Mackie SR244 User Manual

Page 1
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
®
Page 2
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
1
0
0
G
G
A
A
TRIM
TRIM
C
C
I
I
N
N
I
I
M
M
1
2
10U60
10U60
+10dB -40dB
+10dB -40dB
+10dB -40dB
AUX
AUX
U
U
1
1
PRE
PRE
OO
OO
+15
+15
U
U
2
2
PRE
PRE
OO
OO
+15
+15
U
U
3
3
OO
OO
+15
+15
U
U
44444444
OO
OO
+15
+15
U
U
PRE
PRE
5
5
OO
OO
+15
+15
U
U
6
6
OO
OO
+15
+15
EQ
EQ
U
U
HI
HI
12k
12k
+15-15
+15-15
U
U
MID
MID
+15-15
+15-15
FREQ
FREQ
8kHz100 8kHz100 8kHz100 8kHz100 8kHz100 8kHz100 8kHz1008100
8kHz100
U
U
LOW
LOW
80Hz
80Hz
+15-15
+15-15
LOW CUT
LOW CUT
75 Hz
75 Hz
18dB/OCT
18dB/OCT
OL
OL
-20
-20
LR LR LR LR LR LR LR LR L
PAN PAN PAN PAN PAN PAN PAN PAN PA
1
2
MUTE
MUTE
MUTE / SOLOMUTE / SOLO MUTE / SOLO MUTE / SOLO MUTE / SOLO MUTE / SOLO MUTE / SOLO MUTE / SOLO M
dB
dB
dB
10
10
10
SOLO SOLO
5
5
5
1-2
1-2
U
U
U
5
5
5
3-4
3-4
10
10
10
L-R
L-R
20
20
20
30
30
30
40
40
40
50
50
50
60
60
60
OO
OO
1
1
1
0
0
0
G
G
G
A
A
A
TRIM
TRIM
C
I
M
10U60
U
OO
U
OO
U
OO
U
OO
U
OO
U
OO
U
U
U
LOW CUT
75 Hz
18dB/OCT
3
MUTE
OO
TRIM
C
C
I
I
I
N
N
N
I
I
M
M
3
4
5
10U60
10U60
+10dB -40dB
+10dB -40dB
AUX
AUX
AUX
U
U
1
1
1
PRE
PRE
PRE
OO
OO
+15
+15
+15
U
U
2
2
2
PRE
PRE
PRE
OO
OO
+15
+15
+15
U
U
3
3
3
OO
OO
+15
+15
+15
U
U
OO
OO
+15
+15
+15
U
U
PRE
PRE
PRE
5
5
5
OO
OO
+15
+15
+15
U
U
6
6
6
OO
OO
+15
+15
+15
EQ
EQ
EQ
U
U
HI
HI
HI
12k
12k
12k
+15-15
+15-15
+15-15
U
U
MID
MID
MID
+15-15
+15-15
+15-15
FREQ
FREQ
FREQ
U
U
LOW
LOW
LOW
80Hz
80Hz
80Hz
+15-15
+15-15
+15-15
LOW CUT
LOW CUT
75 Hz
75 Hz
18dB/OCT
18dB/OCT
OL
OL
OL
-20
-20
-20
4
5
MUTE
MUTE
dB
dB
dB
10
10
10
SOLO SOLO SOLO SOLO SOLO SOLO
1-2
3-4
L-R
5
5
5
1-2
1-2
U
U
U
5
5
5
3-4
3-4
10
10
10
L-R
L-R
20
20
20
30
30
30
40
40
40
50
50
50
60
60
60
OO
OO
-
-
-
1
1
1
0
0
0
G
G
G
A
A
A
TRIM
TRIM
C
C
C
I
I
I
N
N
N
I
I
I
M
M
M
6
7
10U60
10U60
10U60
+10dB -40dB
+10dB -40dB
+10dB -40dB
AUX
AUX
U
U
U
1
1
PRE
PRE
OO
OO
OO
+15
+15
+15
U
U
U
2
2
PRE
PRE
OO
OO
OO
+15
+15
+15
U
U
U
3
3
OO
OO
OO
+15
+15
+15
U
U
U
OO
OO
OO
+15
+15
+15
U
U
U
PRE
PRE
5
5
OO
OO
OO
+15
+15
+15
U
U
U
6
6
OO
OO
OO
+15
+15
+15
EQ
EQ
U
U
U
HI
HI
12k
12k
+15-15
+15-15
+15-15
U
U
U
MID
MID
+15-15
+15-15
+15-15
FREQ
FREQ
U
U
U
LOW
LOW
80Hz
80Hz
+15-15
+15-15
+15-15
LOW CUT
LOW CUT
LOW CUT
75 Hz
75 Hz
75 Hz
18dB/OCT
18dB/OCT
18dB/OCT
OL
OL
-20
-20
6
7
8
MUTE
MUTE
MUTE
dB
dB
10
10
5
5
1-2
1-2
U
U
5
5
3-4
3-4
10
10
L-R
L-R
20
20
30
30
40
40
50
50
60
60
OO
OO
OO
®
G
TRIM
C
I
M
8
U
10
+10dB
AUX
U
1
PRE
OO
U
2
PRE
OO
U
3
OO
U
OO
U
PRE
5
OO
U
6
OO
EQ
U
HI
12k
-15
U
MID
-15
FREQ
U
LOW
80Hz
-15 LOW
75
18dB/
OL
-20
9
MU
dB
10
5
1-2
U
5
3-4
10
L-R
20
30
40 50 60
OO
Page 3
dB
30
20
10
OO
40 50
5
5
U
60
10
dB
30
20
10
OO
40 50
5
5
U
60
10
dB
30
20
10
OO
40 50
5
5
U
60
10
dB
30
20
10
OO
40 50
5
5
U
60
10
dB
30
20
10
OO
40 50
5
5
U
60
10
dB
30
20
10
OO
40 50
5
5
U
60
10
dB
30
20
10
OO
40 50
5
5
U
60
10
dB
30
20
10
OO
40 50
5
5
U
60
10
OO
U
OO
+15
U
OO
+15
OO
U
OO
+15
MAX
MAX
U
OO
+20
U
OO
+20
U
OO
+20
U
OO
+20
U
OO
+20
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
5
+100
5
+100
5
+100
5
+100
RLRLRLR
60
M
I
C
G
A
I
N
10U60
+10dB -40dB
-
1
0
+15
+15
+15
+15
+15
+15
+15
+15
+15
LR LR LR LR
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
-
20 +20
8kHz 8kHz100
U
-
20 +20
U
16kHz16kHz16kHz16kHz
LAMP
12k
HI
3k
MID
HI
800Hz
MID
LOW
EQ
STEREO
AUX RETURNS
AUX SEND
MASTERS
LEVEL
5
6
12k
HI
3k
MID
HI
800Hz
MID
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
SOLO
1-2
SUB
SOLO
GLOBAL
AUX RETURN
ASSIGN TO SUB
SOLO
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
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
3-4
L-R
1-2
-20
OL
PRE
1
PRE
PRE
2
3
5
6
12k
HI
MID
FREQ
TRIM
19
AUX
EQ
-20
OL
-20
OL
-20
OL
PRE
1
PRE
PRE
2
3
5
6
12k
HI
MID
FREQ
TRIM
20
TRIM
21 22
TRIM
23 24
AUX
PRE
1
PRE
PRE
2
3
5
6
AUX
PRE
1
PRE
PRE
2
3
5
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
-
-
-
-
-
-
-
-
-
-
-
1
1
1
1
1
0
0
0
G
G
G
A
A
A
TRIM
TRIM
TRIM
C
C
I
I
I
N
N
N
I
I
M
M
9
10
11
60
10U60
10U60
-40dB
+10dB -40dB
+10dB -40dB
AUX
PRE
+15
PRE
+15
+15
+15
PRE
+15
+15
EQ
HI
12k
+15
MID
+15
FREQ
8kHz 8kHz100 8kHz100 8kHz100 8kHz100 8kHz100 8kHz100 8kHz100 8kHz100 8kHz100 8kHz100 8kHz100
LOW
80Hz +15 CUT
Hz /OCT
RLRLRLRLRLRLRLRLRLRLRLRLRLR
N PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN
TE
UTE / SOLO MUTE / SOLO MUTE / SOLO MUTE / SOLO MUTE / SOLO MUTE / SOLO MUTE / SOLO MUTE / SOLO MUTE / SOLO MUTE / SOLO MUTE / SOLO MUTE / SOLO MUTE / SOLO MUTE / SOLO
SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO
1-2
3-4
L-R
+10dB -40dB
AUX
AUX
U
U
1
1
1
PRE
PRE
OO
OO
+15
+15
U
U
2
2
2
PRE
PRE
OO
OO
+15
+15
U
U
3
3
3
OO
OO
+15
+15
U
U
44444 44444444
OO
OO
+15
+15
U
U
PRE
PRE
5
5
5
OO
OO
+15
+15
U
U
6
6
6
OO
OO
+15
+15
EQ
EQ
U
U
HI
HI
12k
12k
+15-15
+15-15
U
U
MID
MID
+15-15
+15-15
FREQ
FREQ
U
U
LOW
LOW
80Hz
80Hz
+15-15
+15-15
LOW CUT
LOW CUT
75 Hz
75 Hz
18dB/OCT
18dB/OCT
OL
OL
OL
-20
-20
-20
10
11
MUTE
MUTE
dB
dB
dB
10
10
10
5
5
5
1-2
1-2
U
U
U
5
5
5
3-4
3-4
10
10
10
L-R
L-R
20
20
20
30
30
30
40
40
40
50
50
50
60
60
60
OO
OO
1
0
0
0
G
G
G
A
A
A
TRIM
TRIM
C
I
M
10U60
U
OO
U
OO
U
OO
U
OO
U
OO
U
OO
U
U
U
LOW CUT
75 Hz
18dB/OCT
12
MUTE
OO
TRIM
C
C
I
I
I
N
N
N
I
I
M
M
12
13
14
10U60
10U60
+10dB -40dB
+10dB -40dB
AUX
AUX
AUX
U
U
1
1
1
PRE
PRE
PRE
OO
OO
+15
+15
+15
U
U
2
2
2
PRE
PRE
PRE
OO
OO
+15
+15
+15
U
U
3
3
3
OO
OO
+15
+15
+15
U
U
4
OO
OO
+15
+15
+15
U
U
PRE
PRE
PRE
5
5
5
OO
OO
+15
+15
+15
U
U
6
6
6
OO
OO
+15
+15
+15
EQ
EQ
EQ
U
U
HI
HI
HI
12k
12k
12k
+15-15
+15-15
+15-15
U
U
MID
MID
MID
+15-15
+15-15
+15-15
FREQ
FREQ
FREQ
U
U
LOW
LOW
LOW
80Hz
80Hz
80Hz
+15-15
+15-15
+15-15
LOW CUT
LOW CUT
75 Hz
75 Hz
18dB/OCT
18dB/OCT
OL
OL
OL
-20
-20
-20
13
14
MUTE
MUTE
dB
dB
10
10
5
5
1-2
1-2
1-2
U
U
5
5
3-4
3-4
3-4
10
10
L-R
L-R
L-R
20
20
30
30
40
40
50
50
60
60
OO
OO
1
1
1
0
0
0
G
G
G
A
A
A
TRIM
TRIM
C
I
M
10U60
+10dB -40dB
U
OO
U
OO
U
OO
U
OO
U
OO
U
OO
U
U
U
LOW CUT 75 Hz
18dB/OCT
15
MUTE
dB
10
5
U
5
10
20
30
40 50 60
OO
TRIM
C
C
I
I
I
N
N
N
I
I
M
M
15
16
17
10U60
10U60
+10dB -40dB
+10dB -40dB
AUX
AUX
AUX
U
U
1
1
1
PRE
PRE
PRE
OO
OO
+15
+15
+15
U
U
2
2
2
PRE
PRE
PRE
OO
OO
+15
+15
+15
U
U
3
3
3
OO
OO
+15
+15
+15
U
U
OO
OO
+15
+15
+15
U
U
PRE
PRE
PRE
5
5
5
OO
OO
+15
+15
+15
U
U
6
6
6
OO
OO
+15
+15
+15
EQ
EQ
EQ
U
U
HI
HI
HI
12k
12k
+15-15
+15-15
+15-15
12k
+15-15
+15-15
U
U
MID
MID
MID
+15-15
+15-15
FREQ
FREQ
FREQ
U
U
LOW
LOW
LOW
80Hz
80Hz
80Hz
+15-15
+15-15
LOW CUT
LOW CUT
75 Hz
75 Hz
18dB/OCT
18dB/OCT
OL
OL
OL
-20
-20
-20
PAN
16
17
MUTE
MUTE
dB
dB
dB
10
10
10
5
5
1-2
3-4
L-R
5
1-2
1-2
U
U
U
5
5
5
3-4
3-4
10
10
10
L-R
L-R
20
20
20
30
30
30
40
40
40
50
50
50
60
60
60
OO
OO
-
1
1
1
0
0
0
U
G
A
TRIM20TRIM
C
I
N
I
M
10U60
+10dB -40dB
AUX
U
1
PRE
OO
+15
U
2
PRE
OO
+15
U
3
OO
+15
U
OO
+15
U
PRE
5
OO
+15
U
6
OO
+15
EQ
U
HI
12k
+15-15
U
MID
+15-15
FREQ
U
LOW
80Hz
+15-15U+15-15U+15-15
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
OO
OO
OO
OO
OO
OO
OO
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15-15
U
+15-15
U
+15-15U+15-15
U
21 22
­20 +20
AUX
U
1
PRE
OO
U
2
PRE
OO
U
3
OO
U
OO
U
PRE
5
OO
U
6
OO
EQ
U
HI
12k
U
HI MID
3k
LOW
MID
800Hz
LOW
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
G
A
A
TRIM
TRIM
C
C
I
I
N
N
I
I
M
M
18
19
10U60
10U60
+10dB -40dB
+10dB -40dB
AUX
AUX
U
U
1
1
PRE
PRE
OO
OO
+15
+15
U
U
2
2
PRE
PRE
OO
OO
+15
+15
U
U
3
3
OO
OO
+15
+15
U
U
OO
OO
+15
+15
U
U
PRE
PRE
5
5
OO
OO
+15
+15
U
U
6
6
OO
OO
+15
+15
EQ
EQ
U
U
HI
HI
12k
12k
+15-15
+15-15
U
U
MID
MID
+15-15
+15-15
FREQ
FREQ
U
U
LOW
LOW
80Hz
80Hz
+15-15
+15-15
LOW CUT
LOW CUT
75 Hz
75 Hz
18dB/OCT
18dB/OCT
OL
OL
-20
-20
18
19
MUTE
MUTE
dB
10
5
1-2
1-2
U
5
3-4
3-4
10
L-R
L-R
20
30
40 50 60
OO
OO
TRIM
23 24
AUX
U
1
1
PRE
OO
+15
+15
U
2
2
PRE
OO
+15
+15
U
3
3
OO
+15
+15
U
4
OO
+15
+15
U
PRE
5
OO
+15
5
U
+15
6
OO
+15
6
AUX SEND
+15
MASTERS
EQ
HI
TRACK
TRACK
12k
1
+15-15
HI
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
dB
10
10
5
5
1-2
U
U
5
5
3-4
10
10
L-R
20
20
30
30
40
40
50
50
60
60
OO
OO
LAMP
U
U
CLIP
28
121
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
AUX RETURNS
2
• 6
10
OO
OO
+15
+20
U
U
7 4
2
2
OO
OO
+15
+20
0
U
TO AUX
2
SEND
3
1-2
4
(EFX TO MONITOR)
OO
+20
7
U
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
dB
10
10
5
5
U
U
5
5
10
10
20
20
30
30
40
40
50
50
60
60
OO
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
Page 4
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
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
Page 5
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
LEVEL
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.
Page 6
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.
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