Mackie SR32 4, SR24 4 Owner's Manual

SR24•4 & SR 3 2•4 OWNER’ S MANUAL

POWERRUDE

MODE

AUX RETURN

+15

OO

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SOLO

4

2

-

1

3

SUB

SOLO

6

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6

U

6

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6

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6

U

6

U

6

U

6

U

SOLO

LIGHT

U

TRACK

STEREO

AUX RETURNS

TRACK

MASTERS

AUX SEND

HI

12k

EQ

+15

U

OO

HI

12k

EQ

+15

U

OO

HI

12k

EQ

+15U+15-15U+15-15

OO

HI

12k

EQ

+15U+15-15U+15-15

OO

HI

12k

EQ

+15U+15-15U+15-15

OO

HI

12k

EQ

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HI

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EQ

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HI

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EQ

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HI

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EQ

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HI

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EQ

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HI

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EQ

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HI

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EQ

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HI

12k

EQ

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HI

12k

EQ

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OO

HI

12k

EQ

+15U+15-15U+15-15

OO

HI

12k

EQ

+15U+15-15U+15-15

OO

HI

12k

EQ

+15U+15-15U+15-15

OO

HI

12k

EQ

+15U+15-15U+15-15

OO

HI

12k

EQ

+15U+15-15U+15-15

OO

HI

12k

EQ

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OO

HI

12k

EQ

+15U+15-15U+15-15

OO

HI

12k

EQ

+15U+15-15U+15-15

OO

PRE FADER

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OO

4•8

3•7

2•6

1•5

+15-15

IN PLACE AFL

LEVEL

U

HI

MID

HI

MID

0dB = 0dBu

OPERATING LEVEL

74 22047

10

28

CLIP

LAMP

1

2

+15

U

OO

1

2

+20

U

OO

SOLO

1

2

+15

U

OO

2

PRE1PRE

23

24

AUX

TRIM

U

21

TRIM

U

20

TRIM

0

N

1

I

-

A

G

C

I

M

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1

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VERY LOW IMPEDANCE DESIGN

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2

PRE1PRE

22

AUX

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1

2

PRE

AUX

60

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1

2

PRE

AUX

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1

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AUX

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AUX

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AUX

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AUX

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AUX

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AUX

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1

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PRE

AUX

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1

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PRE

AUX

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10

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1

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PRE

AUX

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1

2

PRE

AUX

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1

2

PRE

AUX

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10

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1

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AUX

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AUX

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AUX

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1

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AUX

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1

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AUX

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1

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PRE

AUX

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1

2

PRE

AUX

60

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U

OO

10

+10dB -40dB

LEFT RIGHT

102030

40

LEVEL SET

+20

2

-

U

1

OO

SEND

TAPE

TO AUX

3

GLOBAL

RETURN

(EFX TO MONITOR)

4

+20

U

OO

TO SUB

ASSIGN

SOLO

4

5

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PRE

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OO

4444444444444 44444444

5

PRE

+15

U

OO

2

-

SUBAUX

AUX 1

MAIN MIX

MAX

OO

LEVEL

SOLO

3k

+15-15

3k

+15-15

TALKBACK

+100

5

16kHz16kHz16kHz16kHz

+100

5

+100

5

+100

5

AIR AIR AIR AIR

SOLO SOLO SOLO SOLO

MID

80Hz

LOW

800Hz

LOW

+15-15

U

MID

80Hz

LOW

800Hz

LOW

+15-15

U

80Hz

LOW

FREQ

+15-15

U

75 Hz

LOW CUT

18dB/OCT

80Hz

LOW

FREQ

+15-15

U

75 Hz

LOW CUT

18dB/OCT

80Hz

LOW

FREQ

+15-15

U

75 Hz

LOW CUT

18dB/OCT

80Hz

LOW

FREQ

+15-15

U

75 Hz

LOW CUT

18dB/OCT

80Hz

LOW

FREQ

+15-15

U

75 Hz

LOW CUT

18dB/OCT

80Hz

LOW

FREQ

+15-15

U

75 Hz

LOW CUT

18dB/OCT

80Hz

LOW

FREQ

+15-15

U

75 Hz

LOW CUT

18dB/OCT

80Hz

LOW

FREQ

+15-15

U

75 Hz

LOW CUT

18dB/OCT

80Hz

LOW

FREQ

+15-15

U

75 Hz

LOW CUT

18dB/OCT

80Hz

LOW

FREQ

+15-15

U

75 Hz

LOW CUT

18dB/OCT

80Hz

LOW

FREQ

+15-15

U

75 Hz

LOW CUT

18dB/OCT

80Hz

LOW

FREQ

+15-15

U

75 Hz

LOW CUT

18dB/OCT

80Hz

LOW

FREQ

+15-15

U

75 Hz

LOW CUT

18dB/OCT

80Hz

LOW

FREQ

+15-15

U

75 Hz

LOW CUT

18dB/OCT

80Hz

LOW

FREQ

+15-15

U

75 Hz

LOW CUT

18dB/OCT

80Hz

LOW

FREQ

+15-15

U

75 Hz

LOW CUT

18dB/OCT

80Hz

LOW

FREQ

+15-15

U

75 Hz

LOW CUT

18dB/OCT

80Hz

LOW

FREQ

+15-15

U

75 Hz

LOW CUT

18dB/OCT

80Hz

LOW

FREQ

+15-15

8kHz100 8kHz100 8kHz100 8kHz100 8kHz100 8kHz100 8kHz100 8kHz100 8kHz100 8kHz100 8kHz100 8kHz100 8kHz100 8kHz100 8kHz100 8kHz100 8kHz100 8kHz100 8kHz100

U

75 Hz

LOW CUT

18dB/OCT

80Hz

LOW

FREQ

+15-15

8kHz100

U

75 Hz

LOW CUT

18dB/OCT

R

-

MAX

OO

LEVEL

LEFT/RIGHT

5

dB

U

10

PHONES / C

MAIN MIX

TO MAIN MIX

TAPE RETURN

TO PHONES / C R

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

5

dB

U

10

5

dB

U

10

5

dB

U

10

1234

SUB SUB SUB SUB

LR LR LR LR

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

5

dB

U

-20

LR LR LR LR LR LR LR LR LR LR LR LR LR LR LR LR LR LR LR LR LR LR

10

2

1

MUTE

23 24

5

dB

U

10

2

1

SOLO SOLO

MUTE

21 22

5

dB

U

10

2

1

20

MUTE

5

dB

U

10

2

1

19

MUTE

5

dB

U

10

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1

18

MUTE

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dB

U

10

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1

17

MUTE

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dB

U

10

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1

16

PAN

MUTE

5

dB

U

10

2

1

15

MUTE

5

dB

U

10

2

1

14

MUTE

5

dB

U

10

2

1

13

MUTE

5

dB

U

10

2

1

12

MUTE

5

dB

U

10

2

1

11

MUTE

5

dB

U

10

2

1

10

MUTE

5

dB

U

10

2

1

9

MUTE

5

dB

U

10

2

1

8

MUTE

5

dB

U

10

2

1

7

MUTE

5

dB

U

10

2

1

6

MUTE

5

dB

U

10

2

1

5

MUTE

5

dB

U

10

2

1

4

MUTE

5

dB

U

10

2

1

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

3

MUTE

5

dB

U

10

2

1

SOLO

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

2

MUTE

5

dB

U

10

2

1

SOLO

1

MUTE

5

dB

U

10

OL

OO

5

60

50

40

30

20

10

OO

5

60

50

40

30

20

10

OO

5

60

50

40

30

20

10

OO

5

60

50

40

30

20

10

OO

5

60

50

40

30

20

10

4

R

-

L

3

OO

5

60

50

40

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20

10

4

R

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3

OO

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60

50

40

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4

R

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3

OO

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60

50

40

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4

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3

OO

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60

50

40

30

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10

4

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3

OO

5

60

50

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3

OO

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50

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4

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3

OO

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60

50

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10

4

R

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3

OO

5

60

50

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4

R

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L

3

OO

5

60

50

40

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20

10

4

R

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3

OO

5

60

50

40

30

20

10

4

R

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3

OO

5

60

50

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30

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10

4

R

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3

OO

5

60

50

40

30

20

10

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3

OO

5

60

50

40

30

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4

R

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3

OO

5

60

50

40

30

20

10

4

R

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3

OO

5

60

50

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4

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3

OO

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4

R

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3

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3

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10

1

CAUTION AVIS

RISK OF ELECTRIC

RISQUE DE

CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK

NO USER-SERVICEABLE PARTS INSIDE

REFER SERVICING TO QUALIFIED PERSONNEL

ATTENTION: POUR EVITER LES RISQUES DE CHOC

ELECTRIQUE, NE PAS ENLEVER LE COUVERCLE. AUCUN

ENTRETIEN DE PIECES INTERIEURES PAR L'USAGER. CONFIER

L'ENTRETIEN AU PERSONNEL QUALIFIE.

AVIS: POUR EVITER LES RISQUES D'INCENDIE OU

D'ELECTROCUTION, N'EXPOSEZ PAS CET ARTICLE

The lightning flash with arrowhead symbol within an equilateral triangle is intended to alert the user to the presence of uninsulated "dangerous voltage" within the product's enclosure, that may be of sufficient magnitude to constitute a risk of electric shock to persons.

Le symbole éclair avec point de flèche à l'intérieur d'un triangle équilatéral est utilisé pour alerter l'utilisateur de la présence à l'intérieur du coffret de "voltage dangereux" non isolé d'ampleur suffisante pour constituer un risque d'éléctrocution.

The exclamation point within an equilateral triangle is intended to alert the user of the presence of important operating and maintenance (servicing) instructions in the literature accompanying the appliance.

Le point d'exclamation à l'intérieur d'un triangle équilatéral est employé pour alerter les utilisateurs de la présence d'instructions importantes pour le fonctionnement et l'entretien (service) dans le livret d'instruction accompagnant l'appareil.

DO NOT OPEN

CHOC

NE PAS OUVRIR

DO NOT REMOVE COVER (OR BACK)

A LA PLUIE OU A L'HUMIDITE

SHOCK

ELECTRIQUE

SAFETY INSTRUCTIONS

1. Read Instructions — Read all the safety and operation instructions before operating the SR24•4 or SR32•4 Audio Mixer.

2. Retain Instructions — Keep the safety and operating instructions for future reference.

3. Heed Warnings — Follow all warnings on the SR24•4 and SR32•4 Audio Mixers and in these operating instructions.

4. Follow Instructions — Follow all operating and other instructions.

5. Water and Moisture — Do not use the SR24•4 or SR32•4 Audio Mixer near water — for example, near a bathtub, washbowl, kitchen sink, laundry tub, in a wet basement, in the rain, near a swimming pool or salivating St. Bernard dog, etc.

6. Heat — Locate the SR24•4 or SR32•4 Audio Mixer away from heat sources such as radiators, compost pits or other devices that produce heat.

7. Power Sources — Connect the SR24•4 or SR32•4 Audio Mixer only to a power supply of the type described in these operation instructions or as marked on the SR24•4 or SR32•4 Audio Mixer.

8. Power Cord Protection — Route power supply cords so that they are not likely to be walked upon or pinched by items placed upon or against them, paying particular attention to cords at plugs, convenience receptacles, and the point where they exit the SR24•4 or SR32•4 Audio Mixer.

9. Object and Liquid Entry — Do not drop objects or spill liquids into the inside of the SR24•4 or SR32•4 Audio Mixer.

10. Damage Requiring Service — The SR24•4 and SR32•4 Audio Mixers should be serviced only by qualified service personnel when:

A. SR24•4 or SR32•4 Audio Mixer power-supply cord or the plug has been damaged; or

B. Objects have fallen onto, or liquid has spilled into the SR24•4 or SR32•4 Audio Mixer; or

C. The SR24•4 or SR32•4 Audio Mixer has been exposed to rain; or

D. The SR24•4 or SR32•4 Audio Mixer does not appear to operate or exhibits a marked change in performance; or

E. The SR24•4 or SR32•4 Audio Mixer has been dropped, or its chassis damaged.

11. Servicing — Do not attempt to service the SR24•4 or SR32•4 Audio Mixer beyond those means described in this operating manual. All other servicing should be referred to the Mackie Tech Support Department.

12. To prevent electric shock, do not use the SR24•4 or SR32•4 Audio Mixer polarized plug with an extension cord, receptacle or other outlet unless the blades can be fully inserted to prevent blade exposure.

Pour préevenir les chocs électriques ne pas utiliser cette fiche polariseé avec un prolongateur, un prise de courant ou une autre sortie de courant, sauf si les lames peuvent être insérées à fond sans laisser aucune pariie à découvert.

13. Grounding or Polarization — Do not defeat the grounding or polarization of the SR24•4 or SR32•4 Audio Mixer.

This apparatus does not exceed the Class A/Class B (whichever is applicable) limits for radio noise emissions from digital apparatus as set out in the radio interference regulations of the Canadian Department of Communications.

ATTENTION —Le présent appareil numérique n’émet pas de bruits radioélectriques dépassant las limites applicables aux appareils numériques de class A/de class B (selon le cas) prescrites dans le règlement sur le brouillage radioélectrique édicté par les ministere des communications du Canada.

WARNING — To reduce the risk of fire or electric shock, do not expose this appliance to rain or moisture.

2

PLEASE! SAVE THE SHIPPING BOX!

INTRODUCTION

Top Ten Reasons for saving your shipping box:

10. It’s here.

9. It’s yours.

8. It’s paid for.

7. It’s strong and sturdy.

6. It fits your mixer perfectly.

5. You will need it if you ever ship your mixer.

4. We may have to sell you another one if you

need to ship your mixer and you don’t have it.

3. It will impress your friends who have no lives when they see it in your basement.

2. It’s the ecologically sound thing to do.

1. It’s the Mackie sound thing to do.

Top Ten Reasons for

not

saving

your shipping box:

10. Your cat has already used it.

9. You stole the mixer out of a Karaoke bar.

8. Your Mackie mixer will never break.

7. You will never move again.

6. You wrote a song on it and are consider-

ing framing it.

5. You have cut off the top and are using it as an equipment rack.

4. You really hate planning ahead because it never works out anyway.

3. It fits some other manufacturer’s product, which is broken, perfectly.

2. You have kept all the boxes of all the other equipment you have ever bought and you have never used one of them ever.

1. You are afraid of corrugated products.

Please put your serial number here for future reference (i.e. insurance claims, tech support, return authorization, etc.):

Purchased at:

Date of purchase:

Part No. 820-029-00 Rev. C 4/97

MAKING SOUND COME

OUT RIGHT NOW

PANEL LA YOUT AND

FUNCTION

APPLICATIONS

APPENDICES

T ABLE OF CONTENTS

Section 1: Introduction.................................. 2

Sensitivity Adjustment Procedure ................. 3

Section 2: Making sound come out right now .. 4

Hookup Diagrams ........................................... 7

Section 3: Panel layout.................................12

Front Panel ....................................................12

Channel Strips 1-20 ....................................12

Stereo Channel Strips 21/22 & 23/24...........18

Output Section ...........................................20

Subs 1-4 ................................................20

Master Left Right Fader ........................22

Tape Return ..........................................22

Aux Send Masters .................................23

Stereo Aux Returns ...............................23

Solo Master Section...............................24

Talkback ...............................................25

Meters...................................................25

Power Indicator.....................................26

Rude Solo Light.....................................26

Lamp Connector ...................................26

Rear Panel.......................................................27

Input Connectors 1-20 ...........................27

Phantom Power.....................................27

Stereo Input Connectors 21/22 & 23/24 ... 28

Sub Outs ...............................................29

Sub Inserts............................................29

Main Mix Outputs .................................30

Main Inserts ..........................................31

Aux Sends .............................................31

Stereo Aux Returns ...............................32

Tape In and Out ....................................32

Control Room Out .................................33

Phones 1 and 2 ......................................33

Talkback Mic ........................................33

Power....................................................33

Section 4: Applications

Sound Reinforcement......................................34

Recording ........................................................37

Appendix A:

General Information...................................... 39

Appendix B:

Glossary ..........................................................42

Appendix C:

Connections ...................................................50

Appendix D:

Grounding, phantom power, etc.................... 53

Appendix E:

Specifications and block diagram.................57

Appendix F:

Modifications...................................................60

Appendix G:

Service, free T-shirt offer & Track Sheet ..........62

Introduction

Making

Sound Come

Out Right

Now

Layout

and Function

Applications

Appendices

1

Introduction

SECTION 1: INTRODUCTION

Okay, it sounds patronizing and everyone does it at the beginning of a manual, but here goes our version anyway: “Thanks for buying a Mackie Designs mixer. You’ve chosen well.”

NOTE: This manual covers both the SR24•4 and the SR32•4. Since they are identical, — except, of course, that the SR24•4 has 24 inputs and the SR32•4 has 32 — we will normally refer only to the SR24•4. When there is a difference, it will be noted. You SR32•4 owners should not feel so superior (though you may very well be).

The Mackie SR24•4 is designed for use in sound reinforcement (SR) or recording applications. The SR24•4 has four submix buses plus Main L/R, and six auxiliary buses. It can blend, combine and control a variety of audio input sources, including microphones, electronic instruments and other audio devices such as CD players and analog or digital sound recorders. Through the mixer’s output buses, these sounds can be routed to different loudspeaker power amplifiers, recording channels, effects units or other devices.

Well, we can’t be your mother here… but if you’ve gotten this far, at least turn to the next section, Making Sound Come Out Right Now!, ’specially written for people in a big hurry. You might also skim through the Guided Tour in Section 3, look at the block diagram and stop to read the paragraphs marked VERY IMPORTANT. We’ve put a few new twists and turns in the signal routing that you should check out before you hurt somebody.

This icon:

marks information which is absolutely critical or is unique to the SR24•4 (or 32•4).

In addition, sections tagged with this icon:

IF YOU IGNORE MANUALS...

So you want to jump right off into the unknown, eh? Just bash on your SR24•4 (or 32•4) with your guitar for a while and see what happens.

(All the blood has left the Warranty Manager’s face as he reads these lines. Too late, bud, we’ve already printed and shipped thousands of manuals. We’ll put you on the Manual Review Committee next time.)

But seriously now, we know that a lot of people just plug things right in and wait until something doesn’t work right before they even take the manual out of the bag. Then they only look up the 800 number and call Customer Service.

include both in-depth information and touching expressions of our sturdy Woodinville philosphy of Audio-as-Bowling. They’re not mandatory reading but can be instructive and illuminating.

And if you are one of those people who actually likes to read manuals, or at least feels vaguely guilty if you don’t, or whose boss made you read it, well then, march on! We love that! Have we got a manual for you! We’ll try to make it accurate, fun, informative and, of course, safe.

2

IMPORT ANT SENSITIVITY ADJUSTMENT PROCEDURE!

This procedure is SO IMPORT ANT it gets top billing. Even if you don’t read manuals, read this page. (Then again, if you don’t read manuals, you wouldn’t be reading this either .)

To fully achieve the SR24•4’ s impr essive headroom and sonic specs, DO NOT use the old way: turning things up until they clip and then backing off. DO use the following Sensitivity Adjustment Procedure.

FOLLOW THIS PROCEDURE FOR EACH CHANNEL IN USE

1. Set ALL faders all the way off.

Set the

PHONES/CR LEVEL

way up (12:00). Set the

SOLO LEVEL

detent.

SOLO MODE

Set the position (PRE-FADER).

2. If you’d like to hear what you’r e doing, plug

your headphones into either of the

jacks, or hook up your control room

OUT

amp system to the

OUTPUTS

3. Set the channel strip you’ve chosen as follows:

TRIM MUTE

MUTE/SOLO LED SOLO

MUTE/SOLO LED EQ

controls at center detents.

TRIM

.

control fully down.

switch up. (That channel’s

switch down. (Now that channel’s

controls fully counterclockwise (off).

to the center “U”

CONTROL ROOM

should be off.)

should be flashing.)

about half

switch to the UP

PHONES

4. Apply an audio signal to that channel’ s input. The audio content and level you use should be representative of what you will r eally be doing when the tape starts rolling, or the crowd starts dancing. (For instance, make sure vocalists don’t whisper during the sound check, forcing you to set the gain high, only to have them scream during the show, causing an overload emergency.)

5. That channel’ s The L/R meters will show the actual level of that channel’s audio signal. Now it’s time to optimize that level.

Adjust that channel’s peaks hit around 0dB on the L/R meters. For “+4” line-level audio sources, you may not need to turn it up at all. For “–10” sources, you’ll probably adjust the For microphone sources, the may wind up near the clockwise end (full gain).

6. If you plan to use the the

EQ

them and repeat Step 5.

7. Return that channel’ s up position.

8. Repeat steps 1–7 on all channels that you’re using.

9. When you’r e done setting levels, you can put all your controls back the way you want them, or have a sandwich first. But don’t chop off the crust — it’s good for you.

–20dB LED

controls roughly where you’ll want

should flicker .

TRIM

control until the

TRIM

a bit higher .

TRIM

EQ

on this channel, set

SOLO

switch to the

control

Introduction

3

SECTION 2: MAKING SOUND COME

Making

Sound Come

Out Right

Now

OUT RIGHT

This is the fast track, plug-it-in and ring-it-out section for the frantically behind and the terminally impatient. W e’ve even included some typical applications diagrams (pgs. 9–13) for those who only read manuals for the pictures. Those of you with a little time and self-control can mosey on through the rest of the lavishly illustrated manual at your leisure. Runners, on your marks.

FIRST , NORMALIZE THE MIXER

In every input strip,

Set the

TRIM

and

AUX

controls to minimum

(fully counterclockwise). Set all the EQ and Be sure every switch is up:

MUTE, SOLO switches next to the faders.

Pull all the faders all the way down to the (infinity or off) mark.

In the Output/Monitor Section,

Be sure every switch is up (not pushed in). Be sure every knob is turned fully counter-

clockwise (except the four sub controls; they should be set straight up).

Pull the SUB and MASTER faders all the way down.

PAN

knobs straight up.

PRE, LO-CUT,

and all of the assignment

PAN

NOW!

60 SECONDS TO AMPLIFIED SOUND

After you’ve normalized your mixer… grab your stopwatch and go.

This procedure will require a set of headphones.

1. Plug in the SR24•4 (or 32•4) and turn it on.

2. Set the

3. Plug your headphones into the

4. Plug a microphone into the

5. Make sur e that the

6. Put the headphones on and carefully turn up

7. Now adjust the

have pumped sound through it. Take channel 1 out of solo so you won’t forget about it and confuse yourself later .

sequence.

SOLO

master control to “U.” This contol is the small white knob on the right under the meters.

PHONES 1

jack on the back.

MIC 1

on the back. On the front, make the following settings on channel strip 1:

MUTE

•

switch is in the up position.

the half. Y ou will probably hear very little.

clockwise while you (or your appointed assistant) speak into the microphone. Y ou should hear this in the headphones, see the green “–20” LED in the input channel strip flicker , and observe the level indicated in the main

OK, your SR24•4 (or 32•4) works and you

Go to the next page for the next “can’t wait”

button up (the red

LED should not be lit)

SOLO

button pushed (now the

SOLO

start blinking).

and

RUDE SOLO

PFL/AFL

PHONES/C-R LEVEL

TRIM

LEFT

and

RIGHT

MUTE/

LEDs should

Solo Mode

control to about

knob on channel strip 1

meters. Y es?

connector

MUTE/

4

SOUND REINFORCEMENT: THE FIVE-MINUTE MIXER

First, do the 60-Second Exercise on the previous

page. This will assure you that your mixer works and has no hum or buzz coming in on the wiring. Now reset your stopwatch and begin.

1. Make sur e all the faders and controls and switches are still normalled. Basically , this means all controls and faders off, all

SOLO

switches up. Leave the

PHONES/C-R LEVEL

the they were set in the 60-Second Exercise.

2. Connect the outputs of the

and the

MIX

of your main house amplifier;

if you have a monaural main house amplifier , connect the the amp.

3. Connect the speakers to the amplifier, turn on the mixer and the amp and go listen to one of the speakers. Y ou should not hear buzz, hum, a radio station or an ultimatum from orbiting space aliens. If you do hear anything more than a little pristine hiss or white noise, you have a wiring or grounding problem. Sorry; go directly to Appendices A–D. Do not collect $200.

4. Now we need something to listen to while we proceed. Here are two choices: the microphone you plugged into input channel strip 1 for the 60-Second Exercise, or some source of music like a cassette deck or a CD player .

Let’s pretend you have a CD player: plug the outputs of the CD player into the SR24•4 inputs labeled 23 and 24 (or 32•4 inputs 31 and 32). Put in a CD and press Play . T urn the 23–24 “–20” LED flicker . Y ou can listen to the CD in your headphones and see the signal on the main meters by pushing the channel switch. OK? Now depress

For the rest of this section, when we ask you to turn up your sound source, or mute it or something, you can use either the microphone

LEFT MAIN MIX

— or —

MONO MAIN MIX

TRIM

knob up until you see the green

master and

controls where

RIGHT MAIN

to the inputs

output to

SOLO

.

in your SR24•4’s channel strip 1 or the CD or cassette player in channel strip 23–24 (31–32 on the 32•4), whichever you’ve chosen. W e think you should use the tape or CD and that you put on some music you really love and which will always remind you of what a positive experience you had on your first day with your SR24•4. Meanwhile…

5. Push the SR24•4 channel strip fader that has the CD input up to the “U” mark. Engage

L/R

button on the channel strip.

the

6. Now push up the Depending upon the gain of your house amplifier , it could be really loud. Y ou should hear your source coming clearly through the main house speakers. OK? Now pull down the

MAIN MIX

7. Next, if you have stage monitors, connect the input of your stage monitor amplifier to

SEND 1

the monitor speakers to the amplifier , turn the amp on and listen for the dreaded hum or buzz. If it’s quiet and clean, move on. If not, it’s time for Appendices A–D.

8. T urn the to the “U” mark.

9. Now turn up the control slowly. Depending upon the gain of your monitor amplifier , it could be really loud. Y ou should hear your source coming clearly through the stage monitor speakers. OK? Now turn down

If you want to use a second set of stage monitors with a different monitor mix, repeat the previous steps with the second system using AUX SEND 2.

10.If you want to use an auxiliary effect such as a reverb unit, patch input of the reverb. Connect the outputs of the reverb to

L

11.Set

AUX RETURN 1

source channel strip’s the amount of reverb you like.

12.Stop your stopwatch and note time, repeat steps 1–11 until you break the 30-second mark.

on the back of the SR24•4. Connect

AUX 1

and R.

AUX SEND MASTER 5

MAIN MIX

fader .

control on the channel strip

AUX SEND MASTER

AUX SEND MASTER 1

AUX SEND 5

STEREO AUX RETURN 1

to “U” and then turn up the

AUX 5

fader slowly.

into the

and

STEREO

until you hear

.

Making

Sound Come

Out Right

Now

AUX

5

Making

Sound Come

Out Right

Now

STEREO MIXDOWN: THE FIVE-MINUTE MUSIC MASTER

Be sure you do the 60-Second Exercise first to set

everything up. This will assure you that your mixer works and has no hum or buzz coming in on the wiring. Reset your stopwatch one last time and begin.

1. It is pr eferable to plug the powercords of all your gear – Mixer , DA T , Power Amp, etc. into the same powerstrip. Make sure the powerstrip is properly grounded.

2. Make sur e all the faders and controls and switches are still normalled. Leave the master control up, where it was set in the 60Second Exercise, but turn the

C-R LEVEL

3. Connect the outputs of the

MIX

of your stereo tape deck or DA T recorder .

4. Connect the outputs of your ster eo tape deck or DAT r ecorder to the

TAPE IN R

SR24•4.

5. Connect to the left and right inputs of your control room monitor power amplifier .

6. Connect the monitor speakers to the amplifier , turn the amp on, and go listen to one of the speakers. Y ou should not hear buzz, hum or tiny voices urging you to immediately go out and buy several hot fudge sundaes. If you do hear anything more than a little pristine hiss or white noise, you have a wiring or grounding problem. Sorry; go directly to Appendices A– D.

7. Now , let’s assume you ar e mixing down a recording made on an eight-track recorder. Connect the eight outputs of the recorder to the first eight LINE IN jacks on the SR24•4 rear panel.

8. Engage the channel strips 1–8. Then adjust the

MIX

mixdown deck level indicators.

9. Start your tape machine and play the session you’d like to mix.

10.Decide which tape track is the busiest; which track has the most constant activity and highest levels. Now, on the channel strip for that track, press the

control down.

RIGHT MAIN

and the

LEFT MAIN MIX

TAPE IN L

RCA jacks on the rear of the

CONTROL ROOM OUT L

L/R

buttons and set the faders in

fader to approximate “Unity” on the

SOLO

button and turn

SOLO

PHONES/

to the inputs

and

MAIN

the

TRIM

control clockwise until you get a good level on the SR24•4 main meters. (A “good level” might be average meter readings of perhaps –7dB to 0dB, with occasional peak readings of +4dB to +7dB. See Sensitivity Adjustment Procedure, page 5.) Now

SOLO

release the

11.Set the

12.Now turn up the

13.For analog recorders put your two-track

14.If you want to use an auxiliary effect such as a

R

15.Set

16.Now try a mix: set the channel strip faders,

17.T o check the two-track playback, press the

the chronically impatient. W e r esume our normally-paced, lavishly illustrated manual on the next page.

TRIM

active channel strips to the same point on their dials.

control slowly. Depending upon the gain of your control room monitor amplifier , it could be really loud. Y ou should hear your tape track(s) coming clearly through the monitor speakers. OK?

recorder in Source or Record Ready, set the record input level controls so that the tape machine’s meters read the same as the SR24•4 meters. For digital recorders use the 24•4 metering to make sure your DAT is receiving enough signal.

reverb unit, patch input of the reverb. Connect the outputs of the reverb to

R

STEREO AUX RETURN 1 LEVEL

and then turn up the source channel strip

AUX 5

you like.

PAN

sounds good, watch your levels on the main meters and put your two-track recorder into Record.

TAPE RETURN TO PHONES/CR

and adjust the playback level with the

RETURN

meters).

This concludes our “express” instructions for

STEREO AUX RETURN 1 L

.

AUX SEND MASTER 5 LEVEL

until you hear the amount of reverb

pots and EQ controls wherever it

control (located up by the main

switch.

controls on the other seven

PHONES/C-R LEVEL

AUX SEND 5

into the

and

to “U”

switch,

TAPE

6

Band in a Club

Left PA Speaker

FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN

CH

1

2

Right PA Speaker

Power Am plifierPower Am plifier

FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN

CH

1

2

2LR L

1

PHONES

TALKBACK

Power Am plifier

FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN

CH

1

2

MAIN OUTS

MONO

Stage Monitor

FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN

CH

1

Stereo EQ

CH

2

R

MAIN OUTS

MAIN INSERTS

LR

Stage Monitor

Power Am plifierPower Am plifier

FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN

CH

1

2

Stereo EQ

1234

AUX SENDS

56 LR

CNTRL RM OUT

Stereo Reverb #1

12

LRLR

AUX RETURNS SUB INSERTS

LRLR

34

Tape Cassette

See page 35 for details

12 12

5678

34

SUB

OUTS

34

Stereo Reverb #2

22

21

LR

STEREO CHANNELS

LR

24

23

LR

TAPE IN

TAPE OUT

LR

2-track Recorder

NOTE: For input level control,

use Control Room Outs

instead of Tape Outs.

Stereo

EQ

Stereo

Compressor

Zone Speaker

7

ch. device input insert assignment

Sonic Maximizer

1 kick mic gate submix 1 2 snare mic gate submix 1 3 hi hat mic submix 1 4 tom 1 mic gate submix 1 5 tom 2 mic gate submix 1 6 tom 3 mic submix 1 7 drum overhead mic L mic submix 1

Stereo Digital Delay

ch. device input insert assignment

9 bass mic line submix 2 10 bass direct line submix 2 11 guitar mic mic compressor submix 3 12 guitar direct line compressor submix 3 13 Acoustic guitar mic submix 3 14 piano low mic L/R bus 15 piano high mic L/R bus

Harmonizer

ch. device input insert assignment

16 keyboard submix L line L/R bus 17 keyboard submix R line L/R bus 18 vocal mic 1 mic Submix 4 19 vocal mic 2 mic Submix 4 20 vocal mic 3 mic Submix 4

*

21–22

stereo reverb L/R mix

†

23–24

stereo delay Submix 4

8 drum overhead mic R mic compressor submix 1

* 29–30 on the SR32•4 † 31–32 on the SR32•4

Church Installation

Left PA Speaker

Power Am plifier

FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN

8

CH

1

2

Right PA Speaker

Power Am plifier

FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN

CH

1

2

2LR L

1

PHONES

TALKBACK

Power Am plifier

FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN

CH

1

2

MAIN OUTS

MONO

Stage Monitor

Power Am plifier

FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN

CH

1

2

MAIN INSERTS

LR

Stereo Compressor/ Limiter

R

MAIN OUTS

Stage Monitor

Power Am plifier

FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN

CH

1

2

1234

AUX SENDS

56 LR

Stage Monitor

Power Am plifier

FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN

CH

1

2

CNTRL RM OUT

FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN

CH

1

2

OL

PWR

ON

HIGH RESOLUTION

STUDIO MONITOR

OFF

Studio Monitors

12

LRLR

AUX RETURNS SUB INSERTS

LRLR

34

Power Amplifier

OL

PWR

ON

OFF

Effects Device

Infrared Transmitter

4-track Recorder

See page 36 for details

12 12

5678

34

SUB

OUTS

34

Harmonizer

Playback Only (DAT, CD, etc.)

21

LR

STEREO CHANNELS

LR

23

22

LR

TAPE IN

TAPE OUT

24

LR

Cassette or DAT

Zone Speaker

Effects Device

ch. device input insert assignment

1 kick mic all optional submix 1–2 2 snare mic submix 1–2 3 drum overhead mic L mic submix 1–2 4 drum overhead mic R mic submix 1–2 5 bass direct line submix 1–2 6 guitar mic mic submix 1–2 7 piano PZM mic mic submix 1–2 8 synth direct line submix 1–2

ch. device input insert assignment

9 worship team vocal 1 mic all optional submix 3–4 10 worship team vocal 2 mic submix 3–4 11 worship team vocal 3 mic submix 3–4 12 choral L mic submix 3–4 13 choral center mic submix 3–4 14 choral R mic submix 3–4

ch. device input insert assignment

15 wireless lavalier mic 1 line all optional L/R bus 16 wireless lavalier mic 2 line L/R bus 17 wireless hand-held mic 1 line L/R bus 18 lectern mic 1 mic L/R bus 19 lectern mic 2 mic L/R bus 20 alter mic mic L/R bus

*

21–22

CD player L/R bus

†

23–24

digital effect stereo return L/R bus

* 29–30 on the SR32•4 † 31–32 on the SR32•4

Headphone Amplifier

8-Track Recording

DAT Player

See page 37 for details

Stereo EQ

Stereo Reverb #1

Keyb oar d, or other line level input

Stereo Reverb #2

2LR L

1

PHONES

TALKBACK

MAIN OUTS

MONO

R

MAIN OUTS

MAIN INSERTS

LR

Stereo Compressor/ Limiter

1234

AUX SENDS

56 LR

Power Amplifier

CH

1

FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN

HIGH RESOLUTION STUDIO MONITOR

CNTRL RM OUT

CH

2

OL

PWR

ON

HIGH RESOLUTION STUDIO MONITOR

OFF

Studio Monitors

12

LRLR

AUX RETURNS SUB INSERTS

LRLR

34

OL

PWR

ON

OFF

12 12

5678

NOTE: for recording

more than 4 tracks at

once, use either the

channel inserts as

direct outs or use

aux sends.

34

SUB

OUTS

8-track Recorder

34

22

21

LR

STEREO CHANNELS

LR

24

23

LR

TAPE IN

TAPE OUT

LR

Keyb oar d, or other line level input

Tape Cassette

Stereo Reverb #3

Harmonizer

9

ch. device input insert assignment

1 kick mic gate submix 1–2 2 snare mic gate submix 1–2 3 hi hat mic submix 1–2 4 hi tom mic gate submix 1–2 5 lo tom mic gate submix 1–2 6 drum overhead mic L mic submix 3 7 drum overhead mic R mic submix 3

ch. device input insert assignment

8 bass mic EQ submix 4

9 bass direct line compressor submix 4 10 guitar close mic mic gate aux 6 or dir. 11 guitar distant mic mic gate L/R bus 12 scratch vocal mic L/R bus 13 digital multitrack 1 line L/R bus 14 digital multitrack 2 line L/R bus

ch. device input insert assignment

15 digital multitrack 3 line L/R bus 16 digital multitrack 4 line L/R bus 17 digital multitrack 5 line L/R bus 18 digital multitrack 6 line L/R bus 19 digital multitrack 7 line L/R bus 20 digital multitrack 8 line L/R bus

*

21–22

MIDI keyboard 1 (stereo) line L/R bus

†

23–24

MIDI keyboard 2 (stereo) line L/R bus

* 29–30 on the SR32•4 † 31–32 on the SR32•4

Effects Device

Audio/Video Production

Stereo Compressor/

Limiter

10

2LR L

1

PHONES

TALKBACK

MAIN OUTS

MONO

Video Deck #1

DAT player

R

MAIN OUTS

MAIN INSERTS

LR

Stereo Compressor/ Limiter

1234

AUX SENDS

56 LR

Power Amplifier

FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN

CH

1

CNTRL RM OUT

CH

2

OL

PWR

ON

HIGH RESOLUTION STUDIO MONITOR

OFF

HIGH RESOLUTION STUDIO MONITOR

Studio Monitors

12

LRLR

AUX RETURNS SUB INSERTS

LRLR

34

Effects Device

OL

PWR

ON

OFF

12 12

5678

Time Code

34

SUB

OUTS

34

Time Code

W/8 Ch. Audio Card

22

21

LR

STEREO CHANNELS

LR

24

23

LR

TAPE IN

TAPE OUT

LR

Video Deck #2

ch. device input insert assignment

1 mic 1 mic compressor all optional 2 mic 2 mic compressor 3 keyboard L 4 keyboard R 5 sampler L 6 sampler R 7 synth module L 8 synth module R

ch. device input insert assignment

9 VTR L all optional 10 VTR R 11 CD player L 12 CD player R 13 Computer 1 out 14 Computer 2 out

ch. device input insert assignment

15 Computer 3 out all optional 16 Computer 4 out 17 Computer 5 out 18 Computer 6 out 19 Computer 7 out 20 Computer 8 out

Side Fills

Power Am plifier

FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN

CH

1

2

Stereo EQ

Stage Monitor

Power Am plifier

FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN

CH

1

2

Stereo EQ

Power Am plifier

FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN

CH

1

2

Stage Monitor

Stereo EQ

Power Am plifier

FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN

CH

1

2

Monitor Mix Configuration

Power Am plifier

FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN

CH

1

2

Stage Monitor

11

1

PHONES

TALKBACK

Stage Monitor

2LR L

MAIN OUTS

Power Am plifier

FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN

CH

1

2

MONO

MAIN OUTS

MAIN INSERTS

LR

Stereo EQ Stereo EQ

R

1234

AUX SENDS

56 LR

ch. device input insert assignment

1 talk back mic mic 2 from splitter snake line 3 from splitter snake line 4 from splitter snake line 5 from splitter snake line 6 from splitter snake line 7 from splitter snake line

12

12 12

LRLR

CNTRL RM OUT

AUX RETURNS SUB INSERTS

LRLR

5678

34

Stereo EQ

Power Am plifier

FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN

CH

1

2

FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN

CH

1

2

Stage Monitor

Power Am plifier

FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN

CH

1

2

ch. device input insert assignment

8 from splitter snake line

9 from splitter snake line 10 from splitter snake line 11 from splitter snake line 12 from splitter snake line 13 from splitter snake line 14 from splitter snake line

34

SUB

OUTS

Stage Monitor

22

21

LR

STEREO CHANNELS

34

Aux Sends 1 & 2 need to be modified

NOTE:

to post/post (see mod. 2). Set Aux Sends 3 & 4 to post.

LR

24

23

Split output from FOH fx processor

LR

TAPE IN

TAPE OUT

LR

ch. device input insert assignment

15 from splitter snake line 16 from splitter snake line 17 from splitter snake line 18 from splitter snake line 19 from splitter snake line 20 from splitter snake line

SECTION 3: OFFICIAL GUIDED TOUR — PANEL LAYOUT & FUNCTION

Those of you with a lot of sound mixing experience can see that the Mackie SR24•4 (and 32•4, obviously) has a pretty straightforward layout, and you may not need to take the detailed Guided Tour which follows. However, we’ve built a few tricks into the SR24•4, and you might want to take particular notice of

Layout

and Function

the solo mode switch, the various EQ curves and some of the special switching in the Monitor/Output Section. Check for the VERY IMPORTANT icons.

Everyone else, the tour leaves at the next paragraph in about 5 seconds. Shirts and shoes are recommended but not mandatory; cameras and recorders are allowed. Please, please do not feed the Chihuahua, no matter how much it begs.

VERY LOW IMPEDANCE DESIGN

-

1

0

G

A

TRIM

C

I

N

M

1

10U60

+10dB-40dB

AUX

U

1

PRE

OO

+15

U

2

PRE

OO

+15

U

3

OO

+15

U

4 44

OO

+15

U

PRE

5

OO

+15

U

6

OO

+15

EQ

U

HI

12k

+15-15

U

MIC/LINE CHANNELS 1-20 (IDENTICAL)

MID

+15-15

FREQ

8kHz100

U

LOW

80Hz

+15-15

LOW CUT 75 Hz 18dB/OCT

OL

-20

LR LR LR

PAN PAN PAN

1

MUTE

MUTE / SOLO MUTE / SOLO MUTE / SOLO

dB

10

SOLO

5

1-2

U

5

3-4

10

L-R

20

30

40 50 60

OO

LINE ONLY CHANNELS 21-24

FRONT PANEL

Most of the Mackie SR24•4 front panel consists of the 22 channel strips for the mixer inputs (30 on the 32•4). You’ll notice that Channel Strips 1–20 (or 1–28) are identical (MOTTO: Learn one and you learn them all) and that the strips numbered 21–22 and 23–24 (or 29–30 and 31–32) are almost the same, but in stereo (MOTTO: Learn one and you learn both). You can already see this promises to be painless.

To the right of the channel strips is an area which we can call the Monitor/Output Section and be right most of the time. This is where you set and meter the overall volume level, make adjustments to solo, auxiliary and headphone levels and accomplish other miscellaneous essential tasks.

U

TRIM

21

23

22

24

-

20 +20

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

HI

MID

3k

+15-15

U

LOW

MID

800Hz

+15-15U+15-15

U

LOW

80Hz

+15-15U+15-15

OL

-20OL-20

21 22

23 24

MUTE

dB

10

SOLO SOLO

5

1-2

U

5

3-4

10

L-R

20

30

40

50

60

OO

CHANNEL STRIPS 1–20

The channel strip (also called the input channel or input module) is where most of the work of sound mixing is done. The first 20 channel strips on the Mackie SR24•4 (28 on the SR32•4) contain all of the level, assignment and equalization controls for each mono input channel. This section describes the controls and functions of each feature on a channel strip in detail.

NOTE: Remember, Stereo Channel Strips are slightly different from the rest. We’ll look at the differences later in the tour.

VERY LOW IMPEDANCE DESIGN

MASTER INPUT/OUTPUT

12

U

1

SOLO

OO

+15

+20

U

2

SOLO

OO

+20

+15

U

3

SOLO

OO

+20

+15

U

4

SOLO

OO

+15

OO

+20

U

5

ASSIGN

SOLO

OO

+15

TO SUB

U

6

SUB

SOLO

OO

+15

STEREO

AUX SEND

AUX RETURNS

MASTERS

TRACK

1

2

3

•

5

6

7

5

+1005+1005+1005+100

AIR AIR AIR AIR

SOLO SOLO SOLO SOLO

LR LR LR LR

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

SUB SUB SUB SUB

1234

dB

10

5

U

5

10

20

30

40

50

60

OO

LAMP

CHANNEL FADER

U

CLIP

28

121

10

OO

+15

U

7

4

2

OO

+15

0

TO AUX

2

SEND

3

-

1

2

4

(EFX TO MONITOR)

7

U

10

4

20

OO

+20

30

TAPE

40

RETURN

LEVEL SET

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 SR24•4 channel fader [1] is 60 millimeters long, with a precise logarithmic taper and channel gain or attenuation markings screened along the slot for precise and repeatable level adjustments. The “log taper” part refers to the fact that gain increase and reduction are smooth along the fader’s travel. It doesn’t go silent at about –30dB the way cheaper D-taper faders do. When you fade

down, there’s still sound until just before you reach the infinity (off) marking.

2

/3 of the way up the slot you will see

About a “U” on the panel which stands for unity gain. The fader markings are calibrated in dB (decibels) from 10dB above unity gain to 60dB below unity gain, and finally to infinity (or off).

VERY IMPORTANT: Unity gain is the

point at which no level is added to or subtracted from the nominal signal. Many level controls on a

Mackie mixer have a unity gain “U” mark and a detent, a little “bump” in the otherwise silky-smooth travel of the control. The unity gain point can be very helpful in setting levels throughout the SR24•4 for best headroom and noise figures. See Impor-

tant Sensitivity Adjustment Procedure! in the Introduction and Setting Levels With Solo

later in this section.

The channel fader

is your main mixing

OL

tool, like the brush in an artist’s hand. Everything which

LR

PAN

-20

passes through the channel strip (with the exception of

2

MUTE

pre-aux sends) is controlled by the channel fader.

MUTE / SOLO

THE MUTE SWITCH

Next up is the

MUTE

switch [2], which lives up to its name by muting its channel strip. When

MUTE

the

switch is depressed, the signal in that channel strip is removed from the main left/right mix buses and the submix buses, the solo buses (both PFL and AFL) and from any aux buses selected.

10

dB

5

U

5

20

30

40 50 60

SOLO

1-2

3-4

L-R

OO

Even though the channel is muted, there can still be audio within the channel strip. The –20 LED might light and signal will still be available at the output of the

The red

MUTE MUTE

MUTE/SOLO LED

switch will glow steadily when the switch is depressed.

INSERT

jack.

just below the

OL AND –20 LEDs

The red LED [3] above the

OL

is marked

, and that stands for OverLoad. The channel strip overload circuit constantly checks at a critical point in the channel strip, just after the EQ circuit. If the channel strip amplifiers are being driven too loud into over-

OL

load, the

light will flash bright red.

This is to be avoided. Overloading a mixer circuit forces the audio signal to clip and seriously distort the sound. When the flashes, it means something is too loud. It could be the level from the microphone or tape track plugged into the SR24•4 input connection or a device you plugged into the

INSERT

jack; maybe you have the trol turned too high or an extreme amount of EQ (which lifts the gain in certain frequency ranges). You need to find out which source is too high and make things right. Start by turn-

TRIM

ing down the

control until the OL LED no longer lights. That will lower the level of all the circuitry that follows. Also, if you have a processor plugged into that channel’s jack, temporarily unplug it. The level should remain about the same. If not, the processor’s level needs to come down, too.

The green LED is marked light whenever there is a signal level in the channel strip that has a level at or more than 20dB below the nominal circuit level (0dBu). In practice, this LED will flicker or light almost constantly when there is activity in that channel, and it basically serves as a convenient indicator for you, a way of figuring out who’s singing now or what’s plugged into where. Whether it lights rarely or is on all the time is not really important; it’s just to reassure you that there is some audio in the channel. Some days that may be all the reassurance you get.

MUTE

–20

switch

OL

light

TRIM

con-

INSERT

, and it will

G

C

I

M

10U60

+10dB - 40dB

U

OO

U

OO

U

OO

U

OO

U

OO

U

OO

U

LOW CUT

75 Hz

18dB/OCT

LR

PAN

1

MUTE

MUTE / SOLO

dB

10

5

U

5

10

20

30

40 50 60

OO

-

1

0

A

TRIM

I

N

1

AUX

1

PRE

+15

2

PRE

+15

3

+15

4

+15

PRE

5

+15

6

+15

EQ

HI

12k

+15-15

MID

+15-15

FREQ

8kHz100

LOW

80Hz

+15-15

OL

-20

SOLO

1-2

3-4

L-R

13

Layout

and Function

NOTE: There is a much more accurate way

to measure your channel strip levels: see

Input Sensitivity Procedure: Setting Levels With Solo a little further on.

PAN

The

PAN

control [4] (or PAN pot, as the more timeworn among us are used to saying) determines where the channel strip signal ends up in the left-to-right stereo image (or soundstage) you are creating. It works in conjunction with

SOLO, 1–2, 3–4

the switches next to the fader below.

When turned fully to the left (counterclockwise), the completely to the left or odd-numbered bus assigned: bus 1, bus 3 or the L (left) mix bus, depending on the assignment switch selection.

Likewise, when turned fully to the right (clockwise), the

LR

PAN

2

MUTE

MUTE / SOLO

dB

10

5

U

5

10

20

30

and

L–R

PAN

pot routes the signal

PAN

pot routes the signal

completely to the right or even-numbered bus assigned:

OL

bus 2, bus 4 or the R (right) mix bus.

-20

the detent or in some other intermediate position, the sends the signal to both of the selected pairs of buses, and the sound in the stereo image seems to come from a point between

SOLO

left and right. pans the signal

1-2

across the In-Place) solo buses in the same way.

3-4

NOTE: A signal panned hard left (or right), measuring

L-R

0dB at a left (or right) output, will

bus assignment

When centered at

PAN

pot

PAN

The

pot also

SIP

(Solo-

PAN

drop about 4.5dB when the

pot is turned to the center. That’s the whole idea behind the concept of “constant loudness.”

MIX AND SUBMIX BUS ASSIGN

In conjunction with the assignment switches [5] next to the fader route the signal out of the channel strip.

With no assignment switches depressed, it doesn’t make any difference which way you have the signal panned. It doesn’t go anywhere (unless you have some Aux sends turned up). Sometimes this is a good thing, if you are using the

INSERT

output and want to keep the signal out of the main mix, for example.

But most of the time, you will want the signal to go to either the Main Mix or one (or more) of the submix buses. For stereo, you will want to depress the assignment switch on the subgroups you want and then pan the signal to its rightful place on the soundstage.

You may want to operate the four submixes as four mono buses. In that case, use the assign switches with the panned completely to the will allow you to select submix buses 1, 2, 3 or 4 independently.

PAN

pot, the bus

jack as a direct

PAN

pot

L

or R mark. This

SOLO

A solo function on a mixer allows you to listen to (and on a Mackie mixer, to observe on the meters) any input or combination of inputs without affecting the main or auxiliary outputs of the mixer. In other words, you can push a solo button to check something out just about any time without ruining your sound reinforcement or recording feed.

SOLO

In the SR24•4, each its signal to two different types of solo circuits (PFL and SIP) at the same time. Using the solo

MODE

switch (which is in the Monitor/Output Section and which we’ll talk about later) you can choose the one you’d like to listen to.

switch [6] assigns

14

40 50 60

OO

MODE

PRE FADER

IN PLACE AFL

SUBAUX

The channel strip channel audio to the PFL solo bus from a point in the circuit after the EQ and switch but before the fader. PFL is handy for checking a signal at its full level, before it’s affected by the fader and pan control.

Remember, pressing a not affect any of the SR24•4 main or auxiliary outputs. It is safe to use at any time.

(When the Solo

MODE

button in the Monitor/Output section is up.) PFL stands for pre-fade listen, also referred to as

FADER MODE

PRE

on the solo

switch in the Monitor/Output Section.

SOLO

switch routes the

MUTE

SOLO

switch does

SOLO IN PLACE (SIP)

PFL SOLO

(When the Solo Monitor/Output section is pressed in.) Soloin-place signals are taken at the channel’s output; after the EQ, Mute switch, fader and pan pot. Some mixers call this AFL (AfterFade-Listen) which is why we added that to the graphics.

In addition to the routing for PFL mentioned above, the SR24•4 channel strip also assigns the signal in that channel to the stereo solo-in-place buses. This solo signal is tapped off after the pan control, the channel fader and the EQ circuits, and will be affected by all these settings.

Once again, pressing a not affect any of the SR24•4 main or auxiliary outputs. It is safe to use at any time.

MODE

SOLO

button in the

switch on each

SOLO

switch does

MUTE/SOLO LED

When a nel indicate the channel’s solo status. So, steady

MUTE/SOLO LED

on

MUTE/SOLO LED

additional clue, soloing a channel will also start the tor/Output Section to blinking madly. More explicit details about the

LIGHT

NOTE: The channel’s MUTE switch must be in the up position for the to function.

SOLO

switch is pressed, the chan-

MUTE/SOLO LED

means solo. OK? As an

RUDE SOLO LIGHT

later .

[7] will blink to

means mute; blinking

in the Moni-

RUDE SOLO

SOLO

switch

SETTING LEVELS WITH SOLO

Each

SOLO

switch also triggers circuitry which disconnects the meters and the control room and phones outputs from their normal duties and reconnects them all to the output of the solo buses. Not only can you listen to the soloed tracks but you can measure them precisely on the 13-segment main meters.

In fact, this is the recommended way to adjust input levels. As you are initially setting up an input, put the SR24•4 into PFL mode and push the SOLO button. Now set the input level to the range you want (probably by tweaking TRIM, since your other controls should start out around unity gain) simply by checking out the main meters.

And, of course, depressing any SOLO switch anywhere on the mixer will set in motion a complicated chain of events deep in the unfathomable silicon heart of the SR24•4 involving multivibrators and algorithms and Mandelbrot sets and who knows what else — culminating in the grave and solemn pulsing illumination of… the

NOTE: Also see Important Sensitivity Ad- justment Procedure! r epeated several times

in this manual.

RUDE SOLO LIGHT

Layout

and Function

.

15

Layout

and Function

-

1

0

G

A

C

I

N

M

10U60

+10dB - 40dB

U

OO

+15

U

OO

+15

TRIM

2

AUX

1

PRE

2

PRE

TRIM CONTROL

The white knob at the top of the channel strip is the

TRIM

control [8]. sets the gain (volume level) of the SR24•4 input amplifier, and is labeled with gain sensitivity markings for both LINE (the outer

TRIM

circle) and MIC

inputs (the inner circle marked

TRIM

Proper setting of the

control is essential

MIC GAIN

).

for good noise and headroom performance.

Since you might be using your SR24•4 to mix dynamic or condenser microphones, electronic keyboards or even guitar amplifier heads, the signals connected to the channel inputs could vary from extremely small to very

TRIM

large. With the

level adjusted correctly, the Mackie input amplifier can accept a wide range of input levels. See Setting Levels With

Solo just above, and Important Sensitivity Adjustment Procedure! in the Introduction.

EQ SECTION

Channels 1–20 (1–28 on the SR32•4) each

have a three-band EQ (Equalizer) plus a switch-

LOW CUT

able

When any set at its Unity Gain “U” detent, it does not affect the signal.

+15

+10

+5

0

–5

–10

–15

20Hz100

available. This is a great treble control, with the same range as the HI EQ in the Mackie 8•Bus console.

Hz

filter .

HI, MID

1k

Hz

or

LOW

10kHz20k

Hz

EQ knob is

HI EQ

The

HI

section [9] is a fixed 12kHz shelving EQ with ±15dB of equalization

Shelving equalizers work on a very broad range of frequencies and consequently are very “musical.” In a 12kHz shelf like this section, that means that all the upper harmonics of a sound are raised evenly, basically keeping their original musical relationship to each other. A highfrequency shelving EQ is great for putting shimmer into acoustic guitar and piano tracks or sizzle into vocals and recordings of eggs frying.

MID EQ

The

MID

section [10] is a sweepable peak-

ing/dipping EQ with a fixed bandwidth of 1.5

FREQ

octaves (Q=0.9). The

knob sweeps the

EQ over a range from 100Hz to 8kHz, and the

MID

knob selects up to ±15dB of equalization.

+15

+10

+5

0

–5

–10 –15

+15

+10

+5

0

–5

–10 –15

20Hz100

Hz

1k

Hz

10kHz20k

It’s true you can’t get along very well without high or low EQ, but midrange EQ often seems to be the most powerful. Much of the essential character of a voice or instrument is

Hz

determined by

U

EQ

12k

+15-15

MID

+15-15

FREQ

8kHz100

HI

16

+15-15

LOW CUT

75 Hz

18dB/OCT

LOW

80Hz

the blend of the frequencies in the midrange, where most of the fundamental frequencies and most of the stronger harmonics lie.

Be subtle with midrange EQ. A small boost or dip is often all you’ll need; too much will completely change the sound. Of course, if what you want is to completely change the sound, go for it.

MID

Since the

EQ on the SR24•4 is variable across a range of frequencies, you must decide which area you would like to adjust. Here’s an idea: set the peak or dip to maximum (±15dB) and sweep the frequency knob across its range. What you will hear may not be pleasant, but it will often show you what tones you hate (so dip them) or love (so boost them, but perhaps not this much).

Try combinations of EQ on different inputs. A small boost at the particular frequency on one instrument combined with a small dip in the same area on a second instrument can greatly help blend the mix (similar to volume adjustments).

LOW EQ

The

LOW

section [11] is a fixed 80Hz shelving EQ with ±15dB of equalization available. It’s a fine bass control, with the same range as the LO EQ in the Mackie 8•Bus console.

+15

+10

+5

0

–5

–10 –15

20Hz100

Hz

1k

Hz

10kHz20k

A low frequency shelving equalizer will add or remove bass in a smooth, musical fashion.

Hz

Good for work-

ing on bass drum and bass guitar , fattening up (or thinning out) a piano or contouring an entire mix.

LO CUT

The

LO CUT

switch [12] inserts an 18dB/ octave low-cut (high-pass) filter with a cut-off frequency of 75Hz into the signal path.

+15

+10

+5

0

–5

–10 –15

20Hz100

Hz

1k

Hz

10kHz20k

A low-cut filter is handy to get rid of room rumble, traffic noise, wind noise, P-popping and

Hz

other un-

wanted very-low-frequency sounds. It also saves amplifier power, which might be useful if you don’t have a 100,000-watt quint-amplified PA system. LO CUT can also be combined with LO EQ boosts to produce interesting bass curves, as shown above.

It is highly recommended that this switch be engaged for closely held vocal microphones, especially in a live SR situation. It will minimize the bassy “proximity effect” of many cardioid microphones, and also reduce handling noise and breath noise.

AUX SENDS

The auxiliary (aux) sends tap off the channel signal to an aux send bus in order to route it to one or more auxiliary devices. Aux sends are generally used to provide mixes for stage monitors, headphone cueing duties, and for effects sends. Aux send settings do not directly affect the signal routed to the main and submix buses. (See Aux Returns.)

The SR24•4 has six mono AUX Send controls (routed to six Aux Send buses) on every channel strip.

NOTE: All of the SR24•4 AUX sends have a very wide range of gain. The first half of the control’s

rotation reaches from the off position to unity gain (“U”). This first half of the control’s range corresponds to the full range of most non-Mackie mixers. The second half of the

control’s rotation provides you with even more gain, from unity to +15dB. For example, when you want a sound very “wet” (mostly reverb), this extra gain allows you to bring the channel fader down (and the AUX send way up) so that the sound is composed of predominantly reverb with just a touch of “dry” signal.

Layout

and Function

17

+10dB 40dB

OO

U

TRIM

21

AUX

U

1

PRE

+15

U

2

PRE

+15

U

pre-fader, with the channel signal tapped off after the input amplifier, INSERT jack and MUTE switch but before the equalizer and fader.

with the signal coming from a point in the circuit just after the channel fader.

sends 1 & 2 are both wired

Sends 5 & 6 are wired post-fader,

AUX

sends 3 & 4 are normally

post-fader (like Sends 5 & 6), but

3

+15

U

4

can be switched as a pair to pre-fader (like Sends 1 & 2) by depressing the

PRE

switch [13] in the

AUX

section

of the channel strip.

Pre-fader sends are generally more

useful as monitor or headphone

+15

sends, while post-fader sends are usually routed to reverb, echo and other

U

PRE

5

+15

U

6

+15

effects devices.

Don’t worry about having mono effects sends: most effects units, mono or stereo, have

mono inputs. Even if there are two input jacks on the effects unit labeled “LEFT” and “RIGHT,” they are often combined into mono. In the cases when an

effect actually has true stereo inputs it is

-

20 +20

U

OO

U

OO

U

OO

U

OO

U

OO

U

OO

U

22

AUX

1

PRE

+15

2

PRE

+15

3

+15

44

+15

PRE

5

+15

6

+15

EQ

HI

12k

+15-15

HI

MID

3k

+15-15

LOW

MID

800Hz

+15-15

LOW

80Hz

+15-15

U

-

20 +20

U

OO

U

OO

U

OO

U

OO

U

OO

U

OO

U

TRIM

23 24

AUX

1

PRE

+15

2

PRE

+15

3

+15

PRE

5

+15

6

+15

EQ

HI

12k

+15-15

HI

MID

3k

+15-15

LOW

MID

800Hz

+15-15

LOW

80Hz

+15-15

often more convenient to ignore that and treat it as mono anyway. If you really need to send in stereo, just use two aux sends from the

OL

SR24•4. For example, use Aux 5 to send the stereo instrument’s left channel to the effects unit’s left input and Aux 6 for the right channel. Then adjust the stereo perspective by favoring one send or the other. Presto!

STEREO CHANNEL STRIPS 21–22 and 23–24

You’ll remember we promised to talk about the differences between channel strips 1–20 and channel strips 21–22 and 23–24. The primary difference is that while Strips 1–20 are mono (one input channel per strip), Strips 21–22 and 23–24 are stereo: they each have two input channels. Also, the stereo channel strips have only line-level inputs. (On the SR32•4, channel 1–28 are mono and 29–30 and 31–32 are stereo.)

LR LR

PAN PAN

21 22

MUTE

dB

10

5

U

5

10

20

30

40 50 60

OO

-20

23 24

MUTE

MUTE / SOLO MUTE / SOLO

dB

10

SOLO SOLO

5

1-2

U

5

3-4

10

L-R

20

30

40 50 60

OO

-20

1-2

3-4

L-R

18

STEREO TRIM, FADER, SOLO, AUX

All the controls on each of the stereo chan-

nel strips are stereo. The

TRIM

control is a dual-channel trim and the channel fader is dual-channel (stereo). The solo buses and each of the aux sends are wired to tap signal from both the right and left sides of the stereo channel audio.

STEREO EQ SECTION

The EQ on Channels 21–24 is stereo, too, working its magic on both sides of the signal at the same time. (That’s 29–32 on the SR32•4.)

The design of the EQ is slightly different from the mono channel strips as well, with two sepa-

rate fixed-frequency equalizers replacing the sweepable equalizer in the

MID EQ

HI EQ

The

HI EQ

ing equalizer, similiar to the mono channel strip HI EQ section.

+15

+10

+5

0

–5

–10 –15

20Hz100

Hz

3kHz, a bandwidth of 1 octave (Q = 1.4) and a range of ±15dB. A bit of added 3kHz will increase clarity or bite. If you have an input that sounds harsh or nasal, pull out a little at 3k and you can smooth the sound out.

LOW MID EQ

The

LOW MID

ing/dipping equalizer with a fixed center frequency of 800Hz and a range of ±15dB. Adding a little EQ at this frequency can put

+15

+10

+5

0

–5

–10 –15

20Hz100

Hz

range.

section [14] is a 12kHz shelv-

HI MID EQ

The

HI MID

EQ section [15] is a peaking/dipping equalizer with

1k

Hz

10kHz20k

Hz

a fixed center frequency of

EQ section [16] is a peak-

1k

Hz

10kHz20k

Hz

warmth and full-

U

EQ

HI

12k

+15-15

HI

MID

3k

+15-15

LOW

MID

800Hz

+15-15

LOW

80Hz

+15-15

ness into vocals and instruments. Cutting can really help some sounds by reducing boxy and boomy tones.

LOW EQ

The

LOW EQ

section [17] is an 80Hz shelving equalizer, exactly the same as the mono channel strip LOW EQ section.

LOW CUT (lack

thereof)

There are no Low Cut filters in the stereo channel strips.

STEREO PAN (BALANCE) CONTROL

In the stereo channel strips there is a

PAN

stereo functions as a balance control rather than a mono PAN pot. In a mono PAN pot, such as channels 1–20, a mono signal is actually sent to a dual level control. In the stereo channels of the SR24•4, the right signal is sent to the right part of the control and the left part of the signal to the left part of the control. With the stereo center detent, you’ll get the same 4.5dB loss of level described earlier.

control [18]. In effect, it

PAN

set at the

LR

PAN

21 22

MUTE

MUTE / SOLO

dB

10

5

U

5

10

20

30

40 50 60

OO

Layout

and Function

OL

-20

SOLO

1-2

3-4

L-R

19