Mackie SR244-VLZ User Manual

SR24•4-VLZ PRO

™

24-Channel Sound Reinforcement Console

Introduction

 THE SR24•4-VLZ PRO is the latest update of our SR24•4

sound reinforcement console, incorporating our ultra-high
quality XDR™ (Extended Dynamic Range) mic preamps with
the best RFI rejection of any sound reinforcement mixer
design on the market.

 Like all Mackie mixers, the SR24•4-VLZ PRO is designed

for rugged, 24-hour-a-day use. With its multiple input/
output congurations, true 4-bus architecture, 6 aux
sends, and extensive routing capabilities, it can be used
in a variety of live sound and recording applications. Its
sturdy steel construction houses rugged, double-sided
SMT-plated berglass circuit boards, and 60 mm faders
with ultra-tight lip seals for keeping out dust and other
contaminants. Impact-resistant knobs are mounted so they
“ride” just above the steel chassis.

 The SR24•4-VLZ PRO has 20 mono mic/line input chan-

nels, with XLR mic inputs and 1/4" TRS line inputs, and 2
stereo line input channels with 1/4" TRS inputs. All mono
channels have TRS insert jacks (tip = send, ring = return).
Each channel strip has an input trim, 6 aux sends (2 pre­fader, 2 post-fader, and 2 switchable pre or post), 3-band
EQ with sweepable midrange (4-band EQ on the stereo chan­nels), pan control, and mute, solo, and bus assign switches.
A 60 mm fader provides output gain for each channel.

 Twenty XDR mic preamps provide high-headroom and

low-noise. They are impedance-independent, so the
quency response remains constant whether the mic preamp
is presented with an extremely high- or low-impedance
load. Additionally, each channel has its own switchable
low-cut lter (18 dB/octave @ 75 Hz).

 The mono channel EQs provide a range of ±15 dB at the

following frequencies: 12 kHz shelving high-frequency EQ,
100 Hz to 8 kHz sweepable peaking mid-frequency EQ,
and 80 Hz shelving low-frequency EQ. The stereo channels
(21-24) provide ±15 dB of boost and cut at the following
frequencies: 12 kHz shelving high-frequency EQ, 3 kHz
peaking high-mid frequency EQ, 800 Hz peaking low-mid
frequency EQ, and 80 Hz shelving low-frequency EQ.

(continued on page 2)

fre-

Features

 Low noise/high headroom XDR™ (Extended Dynamic

Range) mic preamps with excellent RFI rejection

 New high-performance 2068 op-amps for incredibly low

noise and distortion

 Improved cooling for even greater thermal protection
 20 mic/line mono, and 2 stereo line channels
 True 4-bus design
 Solo, pan, and 16 kHz Air EQ on each submaster
 6 individual aux sends per channel (2 pre, 2 post,

2 switchable pre/post)

 3-band swept midrange EQ on mic channels;

4-band xed on stereo line channels

 75 Hz low-cut lters on mic channels
 Mute, solo, signal present and OL LEDs on every channel
 6 aux send masters with individual solos
 4 stereo aux returns with EFX monitor
 Separate Talkback section with mic preamp
 Double-bused sub outs for easy multi-track routing
 Balanced stereo TRS & XLR main outputs
 Balanced XLR mono output with level control

MIXER

SR24•4-VLZ PRO

R E L A T E D P R O D U C T S

SR32•4-VLZ PRO

Applications

 Live sound mixing
 Multi-track recording

O F 8 P A G E S

1

24-Channel Sound

SR24•4-VLZ PRO

MIXER

Specications

Noise

(20 Hz to 20 kHz bandwidth, Line inputs to Main L/R outputs,
all channels assigned, panned L/R):

Master fader down, Ch. gains down –94.7 dBu
Master fader @ unity, Ch. gains down –87.4 dBu
Master fader @ unity, Ch. gains @ unity –83.5 dBu

Total Harmonic Distortion

(1 kHz @ +14 dBu, 20 Hz-20 kHz):
Mic input insert output <0.0007%

SR24•4-VLZ PRO

Other outputs <0.004%

Crosstalk

(1 kHz @ 0 dBu, 20 Hz to 20 kHz bandwidth, channel in to
Main Left outputs):

Channel fader down, channels at Unity –89.5 dB
Channel muted, channels 2-16 at Unity –88.7 dB

Frequency Response

(any input to any output):
20 Hz to 60 kHz +0/–1dB
10 Hz to 100 kHz +0/–3dB

Maximum Levels

Mic preamp input +22 dBu
All other inputs +22 dBu
Balanced XLR outputs +28 dBu
All other outputs +22 dBu

Impedances

Mic preamp input 1.5 kΩ
All other inputs >10 kΩ
All outputs 120 Ω

Equalization

Lo EQ Shelving 80 Hz +15 dB
Mid EQ (mono ch) Peak 100 Hz-8 kHz +15 dB
Hi EQ Shelving 12 kHz +15 dB

Microphone Preamp

E.I.N. (150 Ω terminated, max gain) –129.5 dBm

Power Requirements

60 watts

Reinforcement Console

(continued from page 1)

 Channels can be assigned to buses 1-2, 3-4, and

Main Mix L/R, and the 4 subs can be assigned to
Left

and Right Main Mix. Furthermore, each bus is
“double-bused,”
connected to an 8-track recorder without repatching.
Each sub out (1-4) and main out (L/R) has a TRS insert
jack. Furthermore, Mackie’s unique “AIR” EQ circuit is
included on each of the four subgroups. It provides a
gentle nudge to the extreme high-end, without affect­ing lower treble octaves.

 Outputs include XLR and 1/4" TRS line outputs for

the left and right mains, 1/4" TRS line outputs for
subs 1-4, and an XLR mono main output. The mono
main out has its own level control, so a mono mix can
be sent to another zone and adjusted accordingly.

 The Phones/Control Room switch and level control

are connected to two stereo headphone outputs and
the left and right Control Room output, allowing the
stereo Tape Return, Left/Right Main Mix, and Solo to
be monitored.

 A stereo playback device can be monitored via the

Tape Return Inputs. Tape Return to Phones/C-R routes
the tape playback signal into the monitor system and
meters, and the Tape Return knob adjusts the level of
playback, which can be monitored via headphones.
Tape Return signals can also be assigned directly to
the Main Mix. The SR24•4-VLZ PRO also has RCA-style
Tape Outs for output to conventional stereo recording
devices.

 Each of the six aux sends has its own individual

master send control, driving 1/4" TRS output jacks.
Six stereo aux returns are provided, with 1/4" TRS
input jacks. Two aux returns can be folded back into
Aux Sends 1 and 2 via their own volume controls to
add effects in stage monitors.



An XLR input is provided for a talkback mic, which
can be assigned to the Main Mix or to Aux 1-2. The
talkback mic has a level control in the talkback section.

providing eight outputs that can be

Physical

Dimensions (HxWxD): 5.60" x 31" x 19.20"

142.24 mm x 787.40 mm x 487.68 mm
Net Weight: 24•4-VLZ PRO 31 lbs (14 kg)

2

O F 8 P A G E S

SR24•4-VLZ PRO

24-Channel Sound
Reinforcement Console

O F 8 P A G E S

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600

1.5k150

8k100

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1.5k150

8k100

600

1.5k150

8k100

600

1.5k150

8k100

600

1.5k150

8k100

600

1.5k150

8k100

600

1.5k150

8k100

600

1.5k150

8k100

600

1.5k150

8k100

600

1.5k150

8k100

600

1.5k150

8k100

600

1.5k150

8k100

600

1.5k150

8k100

600

1.5k150

8k100

600

1.5k150

8k100

600

1.5k150

8k100

600

1.5k150

8k100

600

1.5k150

8k100

600

1.5k150

8k100

600

1.5k150

8k100

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

-20

OL

PR

E

1

PRE

PR

E

2

3

5

6

12k

HI

MID

FREQ

80Hz

LOW CUT

75 Hz

18dB/OC

T

LOW CUT

75 Hz

18dB/OCT

LOW CUT

75 Hz

18dB/OC

T

LOW CU

T

75 Hz

18dB/OCT

LOW CUT

75 Hz

18dB/OC

T

LOW CU

T

75 Hz

18dB/OCT

LOW CUT

75 Hz

18dB/OC

T

LOW CUT

75 Hz

18dB/OCT

LOW CUT

75 Hz

18dB/OCT

LOW CUT

75 Hz

18dB/OCT

LOW CUT

75 Hz

18dB/OCT

LOW CU

T

75 Hz

18dB/OC

T

LOW CUT

75 Hz

18dB/OCT

LOW CUT

75 Hz

18dB/OCT

LOW CUT

75 Hz

18dB/OCT

LOW CUT

75 Hz

18dB/OCT

LOW CUT

75 Hz

18dB/OCT

LOW CUT

75 Hz

18dB/OCT

LOW CUT

75 Hz

18dB/OCT

LOW CUT

75 Hz

18dB/OCT

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

TRIM

1

AUX

1

MUTE

EQ

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 MI

X

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

1 2 3 4

PHONES / C

-

R

LEVEL

MAIN MIX

SOLO

TO AUX

SEND

1

-

2

(EFX TO MONITOR)

SOLO

28

CLIP

10

74 22047

102030

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

3

-

4

L

-

R

1

-

2

3

-

4

L

-

R

1

-

2

3

-

4

L

-

R

1

-

2

3

-

4

L

-

R

1

-

2

3

-

4

L

-

R

1

-

2

3

-

4

L

-

R

1

-

2

3

-

4

L

-

R

1

-

2

3

-

4

L

-

R

1

-

2

3

-

4

L

-

R

1

-

2

3

-

4

L

-

R

1

-

2

3

-

4

L

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R

1

-

2

3

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4

L

-

R

1

-

2

3

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4

L

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1

-

2

3

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R

1

-

2

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PR

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1

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2

3

5

6

12k

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2

AUX

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MUTE

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PR

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1

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2

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5

6

12k

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MI

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4

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1

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5

6

12k

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1

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2

3

5

6

12k

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6

AUX

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1

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2

3

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7

AUX

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2

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8

AUX

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1

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2

3

5

6

12k

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TRIM

9

AUX

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EQ

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1

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2

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5

6

12k

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FREQ

TRIM

10

AUX

10

MUTE

EQ

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OL

PR

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1

PRE

PR

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2

3

5

6

12k

HI

MID

FREQ

TRIM

11

AUX

11

MUTE

EQ

-20

OL

PR

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1

PRE

PR

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2

3

5

6

12k

HI

MID

FREQ

TRIM

12

AUX

12

MUTE

EQ

-20

OL

PR

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1

PRE

PR

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2

3

5

6

12k

HI

MID

FREQ

TRIM

13

AUX

13

MUTE

EQ

-20

OL

PR

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1

PRE

PR

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2

3

5

6

12k

HI

MID

FREQ

TRIM

14

AUX

14

MUTE

EQ

-20

OL

PR

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1

PRE

PR

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2

3

5

6

12k

HI

MID

FREQ

TRIM

15

AUX

15

MUTE

EQ

-20

OL

PR

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1

PRE

PR

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2

3

5

6

12k

HI

MID

FREQ

TRIM

16

AUX

16

MUTE

EQ

-20

OL

PR

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1

PRE

PR

E

2

3

5

6

12k

HI

MID

FREQ

TRIM

17

AUX

17

MUTE

EQ

-20

OL

PR

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1

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PR

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2

3

5

6

12k

HI

MID

FREQ

TRIM

18

AUX

18

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EQ

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PR

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1

PRE

PR

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2

3

5

6

12k

HI

MID

TRIM

19

AUX

19

MUTE

EQ

-20

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PR

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1

PRE

PR

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2

3

5

6

12k

HI

MID

FREQ

TRIM

20

TRIM

21

22

TRIM

23

24

AUX

PRE1PRE

PR

E

2

3

5

6

AUX

PRE1PRE

PR

E

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 SOLO

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

PANPANPAN PANPAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN

4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4

4

POWERRUDE

SOLO

LIGHT

OPERATING LEVEL

0dB = 0dBu

PAN

MUTE /

SO

LO

MUTE /

SO

LO

MUTE /

SOLO

MUTE /

SOLO

MUTE /

SOLO

MUTE /

SOLO

MUTE /

SOLO

MUTE /

SOLO

MUTE /

SO

LO

MUTE /

SOLO

MUTE /

SOLO

MUTE /

SOLO

MUTE /

SOLO

MUTE /

SOLO

MUTE /

SOLO

MUTE /

SO

LO

MUTE /

SO

LO

MUTE /

SO

LO

MUTE /

SOLO

MUTE /

SOLO

MUTE /

SO

LO

MUTE /

SOLO

WITH PREMIUM XDR

TM

MIC PREAMPL IFIERS

SR SERIES 24•4•2 4

–

BUS MIXING CONSOLE

SR

24•4

-

VLZPRO

SR24•4-VLZ PRO

SR24•4-VLZ PRO Top

24-Channel Sound
Reinforcement Console

3

O F 8 P A G E S

SR24•4-VLZ PRO

INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT

MIC 20

TAPE OUTTAPE IN

TALK BACK

MI

C

R

R

R

(MONO)

4

L

L

L

3

2

1

L

CONTROL ROOM OUTMAIN INSERTS

3

342

3

1

1

L L

R

R R

L

24

23 21

22

20

MIC 19

19

LINE IN

(BAL OR UNBAL

)

LINE I

N

(BAL OR UNBAL

)

LINE I

N

(BAL OR UNBAL

)

LINE I

N

(BAL OR UNBAL)

LINE IN

(BAL OR UNBAL)

LINE I

N

(BAL OR UNBAL

)

LINE IN

(BAL OR UNBAL)

LINE I

N

(BAL OR UNBAL

)

LINE I

N

(BAL OR UNBAL)

LINE I

N

(BAL OR UNBAL)

LINE IN

(BAL OR UNBAL)

LINE IN

(BAL OR UNBAL)

LINE IN

(BAL OR UNBAL)

LINE IN

(BAL OR UNBAL)

LINE IN

(BAL OR UNBAL)

LINE IN

(BAL OR UNBAL)

LINE IN

(BAL OR UNBAL)

LINE IN

(BAL OR UNBAL)

LINE IN

(BAL OR UNBAL)

LINE I

N

(BAL OR UNBAL)

MIC 18

18

MIC 17

17

MIC 16

16

MIC 15

15

MIC 14

14

MIC 13

13

MIC 12

12

MIC 11

11

MIC 10 MIC 9

9

MIC 8

8

MIC 7

7

MIC 6

6

MIC 5

5

MIC 4

4

MIC 3

3

MIC 2

2

MIC 1

RIGHT

MAIN OUT

LEFT

MAIN OUT

MONO

MAIN OUT

OUTPUT

LEVEL

PHONES

2

PHONES

1

OFF

POWER

ON

OF

F

PHANTOM

ON

MONO MONO

PIN 2 = HOT

PIN 3 = COL

D

FUSE INSIDE

120VAC

50/60 HZ 60W

1A/250V SLO BLO

CAUTION: TO REDUCE

THE RISK OF FIRE, REPLACE

WITH THE SAME TYPE FUSE

AND RATING

OO

+6

MAIN

BALANCED

OUTPUTS

R

R

L

L

AUX SENDS

(BAL OR UNBAL)

STEREO AUX RETURNS

(BAL OR UNBAL)

SUB INSERTS

(BAL OR UNBAL)

6

2

5

1 4

R

R

L

R

L

786

5

SUB OUTS

(BAL OR UNBAL)

4

2

MAIN OUTS

(BAL OR UNBAL)

(BAL OR UNBAL

)

THE FOLLOWING ARE TRADEMARKS OR REGISTERED TRADEMARKS OF MACKIE DESIGNS INC.: "MACKIE.", AND THE "RUNNING MAN" FIGURE • US PATENT NUMBER Des. 380,760

XDR

TM

EXTENDED DYNAMIC RANGE MIC PREAMPLIFIERS ARE PROPRIETARY TO MACKIE DESIGNS INC.

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110

TIP OUT TO EFFECTS DEVICE

RING RETURN FROM EFFECTS

STEREO

PLUG

INSERT

MANUFACTURING DATE

RISK OF ELECTRIC SHOCK

DO NOT OPEN

REPLACE WITH THE SAME TYPE FUSE AND RATING.

DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE

UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE.

DEBRANCHER AVANT DE REMPLACER LE FUSIBLE

WARNING:

TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT

EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. DO NOT REMOVE COVER.

NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.

AVIS:

RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR

CAU TI ON

SERIAL NUMBER

CONCEIVED, DESIGNED, AND MANUFACTURED

BY MACKIE DESIGNS INC. • WOODINVILLE • WA

98072 • USA • MADE IN USA • FABRIQUE AU US

A

24•4•2 4 BUS MIXING CONSOLE

WITH PREMIUM XDR

TM

MIC PREAMPLIFIERS

24•4-VLZPRO

SR24•4-VLZ PRO Rear Panel

24-Channel Sound
Reinforcement Console

4

O F 8 P A G E S

24-Channel Sound

31.00"

5.60"

2.80"

18.90"

1.30"

1.80"

2.80"

0.50"

19.20"

19.20"

24•4

WEIGHT

31 lbs.

SR24•4-VLZ PRO

SR24•4-VLZ Pro Dimensions

Reinforcement Console

5

O F 8 P A G E S

24-Channel Sound

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1

2

3

TRIM: MIC GAIN-

0 to +60 dB

LINE GAIN-

-15 to +45 dB

LO CUT

MUTE

INSERT

-20 dB LED

EQ

LO MID HI

80 8k 12k

100-

GAIN

FREQ

GAIN

GAIN

FADER

PAN

O/L LED

ASSIGN

SWITCHES

1-2

3-4

L-R

SOLO IN

PLACE

PFL

LOGIC

MUTE

LED

AUX 1

AUX 2

AUX 3

AUX 4

AUX 5

AUX 6

PRE

MONO

INPUT

CHANNEL

(1 of 20)

SR24•4-VLZ PRO

BLOCK DIAGRAM REV 1 3/28/2000

BOLD LINES INDICATE

SIGNAL PATH FROM MIC

INPUT TO LEFT MAIN OUTPUT.

LEFT

(MONO)

RIGHT

TRIM

-20dB

LED

LO LO- HI- HI

MID MID

LO LO- HI- HI

80 800 3k 12k

MID MID

O/L

LED

FADER

PRE-FADER

PRE-FADER

POST-FADER

POST-FADER

LINE GAIN-

-20 TO +20dB

+

-

+

-

+

-

MUTE

LED

AUX 1

AUX 2

AUX 3

AUX 4

AUX 5

AUX 6

PRE

STEREO

INPUT

CHANNEL

(1 OF 2)

TALKBACK

XLR INPUT

LEVEL

TB TO AUX 1-2

TB TO L-R MIX

1-2

3-4

L-R/SUBS

LEVEL

AUX RET 4 IN

AUX RET 3 IN

AUX RET 1 (2) IN

LEVEL

LEVEL

SOLO

SOLO LED

AUX

SEND

(1 OF 6)

AUX 1

OUTPUT

+

-

+

-

+

-

+

-

+

-

+

-

L

L

L

R

R

R

L

R

PHONES

OUTPUTS

PHONES

AMPS

RELAY

AUX SEND 1 (2)

SOLO

LEVEL

PFL/SIP

LEVEL

RUDE SOLO LED

TAPE TO

MONITOR

L

R

CONTROL

ROOM OU

T

SOLO RELAY

TAPE IN

R MIX

L MIX INSERTS FADER

RIGHT

XLR

OUT

LEFT

XLR

OUT

MONO

XLR

OUT

RIGHT

OUT

R

L

TAPE OUT

LEFT

OUT

MONO

LEVEL

SUB

OUT

1

SUB

OUT

5

FADER

SUB OUT 1 (1 OF 4)

ASSIGN

TO L-R

PAN

TAPE TO L-R

SOLO

PFL

LOGIC

GAIN

AIR

16kHz

MIC

IN

LINE

IN

+22

+10

+7

+4

+2

0

-2

-4

-7

-10

-20

-30

-40

METERS

SUB 1

SUB

2

SUB

3

SUB

4

AUX 1

AUX

2

AUX

3

AUX

4

AUX 5

AUX

6

L MIX

R MI

X

SOLO

L

SOLO

R

PFL

LOGIC

•

•

•

Vp

•

•

•

•

•

•

SOLO

•

∑

LEVEL

ØdBu=Ø VU

∑

∑

•

∑

∑

∑

∑

∑

•

•

∑

∑

MONITOR LEVEL

1

2

3

1

2

3

1

2

3

•

•

•

∑

∑

∑

•

•

•

1-2

3-4

L-R

SOLO IN

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PFL

LOGIC

•

80 800 3k 12k

•

•

•

•

PAN

INSERT

•

•

•

•

MUTE

PHANTOM POWER

(GLOBAL SWITCH)

MACKIE XDR

MIC PREAMP

75Hz

HPF

SR24•4-VLZ PRO

SR24•4-VLZ PRO Block Diagram

6

O F 8 P A G E S

Reinforcement Console

24-Channel Sound

SR24•4-VLZ PRO

Architects’ and Engineers’ Specications

1. GENERAL CONFIGURATION. The audio mixer shall
have a free-standing frame tted with four resilient
feet suitable for tabletop placement. The frame shall
be comprised of 20 monaural input channels, 2 stereo
input channels, 4 submix output channels and 2 main
output channels. The monaural input channels shall be
capable of accepting either microphone- or line-level
signals, and shall be tted with trim, equalization, bal­ance, and auxiliary send controls; solo, mute, and bus
assign switches; level-indicating LEDs and insert jacks.
The stereo input channels shall be capable of accept­ing either stereo or monaural line-level signals, and
shall be tted with stereo trim, equalization, balance,
and auxiliary send controls; solo, mute and bus assign
switches; and level indicating LEDs. The submix outputs
shall each have level, pan, and “air” controls; solo and
assign switches; and a bus access insert jack. The main
outputs shall share a stereo master output fader and
shall be tted with insert jacks. Additionally, the mixer
shall include a pre-fader/post fader solo function, a
main monaural output with level control derived from the
main stereo outputs, 6 monitor/effects send outputs, 4
stereo effects return inputs with switching and control
functions, 1 stereo control room monitor output, 2 stereo
headphone outputs, 1 set of stereo tape recorder conve­nience outputs, and 1 set of stereo tape monitor inputs.

2. POWER SUPPLY.
the mixer shall be provided by an internal power supply.

3. INPUT CHANNEL CONNECTIONS. Each monau­ral channel (1-20) shall include an XDR™ (Extended
Dynamic Range) electronically balanced microphone
input, using an XLR-3-F-type connector, accepting
nominal levels from –60 dBu to +4 dBu via a rotary Trim
control. Phantom power shall be globally controlled via
a rocker-type switch. Each monaural input channel shall
also have an electronically balanced line level input,
accommodating a nominal line level of between –10 dBV
and +4 dBu, and appearing on the rear panel as a 1/4"
TRS phone jack. Each stereo input channel shall have
left and right electronically balanced line level input,
accommodating a nominal line level of between –10 dBV
and +4 dBu, and appearing on the rear panel as 1/4"
TRS phone jacks. These jacks shall be tted with internal
switching contacts to accommodate monaural congura­tion. Additionally, each of the monaural input channels
(1-20) shall offer an unbalanced insert connection,
appearing on the rear panel as a 1/4" TRS phone jack.

4. INPUT CHANNEL LEVEL AND ASSIGNMENT
CONTROLS AND INDICATORS. Each monaural input chan-

nel shall be equipped with a preamplier gain control,
a solo switch, a mute switch, three bus assignment

All necessary operating voltages for

Reinforcement Console

switches, and a stereo pan control. Each stereo input
channel shall be equipped with a dual preamplier gain
control, a solo switch, a mute switch, three bus assign­ment switches and a stereo balance control.

5. INPUT CHANNEL EQUALIZATION. Each monaural
input channel shall be equipped with an equalization
function. The equalizer shall have three sections: a low­frequency shelving equalizer with the knee set at 80 Hz
and a range of +15 dB; a mid-frequency peaking equal­izer with a center frequency sweepable from a range of
100 Hz to 8 kHz, and a range of +15 dB; and a high-fre­quency shelving equalizer with the knee set at 12 kHz
and a range of +15 dB. Each stereo input channel shall
be equipped with a stereo equalization function. The
equalizer shall have four sections: a low-frequency shelv­ing equalizer with the knee set at 80 Hz and a range of
+15 dB; a low-mid-frequency peaking equalizer centered
at 800 Hz and a range of +15 dB; a high-mid-frequency
peaking equalizer centered at 3.5 kHz and a range of
+15 dB; and a high frequency shelving equalizer with the
knee set at 12 kHz and a range of +15 dB.

6. INPUT CHANNEL AUXILIARY SENDS. Each mixer
input channel shall have 6 monaural auxiliary send con­trols. Two auxiliary send controls shall be xed as pre­fader sends; two shall be xed as post-fader sends; and
two shall be switchable between pre-fader and post-fad­er. All auxiliary sends shall be post-mute switch.

7. MAIN OUTPUT CONNECTIONS. The mixer shall have
electronically balanced, line-level left and right main
outputs, appearing on male XLR-3 type connectors and
impedance balanced on 1/4" phone TRS jacks on the rear
panel. Additionally, the main buses shall offer left and
right unbalanced insert connections, appearing on
rear panel as 1/4" phone TRS jacks. Further, there shall be
a main, electronically balanced, monaural output derived
from the main stereo output, appearing as a male XLR-3
type connector on the rear panel. There shall be an output
level control to adjust the main monaural output level.

8. OTHER OUTPUT AND MONITORING CONNECTIONS.
The mixer shall have the following impedance balanced
line-level connections, appearing as 1/4" TRS jacks on
the rear panel: submix bus outputs 1-4, also wired in
parallel respectively to submix outputs 5-8; left and right
control room monitor outputs, left and right tape monitor
outputs, left and right tape monitor inputs. For conve­nience, the left and right main outputs (unbalanced) and
the left and right tape monitor inputs shall also appear
as RCA phono jacks on the rear panel. There shall also be
two stereo headphone outputs on the rear panel of the
mixer, carrying the control room monitor signals at levels
and impedances proper for headphones. Each head­phone output connection shall be a stereo 1/4" jack.

the

MIXER

SR24•4-VLZ PRO

7

O F 8 P A G E S

24-Channel Sound

SR24•4-VLZ PRO

MIXER

9. OUTPUT AND MONITORING CONTROLS AND SWITCHES.

The mixer shall include one linear fader control for gain
adjustment of main L/R outputs, covering a range from
innite attenuation to +10 dB above unity gain. A tape
monitor switch shall alternately select either the main L/R
outputs or the signal at the tape inputs as the source for
the control room and headphones monitoring circuits.
There shall be a stereo dual-channel rotary control for gain
adjustment of the control room and headphone monitor
output. The mixer shall have a stereo dual-channel control
for adjustment of the monitoring level of the internal solo

SR24•4-VLZ PRO

signals, and a light to indicate channel solo condition.
The solo system shall be capable of switching between
PFL (pre-fader listen) and AFL (after-fader listen––solo in
place) operation.

10. OUTPUT METERING. The mixer frame shall include
two 13-segment LED meters each displaying a signal range
from –40 dBU to +10 dBu, each with an additional LED
indicating mixer clipping level at +22 dBu. The meters
shall monitor the main left and right output channels;
alternately, the meters shall monitor the tape return sig­nals when the tape monitor switch is depressed; or, the
soloed input channel signals when the solo switch is
depressed.

11. AUXILIARY SEND CONNECTIONS. The mixer shall
include impedance balanced, line-level outputs from the
six auxiliary send buses, appearing on the rear panel as
1/4" TRS phone jacks.

12. AUXILIARY RETURN CONNECTIONS. The mixer shall
include 4 stereo auxiliary return inputs. Each auxiliary
return shall have a left and a right balanced line-level
input, accommodating a nominal line level of between
–10 dBu
as 1/4" TRS phone jacks. The jacks shall be tted with
internal switching contacts to accommodate monaural
conguration.

and +4 dBu, and shall appear on the rear panel

Reinforcement Console

13. AUXILIARY RETURN CONTROLS AND SWITCHES. The
mixer shall include 4 dual-channel auxiliary return gain
controls, each feeding the main stereo buses. Auxiliary
returns 1-2 shall have their signals assignable to auxiliary
send buses 1 and 2, respectively, through rotary level con­trols. Auxiliary return 4 shall be assignable to three differ­ent pairs of destinations, feeding either the main left and
right buses or the submix buses.

14. PHYSICAL CONFIGURATION. The mixer shall have
a steel chassis frame painted grey-black and designed to
rest on a horizontal surface. The SR24•4-VLZ PRO’s dimen­sions shall be 6.1" (155mm) high by 31" (787mm) wide by

19.2" (487mm) deep.

15. SPECIFICATIONS. In addition to specications
previously cited, the mixer shall meet or exceed the fol­lowing specications. Frequency response, microphone
input to any output, 20 kHz to 60 kHz, +0 dB/ –1 dB;
Total Harmonic Distortion (THD), any input to any output,
1 kHz @ +14dBu, 0.004%; Equivalent Input Noise (EIN),
microphone input to insert send, –129.5 dBm; Common
Mode Rejection (CMR), microphone input to insert send,
maximum gain, 1 kHz, better than 90 dB; Typical Main
Output noise, all channels assigned, odd channels panned
left, even channels panned right, all faders down –94.7
dBu; Signal to Noise ratio, ref +4 dBu operating level, 90
dB; Attenuation, ref. 0 dB @ 1 kHz, Main Mix level con­trol down, –85 dBu; Channel Mute engaged, –84 dBu;
Channel Gain control down, –83 dBu; Input impedance,
microphone inputs, 1.5 kΩ; Channel Insert return, 2.5 kΩ;
all other inputs, greater than 10 kΩ; Output impedance,
Tape Out, 1.1 kΩ; All other outputs, 120Ω.

16. DESIGNATION. The mixer shall be a Mackie
SR24•4-VLZ PRO.

www.mackie.com

16220 Wood-Red Road NE, Woodinville, WA 98072 USA

800.898.3211, fax [phone], [e-mail]

UK +44.1268.570.808, fax [phone], [e-mail]

Electronic les for this product available at:
www.mackie.com/installed

This Specication Sheet SR24VLZPRO_SS.PDF
Owner/Operator’s Manual SRVLZPRO_OM.PDF

LOUD Technologies continually engages in research related to product improvement. New material,
production methods, and design renements are introduced into existing products without notice as
a routine expression of that philosophy. For this reason, any current LOUD Technologies product may
differ in some respect from its published description, but will always equal or exceed the original
design specications unless otherwise stated. ©1999–2004 LOUD Technologies Inc. All rights
reserved. Mackie and the “Running Man” gure are registered trademarks of LOUD Technologies Inc.

Part No. 0003711 Rev A2 9/04

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