Mackie HDA Owner's Manual

HDA

2-Way High-Deﬁ nition

Arrayable Loudspeaker

OWNER’S MANUAL

Important Safety Instructions

1. Read these instructions.

HDA

2. Keep these instructions.

3. Heed all warnings.

4. Follow all instructions.

5. Do not use this apparatus near water.

6. Clean only with a 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. 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

PORTABLE CART

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.

13.

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.

Do not overload wall outlets and extension cords as this can result in a

risk of ﬁ re or electric shock.

17.

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).

18.

The AC Mains PowerCon® connector (the appliance coupler) is used as the disconnect device. This connector shall remain readily accessible and operable.

WARNING

19. NOTE: This equipment has been tested and found to comply with

the limits for a Class B digital device, pursuant to part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures:

• Reorient or relocate the receiving antenna.

• Increase the separation between the equipment and the receiver.

• Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.

• Consult the dealer or an experienced radio/TV technician for help.

CAUTION: Changes or modiﬁ cations to this device not expressly approved

by LOUD Technologies Inc. could void the user's authority to operate the equipment under FCC rules.

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

applicable) out in the radio interference regulations of the Canadian Department

limits for radio noise emissions from digital apparatus as

set

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.

21.

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:

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.

AVIS: POUR EVITER LES RISQUES D'INCENDIE OU D'ELECTROCUTION, N'EXPOSEZ PAS CET ARTICLE

AUCUN ENTRETIEN DE PIECES INTERIEURES PAR L'USAGER.

CONFIER L'ENTRETIEN AU PERSONNEL QUALIFIE.

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.

Duration, per day in hours

8 90 Duo in small club 692 4 95 Subway Train 397 2 100 Very loud classical music

1.5 102 1 105 Poonswang screaming at desTROYer 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

Sound Level dBA, Slow Response

Typical Example

expose this apparatus to rain or moisture.

Correct disposal of this product. This symbol indicates that this product should not be disposed of with your household waste, according to the WEEE Directive (2002/96/EC) and your national law. This product

HDA

should be handed over to an authorized collection site for recycling waste electrical and electronic equipment (EEE). Improper handling of this type of waste could have a possible negative impact on the environment and human health due to potentially hazardous substances that are generally associated with EEE. At the same time, your cooperation in the correct disposal of this product will contribute to the effective usage of natural resources. For more information about where you can drop off your waste equipment for recycling, please contact your local city ofﬁ ce, waste authority, or your household waste disposal service.

How To Use This Manual

The ﬁ rst few pages after the Overview and Features are the hookup diagrams. These show typical setups for deploying HDA loudspeakers. Next is a detailed tour of the entire loudspeaker. Throughout the manual are illustrations with each feature numbered and described in nearby paragraphs.

We cannot stress enough how important it is that you read this entire manual. There are speciﬁ c instructions on rigging safety, power and signal connections, voicing and more. These notes are all extremely important in order to get the most out of your HDA loudspeaker(s), as well as necessary to maintain the utmost safety. The HDA Owner’s Manual: Learn it. Know it. Live it.

This icon marks infor mation that is critically important or unique to the HDA.

This icon leads to some explanations of features and practical tips.

Owner’s Manual

Contents

IMPORTANT SAFETY INSTRUCTIONS 2 HOW TO USE THIS MANUAL 3 CONTENTS 3 INTRODUCTION 4 OVERVIEW 5 FEATURES 5 HOOKUP DIAGRAMS 6 REAR PANEL FEATURES 13

1. MAIN INPUT 13

2. LOOP OUT 13

3. ARRAY MODE 13 1-2 13 3-4 13 3-4 LONG THROW 14

4. POWER LIGHT ON 14

5. SIG/LIMIT LED 14

6. THERMAL LED 14

7. ON LED 15

8. AC MAINS 15

9. AC LOOP 15

10. AC LOOP CIRCUIT BREAKER 15 BOTTOM SURFACE FEATURES 16 11 & 12. DUAL-ANGLE POLE CUP 16

13. COMPRESSION PAD 16

14. RUBBER RUNNERS 16 ARRAY USAGE 17 FLOOR MOUNTING 17 RIGGING 18 RIGGING DESIGN PRACTICES 18 RIGGING HARDWARE AND ACCESSORIES 18 A NOTE ON EYEBOLTS 18 RIGGING NOTES 19 ROOM ACOUSTICS 20 THERMAL CONSIDERATIONS 21 AC POWER 21 CARE AND MAINTENANCE 21 APPENDIX A: EAW RESOLUTION SOFTWARE 22 APPENDIX B: SERVICE INFORMATION 23 APPENDIX C: CONNECTIONS 24 APPENDIX D: TECHNICAL INFORMATION 25 HDA BLOCK DIAGRAM 27 HDA GRAPHS 28 HDA LIMITED WARRANTY 29

Part No. SW0872 Rev. A 12/10

Owner’s Manual

Introduction

While traditional point-and-shoot systems are great

HDA

for venues such as coffee houses and small clubs, they do not have the output or throw to cover larger venues. In order to compensate, venues often combine loudspeakers to get more output and cover more ground. The problem is that the output of these traditional loudspeakers overlap and interfere. This interference is both constructive and destructive; it varies depending upon the listening position. For many, what they hear is less than desirable, and for no one it is exactly the same.

A line array solves this problem by effectively channeling these interferences, directing the sound where it is desired, and removing it from where it is not. Today, line arrays are the loudspeaker format of choice for high-proﬁ le tours and large installs worldwide. Unlike traditional point-and-shoot systems, line arrays excel at providing high output, long throw and directional coverage with good vertical pattern control – all in a package that is highly conﬁ gurable and scalable.

But what is a line array system and how does it work? In its simplest form, a line array is a group of closely spaced loudspeakers arranged in a straight line. They are designed such that constructive interference occurs in front of the array of loudspeakers and destructive interference occurs at the top and bottom. This is the highly desirable vertical directivity for which line arrays are known.

However, one shouldn’t place just any ‘ol loudspeaker in a line and expect to get increased output and better pattern control. In order to get good vertical pattern control, a line array must be designed so the transducers are positioned as close together as possible. More speciﬁ cally, the separation between the transducers must be less than the wavelengths emitted by them. This is easy to achieve for lower frequencies with long wavelengths (e.g. 1 kHz is equal to

13.56 inches), but much more difﬁ cult with higher frequencies (e.g. 10 kHz is equal to only 1.32 inches). Line arrays achieve this tight spacing by using multiple drivers and more complex mechanical designs. Even then, it isn’t practical to place drivers only an inch apart. Therefore, additional acoustical magic is employed in the horn design to ﬂ atten the output of the high frequency wave fronts so they combine constructively. The result is high output and even coverage.

Well, if line arrays are so awesome, why even use traditional loudspeakers any more? Simply because line arrays aren’t perfect for all situations. A line array is best-suited to applications where broad horizontal coverage is desired throughout a given space, combined with long-throw and higher output. Small venues don’t always need the added size and output of a line array, and many meeting rooms, halls and restaurants are better served by distributed systems comprised of many small point-and-shoot loudspeakers. Plus, the added cost for the more complex acoustical and mechanical design of a line array puts them out of reach of many customers...until now.

The Mackie HDA brings this technology to you at a price point never seen before.

HDA is a constant curvature line array. This means that the physical angle of the loudspeaker matches the acoustical angle. There is only one way to rig together multiple HDAs, so it’s easy to use. As more units are added, the array provides additional vertical coverage (plus more vertical directivity at lower frequencies) and, of course, it’s louder. HDA’s integrated rigging makes it perfect for use in large permanent installs, tours and festivals where the system is ﬂ own, or as a high-output pole-mounted portable PA. HDA is as versatile as your shows and will scale to ﬁ t your needs like no other system anywhere else.

There is a lot to digest, so grab a coffee, cozy up into your favorite chair and learn all there is to know about your new HDA system.

THE EVER-IMPORTANT INSTALLATION WARNING

WARNING: HDA loudspeakers are a wonderful tool when utilized in installed and portable

PA systems. However, improper installation may result in damage to the equipment, injury or even death. Therefore, installation should only be done by experienced, licensed professionals to ensure that the loudspeakers are installed in a stable and secure way in order to avoid any conditions that may be dangerous for persons or structures.

HDA

Owner’s Manual

Overview

The Mackie HDA High-Deﬁ nition Arrayable Powered Loudspeaker is a array ideal for installed and portable PA systems. The HDA 2-Way High-Deﬁ nition Powered Loudspeaker delivers 1200W of peak system power via Class-D Fast Recovery™ ampliﬁ cation.

Mackie’s patented HD audio processing provides unmatched sonic accuracy and clarity. Mackie Active technology includes a precision 2-way crossover, transducer time alignment, and phase correction. Acoustic correction algorithms, derived using proprietary measurement tools to identify and correct sonic anomalies, improve vocal intelligibility while removing high frequency discord.

EAW custom-designed HD Series transducers maximize efﬁ ciency and performance when matched with the system’s internal amps. The 12-inch woofer uses a neodymium magnet for reduced weight, and the 3-inch voice coil dissipates heat extremely well. The dual Beyma into a multi-cell horn.

The integrated Array Voicing mode switch allows the user to custom-tailor the array for their application simply by selecting the number of HDAs in use per side. More advanced users may integrate EAW’s Resolution software, which calculates array placement and ﬂ ybar pickpoints, showing the resulting coverage for the venue. Full protection circuitry completes this ultra-portable, powerful and arrayable HD system.

The 15mm birch plywood enclosure is rugged and ready for install using the four integral ﬂ y points. The integrated rigging channels allow for quick setup and teardown of arrays. Use the ﬂ ybar in conjunction with up to two Mackie HD1801 subwoofers and up to four HDAs. The lightweight design and the integrated dual angle pole cup allows up to two HDAs to be pole-mounted atop a subwoofer or on a tripod stand.

110˚ x 20˚ constant curvature line

1.7-inch compression drivers are mounted

Features

• 110˚ x 20˚ constant curvature powered line array

• Scalable and arrayable with a multitude of conﬁ guration options

• Fly up to 4 x HDA and 2 x HD1801 subwoofers

• Ground stack up to 3 x HDA on 1 or 2 HD1801 subwoofer(s) or the optional ﬂ ybar

• Pole mount up to 2 x HDA on HD1801 subwoofer or tripod using dual angle pole cups

• 1200W of ultra-efﬁ cient Class-D Fast Recovery™ ampliﬁ cation

• LF 500W RMS / 1000W peak

• HF 100W RMS / 200W peak

• Custom designed transducers by EAW

• 12” neodymium woofer with 3” voice coil

• Dual Beyma heat-treated titanium diaphragms

• High-deﬁ nition audio processing includes:

• Revolutionary patented acoustic correction

• Transducer time alignment and phase correction

• Precision 2-way crossover

• Three-position voicing switch for simple array voicing

• Integrated limiting and protection circuitry

• Proven rigging hardware:

• Four M10 ﬂ ypoints

• Integrated ﬂ yware allows easy array setup

• Optional Flybar and HD1801 subwoofer ﬂ yware kit

• Ultra-compact and lightweight (59 lb / 26.7 kg)

• Rugged all wood cabinet (15mm birch plywood)

• Supported by EAW Resolution prediction software

1.7” compression drivers with

Owner’s Manual

Hookup Diagrams

HDA

To next

speaker’s

MAIN INPUT

To next speaker’s AC MAINS input

From

speaker’s

LOOP OUT

or mixer/audio

source

One convenient feature of the Mackie HDA loudspeaker system is the ability to connect multiple loudspeakers together easily, as shown in the illustration above.

If only one HDA is required, connect the mixer output to the HDA’s XLR MAIN INPUT using a balanced XLR cable. The HDA is powered via the supplied Neutrik PowerCon following page for details on this type of setup.

If multiple HDAs will be connected, start with the instructions as listed above. Next, connect the ﬁ rst HDA’s XLR LOOP OUT jack to the second HDA’s XLR MAIN INPUT jack using a balanced XLR cable. A short 1-2 foot cable is all that is necessary. Hook up the supplied loop Neutrik PowerCon to the second HDA’s AC MAINS jack. A maximum of four HDAs may be daisy-chained together in this fashion from a single 20A source.

See pages 8-12 for systems utilizing multiple HDAs in various setups. See page 15 for more information regarding powering the Mackie HDA loudspeaker.

From

speaker’s AC

LOOP output

or wall AC

outlet

cable connected to the AC MAINS jack. See the

cable from the ﬁ rst HDA’s AC LOOP jack

HDA: DAISY-CHAINING MULTIPLE LOUDSPEAKERS

HDA

HDA MAIN INPUT

L/R

MAIN

OUT

HDA MAIN INPUT

Owner’s Manual

48V 48V 48V 48V 48V 48V 48V 48V 48V 48V 48V 48V 48V 48V 48V 48V

EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ

MUTE

SOLO

PREMIUM ANALOG MIXER

w/ PERKINS EQ & FIREWIRE

SOLO

MUTE

SOLO

Mixing Console

(Mackie Onyx 1640i shown)

This type of setup will typically be found at small indoor or outdoor gigs, weddings, parades, rental systems, and/or used as vocal reinforcement. Another possibility is to place HDAs on the stage as front or side ﬁ lls. This helps provide sound to the fans near the stage where they may not be adequately covered by the PA.

The left and right main outputs from a mixer feed the MAIN INPUTS of the HDAs. Since only one HDA is used per side, the Array Mode switch should be in the ‘1-2’ position on both speakers.

HDA: 2-WAY SYSTEM

Owner’s Manual

21/22

23/24

HDA

HIGH PASS

OUTPUT A

MAIN INPUT

LOOP OUT

MAIN INPUT

INPUT A

GAIN1GAIN2GAIN3GAIN4GAIN5GAIN6GAIN7GAIN8GAIN9GAIN GAIN GAIN GAIN GAIN GAIN

LOW CUT

18dB/OCT

AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUXAUX

PRE

FX1

FX2

200

PANEQPANEQPANEQPANEQPANEQPANEQPANEQPANEQPANEQPANEQPANEQPANEQPANEQPANEQPAN

40 50 60

060

-45dB+15dB

LOW CUT

100 Hz

18dB/OCT

PAD

-20dB

PRE

+15

PRE

+15

PRE

FX1

+15

FX2

+15

INT FX

AUX 5/6

12k

-15+15

-15U+15

800

200

8k100

-15+15

RLRLRLRLRLRLRLRLRLRLRLRLRLRLRL

10 11 12 13 14 15

060

-45dB+15dB

LOW CUT

100 Hz

18dB/OCT

PAD

-20dB

PRE

+15

PRE

+15

PRE

FX1

+15

FX2

+15

INT FX

AUX 5/6

-15+15

-15U+15

800

200

8k100

-15+15

060

-45dB+15dB

LOW CUT

100 Hz

18dB/OCT

PAD

-20dB

PRE

+15

PRE

+15

PRE

FX1

+15

FX2

+15

INT FX

AUX 5/6

12k

-15+15

-15U+15

800

200

8k100

-15+15

LEFT MAIN OUT

20 21/22 23/2417 18 19

GAIN GAIN GAIN GAIN GAIN GAIN

GAIN

060

-45dB+15dB

LOW CUT

100 Hz

18dB/OCT

PAD

-20dB

PRE

+15

PRE

+15

PRE

FX1

+15

FX2

+15

INT FX

AUX 5/6

-15+15

-15U+15

-15U+15 800

800

200

8k100

W 80

-15+15

PAN

50 60

060

-45dB+15dB

LOW CUT

100 Hz

18dB/OCT

OFF MAX OFF MAX OFF MAX OFF MAX

COMP COMP COMP COMP

PRE

+15

PRE

+15

PRE

FX1

+15

FX2

+15

INT FX

AUX 5/6

EQ EQ EQ EQ EQ EQ

-15+15

-15U+15

800

200

8k100

-15+15

PAN PAN PAN PAN BAL BAL

RLRLRLRLRLRLRL

FX 1

PRE

+15

PRE

+15

PRE

FX1

+15

FX2

+15

INT FX AUX 5/6

-15+15 U

-15+15U-15+15 U

-15+15

21/22

40 50 60

060

-45dB+15dB

LOW CUT 100 Hz 18dB/OCT

PAD

-20dB

PRE

+15

PRE

+15

PRE

FX1

+15

FX2

+15

INT FX AUX 5/6

-15+15

-15U+15 800

200

8k100

-15+15

40 50 60

PRE

FX1

FX2

INT FX AUX 5/6

I 12k

-15+15

I M

D 2

W M

D 4

W 8

-15+15

23/24

40 50 60

01 PLATE REVERB 02 VOCAL PLATE 03 WARM ROOM 04 BRIGHT ROOM 05 WARM LOUNGE 06 SMALL STAGE

+20-20U+20-20

FX 2

+20

USB

TO MAIN

+15 U

+15

PRE

+15

I 1

TAP DELAY

I M

I 2

INT FX MUTE

W M

I 4

W 8

OFF MAX

COMP

1234

40 50 60

MAX

07 WARM THEATER 08 BRIGHT STAGE 09 WARM HALL 10 CONCERT HALL 11 CATHEDRAL 12 GATED REVERB

25% 75%

2-TRACK RETURN USB OUT

SOLO

TO AUX 1

TO AUX 2

OFF MAX COMP

40 50 60

FX PRESETS

13 CHORUS

19 DLY 2 BRIGHT (250ms)

14 CHORUS + REVERB

20 DLY 2 WARM (200ms)

15 DOUBLER

21 DLY 3 BRIGHT (175ms)

16 TAPE SLAP

22 DLY 3 WARM (150ms)

17 DLY 1 BRIGHT (350ms)

23 CHORUS + DLY (300ms)

18 DLY 1 WARM (300ms)

24 REVERB + DLY (200ms) TAP TO EDIT

50%

2404

0% 100%

SUCK

CH 1-2 CH 3-4

GRP 1-2

TAPE

GRP 3-4

MAIN

AUX 5-6

USB

MAIN L/R

MIX

STEREO RETURNSAUX MASTERS

LEFTRIGHT

AUX

+15

AUX 2

+15

AUX 3

+15

LEVEL

AUX

SET

+15

MAIN

+15OO+15

SOLO MODE

PFL

SOLO

AFL

FX2FX

SIG/OLSIG/OL

MAX

SEND MASTERSEND MASTER

TO AUX 1

SOLO

TAP

MAX

DELAY

TO AUX 2

MONITOR

INT FX MUTE

MAX

TO MAINTO MAIN

PHONES

TALKBACKGROUPS

MAX

OFF MAX

COMP

LEVEL

PUSH TO TALK

AUX 1-4

MAIN

MAIN MIX

Mixing Console

(Mackie 2404-VLZ3 shown)

This type of setup will typically be found at small indoor or outdoor gigs, festivals, weddings, or parades where a high output PA with wide coverage and throw is necessary. This is a great setup for local DIY bands, too.

The left output from a mixer feeds INPUT A of a Mackie HD1801 powered subwoofer. The HIGH PASS OUTPUT A of the subwoofer feeds the MAIN INPUT of a Mackie HDA powered loudspeaker. The LOOP OUT of that Mackie HDA powered loudspeaker feeds the MAIN INPUT of the next Mackie HDA powered loudspeaker. The HDAs reproduce the mid-to-high frequencies in mono, and the subs provide the low frequencies in mono. The Array Mode switch should be in the ‘1-2’ position on both units.

Since two HDAs are in the array, it is possible to reproduce this exact same hookup in stereo. Simply utilize the left and right main outputs from the mixer to feed the main inputs of each subwoofer and mirror the rest of the system as identiﬁ ed above.

Another important aspect to keep in mind is the rigging setup of loudspeakers. In this diagram, the HDAs are pole-mounted on a subwoofer, utilizing an SPM200 adjustable pole. Refer to page 17 to view a table listing other conﬁ guration possibilities and pages 18 and 19 for more information about rigging.

Note that the HDAs AC power may be linked via the AC LOOP. Refer to page 6 for details on daisy-chaining AC power.

HDA: POLE-MOUNTED WITH POWERED SUBWOOFER(S)

HDA

FB121 Flybar

Owner’s Manual

This is the perfect setup for any venue where the audience is level with and above the stage. For example, a bowl, a shed or a gym with bleachers.

The left output from a mixer feeds the MAIN INPUT of a Mackie HDA powered loudspeaker. The LOOP OUT of that Mackie HDA feeds the MAIN INPUT of the next Mackie HDA. This daisy-chained array is repeated once more to complete the tri-fecta.

Since three units are used, the Array Mode switches should be in the ‘3-4’ or ‘3-4 LONG THROW’ position. See page 13 for more information about the Array Mode switch and the choices available.

It is possible to reproduce this exact same hookup in stereo. Simply utilize the left and right main outputs from the mixer to feed the main inputs of the ﬁ rst HDA on each side of the stage and mirror the rest of the system as described above.

Another important aspect to keep in mind is the rigging setup of loudspeakers. In this diagram, the HDAs are ground stacked on the FB121 Flybar and the kickstand is included for additional support. This may be a full-range system (as illustrated above) or add some subwoofers to the system for extra thump. You could even mount the HDAs on top of the sub as shown on the next page. Refer to page 17 to view a table listing other conﬁ guration possibilities and pages 18 and 19 for more information about rigging.

Note that the HDAs AC power may be linked via the AC LOOP. Refer to page 6 for details on daisy-chaining AC power.

HDA: GROUND STACKED WITH FLYBAR ACCESSORY

Owner’s Manual

+ 21 hidden pages