Mackie SR244 User Manual

SOUND REINFORCEMENT CONSOLES

same high headroom and ultra-low noise

components and cir-

cuitry as our 8•Bus

series, with many of the

same features.

24 or 32 in, 4 x 2 x 1 out.

The SR Series mixers are

true 4-bus consoles. Any

channel can be assigned to any bus (or directly to

the main mix), and each

bus can be assigned to

the main L/R or mono mixes, or fed out directly to, for instance, an 8-track recorder. The SR2 4•4 and 32•4 each have 6 aux sends,

The SR24•4 and SR32•4 do for live sound what Mackie’s already done for studio recording. Like our acclaimed 8•Bus series, these professional grade mixing consoles were built to deliver the same kind of useful features and pro specifications as those found on “bigger boards.” And to stand up to continuous, 24-hr.-a-day use.

Many of today’s large hotels, convention centers, theaters and places of worship require mixers that can handle advanced sound reinforcement. At the same time, they need to be portable and compact enough to move around, flexible enough to work in a variety of applications, and be easy to use. Of course, they must be affordable. The SR24•4 & 32•4 mixing consoles are all that. And they feature the

3-band EQ with sweepable mids, and Mackie’s unique “ AIR” EQ circuit.

At a price that belies their durability and features, the SR24•4 and 32•4 are easily affordable workhorses that’ll be as welcome as live mixing consoles as they are in a recording studio.

Durability. A word

Mackie lives by.

The SR Series of mixing consoles can take just about any kind of punishment. They’re built like tanks. Because we knew they would be moved around and used as both live and recording consoles, we made them to stand up to continuous duty. Not only can they take active abuse — they’re as rugged as anything Mackie makes — the SR24•4 and 32•4’s insides are made to stand up to more passive problems.

MORE INFORMATION

SR32•4/SR24•4

ARCHITECTS’ AND

ENGINEERS’

SPECIFICATIONS

“IN YOUR FACE”

ALL-PRODUCT BROCHURE

FEATURES

Fast, easy, accurate level-setting via Solo

4 Submix Buses 8•Bus-style mic preamps

with –129.5dBm “Double-Bussed” sub

outs for 8-tk. recording 6 aux sends available

at all times Globally-switchable

AFL/PFL 3 Band EQ on mono chs.:

• 80Hz Lo Shelving

• Sweepable, 100Hz to

8kHz Mid

• 12kHz Hi Shelving

AIR EQ Circuit for Extra

Sheen

Very Low Impedance (VLZ)

circuitry for low noise

Trim Control on each

channel for wide gain range

Balanced Inputs and

Outputs

Tape Return to Main Mix

Mono Out with level control

®

A

-

C H O

T

U

N

Monitor mixes with effects can be created by folding back Aux Returns 1 & 2 into Aux Sends 1 & 2, respectively. This is great for shy vocalists who “need” a little reverb on their voice.

EQ’s no problem on the SR24•4 and SR32•4. They have three bands on their mono channels, with 80Hz Lo shelving, sweepable 100Hz to 8kHz mids, and 12kHz Hi shelving EQ. (On the stereo channels mid EQ is fixed at 3k and 800Hz.) A low cut filter with 18dB/octave roll-off at 75Hz severely lessens room rumble, wind noise and mic thumps. It allows Lo EQ to be used safely on vocals because the audible bass range is boosted but the unwanted frequencies below 75Hz get cut off. No more using Mid EQ for low frequency tasks.

Another Mackie breakthrough is an EQ circuit we call “AIR.” It works on the top end of the mix (via the submix buses), adding clarity to the higher frequencies without affecting the lower treble octaves. The result is positively brilliant, giving a little atmosphere to the vocals, making old guitar strings sound new, and generally breathing life into the whole mix.

The SR Series have amazingly high headroom. Like the 8•Bus and the CR-1604 before them, their bus and main mix amplifiers use Mackie’s distinctive negative gain mix amplifier architecture, for up to twice as much extra headroom. Since the mix amp is where all the signals come together, we built ours to deal with lots of hot signals and still supply astonishing headroom and low noise.

VLZ — V ery Low Impedance — is another reason that the SR24•4 and 32•4 are such low-noise marvels. VLZ architecture means minuscule noise levels in both live and recording situations. Thermal noise is created in every bit of circuitry inside a console; Mackie’s VLZ design reduces thermal noise by making internal console impedances as low as possible, in as many places as possible. In the live arena, the sound in the mains will be as quiet as a church mouse (when there’s no other sound coming through). And in recording, VLZ’s low noise will garner pristine tracks on analog tape, digital tape, hard disk — whatever the medium, the SR Series consoles are incredibly quiet.

Recording flexibility.

Because the SR Series’ buses are “double-bussed,” outputs to an 8-track recorder (like ADAT or DA-88) are a snap and can be achieved without repatching. Plus, the Phones/Control Room switch and level control is connected to two stereo phone outputs and the Control Room output, letting you route the stereo Tape Return to Phones/ Control Room for 2-track recording and monitoring.

With the Tape Return feature, a stereo tape deck can be monitored, whether it’s being used to record a live event, or for music playback. T ape Return to Phones/C-R routes the tape playback signal into the monitor system and meters, and the T ape Return knob adjusts the level of the tape playback. The playback signal from the tape deck can be listened to via headphones and levels can be checked via the SR24•4 or 32•4’s meters. Of course, the SR24•4 and 32•4 have RCAstyle T ape Outs for output to conventional cassette decks, as well as 1/ 4” balanced outs. They also have XLR outs for use with DAT recorders and other pro equipment. T ape signals can also be assigned directly to the Main Mix, replacing its usual signals, making it ideal for playing “canned” music between events.

VLZ

VERY LOW IMPEDANCE DESIGN

-

1

0

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A

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1

2

10U60

+10dB -40dB

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12k

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FREQ

8kHz100 8kHz100 8kHz100 8kHz100 8kHz100 8kHz100 8kHz1008100

8kHz100

U

LOW

80Hz

+15-15

LOW CUT

75 Hz

18dB/OCT

OL

-20

LR LR LR LR LR LR LR LR L

PAN PAN PAN PAN PAN PAN PAN PAN PA

1

2

MUTE

MUTE / SOLOMUTE / SOLO MUTE / SOLO MUTE / SOLO MUTE / SOLO MUTE / SOLO MUTE / SOLO MUTE / SOLO M

dB

10

SOLO SOLO

5

1-2

U

5

3-4

10

L-R

20

30

40

50

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12k

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5

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dB

10

SOLO SOLO SOLO SOLO SOLO SOLO

1-2

3-4

L-R

5

1-2

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L-R

20

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75 Hz

18dB/OCT

OL

-20

6

7

8

MUTE

dB

10

5

1-2

U

5

3-4

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75

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9

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dB

10

5

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5

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L-R

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12k

HI

3k

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EQ

STEREO

AUX RETURNS

AUX SEND

MASTERS

LEVEL

5

6

12k

HI

3k

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800Hz

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AIR AIR AIR AIR

LOW

SOLO SOLO SOLO SOLO

EQ

LOW CUT

75 Hz

18dB/OCT

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

1

2

3

4

1

2

1

2

3

4

SOLO

1-2

SUB

SOLO

GLOBAL

AUX RETURN

ASSIGN TO SUB

SOLO

TAPE RETURN

TO PHONES / C R

TAPE RETURN TO MAIN MIX

LEFT/RIGHT

MAIN MIX

AUX 1-2

TALKBACK

LEVEL

TAPE

RETURN

3-4

LEFT RIGHT

L/R ASSIGN L/R ASSIGN L/R ASSIGN L/R ASSIGN

SUB SUB SUB SUB

1234

PHONES / C-R

LEVEL

MAIN MIX

SOLO

TO AUX

SEND

1-2

(EFX TO MONITOR)

SOLO

28

CLIP

10

7

4

2

0

4

7 10 20 30 40

3-4

L-R

1-2

3-4

L-R

1-2

3-4

L-R

1-2

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1-2

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PRE

1

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2

3

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6

12k

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MID

FREQ

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19

AUX

EQ

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1

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2

3

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23 24

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1

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2

3

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6

AUX

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1

PRE

2

3

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6

AUX

20

MUTE

EQ

21 22

MUTE

23 24

TRACK

1

• 5

TRACK

2

• 6

TRACK

3

• 7

TRACK

4

• 8

MUTE

SOLO

MODE

SUBAUX

PRE FADER

IN PLACE AFL

LEVEL SET

SOLO SOLO

MUTE / SOLO MUTE / SOLO MUTE / SOLO

SOLO SOLO

PANPANPAN PANPAN PAN PAN

4444

POWERRUDE SOLO LIGHT

OPERATING LEVEL

0dB = 0dBu

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1

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10

11

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EQ

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12k

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FREQ

8kHz 8kHz100 8kHz100 8kHz100 8kHz100 8kHz100 8kHz100 8kHz100 8kHz100 8kHz100 8kHz100 8kHz100

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Hz /OCT

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N PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN

TE

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3

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12k

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U

LOW

80Hz

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75 Hz

18dB/OCT

OL

-20

10

11

MUTE

dB

10

5

1-2

U

5

3-4

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L-R

20

30

40

50

60

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13

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10U60

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AUX

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2

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3

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4

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12k

+15-15

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FREQ

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75 Hz

18dB/OCT

OL

-20

13

14

MUTE

dB

10

5

1-2

U

5

3-4

10

L-R

20

30

40

50

60

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MUTE

dB

10

5

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5

10

20

30

40 50 60

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TRIM

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15

16

17

10U60

+10dB -40dB

AUX

U

1

PRE

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2

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3

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EQ

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12k

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FREQ

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75 Hz

18dB/OCT

OL

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PAN

16

17

MUTE

dB

10

5

1-2

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L-R

5

1-2

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5

3-4

10

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20

30

40

50

60

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12k

+15-15

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80Hz

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LOW CUT

75 Hz

18dB/OCT

-20OL-20OL-20

20

MUTE

dB

10

5

1-2

U

5

3-4

10

L-R

20

30

40 50 60

OO

dB

10

5

U

5

10

20

30

40 50 60

20 +20

21 22

MUTE

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U

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21 22

20 +20

AUX

U

1

PRE

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2

PRE

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U

3

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U

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U

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5

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U

6

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EQ

U

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12k

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3k

LOW

MID

800Hz

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80Hz

23 24

MUTE

dB

10

SOLO SOLO

5

1-2

U

5

3-4

10

L-R

20

30

40 50 60

OO

G

A

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18

19

10U60

+10dB -40dB

AUX

U

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2

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5

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6

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U

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12k

+15-15

U

MID

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FREQ

U

LOW

80Hz

+15-15

LOW CUT

75 Hz

18dB/OCT

OL

-20

18

19

MUTE

dB

10

5

1-2

U

5

3-4

10

L-R

20

30

40 50 60

OO

TRIM

23 24

AUX

U

1

PRE

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+15

U

2

PRE

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U

3

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+15

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4

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U

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5

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5

U

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6

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6

AUX SEND

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MASTERS

EQ

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TRACK

12k

1

+15-15

•

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5

MID

3k

+15-15

5

LOW MID

800Hz

+1005+1005+1005+100

AIR AIR AIR AIR

LOW

80Hz

SOLO SOLO SOLO SOLO

OL

LR LR LR LR

L/R ASSIGN L/R ASSIGN L/R ASSIGN L/R ASSIGN

SUB SUB SUB SUB

1234

dB

10

5

1-2

U

5

3-4

10

L-R

20

30

40

50

60

OO

LAMP

U

CLIP

28

121

SOLO

AUX RETURNS

2

• 6

10

OO

+15

+20

U

7 4

2

OO

+15

+20

0

U

TO AUX

2

SEND

3

1-2

4

(EFX TO MONITOR)

OO

+20

7

U

10

4

20

OO

+20

OO

+20

30

TAPE

40

RETURN

LEVEL SET

ASSIGN TO SUB

SUB

STEREO

TRACK

3

• 7

dB

10

5

U

5

10

20

30

40 50 60

OO

LEFT RIGHT

OPERATING LEVEL

0dB = 0dBu

GLOBAL

AUX RETURN

1-2 3-4

SOLO

POWERRUDE SOLO LIGHT

U

MODE

TRACK

4

OO

+15

PRE FADER IN PLACE AFL

LEVEL

•

8

SUBAUX

SOLO

OO

MAX

MAIN MIX

LEVEL

16kHz16kHz16kHz16kHz

AUX 1-2

TALKBACK

TAPE RETURN

OO

MAX

TO PHONES / C R

PHONES / C-R

PANPANPAN PAN

LEVEL

MAIN MIX

TAPE RETURN

LEFT/RIGHT

TO MAIN MIX

dB

10

5

U

5

10

20

30

40

50

60

OO

The SR Series: The most

affordable, full-featured

mixing consoles available.

As you can see, there is every reason that the SR24•4 and 32•4 are fast becoming the premier, affordable 4-bus mixing consoles. With their proven durability, professional features and specs, and certainly not least, the low cost — the SR Series is destined to be a classic. There are no other mixing consoles in their class, with all these features, at such an affordable price.

And that’s why people from all professions, with all kinds of different applications, prefer Mackie’s SR Series. You’ll like them because of the SR24•4 and 32•4’s low price, easy-touse features, and rugged construction. That’s got to sound good. And of course, Mackie does.

VLZ – Very Low Impedance

circuitry for low noise

High headroom, low-noise mic

preamps (–129.5dBm E.I.N.)

3-Band EQ with Sweepable

Mids: 80Hz, 100Hz–8kHz swept mid, 12kHz (Mids fixed at 800Hz & 3kHz for 4-band EQ on stereo channels)

60mm log-taper faders

with lip seal and longwearing contact material

“AIR” high frequency EQ

circuit on sub tracks 1-8

6 aux sends

6 aux returns, 2 switchable

pre- or post-fader (2 fixed

pre- and 2 fixed post-fader) 4 submix buses Phones/Control Room level

control for 2-track monitoring PFL/AFL Solo (globally

switchable) Constant-loudness pan pots “Double-bussed” sub outs for

8-track recording Balanced inputs & outputs

(except RCAs & channel inserts) Trim control on each chan-

nel for wide gain range

The main chassis of the SR24•4 and SR32•4 mixing consoles is made of solid steel monocoque construction. Because the steel doesn’t flex, the console itself is quite sturdy. And at the same time, the SR Series consoles don’t weigh a ton, either.

Controls are designed to withstand serious downward impact. From a fistpounding to a heavy box dropping, the SR Series’ knobs can take it. We also use sealed controls rather than open-frame potentiometers that eventually deteriorate from airborne contamination. Switches are ultra-high duty-cycle. And inside, impact-resistant, double-thru-hole-plated fiberglass circuit boards, brass standoffs, and gold-plated interconnects abound.

The SR24•4 and 32•4’s 60mm faders are made with the same precision log taper as those on our 8•Bus consoles. Besides giving smooth, consistent fades, these faders were built to last. They have a newly-developed, ultra-tight lip seal made of a special co-polymer membrane that provides a continuouslysealed barrier against dust and liquid, yet doesn’t interfere with fader travel.

There’s more. 1/4” jack sleeves are metal, not plastic. That’s part of the reason why the SR24•4 and 32•4 have such exceptional

protection from RF interference. (As you well know, many installations suffer from such problems.) Metal lockwashers make electrical contact between the jack and outer chassis, and an internal shunting capacitor is placed from each input to ground. This routes RF back through the metal chassis, where it is dissipated before it can propagate via the SR24•4 or 32•4’s circuit boards.

PHANTOM POWER

Vp

(GLOBAL SWITCH)

2

1

MIC

•

IN

3

LINE

IN

BOLD LINES INDICATE

SIGNAL PATH FROM MIC

INPUT TO LEFT MAIN OUTPUT.

MONO

INPUT

CHANNEL

SR 24•4 (1 of 20)

SR32•4 (1 of 32)

LEFT

(MONO)

RIGHT

STEREO

INPUT

CHANNEL

(1 OF 2)

MACKIE

•

MIC PREAMP

•

+

•

-

•

TRIM: MIC GAIN +10 to +60 dB LINE GAIN-

-10 to +40 dB

•

+

-

•

TRIM

+

-

LINE GAIN-

-20 TO +20dB

•

MACKIE SR24•4/SR32•4 BLOCK DIAGRAM Rev. 1.5 5/11/95

The SR Series consoles have built-in power supplies (instead of a “wall wart,” which takes up precious outlet spaces and can get lost or damaged), so you’re sure to have plenty of power. We could go on and on, but suffice to say that people who have hauled their SR24•4s and 32•4s all over the country will attest to their durability. They’ll hold up to years of use with nary a problem.

•

INSERT

•

LO CUT

LO LO- HI- HI

•

80 800 3k 12k

LO LO- HI- HI

80 800 3k 12k

•

MUTE

MID MID

MUTE LED (STEADY) SOLO LED

(FLASHING

•

75Hz HPF

AUX 1 AUX 2

AUX 3 AUX 4 AUX 5 AUX 6

MUTE

••

AUX 1

AUX 2

PRE

AUX 3

AUX 4 AUX 5 AUX 6

•

-20dB

•

PRE

LED

•

-20 dB LED

LO MID HI

80 8k 12k

GAIN

FREQ

MUTE LED (STEADY) SOLO LED

(FLASHING)

•

TALKBACK

XLR INPUT

EQ

100-

GAIN

O/L LED

STOPLIGHT

FREQ

FADER

®

PAN

••

PAN

•

316 GLENDALE (KNOCK FIRST)

TB TO L-R MIX

ASSIGN

SWITCHES

•

TB TO AUX 1-2

•

1-2

3-4

L-R

SOLO IN

PLACE

PFL

LOGIC

1-2

3-4

L-R

SOLO IN

PLACE

PFL

LOGIC

SUB 1

SUB 2

SUB 3

SUB 4

L MIX

R MIX

•

O/L LED

•

FADER

•

EXIT 27B

••

•

LEVEL

Pro features even

amateurs can

understand.

“Most significant [about the SR Series] is the large degree of flexibility while retaining ease of use. T ypically these two factors are at odds — the more something does, the harder it is to make it do what you want. Not so with the SR24•4. Things are laid out very logically, making operation very intuitive.”

— J.H., Kathleen, GA

Mackie’s SR Series was designed with professionals — and amateurs — in mind. That’s why they feature 4 submix buses — “doublebussed” for 8-track recording, 6 aux sends on each input channel, VLZ

®

Very Low Impedance design, Mackie’s brand new “ AIR” EQ circuit, high-headroom mic preamps, constant-power pan pots, 4 aux returns, and more.

The SR Series mixing consoles are great for live music festivals, theatrical revues, or any event with lots of per-

AUX 1

AUX 2

AUX 3

AUX 4

AUX 5

AUX 6

•

SOLO L

SOLO R

•

PFL

LOGIC

•

GAIN

AIR

∑

16kHz

•

SOLO

PFL

LOGIC

•

TAPE TO L-R

∑

L MIX INSERTS FADER

R MIX

∑

INSERT

•

SUB OUT 1 (1 OF 4)

•

PAN

•

TAPE IN

•

∑

AUX SEND 1 (2)

•

1-2

3-4

•

LEVEL

PFL/SIP

•

SOLO

•

RUDE SOLO LED

•

∑

••

∑

•

L-R/SUBS

•

TAPE TO

MONITOR

•

LEVEL

SOLO

LEVEL

ASSIGN

TO L-R

SOLO RELAY

•

+

-

•

+

AUX RET 1 (2) IN

•

+

-

•

+

-

AUX RET 3 IN

•

+

-

•

+

-

AUX RET 4 IN

FADER

•

∑

•

MONITOR LEVEL

•

RELAY

L

R

L

R

L

R

•

∑

SOLO

SUB OUT

1

SUB

OUT

5

MONO LEVEL

L

PHONES

AMPS

R

•

METERS

ØdBu=Ø VU

LEVEL

•

SOLO LED

LEFT OUT

L

•

TAPE OUT R

•

RIGHT OUT

2

1

MONO XLR

3

OUT

2

1

LEFT XLR

3

OUT

2

1

RIGHT XLR

3

OUT

L CONTROL

ROOM OUT R

•

PHONES OUTPUTS

+22 +10

+7

+4

+2

0

-2

-4

-7

-10

-20

-30

-40

•

AUX 1

OUTPUT

•

AUX

SEND

(1 OF 6)

formers. The SR24•4 has 2 4 inputs and the SR32•4 has 32 (the last two channel strips on each are stereo, for playback of tape decks or CD players). With 20 and 28 mic preamps, respectively, the SR Series consoles are big enough to handle majorsized acts or performances.

6 aux sends make the SR24•4 and 32•4 very adaptable to systems with many effects. Pre-fader auxes are great for monitor sends — which you need more of for live mixing. Postfader aux sends are for effects, which you usually want more of during studio tracking and mixdown.

Y ou get both with the SR Series. Aux Sends 1 & 2 are pre-fader, Aux Sends 3 & 4 can be used either pre- or post-fader, and Aux Sends 5 & 6 are post-fader. For live mixing, you can have four pre-fader auxes (Aux Sends 1-4), and therefore four different monitor mixes, as well as two post-fader auxes for effects. For studio recording, you can have four post-fader auxes (Aux Sends 3-6), for use with all the effects processors in your rack, plus two pre-fader auxes for headphone mixes.

31.00"

19.20"

SPECIFICATIONS

CONFIGURA TIONS

• SR2 4•4: 2 4x4x2x1, 2 0 mono channels with mic preamps and line inputs, 2 stereo channels with line inputs only

• SR3 2•4: 3 2x4x2x1, 2 8 mono channels with mic preamps and line inputs, 2 stereo channels with line inputs only

CHANNEL STRIP

• Trim control: 10dB attenuation to 40dB gain, line inputs; 10-60dB gain mic inputs

• 6 mono aux sends: 1 & 2 prefader, 3 & 4 switchable pre/post, 5 & 6 post-fader

• Hi shelving EQ: 12kHz, ±15dB

• Midrange EQ (mono channels): 100Hz-8kHz swept peaking mid, ±15dB

• Midrange EQ (stereo channels): 3k fixed Hi mid, 800Hz fixed Lo mid, ±15dB

• Lo shelving E Q: 80Hz, ±15dB

• Lo cut filter: 7 5Hz cut-off, 18dB/ octave (mono channels only)

• Constant loudness P an (mono channels), Balance (stereo channels)

• –2 0dB Signal Present LED, Overload LED, Mute/Solo LED

• Solo (AFL/PFL switchable via master section)

• 1–2 & 3–4 Submix Assign and L/R Main Mix Assign switches

• 60mm logarithmic-taper faders

MASTER SECTION

• 6 aux send masters with individual Solo switches, 10dB max. gain

• 4 stereo aux returns, 20dB max. gain. Aux 4 assignable to Subs 1–2 or 3–4

• Aux Return 1 & 2 foldback to Aux Send 1 & 2, respectively (EFX TO MONITOR), 1 5dB max. gain

• Global Aux Return Solo switch

• 6 Aux Send Solo switches

• Master Solo LED (“Rude Solo Light”)

• 1 3-segment LED metering

• S OLO section: Level control with 15dB max. gain, AFL (SIP)/PFL switch, Aux & Sub Solo LED indicators

• T ALKBA CK section: Level control, Main Mix & Aux 1–2 assign switches, T alkback LED indicator , balanced dynamic mic XLR input on rear panel

• Tape return level control, Tape Return T o Master switch

• Phones/Control Room level control

• Submix buses: AIR HF peaking EQ, Pan control, L/R assign

REAR PANEL

• All inputs and outputs bala nced/unbalanced (except channel inserts & RCA jacks)

• INSERTS: all mono channels, submix buses, main L/R mix

• INPUTS: balanced mono line & mic (mono channels)/balanced stereo line (stereo channels), balanced stereo aux returns, RCA-type stereo tape returns, XLR talkback mic

• OUTPUTS: 1/ 4” TRS Main L/R, XLR Main L/R, XLR Mono Main with output level control, stereo Control Room, Headphones (2), Submix (doublebussed for easy use with 8-track recorders), mono Aux Sends, RCAtype stereo T ape Send

• Global phantom power switching

(48V)

DIMENSIONS

• SR24•4: H*xWxD:

5.65”x31”x19.2” (143.5x78 7.4x487.7mm), Weight: 31 lbs.

• SR3 2•4: H*xWxD:

5.75”x39.2 5”x1 9” (146x997x483mm), Weight: 40.7 lbs

* Maximum height at rear panel

18.90"

1.30"

1.80"

19.20"

39.25"

2.80"

5.60"

2.80"

0.50"

SR24•4

19.20"

SR32•4

MACKIE DESIGNS INC.

16220 W ood-Red Road NE

• Woodinville, WA 9807 2 USA

T oll-F ree 80 0 /25 8-68 83 • FA X 425/ 48 7-433 7

Outside the U.S., Phone 206/ 487-4333 • FAX 425/485-1 1 52

Mackie Designs Inc. is engaged in a continuous program of prod-

®

uct evaluation and improvement and reserves the right to change product specifications at any time without notice. ©1996-1998 Mack ie De sign s Inc . All r ights reser ved. R ev. 2/98 “Mackie.,” VLZ, and the “Running Man” figure are registered trademarks of Mackie Designs Inc.