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
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CHO
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.
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
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+15
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PRE
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+15
EQ
EQ
U
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HI
HI
12k
12k
+15-15
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U
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MID
MID
+15-15
+15-15
FREQ
FREQ
U
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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
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C
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10U60
U
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LOW CUT
75 Hz
18dB/OCT
12
MUTE
OO
TRIM
C
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10U60
10U60
+10dB -40dB
+10dB -40dB
AUX
AUX
AUX
U
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1
1
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PRE
PRE
PRE
OO
OO
+15
+15
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PRE
PRE
OO
OO
+15
+15
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3
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OO
OO
+15
+15
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OO
OO
+15
+15
+15
U
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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
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40
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OO
OO
1
1
1
0
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G
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A
A
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TRIM
TRIM
C
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10U60
+10dB -40dB
U
OO
U
OO
U
OO
U
OO
U
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U
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U
U
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LOW CUT
75 Hz
18dB/OCT
15
MUTE
dB
10
5
U
5
10
20
30
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OO
TRIM
C
C
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N
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I
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15
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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
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PRE
PRE
OO
OO
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U
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+15
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+15
+15
+15
U
U
PRE
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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
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1
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TRIM20TRIM
C
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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
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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
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10
5
U
5
10
20
30
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50
60
20 +20
21 22
MUTE
OO
OO
OO
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OO
OO
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U
+15
U
+15
U
+15
U
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U
+15
U
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21
22
20 +20
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1
PRE
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U
2
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3
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U
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U
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5
OO
U
6
OO
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U
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12k
U
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3k
LOW
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800Hz
LOW
80Hz
23 24
MUTE
dB
10
SOLO SOLO
5
1-2
U
5
3-4
10
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20
30
40
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TRIM
TRIM
C
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18
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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
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+15
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U
3
3
OO
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+15
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+15
U
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PRE
5
5
OO
OO
+15
+15
U
U
6
6
OO
OO
+15
+15
EQ
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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
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OO
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LAMP
U
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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
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30
30
40
40
50
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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 tosound 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)
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.
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
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
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O/L LED
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FADER
•
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EXIT 27B
••
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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 MIXINSERTSFADER
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
• 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