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
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C
H
O
T
U
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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
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-
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1
1
0
0
G
G
A
A
TRIM
TRIM
C
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N
I
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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
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N
N
N
I
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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
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