the warranty period.

D. To obtain factory-authorized service:

1. Call Mackie Technical Support at 800/898-3211, 7

AM to 5 PM Monday through Friday (Pacifi c Time) to get
a Service Request Number. Products returned without a
Service Request Number will be refused.

2. Pack the product in its original shipping carton. Also
include a note explaining exactly how to duplicate the
problem, a copy of the sales receipt with price and date
showing, and your return street address (no P.O. boxes or
route numbers, please!). If we cannot duplicate the problem
or establish the starting date of your Limited Warranty, we
may, at our option, charge for service time.

4. Ship the product in its original shipping carton, freight
prepaid to the authorized service center. The address of

your closest authorized service center will be given to you
by Technical Support.

IMPORTANT: Make sure that the Service Request
Number is plainly written on the shipping carton.

E. LOUD Technologies reserves the right to inspect any

products that may be the subject of any warranty claims before
repair or replacement is carried out. LOUD Technologies may,
at our option, require proof of the original date of purchase in
the form of a dated copy of the original dealer’s invoice or sales
receipt. Final determination of warranty coverage lies solely
with LOUD Technologies.

and proper operation of this product for a

from the original date of purchase. If

F. Any products returned to one of the LOUD Technologies
factory-authorized service centers, and deemed eligible for
repair or replacement under the terms of this warranty will
be repaired or replaced within thirty days of receipt. LOUD
Technologies and its authorized service centers may use
refurbished parts for repair or replacement of any product.
Products returned to LOUD Technologies that do not meet
the terms of this Warranty will not be repaired unless
payment is received for labor, materials, return freight,
and insurance. Products repaired under warranty will be
returned freight prepaid by LOUD Technologies to any
location within the boundaries of the USA.

G. LOUD Technologies warrants all repairs performed
for 90 days or for the remainder of the warranty period.
This warranty does not extend to damage resulting from
improper installation, misuse, neglect or abuse, or to
exterior appearance. This warranty is recognized only if
the inspection seals and serial number on the unit have not
been defaced or removed.

H. LOUD Technologies assumes no responsibility for the
quality or timeliness of repairs performed by an authorized
service center.

I. This warranty is extended to the original purchaser and to
anyone who may subsequently purchase this product within
the applicable warranty period. A copy of the original sales
receipt is required to obtain warranty repairs.

J. This is your sole warranty. LOUD Technologies does not
authorize any third party, including any dealer or sales
representative, to assume any liability on behalf of LOUD
Technologies or to make any warranty for LOUD Technologies
Inc.

K. THE WARRANTY GIVEN ON THIS PAGE IS THE SOLE
WARRANTY GIVEN BY LOUD TECHNOLOGIES INC.
AND IS IN LIEU OF ALL OTHER WARRANTIES, EXPRESS
AND IMPLIED, INCLUDING THE WARRANTIES OF
MERCHANTABILITY AND FITNESS FOR A PARTICULAR
PURPOSE. THE WARRANTY GIVEN ON THIS PAGE
SHALL BE STRICTLY LIMITED IN DURATION TO THREE
YEARS FROM THE DATE OF ORIGINAL PURCHASE
FROM AN AUTHORIZED MACKIE DEALER. UPON
EXPIRATION OF THE APPLICABLE WARRANTY PERIOD,
LOUD TECHNOLOGIES INC. SHALL HAVE NO FURTHER
WARRANTY OBLIGATION OF ANY KIND. LOUD
TECHNOLOGIES INC. SHALL NOT BE LIABLE FOR ANY
INCIDENTAL, SPECIAL, OR CONSEQUENTIAL DAMAGES
THAT MAY RESULT FROM ANY DEFECT IN THE MACKIE
PRODUCT OR ANY WARRANTY CLAIM. Some states do
not allow exclusion or limitation of incidental, special,
or consequential damages or a limitation on how long
warranties last, so some of the above limitations and
exclusions may not apply to you. This warranty provides
specifi c legal rights and you may have other rights which
vary from state to state.

Owner’s Manual

27

16220 Wood-Red Road NE • Woodinville, WA 98072 • USA
United States and Canada: 800.898.3211
Europe, Asia, Central and South America: 425.487.4333
Middle East and Africa: 31.20.654.4000
Fax: [phone] • www.mackie.com
E-mail: [e-mail]