Page 1
SR24•4-VLZ PRO &
SR32•4-VLZ PRO
OWNER’S MANUAL
Page 2
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 — All the safety and operation instructions should be
read before this Mackie product is operated.
2. Retain Instructions — The safety and operating instructions should be kept
for future reference.
3. Heed Warnings — All warnings on this Mackie product and in these operating
instructions should be followed.
4. Follow Instructions — All operating and other instructions should be
followed.
5. Water and Moisture — This Mackie product should not be used near water
– for example, near a bathtub, washbowl, kitchen sink, laundry tub, in a wet
basement, near a swimming pool, swamp or salivating St. Bernard dog, etc.
6. Ventilation — This Mackie product should be situated so that its
location or position does not interfere with its proper ventilation. For
example, the Component should not be situated on a bed, sofa, rug, or
similar surface that may block any ventilation openings, or placed in a
built-in installation such as a bookcase or cabinet that may impede the
flow of air through ventilation openings.
7. Heat — This Mackie product should be situated away from heat sources
such as radiators, or other devices which produce heat.
8. Power Sources — This Mackie product should be connected to a power
supply only of the type described in these operation instructions or as marked
on this Mackie product.
9. Power Cord Protection — Power supply cords should be routed 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 this Mackie product.
10. Object and Liquid Entry — Care should be taken so that objects do not
fall on, and liquids are not spilled into, this Mackie product.
11. Damage Requiring Service — This Mackie product should be serviced
only by qualified service personnel when:
A. The power-supply cord or the plug has been damaged; or
B. Objects have fallen, or liquid has spilled into this Mackie
product; or
C. This Mackie product has been exposed to rain; or
D. This Mackie product does not appear to operate normally or
exhibits a marked change in performance; or
E. This Mackie product has been dropped, or its chassis
damaged.
12. Servicing — The user should not attempt to service this Mackie product
beyond those means described in this operating manual. All other servicing
should be referred to the Mackie Service Department.
13. To prevent electric shock, do not use this 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.
14 . Grounding or Polarization — Precautions should be taken so that the
grounding or polarization means of this Mackie product is not defeated.
15. 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.
16 .
Exposure to extremely high noise levels may cause permanent hearing
loss. Individuals vary considerably in susceptibility to noise-induced hearing loss,
but nearly everyone will lose some hearing if exposed to sufficiently intense
noise for a period of time. The U.S. Government’s Occupational Safety and
Health Administration (OSHA) has specified the permissible noise level exposures
shown in the following chart.
According to OSHA, any exposure in excess of these permissible limits
could result in some hearing loss. To ensure against potentially dangerous exposure to high sound pressure levels, it is recommended that all persons exposed
to equipment capable of producing high sound pressure levels use hearing protectors while the equipment is in operation. Ear plugs or protectors in the ear
canals or over the ears must be worn when operating the equipment in order to
prevent a permanent hearing loss if exposure is in excess of the limits set forth
here.
Duration Per Day Sound Level dBA, Typical
In Hours Slow Response Example
8 90 Duo in small club
692
4 95 Subway Train
397
2 100 Very loud classical music
1.5 102
1 105 Patrice screaming at Ron about deadlines
0.5 110
0.25 or less 115 Loudest parts at a rock concert
WARNING — To reduce the risk of fire or electric shock,
do not expose this appliance to rain or moisture.
2
Page 3
INTRODUCTION
Thank you for choosing a Mackie Designs
professional sound reinforcement mixer! The
24•4-VLZ PRO and 32•4-VLZ PRO are
equipped with our new precision-engineered
TM
XDR
Extended Dynamic Range premium
studio-grade mic preamps, featuring:
• Full gain range from 0 to 60dB
• Massive +22dBu line signal handling
capability
• 130dB dynamic range
• Distortion and noise: 0.0007%, 20Hz to
20kHz
• Bullet-proof RF rejection using a
DC pulse transformer
• 192kHz bandwidth
These live sound mixers are designed to
meet the needs of almost any venue: indoor
concert, club or theatre, meeting room, sanctuary, outdoor gathering, as well as a recording
studio.
Here’s a quick glance at all the features
you’ve acquired:
20 mono channels (24•4-VLZ PRO) or
28 mono channels (32•4-VLZ PRO)
with:
• Mackie’s cutting-edge XDR
microphone preamps
• Variable input trim (0 to +60dB mic, -15
to +45dB line)
• Phantom power (globally switched)
• Switchable 75Hz low cut filter
• TRS insert jack
• 2 pre-fader aux sends
• 2 switchable pre or post-fader aux sends
• 2 post-fader aux sends
• 3-band mid-sweep EQ
• Pan, mute, and 1-2/3-4/L-R bussing
• PFL or AFL solo
• 60mm mono fader
TM
Comprehensive master section, with:
• 60mm subgroup mono faders
• Assign-to-main switching for each sub
group
• “Air” EQ for each subgroup
• PFL or AFL solo for each subgroup
• 60mm main mix stereo fader
• TRS insert jacks for main mix
• Balanced XLR and TRS stereo main outs
• XLR mono output with level control
• 13-segment stereo LED metering
• Mackie’s (in)famous Rude Solo Light
• 6 aux send masters with level controls
• 4 stereo aux returns with level controls
• 2 effects to monitor controls
• RCA tape in & out
• Tape to Main Mix break switch
• XLR input for talkback microphone
• 2 headphone outputs with level control
• Control room output with level control
• 12V BNC lamp socket
At Mackie, we know what it takes to make
roadworthy gear. After all, our mixers have
traveled all over the world under the worst of
conditions. We’ve applied these experiences to
the mechanical design of the 24•4-VLZ PRO
and 32•4-VLZ PRO mixers.
Live sound only? No way! Although both
mixers are aimed primarily at sound reinforcement, they have features such as 4-buss,
metering and control room circuitry, that make
them serve easily as recording or mixing consoles.
Please write your serial number here for
future reference (i.e., insurance claims, tech
support, return authorization, etc.):
Serial Number
2 stereo line channels, with:
• -20dB to +20dB variable input trim
• 2 pre-fader aux sends
• 2 switchable pre or post-fader aux sends
• 2 post-fader aux sends
• 4-band EQ
• Pan, mute, and 1-2/3-4/L-R bussing
• PFL or AFL solo
• 60mm stereo fader
Part No. 820-213-00 Rev. A 03/2000
®
©2000 Mackie Designs Inc. All Rights Reserved. Printed in the U.S.A.
Purchased at:
Date of purchase:
Make sure that you keep your proof of purchase in a safe place, otherwise it will end up
in the land of enchantment, where TV remotes,
car keys and odd socks go.
3
Page 4
ABOUT THIS MANUAL
The stuff you MUST read:
First, you must read and follow all the safety
instructions on page 2.
Before you get to work, please read the
“Quick Start” section on page 6. It’s a list of
steps that will familiarize you with the mixer
and help you set up a basic performance. The
rest of the manual explains the mixer’s features in excruciating detail.
24•4-VLZ PRO and 32•4-VLZ PRO
This manual covers both mixers. The 32•4VLZ PRO has eight more mic/line channel
strips, otherwise the two models are identical.
About all those numbers:
Every feature on the mixer has a number assigned to it. Whenever a feature is illustrated
described or mentioned, its number will be
right next to it. They’ll help you find your way
around this whopping opus, and we opus you
will like it.
Every feature of the mixer is described “geographically;” in other words, in order of where
it is physically placed on the mixer’s top or rear
panel. These descriptions are divided into
three chapters, just as your mixer is organized
into three distinct zones:
PATCHBAY (page 14)
Along the back where everything plugs in.
CHANNEL STRIPS (page 19)
The mono mic/line channel strips and the
two stereo line channel strips.
MASTER SECTION (page 22)
The section on the right.
Further information:
This icon marks information that is critically
important or unique to your
mixer. For your own good,
read and remember them.
This icon will lead you
to in-depth explanations of
features and practical tips.
While not mandatory, they
usually have some valuable
nuggets of information.
This entire manual is condensed onto one
page, albeit in hieroglyphics: see the Block Diagram on page 28.
Please come on by and visit our website, at
http://www.mackie.com. It contains helpful
stuff about mixers and audio, as well as specific information about this and other Mackie
products.
PATCHBAY
-
1
0
G
A
TRIM
C
I
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
MIC/LINE CHANNELS 1-20 (IDENTICAL)
OO
+15
U
PRE
5
OO
+15
U
6
OO
+15
EQ
U
HI
12k
+15-15
U
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
U
U
TRIM
TRIM
21
23
22
24
-
20 +20
20 +20
AUX
AUX
U
U
1
1
PRE
PRE
OO
OO
+15
+15
U
U
2
2
PRE
PRE
OO
OO
+15
+15
U
U
3
3
OO
OO
+15
+15
U
U
OO
OO
+15
+15
U
U
PRE
PRE
5
5
OO
OO
+15
+15
U
U
6
6
OO
OO
+15
+15
EQ
EQ
U
U
HI
HI
12k
12k
+15-15
+15-15
U
U
HI
HI
MID
MID
3k
3k
+15-15
+15-15
U
LOW
LOW
MID
MID
800Hz
800Hz
+15-15U+15-15
U
LOW
LOW
80Hz
80Hz
+15-15U+15-15
OL
-20OL-20
21 22
23 24
MUTE
MUTE
dB
dB
10
10
SOLO SOLO
5
5
1-2
1-2
U
U
5
5
3-4
3-4
10
10
L-R
L-R
20
20
30
30
40
40
50
50
60
60
OO
OO
LAMP
U
U
U
CLIP
28
1
121
SOLO
10
OO
OO
OO
+15
+15
+20
U
U
U
7
4
2
2
2
SOLO
OO
OO
OO
+15
+20
+15
0
U
U
TO AUX
2
SEND
3
3
1-2
4
(EFX TO MONITOR)
SOLO
OO
OO
+20
+15
7
U
U
U
10
4
4
20
SOLO
OO
OO
+15
+20
OO
+20
30
U
TAPE
40
RETURN
5
LEVEL SET
MASTER SECTION
ASSIGN
SOLO
OO
+15
TO SUB
U
6
SOLO
SUB
OO
+15
STEREO
AUX SEND
AUX RETURNS
MASTERS
TRACK
TRACK
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
dB
dB
10
10
10
5
5
5
U
U
U
5
5
5
10
10
10
20
20
20
30
30
30
40
40
40
50
50
50
60
60
60
OO
OO
OO
LEFT RIGHT
OPERATING LEVEL
0dB = 0dBu
GLOBAL
AUX RETURN
1-2
3-4
SOLO
POWERRUDE
SOLO
LIGHT
U
MODE
TRACK
4
OO
+15
PRE FADER
IN PLACE AFL
LEVEL
•
8
SUBAUX
SOLO
OO
MAX
MAIN MIX
LEVEL
16kHz16kHz16kHz16kHz
AUX 1-2
TALKBACK
TAPE RETURN
OO
MAX
TO PHONES / C R
PHONES / C-R
PANPANPAN PAN
LEVEL
MAIN MIX
TAPE RETURN
LEFT/RIGHT
TO MAIN MIX
dB
dB
10
10
5
5
U
U
5
5
10
10
20
20
30
30
40
40
50
50
60
60
OO
OO
4
®
Page 5
CONTENTS
page page
SAFETY INSTRUCTIONS............................... 2
INTRODUCTION ......................................... 3
ABOUT THIS MANUAL ................................ 4
QUICK START ............................................ 6
APPLICATIONS DIAGRAMS.......................... 9
PATCHBAY FEATURES
MIC .................................................. 14
LINE IN .............................................. 14
INSERT ............................................... 15
EFFECTS: SERIAL OR PARALLEL? ............ 15
STEREO LINE IN ................................... 15
TAPE OUT ........................................... 16
TAPE IN.............................................. 16
SUB INSERTS ...................................... 16
SUB OUTS .......................................... 16
DOUBLE BUSSING ................................ 16
STEREO AUX RETURNS ......................... 17
AUX SENDS ........................................ 17
CONTROL ROOM OUT .......................... 17
MAIN OUTS (TRS) ............................... 17
MAIN INSERTS .................................... 17
MONO MAIN OUT ............................... 17
OUTPUT LEVEL .................................... 17
MAIN OUT (XLR) ................................. 17
TALKBACK MIC.................................... 17
PHONES ............................................. 18
PHANTOM SWITCH ............................. 18
POWER SWITCH .................................. 18
AC RECEPTACLE ................................... 18
FUSE .................................................. 18
CHANNEL STRIP FEATURES
TRIM ................................................. 19
AUX SEND
AUX ............................................ 19
PRE............................................. 19
EQ SECTION
HI ............................................... 20
MID ............................................ 20
FREQ ........................................... 20
HI MID ........................................ 20
LOW MID ..................................... 20
LOW ........................................... 20
LOW CUT ..................................... 20
OL LED ............................................... 21
-20 LED .............................................. 21
PAN .................................................. 21
MUTE ................................................. 21
SOLO ................................................. 21
1-2 & 3-4........................................... 21
L-R .................................................. 21
CHANNEL FADER ................................. 21
MASTER SECTION FEATURES
LAMP CONNECTOR .............................. 22
AUX SEND MASTER
AUX SEND MASTERS ..................... 22
SOLO ........................................... 22
STEREO AUX RETURNS
STEREO AUX RETURNS .................. 23
TO AUX SEND 1-2 ......................... 23
ASSIGN TO SUB ............................ 23
SUB............................................. 23
SOLO ........................................... 23
TAPE RETURN ..................................... 23
METERS ............................................. 23
ZERO EQUALS ZERO ............................ 23
POWER LED ........................................ 23
SUBGROUPS
AIR ............................................. 24
SOLO ........................................... 24
PAN ............................................ 24
L/R ASSIGN ................................. 24
SUBGROUP FADERS ...................... 25
SOLO
RUDE SOLO LIGHT ......................... 25
LEVEL .......................................... 25
MODE .......................................... 25
AUX LED ...................................... 25
SUB LED ....................................... 25
TALKBACK
LEVEL .......................................... 25
MAIN MIX ................................... 26
AUX 1-2 ...................................... 25
TAPE RETURN TO PHONES/C-R............. 25
PHONES/C-R LEVEL ............................. 26
TAPE RETURN TO MAIN MIX................. 26
MAIN MIX FADER ................................ 26
SPECIFICATIONS ........................................ 27
BLOCK DIAGRAM....................................... 28
GAIN PATH ............................................... 29
SERVICE INFORMATION .............................. 30
5
Page 6
Switch
Up
Switch
Down
QUICK START
ZERO THE CONSOLE
Note: the numbers in brackets refer to the
numbers inside each switch and control in the
drawing on the next page.
1. On the rear panel, turn the POWER switch
and the PHANTOM off, and the OUTPUT
LEVEL fully down.
2. Disengage these switches (for pushbutton
switches, “disengaged” or “off” refers to the
“up” position):
PRE (27)
LOW CUT (34)
SOLO (39)
1-2 & 3-4 (40)
SOLO (47)
ASSIGN TO SUB (50)
SUB (51)
SOLO (52)
SOLO (57)
L/R ASSIGN (59)
MAIN MIX (67)
AUX 1-2 (68)
TAPE RETURN TO PHONES/C-R (69)
TAPE RETURN TO MAIN MIX (71)
3. Engage these switches (for pushbutton
switches, “engaged” or “on” refers to the
“down” position):
MUTE (38)
L-R (41)
MODE (63)
When we say engaged, this does not imply
that you should become betrothed in any
legally binding sense, although there is
probably some drive-in wedding chapel in
‘Vegas, where this can be arranged.
Control
Fully Down
Control
Centered
4. Set these controls fully down (for
rotary controls, “down” refers to the
fully counter-clockwise position; for
faders, it refers to all the way down):
TRIM (25)
AUX (26)
TO AUX SEND 1-2 (49)
TAPE RETURN (53)
AIR (56)
CHANNEL FADER (42)
SUBGROUP FADER (60)
MAIN MIX FADER (72)
5. Set these controls at unity (for rotary
controls, “unity” refers to the center
detent position.
HI (28)
MID (29)
FREQ (30)
HI MID (31)
LOW MID (32)
LOW (33)
PAN (37)
AUX SEND MASTERS (46)
STEREO AUX RETURNS (48)
PAN (58)
SOLO LEVEL (62)
TALKBACK LEVEL (66)
PHONES/C-R LEVEL (70)
30
40
50
60
OO
Fader
Down
MAIN OUTS
(BAL OR UNBAL)
L
R
L
R
120VAC
50/60 HZ 60W
1.6A/250V SLO BLO
FUSE INSIDE
CAUTION:
TO REDUCE
THE RISK OF FIRE, REPLACE
WITH THE SAME TYPE FUSE
AND RATING
AUX SENDS
(BAL OR UNBAL)
14
2
3
(BAL OR UNBAL)
R
CONTROL ROOM OUTMAIN INSERTS
R
5
R
6
R
L
R
STEREO AUX RETURNS
(BAL OR UNBAL)
1
2
3
4
POWER
ON
OFF
Power
Off
6
L
1
2
L
L
3
4
L
(MONO)
PHANTOM
ON
OFF
Phantom
Off
SUB OUTS
(BAL OR UNBAL)
(BAL OR UNBAL)
5
6
7
8
SUB INSERTS
1
2
3
4
23 21
L
MONO MONO
RR
24
LL
R
TAPE OUTTAPE IN
PHONES
PHONES
1
20
L
INSERT INSERT INSERT INSERT INSERT INSERT INSERT
LINE IN
(BAL OR UNBAL)
22
MIC 20
R
D
X
R
TALK BACK
MIC
2
19
LINE IN
(BAL OR UNBAL)
MIC 19
M
I
C
R
P
D
R
X
E
LINE IN
(BAL OR UNBAL)
MIC 1818MIC 1717MIC 1616MIC 1515MIC 14
M
I
C
R
P
D
R
X
E
RIGHT
MAIN OUT
LINE IN
(BAL OR UNBAL)
M
I
C
R
P
D
R
X
E
LEFT
MAIN OUT
LINE IN
(BAL OR UNBAL)
M
I
C
M
I
C
R
P
R
P
D
R
X
E
OUTPUT
LEVEL
OO
E
+6
LINE IN
(BAL OR UNBAL)
R
D
X
MONO
MAIN OUT
14
LINE IN
(BAL OR UNBAL)
M
I
C
M
I
C
R
P
R
E
D
X
MAIN
BALANCED
OUTPUTS
PIN 2 = HOT
PIN 3 = COLD
P
R
E
Output Level
Fully Down
Page 7
SR24•4-VLZPRO
dB
30
20
10
OO
40
50
5
5
U
60
10
dB
30
20
10
OO
40
50
5
5
U
60
10
dB
30
20
10
OO
40
50
5
5
U
60
10
dB
30
20
10
OO
40
50
5
5
U
60
10
dB
30
20
10
OO
40
50
5
5
U
60
10
dB
30
20
10
OO
40
50
5
5
U
60
10
dB
30
20
10
OO
40
50
5
5
U
60
10
dB
30
20
10
OO
40
50
5
5
U
60
10
OO
U
OO
+15
U
OO
+15
OO
U
OO
+15
MAX
MAX
U
OO
+20
U
OO
+20
U
OO
+20
U
OO
+20
U
OO
+20
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
5
+100
5
+100
5
+100
5
+100
LR LR LR LR LR LR LR
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
-
20 +20
U
-
20 +20
U
POST POST
POST
POST
POST
POST
+15dB-45dB
M
I
C
G
A
I
N
0
U
60
-
1
0
d
B
V
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
LOW CUT
75 Hz
18dB/OCT
80Hz
LOW
80Hz
LOW
80Hz
LOW
1
2
3
4
1
2
1
2
3
4
SOLO
SOLO
1-2
SUB
SOLO
GLOBAL
AUX RETURN
ASSIGN
TO SUB
SOLO
SOLO
TAPE RETURN
TO PHONES / C R
TAPE RETURN
TO MAIN MIX
LEFT/RIGHT
MAIN MIX
AUX 1-2
TALKBACK
LEVEL
TAPE
RETURN
3-4
LEFT RIGHT
L/R ASSIGN L/R ASSIGN L/R ASSIGN L/R ASSIGN
SUB SUB SUB SUB
1234
PHONES / C-R
LEVEL
MAIN MIX
SOLO
TO AUX
SEND
1-2
(EFX TO MONITOR)
SOLO
28
CLIP
10
7
4
2
2
0
4
7
10
20
30
40
3-4
L-R
1-2
3-4
L-R
1-2
3-4
L-R
1-2
-20
OL
-20
OL
-20
OL
PRE
1
PRE
PRE
2
3
5
6
12k
HI
MID
FREQ
TRIM
20
TRIM
21
22
TRIM
23
24
AUX
PRE
1
PRE
PRE
2
3
5
6
AUX
PRE
1
PRE
PRE
2
3
5
6
AUX
20
MUTE
EQ
21 22
MUTE
23 24
TRACK
1
•
5
TRACK
2
•
6
TRACK
3
•
7
TRACK
4
•
8
MUTE
SOLO
MODE
SUBAUX
PRE FADER
IN PLACE AFL
LEVEL SET
SOLO SOLO
SOLO
PANPANPAN PANPAN PAN PAN
444
POWERRUDE
SOLO
LIGHT
OPERATING LEVEL
0dB = 0dBu
MUTE /
SOLO
MUTE /
SOLO
MUTE /
SOLO
MUTE /
SOLO
MUTE /
SOLO
MUTE /
SOLO
25 25 25
26 26 26
26 26 26
26 26 26
26 26 26
26 26 26
26 26 26
27 27 27
28 28 28
29 31 31
30 32 32
33 33
37 37 37 58 58 58 58
34
39
40
40
41
42 42 42 60 60 60 60 72
39
40
40
41
33
383838
39
40
40
41
46
46
46
46
46
46
56 56 56 56
57 57 57 57
59 59 59 59 71
47
47
47
47
47
47 51
48
49
49
53
52
48
48
48
50
62
66
63
67
68
69
70
Set the controls as
shown to zero the
console. See the
description on page 6.
Control
Centered
Control
Fully Down
Switch
Up
Switch
Down
20
30
40
50
60
OO
Fader
7
Down
Page 8
MAKE THE CONNECTIONS:
1. Make sure your amplifiers are turned off
before making any connections.
2. Connect speakers to your amplifier’s
outputs (unless, of course, you have
powered speakers, such as the Mackie
SRM 450 active monitors).
3. Plug all the sound system components into
suitable AC outlets; properly grounded and
capable of delivering adequate current. Use
power strips to minimize ground loops.
4. Using TRS or XLR cables, make connections from the mixer’s MAIN OUTS (12),
(16) to your amplification system’s line
inputs.
5. Make connections from your microphones
and instruments to the mixer: Connect
balanced microphones to the mono
channel MIC (1) jacks. (For condenser
microphones, engage the PHANTOM (19)
switch.) Connect line-level instruments
(synthesizers, guitar effects devices, direct
boxes) to the mono or stereo channel LINE
IN (2) (4) TRS jacks.
6. Follow the procedure shown on page 6 to
zero the console. This will also MUTE (38)
each channel.
7. Turn on all the AC power switches, including the mixer and all other equipment.
Leave the amplifier’s power switch for last.
This prevents power-up thumps which can
damage speakers.
8. Turn up the MAIN MIX FADER (72) to the
“U” label. You should hear nothing at this
point.
SET THE LEVELS:
1. Choose one of the microphones or instruments you’ve connected. Make some noise.
If it’s a microphone, speak at your normal
singing volume. If it’s a synthesizer, play it
at its normal output level.
2. While making noise, engage that channel’s
SOLO (39) switch.
3. Turn up that channel’s TRIM (25) until the
METERS (54) peak near the “0” label.
4. Disengage that channel’s MUTE (38).
5. Turn up the CHANNEL FADER (42) to the
unity gain (“U” label). You should now be
hearing your noise in the phones or control
room (70).
6. If necessary, apply channel EQ (28-34)
changes. Resultant level changes can be
corrected by readjusting the TRIM (25).
7. Disengage that channel’s SOLO (39)
switch.
8. Repeat steps 1 through 7 for the remaining
active channels.
9. Stop making noise, start making music.
TWEAK THE MIX:
1. Engage MUTE (38) on all channels except
your rhythm section (drums & bass).
2. Adjust the rhythm section’s channel PANs
(37) and CHANNEL FADERs (42) to get a
good balance of levels.
3. Un-mute the other active channels and
adjust their pans and faders.
4. Tweak the fader, pan and EQ controls. Fine
tune your mix. Walk the room to see how it
sounds away from the mixer. Keep tweaking.
5. Consider applying the proper EQ adjustments by cutting certain frequencies,
rather than boosting. Compensate for EQ
cut by a slight boost in volume. For live
sound applications, this technique allows
for more gain before feedback, and gives
improved system reliability.
KNOW THESE THINGS:
• Never listen to loud
music for prolonged
periods. See the safety
instructions on page 2.
• Never plug amplifier
outputs into anything except speakers.
• Never use guitar cables to connect amplifiers to speakers.
• Before making connections to an amp or
reconfiguring an amp’s routing, turn the
amp’s power off, make the changes and
then turn the power back on.
• When you shut down your equipment, turn
off all the amplifiers first. When powering
up, turn on the amplifiers last. This
prevents power-up and power-down
thumps which can damage speakers.
• Save the shipping box and packing material. You may need them someday.
8
Page 9
APPLICATION DIAGRAMS
2-track Recorder
TAPE IN
TAPE OUT
LR
LR
NOTE: For input level control,
use Control Room Outs
instead of Tape Outs.
Band in a Club
Stereo Reverb #1
Stereo Reverb #2
22
21
34
12 12
12
24
LR
LR
STEREO CHANNELS
23
34
SUB
OUTS
5678
AUX RETURNS SUB INSERTS
34
LRLR
LRLR
CNTRL RM OUT
stereo reverb L/R mix
stereo delay Submix 4
*
†
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
11 guitar mic mic compressor submix 3
12 guitar direct line compressor submix 3
20 vocal mic 3 mic Submix 4
21–22
13 Acoustic guitar mic submix 3
14 piano low mic L/R bus
23–24
* 29–30 on the 32•4-VLZ PRO † 31–32 on the 32•4-VLZ PRO
15 piano high mic L/R bus
Harmonizer
Tape Deck
ch. device input insert assignment
9 bass mic mic submix 2
10 bass direct line submix 2
ch. device input insert assignment
FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN
Stage Monitor
Power AmplifierPower Amplifier
FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN
Stage Monitor
SRM450
Active Monitors
Stereo
Compressor
Stereo Digital Delay
Sonic Maximizer
Zone Speaker
1 kick mic gate submix 1
2 snare mic gate submix 1
ch. device input insert assignment
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
8 drum overhead mic R mic compressor submix 1
CH
2
CH
1
Graphic EQ
CH
2
CH
1
Graphic EQ
AUX SENDS
1234
R
2LR L
1
56 LR
MAIN OUTS
MAIN INSERTS
LR
MONO
MAIN OUTS
PHONES
TALKBACK
Power Amplifier
EQ
Stereo
CH
2
FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN
CH
1
9
Page 10
Cassette
or DAT
TAPE IN
LR
TAPE OUT
LR
Playback Only
(DAT, CD, etc.)
Church Installation
4-track Recorder
Assisted Listening
Station
CH
2
FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN
CH
Power Amplifier
1
Stage Monitor
22
21
24
LR
LR
STEREO CHANNELS
23
34
34
SUB
OUTS
12 12
12
5678
AUX RETURNS SUB INSERTS
34
LRLR
LRLR
CNTRL RM OUT
ON
OFF
OL
PWR
HIGH RESOLUTION
STUDIO MONITOR
ON
OFF
OL
PWR
HIGH RESOLUTION
STUDIO MONITOR
Harmonizer
Effects Device
HR824 Active Monitors
15 wireless lavalier mic 1 line all optional L/R bus
16 wireless lavalier mic 2 line L/R bus
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
ch. device input insert assignment
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
11 worship team vocal 3 mic submix 3–4
12 choral L mic submix 3–4
13 choral center mic submix 3–4
CD player L/R bus
digital effect stereo return L/R bus
*
†
20 alter mic mic L/R bus
21–22
23–24
14 choral R mic submix 3–4
* 29–30 on the 32•4-VLZ PRO † 31–32 on the 32•4-VLZ PRO
Stage Monitor
Stage Monitor
CH
2
FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN
CH
1
Power Amplifier
SRM450
Active Monotors
10
FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN
Power Amplifier
CH
2
CH
1
AUX SENDS
1234
56 LR
Effects Device
R
MAIN OUTS
MAIN INSERTS
2LR L
1
LR
MONO
MAIN OUTS
PHONES
TALKBACK
Power Amplifier
CH
FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN
CH
2
1
Stereo Compressor/
Limiter
Zone Speaker
1 kick mic all optional submix 1–2
2 snare mic submix 1–2
ch. device input insert assignment
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
Page 11
Keyboard, or other line level input
Tape
Cassette
TAPE IN
LR
TAPE OUT
LR
Keyboard, or other line level input
Stereo EQ
8-Track Recording
DAT Player
Stereo Reverb #2
Stereo Reverb #1
22
21
34
12 12
12
24
LR
LR
STEREO CHANNELS
23
34
SUB
OUTS
5678
AUX RETURNS SUB INSERTS
LRLR
34
LRLR
CNTRL RM OUT
8-track Recorder
aux sends.
channel inserts as
direct outs or use
once, use either the
NOTE: for recording
more than 4 tracks at
ON
OFF
OL
PWR
HIGH RESOLUTION
STUDIO MONITOR
ON
OFF
OL
PWR
HIGH RESOLUTION
STUDIO MONITOR
HR824 Active Monitors
Harmonizer
15 digital multitrack 3 line L/R bus
16 digital multitrack 4 line L/R bus
ch. device input insert assignment
8 bass mic EQ submix 4
9 bass direct line compressor submix 4
ch. device input insert assignment
17 digital multitrack 5 line L/R bus
18 digital multitrack 6 line L/R bus
19 digital multitrack 7 line L/R bus
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
MIDI keyboard 1 (stereo) line L/R bus
*
20 digital multitrack 8 line L/R bus
21–22
13 digital multitrack 1 line L/R bus
14 digital multitrack 2 line L/R bus
MIDI keyboard 2 (stereo) line L/R bus
†
23–24
* 29–30 on the 32•4-VLZ PRO † 31–32 on the 32•4-VLZ PRO
Headphone Amplifier
AUX SENDS
1234
R
2LR L
1
56 LR
MAIN OUTS
MAIN INSERTS
LR
MONO
MAIN OUTS
PHONES
TALKBACK
Stereo Reverb #3
Stereo Compressor/
Limiter
ch. device input insert assignment
11
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
Page 12
Video Deck #2
TAPE IN
TAPE OUT
LR
LR
Audio/Video Production
Limiter
Stereo Compressor/
Effects Device
22
21
34
12 12
12
24
LR
LR
STEREO CHANNELS
23
34
SUB
OUTS
5678
AUX RETURNS SUB INSERTS
34
LRLR
LRLR
CNTRL RM OUT
Effects Device
ON
OFF
OL
PWR
HIGH RESOLUTION
STUDIO MONITOR
ON
OFF
OL
PWR
HIGH RESOLUTION
STUDIO MONITOR
Time Code
W/8 Ch. Audio Card
Time Code
HR824 Active Monitors
15 Computer 3 out all optional
16 Computer 4 out
ch. device input insert assignment
9 VTR L all optional
10 VTR R
ch. device input insert assignment
17 Computer 5 out
18 Computer 6 out
19 Computer 7 out
20 Computer 8 out
11 CD player L
12 CD player R
13 Computer 1 out
14 Computer 2 out
12
DAT player
AUX SENDS
1234
R
2LR L
1
56 LR
MAIN OUTS
MAIN INSERTS
LR
MONO
MAIN OUTS
PHONES
TALKBACK
Stereo Compressor/
Limiter
Video Deck #1
1 mic 1 mic compressor all optional
2 mic 2 mic compressor
ch. device input insert assignment
3 keyboard L
4 keyboard R
5 sampler L
6 sampler R
7 synth module L
8 synth module R
Page 13
TAPE IN
TAPE OUT
LR
LR
Stage Monitor
Stage Monitor
Monitor Mix Configuration
Power Amplifier
CH
2
FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN
CH
1
CH
2
FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN
CH
1
Power Amplifier
Graphic EQ
Graphic EQ
Stage Monitor
CH
2
FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN
CH
1
Power Amplifier
22
21
24
LR
LR
STEREO CHANNELS
23
34
34
SUB
OUTS
12 12
12
5678
AUX RETURNS SUB INSERTS
LRLR
34
LRLR
CNTRL RM OUT
Stage Monitor
CH
2
FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN
CH
1
Power Amplifier
Graphic EQ
FOH fx processor
Split output from
Stage Monitor
CH
2
FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN
CH
1
Power Amplifier
Graphic EQ
Stage Monitor
CH
2
FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN
CH
1
Power Amplifier
15 from splitter snake line
16 from splitter snake line
ch. device input insert assignment
8 from splitter snake line
9 from splitter snake line
ch. device input insert assignment
17 from splitter snake line
10 from splitter snake line
18 from splitter snake line
11 from splitter snake line
19 from splitter snake line
12 from splitter snake line
20 from splitter snake line
13 from splitter snake line
14 from splitter snake line
Stage Monitor
FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN
Power Amplifier
Graphic EQ
CH
2
CH
1
Side Fills
Graphic EQ
CH
2
FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN
CH
1
Power Amplifier
Graphic EQ
AUX SENDS
1234
56 LR
R
MAIN OUTS
MAIN INSERTS
LR
MONO
MAIN OUTS
2LR L
PHONES
TALKBACK
1
Graphic EQ Graphic EQ
CH
2
FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN
CH
1
Power Amplifier
Stage Monitor
1 talk back mic mic
2 from splitter snake line
ch. device input insert assignment
13
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
Page 14
PATCHBAY
This is where everything gets plugged in: microphones, line-level instruments, effects devices,
headphones and the ultimate destination(s): PA system, tape recorder, etc.
MAIN OUTS
(BAL OR UNBAL)
L
R
L
R
FUSE INSIDE
CAUTION:
TO REDUCE
THE RISK OF FIRE, REPLACE
WITH THE SAME TYPE FUSE
AND RATING
AUX SENDS
(BAL OR UNBAL)
14
2
3
(BAL OR UNBAL)
R
CONTROL ROOM OUTMAIN INSERTS
R
5
R
6
R
L
R
STEREO AUX RETURNS
(BAL OR UNBAL)
1
2
3
4
POWER
ON
OFF
1. MIC
The mono channels are equipped with
Mackie’s cutting-edge XDR
preamplifiers; providing up to 60dB of rugged,
low-noise, crystal-clear, phantom-powered amplification. Their balanced circuitry rejects all
manner of extraneous interference. Professional condenser, dynamic and ribbon mics will
all sound excellent through these XLR inputs.
The inputs will accept almost any kind of
balanced mic that has a standard XLR-type
male mic connector.
(MONO)
PHANTOM
ON
OFF
SUB OUTS
(BAL OR UNBAL)
L
1
2
L
L
3
4
L
(BAL OR UNBAL)
5
6
7
8
SUB INSERTS
1
2
3
4
23 21
L
MONO MONO
RR
24
LL
R
PHONES
1
L
22
R
TAPE OUTTAPE IN
PHONES
2
20
INSERT INSERT INSERT INSERT INSERT INSERT INSERT
LINE IN
(BAL OR UNBAL)
MIC 20
M
I
R
D
X
TALK BACK
MIC
19
LINE IN
(BAL OR UNBAL)
MIC 19
C
P
M
R
D
R
X
E
18
LINE IN
(BAL OR UNBAL)
MIC 18
I
C
M
R
P
D
R
X
E
RIGHT
MAIN OUT
17
LINE IN
(BAL OR UNBAL)
MIC 17
I
C
P
M
R
D
R
X
E
LEFT
MAIN OUT
16
LINE IN
(BAL OR UNBAL)
MIC 16
I
C
P
M
R
D
R
X
E
OUTPUT
LEVEL
OO
15
LINE IN
(BAL OR UNBAL)
MIC 15
I
C
P
+6
M
I
C
R
P
D
R
E
X
MONO
MAIN OUT
R
E
14
LINE IN
(BAL OR UNBAL)
MIC 14
M
I
C
R
D
X
MAIN
BALANCED
OUTPUTS
PIN 2 = HOT
PIN 3 = COLD
P
R
E
2. LINE IN
The line inputs share circuitry (but not
TM
microphone
SHIELD
HOT
3
COLD
SHIELD
1
2
1
phantom power) with the mic preamps, and
can be driven by balanced or unbalanced
sources. These inputs can accept virtually any
line-level signal, from -45dB up to +20dB.
SLEEVE
TIP
TIPSLEEVE
TIP
SLEEVE
1/4” TS (Tip-Sleeve) unbalanced wiring:
Tip = hot (+)
Sleeve = shield
SLEEVERING
RING
TIPSLEEVE
XLR balanced wiring:
Pin 1 = shield
Pin 2 = hot (+)
Pin 3 = cold (-)
14
COLD
3
2
HOT
1
3
2
SHIELD
COLD
HOT
1/4” TRS (Tip-Ring-Sleeve) balanced wiring:
RING
TIP
SLEEVE
Tip = hot (+)
Ring = cold (-)
Sleeve = shield
TIP
Page 15
3. INSERT
Dry Signal
Serial Device
Processed
Signal
Insert
Send
Insert
Return
Dry Signal(s)
Dry Signal(s)
Aux
Send
Aux
Return
Wet Signal
Channel Path
Mix
Stage
Output
Section
Processed
Signal
Signal Processor
(e.g., Compressor)
Signal Processor
(e.g., Reverb)
Parallel Device
With nothing plugged into this jack, the
channel’s signal goes straight through the mic/
line preamp to the channel strip. With an external effects device plugged into this jack, the
channel’s signal leaves the mixer, goes through
the effects device and back into the channel
strip.
Use these jacks to send the channel signal
through a compressor, graphic equalizer or
similar device. Since the insert is before the
CHANNEL FADER (42), moving that fader will
not alter the level sent to a compressor,
thereby preserving the original signal’s characteristics.
These unbalanced jacks are wired thusly:
Tip = Send (to effects device input)
Ring = Return (from effects device output)
Sleeve = Common ground (connect shield
to all three sleeves)
EFFECTS: SERIAL OR PARALLEL?
Effects devices are used
either in serial or in parallel:
Serial means that the entire signal is routed through
the effects device. Examples
include: preamps, compres-
sor/limiters, graphic equalizers. Connections
are typically made via the channel insert jacks.
Parallel means that a portion of the signal
is tapped off to the effects device processed
and returned, to be mixed with the original
“dry” signals. Multiple signals (via multiple
mixer channels) can all make use of the same
parallel effects device. Examples include:
reverb, delay, chorus. Connections are typically
made via aux sends & aux returns.
ring
tip
This plug connects to one of the
mixer’s Channel Insert jacks.
sleeve
(TRS plug)
SEND to processor
RETURN from processor
Specialty “Y” cables, developed just for these
jacks, are widely available.
Besides being used for inserting effects devices, these jacks can also be used as channel
direct outputs; post-TRIM, pre-LOW CUT and
pre EQ.
Here are three ways to use the INSERT
jacks:
MONO PLUG
Channel Insert jack
Direct out with no signal interruption to master.
Direct out with signal interruption to master.
(TIP = SEND to effect, RING = RETURN from effects)
Insert only to first “click”
MONO PLUG
Channel Insert jack
Insert all the way in to the second “click”
STEREO
PLUG
For use as an effects loop.
Channel Insert jack
“tip”
“ring”
4. STEREO LINE IN
These balanced inputs are designed for TRS
balanced or TS unbalanced signals, from -20dB
to +20dB. They can accept any line-level instrument, effects device or tape player.
When connecting a stereo device (two
cords), use the LEFT (MONO) input and the
RIGHT input.
When connecting a mono device (just one
cord), always use the LEFT (MONO) input and
plug nothing into the RIGHT input. A trick
called “jack normalling” will cause the signal to
appear on both sides.
These inputs accept 1/4” TRS balanced and
1/4” TS unbalanced plugs, see the previous
page for wiring details.
15
Page 16
MAIN OUTS
(BAL OR UNBAL)
L
R
L
R
FUSE INSIDE
CAUTION:
TO REDUCE
THE RISK OF FIRE, REPLACE
WITH THE SAME TYPE FUSE
AND RATING
AUX SENDS
(BAL OR UNBAL)
14
2
3
(BAL OR UNBAL)
R
CONTROL ROOM OUTMAIN INSERTS
R
5
R
6
R
L
R
STEREO AUX RETURNS
(BAL OR UNBAL)
1
2
3
4
POWER
ON
OFF
5. TAPE OUT
Use these stereo jacks to capture the entire
performance to tape. The signal at these jacks
is the main mix, post-MAIN INSERTS (13) and
post-MAIN MIX FADER (72). Signals at these
jacks will depend on the levels set by the main
mix fader.
RCA unbalanced wiring:
6. TAPE IN
Patch the outputs of an intermission entertainment device here. Any line level mono or
stereo device can be used: tape, CD player,
television audio, etc. See TAPE RETURN TO
PHONES/C-R (69) and TAPE RETURN TO
MAIN MIX (71) for more information.
When connecting a mono device (just one
cord), use a “Y-splitter” RCA adapter. It turns a
mono cord into two cords; so both the left and
right tape input jacks can be patched. This
adapter is widely available.
7. SUB INSERTS
With nothing plugged into these jacks, the
subgroup mix goes straight through the SUBGROUP FADER (60) to the SUB OUTS (8).
With an effects device plugged into these jacks,
the subgroup mix leaves the mixer, goes
through the effects device and back into the
mixer’s subgroup faders.
Use these jacks to send a subgroup mix
through a compressor, graphic equalizer or
similar device. Since the insert is before the
subgroup faders, moving the fader will not
(BAL OR UNBAL)
5
6
7
8
SUB INSERTS
1
2
3
4
(MONO)
PHANTOM
ON
OFF
SUB OUTS
(BAL OR UNBAL)
L
1
2
L
L
3
4
L
Tip = hot, sleeve = shield
23 21
L
MONO MONO
RR
24
22
LL
R
TAPE OUTTAPE IN
PHONES
PHONES
2
1
20
L
INSERT INSERT INSERT INSERT INSERT INSERT INSERT
LINE IN
(BAL OR UNBAL)
MIC 20
M
I
C
R
P
D
R
X
E
R
TALK BACK
MIC
alter the level sent to a compressor, thereby
preserving the original signal’s characteristics.
actly the same as shown for INSERT (3) on
page 15.
TIPSLEEVETIPSLEEVE
8. SUB OUTS
be patched into secondary amplifiers, allowing
levels to be controlled, independently of the
main mix, via the SUBGROUP FADERs (60).
could feed the amplifiers while the subgroups
feed a recorder.
used as four separate paths to feed four or
more tracks of a multi-track recorder.
more information.
anced plugs, see page 14 for wiring details.
DOUBLE BUSSING
ing there are four separate subgroups
available, it can be used to feed all eight tracks
of a multi-track recorder, thanks to a trick
called Double Bussing.
and so do 2 and 6, 3 and 7, 4 and 8. Patch these
outputs into the corresponding inputs of your
multi-track recorder.
track 1 in record mode, but leave track 5 in
safe mode. To record onto track 5, put track 5
in record and put track 1 in safe mode.
19
LINE IN
(BAL OR UNBAL)
MIC 19
M
R
D
X
18
LINE IN
(BAL OR UNBAL)
MIC 18
I
C
P
M
R
D
R
X
E
RIGHT
MAIN OUT
17
LINE IN
(BAL OR UNBAL)
MIC 17
I
C
P
M
R
D
R
X
E
LEFT
MAIN OUT
16
LINE IN
(BAL OR UNBAL)
MIC 16
I
C
P
M
I
R
D
R
X
E
OUTPUT
LEVEL
OO
15
LINE IN
(BAL OR UNBAL)
MIC 15
C
+6
R
P
D
R
X
E
MONO
MAIN OUT
These unbalanced insert jacks are wired ex-
In live sound applications, these jacks can
Alternatively, the MAIN OUTS (12) (16)
In studio applications, these outputs can be
See 1-2 & 3-4 (40) and L/R ASSIGN (59) for
Accepts 1/4” TRS balanced or 1/4” TS unbal-
Although this is a “four-buss mixer,” mean-
SUB OUTS 1 and 5 carry the same signal,
To record onto track 1, for example, put
14
LINE IN
(BAL OR UNBAL)
MIC 14
M
I
C
P
M
I
C
R
P
D
R
E
X
MAIN
BALANCED
OUTPUTS
PIN 2 = HOT
PIN 3 = COLD
R
E
16
Page 17
9. STEREO AUX RETURNS
Patch the outputs of external parallel effects devices (reverb, delay, etc.) to these
inputs.
When connecting a mono device (just one
cord), always use the LEFT (MONO) input and
plug nothing into the RIGHT input. A trick
called “jack normalling” will cause the signal to
appear on both sides.
Accepts 1/4” TRS balanced or 1/4” TS unbalanced plugs, see page 14 for wiring details.
10. AUX SENDS
With aux sends in “pre” mode, patch these
jacks into stage monitor amplifier inputs. With
aux sends in “post” mode, patch these jacks
into the inputs of an effects device. See AUX
(26) and PRE (27) for more information.
Accepts 1/4” TRS balanced or 1/4” TS unbalanced plugs, see page 14 for wiring details.
11. CONTROL ROOM OUT
These line-level jacks are used to feed amplifier inputs in a control room situation,
typically found in a recording studio.
The stereo signal at these jacks is the same
as the MAIN OUTS (12) (16), except when any
SOLO (39) (47) (52) (57) or the TAPE RETURN TO PHONES/C-R (69) is engaged. Its
level is independently controlled by PHONES/
C-R LEVEL (70).
Accepts 1/4” TRS balanced or 1/4” TS unbalanced plugs, see page 14 for wiring details.
12. MAIN OUTS (TRS) and
16. MAIN OUT (XLR)
Available in two types, XLR and TRS, the
main output represents the end of the signal
path, just after the MAIN MIX FADER (72),
where the fully mixed stereo signal enters the
real world.
The XLR balanced outputs will add 6dB
when connected to balanced inputs, thereby elevating signal from the noise floor by that
amount.
The TRS balanced outputs offer the advantage of having no 6dB level change to deal
with, while still providing extraneous noise rejection. These accept 1/4” TRS balanced or 1/4”
TS unbalanced plugs, see page 14 for wiring
details.
13. MAIN INSERTS
With nothing plugged into these jacks, the
main mix goes straight through the MAIN MIX
FADER (72) to the MAIN OUTS (12) (16).
With an effects device plugged into these jacks,
the main mix leaves the mixer, goes through
the effects device and back into the mixer’s
main mix faders.
Use these jacks to send the main mix
through a compressor, graphic equalizer or
similar device. Since the insert is before the
main mix fader, moving the fader will not alter
the level sent to a compressor, thereby preserving the signal’s characteristics.
These unbalanced insert jacks are wired exactly the same as shown for INSERT (3) on
page 15.
14. MONO MAIN OUT
The signal sent out of this XLR jack is a sum
of the left and right signals at the MAIN OUTS
(12) (16). It can be used to feed a mono sound
system or a mono recording device. See OUTPUT LEVEL (15) for more information.
This XLR balanced output will add 6dB
when connected to a balanced input, thereby
elevating signal from the noise floor by that
amount.
Accepts XLR balanced plugs, see page 14.
15. OUTPUT LEVEL
Use this knob to independently set the level
of the MONO MAIN OUT (14). The level is also
dependent on the level set by the MAIN MIX
FADER (72). Unity gain is at 3 o’clock, and
there is 6dB additional gain available when
turned fully up.
To feed a microphone input, like that found
on a camcorder, turn this knob down to the
9:00 range. Use the device’s input meters to assure a good level.
17. TALKBACK MIC
Connect a balanced dynamic microphone to
this XLR jack to utilize the mixer’s talkback
feature (66) (67) (68). This input does not
provide phantom power, so it cannot accept
condenser microphones.
Accepts XLR balanced plugs, see page 14.
17
Page 18
MAIN OUTS
(BAL OR UNBAL)
L
R
L
R
FUSE INSIDE
CAUTION:
TO REDUCE
THE RISK OF FIRE, REPLACE
WITH THE SAME TYPE FUSE
AND RATING
AUX SENDS
(BAL OR UNBAL)
14
2
3
(BAL OR UNBAL)
R
CONTROL ROOM OUTMAIN INSERTS
R
5
R
6
R
L
R
STEREO AUX RETURNS
(BAL OR UNBAL)
1
2
3
4
POWER
ON
OFF
(MONO)
PHANTOM
ON
OFF
SUB OUTS
(BAL OR UNBAL)
L
1
2
L
L
3
4
L
(BAL OR UNBAL)
5
6
7
8
SUB INSERTS
1
2
3
4
23 21
L
MONO MONO
RR
24
LL
R
PHONES
1
L
22
R
TAPE OUTTAPE IN
PHONES
2
20
INSERT INSERT INSERT INSERT INSERT INSERT INSERT
LINE IN
(BAL OR UNBAL)
MIC 20
M
R
D
X
TALK BACK
MIC
19
LINE IN
(BAL OR UNBAL)
MIC 19
I
C
P
M
R
D
R
X
E
18
LINE IN
(BAL OR UNBAL)
MIC 18
I
C
P
M
R
D
R
X
E
RIGHT
MAIN OUT
17
LINE IN
(BAL OR UNBAL)
MIC 17
I
C
P
M
R
D
R
X
E
LEFT
MAIN OUT
16
LINE IN
(BAL OR UNBAL)
MIC 16
I
C
P
M
I
R
D
R
X
E
OUTPUT
LEVEL
OO
15
LINE IN
(BAL OR UNBAL)
MIC 15
M
C
P
R
+6
I
C
R
P
D
R
X
E
MONO
MAIN OUT
E
14
LINE IN
(BAL OR UNBAL)
MIC 14
M
I
C
R
D
X
MAIN
BALANCED
OUTPUTS
PIN 2 = HOT
PIN 3 = COLD
P
R
E
18. PHONES
The stereo signal from each of these identical outputs is a high-current version of the
signal from CONTROL ROOM OUT (11). Connect TRS headphones to either or both jacks.
The stereo signal at these jacks is the same
as the MAIN OUTS (12) (16), except when
SOLO (39) or TAPE RETURN TO PHONES/C-R
(69) is engaged. Its level is independently controlled by PHONES/C-R LEVEL (70).
TRS stereo wiring:
Tip = left, ring = right, sleeve = shield
19. PHANTOM
Engage this switch to provide phantom
power to all the MIC (1) input jacks. All of the
XLR mic inputs, except TALKBACK MIC (17),
are capable of simultaneously providing phantom power. Phantom power is required to
operate most condenser microphones (some
condenser microphones are battery-powered).
+48VDC phantom power is delivered to pins 2
and 3 of the XLR connectors.
For dynamic, ribbon or tube mics that do
not require phantom power, leave this switch
off. If both condenser and dynamic mics are
used, turn the switch on. Phantom power will
not hurt most dynamic mics. If unsure, check
the microphone’s user manual.
Caution: Turn all output levels down before
operating this switch to avoid the possibility of
a “pop” in the speakers.
Caution: Connecting an external line-level
device to an XLR input connector with the
phantom power activated could damage that
device. Use the LINE IN (2) or STEREO LINE
IN (4) jacks for connecting line-level signals.
20. POWER
The POWER switch is located on the rear
panel, adjacent to the AC RECEPTACLE (21).
Push in the top side of the switch to turn on,
this connects the mixer to main AC power. The
POWER (55) LED in the top right corner of the
console, will glow in confirmation.
To turn the mixer off, push the switch the
other way. Note: turning off the switch does not
remove all power from the mixer. To remove all
power, the power cord must be disconnected
from the power source.
21. AC RECEPTACLE
Connect the supplied AC linecord into this
IEC socket to provide AC power to the Mixer.
Plug the cord into a suitable AC outlet; properly grounded and capable of delivering
adequate current.
Replacement AC linecords are widely available at any office or computer supply store.
22. FUSE INSIDE
An AC power fuse is located in a tiny slideout compartment inside the AC RECEPTACLE
(21). It’s a good idea to carry spare fuses.
Always remove the
power cord before changing
the fuse.
Always use the correctly
rated fuse for your specific
mixer:
Use the fuse value shown on the rear panel
of your mixer, near the fuseholder.
18
Page 19
dB
30
20
10
OO
40
50
5
5
U
60
10
dB
30
20
10
OO
40
50
5
5
U
60
10
LR LR
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
-
20 +20
U
POST POST
POST
POST
+15dB-45dB
M
I
C
G
A
I
N
0
U
60
-
1
0
d
B
V
600
1.5k150
8k100
12k
HI
3k
MID
HI
800Hz
MID
LOW
EQ
LOW CUT
75 Hz
18dB/OCT
80Hz
LOW
80Hz
LOW
3-4
L-R
1-2
3-4
L-R
1-2
-20
OL
-20
OL
PRE
1
PRE
PRE
2
3
5
6
12k
HI
MID
FREQ
TRIM
20
TRIM
21
22
AUX
PRE
1
PRE
PRE
2
3
5
6
AUX
20
MUTE
EQ
21 22
MUTE
SOLO
SOLO
PAN PAN
44
MUTE /
SOLO
MUTE /
SOLO
MUTE /
SOLO
MUTE /
SOLO
CHANNEL STRIP FEATURES
The channel strip is where you dress up
each channel’s audio: setting the gain, adding
EQ, riding the fader, tapping signal off to stage
monitors and effects devices. After a signal
leaves the channel strip it goes through a mix
stage and on to the master section (page 22).
The 24•4-VLZ PRO has 20 mono channels
and two stereo channels. The 32•4-VLZ PRO
has 28 mono channels and two stereo channels. All of the mono channels are identical,
and all of the stereo channels are identical. In
this chapter, both flavors are described with
the help of an illustration from the 24•4-VLZ
PRO. This shows a mono channel strip 20 and
its neighbor, the stereo strip 21/22.
25. TRIM
If you haven’t already, please read SET THE
LEVELS on page 8.
TRIM adjusts the input sensitivity of the mic
and line inputs connected to the channels,
mono or stereo. This allows signals from the
outside world to be adjusted to optimal internal operating levels.
Through a mono channel’s MIC (1) XLR input, there is 0dB of gain fully down and 60dB of
gain fully up.
Through a mono channel’s LINE IN (2)
TRS input, there is 15dB of attenuation fully
down and 45dB of gain fully up; with a “U”
(unity gain) label at about 10:00 (knob onethird up).
Through the stereo channel’s STEREO LINE
IN (4) TRS inputs, there is 20dB of attenuation
fully down and 20dB of gain fully up; with a “U”
(unity gain) label at 12:00 (knob halfway up).
AUX SEND: (26 and 27)
26. AUX
channel signal and send it out, via the
AUX SENDS (10) jacks, to an amp &
speakers for stage monitors or to an effects device for parallel effects
processing.
through unity (center detent position),
on up to 15dB of extra gain (fully clockwise). AUX levels are controlled by these
knobs and by the AUX SEND MASTERS
(46).
trol a mono sum of the channel’s stereo
signals. For instance, channel 21 (L) and
22 (R) mix together to feed that
channel’s mono AUX send knobs.
27. PRE
designed for stage monitor applications.
Aux sends 5 & 6 are always post-fader, designed for parallel effects applications.
Aux sends 3 & 4, thanks to this switch,
can be set to be pre- or post-fader, so they
can be used for monitors or effects.
gaged (down), AUX 3 and 4 deliver
signals post-insert, post-low cut, post-EQ,
post-mute, pre-fader. Any changes made
to the channel controls, except the fader,
will affect the aux send signal.
disengaged (up), AUX 3 and 4 deliver signals post-insert, post-low cut, post-EQ,
post-mute and post-fader. Any changes
made to the channel controls will affect
the aux send signal.
These knobs tap a portion of each
Each AUX knob’s level ranges from off,
The stereo channels’ AUX knobs con-
Aux sends 1 & 2 are always pre-fader,
PRE-FADER: With the PRE switch en-
POST-FADER: With the PRE switch
19
Mono
channels
Stereo
channels
Page 20
20Hz100
Hz
1k
Hz
10kHz20k
Hz
–15
–10
–5
0
+5
+10
+15
HI MID
W
20Hz100
Hz
1k
Hz
10kHz20k
Hz
–15
–10
–5
0
+5
+10
+15
LOW
Mono
channels
d
B
0
V
1
-
G
A
C
I
N
I
M
U
60
0
+15dB-45dB
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
+15-15
U
+15-15
600
8k100
U
+15-15
LOW CUT
75 Hz
18dB/OCT
LR LR
PAN PAN
20
MUTE
dB
10
5
U
5
10
20
30
40
50
60
OO
Stereo
channels
TRIM
20
AUX
PRE
PRE
PRE
POST POST
POST
EQ
12k
MID
FREQ
1.5k150
LOW
80Hz
MUTE /
MUTE /
SOLO
SOLO
SOLO
1-2
3-4
L-R
U
TRIM
21
22
-
20 +20
AUX
U
1
2
3
44
5
6
HI
OL
-20
21 22
MUTE
dB
10
5
U
5
10
20
30
40
50
60
OO
1
PRE
OO
+15
U
2
PRE
OO
+15
U
3
OO
+15
U
OO
+15
U
PRE
5
OO
+15
U
6
POST
OO
+15
EQ
U
HI
12k
+15-15
U
HI
MID
3k
+15-15
U
LOW
MID
800Hz
+15-15
U
LOW
80Hz
+15-15
OL
-20
MUTE /
MUTE /
SOLO
SOLO
SOLO
1-2
3-4
L-R
20
EQ: (28 through 34)
The mixer has low shelving, mid
peaking and high shelving EQ. “Shelving” means that the circuitry boosts or
cuts all frequencies past the specified
frequency. For example, boosting the
LOW EQ knob boosts bass frequencies at
80Hz and below. “Peaking” means that
only a selected “hill” of frequencies surrounding a center “hilltop” frequency is
affected by the EQ control.
All EQ gain controls provide up to
15dB of boost (clockwise) or cut
(counter-clockwise). They are flat (no
boost or cut) at their center detents, effectively bypassing their circuits.
Note: EQ boost is a form of level
boost. With excessive amounts, the signal may become too hot and overload
subsequent circuitry. Should this happen, either back off the EQ gain, or
repeat the SET THE LEVELS on page 8.
The following graphs show how the
frequency response changes when the
various controls are adjusted.(The
graphs are simplified for entertainment
and enlightenment purposes only).
28. HI
This control is centered at 12kHz and
above. Boost it to add sizzle and definition to sounds with high-frequency
transients, such as cymbals. Reduce it to
attenuate sibilance or to mask tape hiss.
+15
+10
+5
0
–5
–10
–15
20Hz 100Hz 1kHz 10kHz 20kHz
HI
29. MID and 30. FREQ
The mono channels employ a semiparametric mid-sweep EQ. The gain is
set via MID (29), and then “aimed” at a
specific frequency, from 100Hz to 8kHz,
via FREQ (30).
+15
+10
+5
0
–5
–10
–15
20Hz100
Hz
1k
Hz
10kHz20k
MID
Hz
FREQ
31. HI MID and 32. LOW MID
The stereo channels employ a 2-stage fixed-
frequency midrange EQ:
+15
+10
+5
0
–5
–10
–15
20Hz 100Hz 1kHz 10kHz 20kHz
LOW MID
LOW MID is
centered at
800Hz.
HI MID is
centered at
3kHz
Midrange EQ is often considered the most
dynamic, because the frequencies that define
any sound are almost always found in this
range.
33. LOW
This control is centered at 80Hz and below.
This frequency represents the punch in kick
drums, bass guitar and fat synth patches.
+15
+10
+5
0
–5
–10
–15
20Hz100
Hz
1k
Hz
10kHz20k
Hz
This graph
shows various
settings of the
LO
LOW control,
with LOW CUT
not engaged.
34. LOW CUT
This switch (only on the mono channels)
cuts the bass frequencies below 75Hz at a rate
of 18dB per octave. Low Cut is also known as
High Pass (low cut dress=high pass rate).
To prevent muddy mixes, use low cut on every mono channel except those which carry
kick drum, bass guitar or other bass-intensive
sounds. Low cut can also help reduce the possibility of feedback in live situations and it helps
to conserve amplifier power.
This graph
shows various
settings of the
LOW control,
with LOW CUT
engaged.
Desirable low frequencies can be boosted
whilst undesirable lower frequency stage
rumble, mic handling clunks and P-p-pops are
attenuated.
Page 21
35. THIS OL’ LED
This LED represents a bad thing: If a
channel’s OL LED lights up, its signal is too
hot, and subsequent circuitry may overload
(clip). To correct this, perform the SET THE
LEVELS procedure on page 8.
36. -20 LED
This LED represents a good thing: This LED
will flicker in time with a channel’s signal
when its level peaks at -20dB or higher. Also
known as a “signal present indicator,” it confirms an adequate signal level.
37. PAN
PAN adjusts the amount of channel signal
sent, left versus right, to the MAIN OUTS (12)
(16) and SUB OUTS (8). On mono channels,
the knob places the signal somewhere between
hard left and hard right. On stereo channels, it
works as a balance control, by attenuating one
side or the other.
With the PAN knob hard left, the signal will
feed LEFT MAIN, SUB 1 or SUB 3, depending
on the channel’s L-R (41) and 1-2 & 3-4 (40)
assignment settings.
With the PAN knob hard right, the signal
will feed RIGHT MAIN, SUB 2 or SUB 4, also
depending on the channel assignment settings.
With the PAN knob set somewhere in between, the signal will be shared across both
sides of the mix(es).
The PAN circuits employ a design called
“constant loudness.” As the knob is rotated
from left to center to right, the sound will remain at the same apparent volume. To attain
this, both sides of the signal must dip down
about 4 dB when panned center, to account for
the “doubling” of the signal.
38. MUTE
Engaging a channel’s mute switch severs its
signal from subsequent outputs. Additionally,
the adjacent MUTE/SOLO LED will glow.
Note: A muted channel can still be soloed
(set MODE (63) to PFL).
Note: The mixer’s pre-fader aux sends, typically used for stage monitors, follow this mute
switch. To effectively mute the signal sent to
the main mix without muting monitor feeds,
use that channel’s fader instead of the mute
switch.
39. SOLO
Engaging this switch isolates the associated channel’s signal and sends it
to the control room, phones and
meters. See RUDE SOLO LIGHT (61)
and MODE (63) for more information.
Note: A muted channel can be
soloed (set MODE (63) to PFL).
40. 1-2 & 3-4
Used in conjunction with the PAN
(37) knob, these switches allow a
channel signal to be sent to the subgroups in stereo pairs. Typically, if a
channel signal is routed to the subgroups, it will not be directly assigned
to the main mix via the L-R (41)
switch.
For live sound, subgroups allow a
group of channels to be controlled by
one or two subgroup faders. For multitrack recording, subgroups can be used
to route groups of channels to specific
tracks of a multi-track recorder.
See PAN (37), L/R ASSIGN (59) and
SUBGROUP FADER (60) for more information.
41. L-R
Used in conjunction with the PAN
(37) knob, this switch allows a channel
signal to be sent directly to the stereo
main mix. Typically, an active channel
will always have this switch engaged,
unless its signal is being sent to a subgroup, via the 1-2 and 3-4 (40)
switches.
See PAN (37) and MAIN MIX
FADER (72) for more information.
42. CHANNEL FADER
The fader is the master level control
for the channel’s signal output. If the
TRIM (25) is set correctly, the fader
position will be best positioned somewhere between -20dB and 0dB (U).
If a fader is set all the way up,
thereby adding 10dB of gain, that’s a
sign that the TRIM (25) is set too low.
Conversely, if the fader is set way down,
the TRIM may be set too high.
Mono
channels
d
B
0
V
1
-
G
A
TRIM
C
I
N
I
M
U
60
0
+15dB-45dB
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
+15-15
U
+15-15
600
1.5k150
8k100
U
+15-15
LOW CUT
75 Hz
18dB/OCT
LR LR
PAN PAN
20
MUTE
MUTE /
MUTE /
SOLO
SOLO
dB
10
5
U
5
10
20
30
40
50
60
SOLO
OO
Stereo
channels
U
20
-
20 +20
AUX
PRE
PRE
POST POST
POST
EQ
MID
FREQ
LOW
80Hz
3-4
U
1
OO
U
2
OO
U
3
OO
U
44
OO
U
PRE
5
OO
U
6
OO
U
HI
12k
U
U
U
OL
-20
21 22
MUTE
dB
10
5
1-2
U
5
10
L-R
20
30
40
50
60
OO
+15
+15
+15
+15
+15
+15
+15-15
+15-15
+15-15
+15-15
TRIM
MUTE /
MUTE /
SOLO
SOLO
SOLO
21
22
AUX
1
PRE
2
PRE
3
PRE
5
6
POST
EQ
HI
12k
HI
MID
3k
LOW
MID
800Hz
LOW
80Hz
1-2
3-4
L-R
OL
-20
21
Page 22
MASTER SECTION FEATURES
U
U
1
OO
+15
U
SOLO
OO
+20
U
2
OO
+15
U
SOLO
OO
+20
U
3
OO
+15
U
SOLO
OO
+20
U
4
OO
+15
U
SOLO
OO
+20
5
OO
+15
U
SOLO
ASSIGN
TO SUB
6
OO
+15
AUX SEND
MASTERS
TRACK
1
•
5
5
+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
SOLO
TRACK
2
•
6
5
+100
SUB
STEREO
AUX RETURNS
TRACK
3
•
7
5
+100
1
2
3
(EFX TO MONITOR)
4
1-2
3-4
U
OO
+15
U
OO
+15
TO AUX
SEND
1-2
U
OO
+20
TAPE
RETURN
GLOBAL
AUX RETURN
SOLO
TRACK
4
•
8
5
+100
16kHz16kHz16kHz16kHz
PANPANPAN PAN
1234
dB
10
5
U
5
10
20
30
40
50
60
OO
dB
10
5
U
5
10
20
30
40
50
60
OO
dB
10
5
U
5
10
20
30
40
50
60
OO
dB
10
5
U
5
10
20
30
40
50
60
OO
1
2
LEVEL SET
TALKBACK
TAPE RETURN
TO PHONES / C R
TAPE RETURN
TO MAIN MIX
U
OO
LEVEL
SOLO
OO
LEVEL
LAMP
SOLO
LIGHT
+15
MAX
CLIP
28
10
7
4
2
0
2
4
7
10
20
30
40
LEFT RIGHT
OPERATING LEVEL
0dB = 0dBu
POWERRUDE
MODE
PRE FADER
IN PLACE AFL
SUBAUX
MAIN MIX
AUX 1-2
OO
MAX
PHONES / C-R
LEVEL
MAIN MIX
LEFT/RIGHT
dB
10
5
U
5
10
20
30
40
50
60
OO
In the master section, signals leaving the
channel strips are mixed, manipulated and
sent to the outputs in the patchbay. Additionally, there are four more stereo inputs here,
used to add effects to the main mix or other
destinations.
45. LAMP
This female BNC connector provides 12
volts on its center pin. Connect any quality
gooseneck lamp here.
AUX SEND MASTER: (46 and 47)
46. AUX SEND MASTERS
Aux send signals originate at each channel’s
AUX (26) knobs, are mixed together, sent
through these controls, and exit at the
patchbay’s AUX SENDS (10). Turned fully up,
these controls provide 15 dB of additional gain,
the center “U” label is unity gain and fully down
is off.
When an aux send is used for monitors,
these knobs can be used to raise or lower individual monitor mixes to suit the performer’s
taste. For recording work, these knobs are typically set near unity and left alone; most
adjustments are made per channel.
47. SOLO
Engaging any of these switches will isolate
the associated signal and send it to the control
room, phones and meters. See RUDE SOLO
LIGHT (61) and MODE (63) for more information.
22
Page 23
STEREO AUX RETURNS: (48 to 52)
48. STEREO AUX RETURNS
Having entered through the STEREO AUX
RETURNS (9) jacks, effects returns are controlled by these knobs, and typically continue
on to the MAIN MIX FADER (72). Effect returns are the “wet” signals, to be combined
with the channels’ original “dry” signals in the
main mix.
Turned fully up, these controls provide
20 dB of additional gain; the center “U” label is
unity gain and fully down is off. These knobs
are typically set near unity and left alone.
49. TO AUX SEND 1-2
These knobs work just like the channel
strip’s AUX (26) 1 and 2 knobs; but here, the
source signal is the STEREO AUX RETURNS
(9) 1 and 2. Typically, these knobs are used to
add effects to the stage monitors.
Via these knobs, aux return 1 combines its
left and right sides to feed aux send 1; stereo
aux return 2 combines to feed aux send 2.
Turned fully up, these controls provide 15 dB of
additional gain, the center “U” label is unity
gain and fully down is off.
50. ASSIGN TO SUB and 51. SUB
These switches allow stereo aux return 4 to
be sent to pairs of subgroups, instead of being
sent directly to the main mix. Engage ASSIGN
TO SUB (50) to divert aux return 4 to the subgroups; use SUB (51) to choose the subgroup
pair, 1-2 (switch up) or 3-4 (switch down).
For live sound, subgroups allow a group of
channel levels (and aux return 4) to be controlled by one or two subgroup faders. For
multi-track recording, subgroups can be used
to route groups of channels (and aux return 4)
to specific tracks of a multi-track recorder.
See L/R ASSIGN (59) and SUBGROUP
FADER (60) for more information.
52. SOLO
Engaging this switch isolates the associated
signal and sends it to the control room, phones
and meters. See RUDE SOLO LIGHT (61) and
MODE (63) for more information.
Note: In PFL mode, aux returns are not
soloed before their master level controls, but
are instead summed after the controls into a
mono signal and sent to the PFL mix.
53. TAPE RETURN
Having entered through the TAPE IN (6)
jacks, tape returns are controlled by these
knobs, and then sent to TAPE RETURN TO
PHONES/C-R (69) and TAPE RETURN TO
MAIN MIX (71).
Turned fully up, this provides 20dB of additional gain, the center “U” label is unity gain
and fully down is off. These knobs are typically
set near unity and left alone.
54. METERS
The mixer’s peak metering system is made
up of two columns of thirteen LEDs each, with
thresholds ranging from -40dB up to “CLIP”
(+22dBu at TRS MAIN OUTS (12), +28dBu at
the XLR MAIN OUT (16)).
The meters display the main mix, post
MAIN MIX FADER (72). However, when a
SOLO (39) (47) (52) (57) switch is engaged,
the meters will instead display the solo information.
A good mix will show the meter’s peaks
flashing anywhere between -10 and +10dB. Remember that most amplifiers clip at about
+10dB, and some recorders aren’t so forgiving
either. For best real-world results, try to keep
your peaks between “0” and “+7.”
ZERO EQUALS ZERO
You may already be familiar with “+4” and “-10”
operating levels. Basically,
what determines an operating level, besides available
headroom, is the relative
0dB VU chosen for the meters. A “+4” mixer,
with a +4dBu output signal, will actually display 0dB on its meters. A “-10” mixer, with a
-10dBV output signal, will also display 0dB.
To eliminate that confusion, Mackie’s com-
pact mixers use a simpler method, where zero
equals zero: 0dBu (0.775V) at the output
shows as 0dB VU on the meters. If a “+4” output is desired, set the mix levels so the meters
“average” at +4dB. If a “-10” output is desired,
set the mix levels so the meters “average” at 10dB.
55. POWER LED
This LED glows when the POWER (20)
switch is turned on.
23
Page 24
U
R
U
1
OO
+15
U
SOLO
OO
+20
U
2
OO
+15
U
SOLO
OO
+20
U
3
OO
+15
U
SOLO
OO
+20
U
4
OO
+15
U
SOLO
OO
+20
5
OO
+15
U
SOLO
ASSIGN
TO SUB
6
OO
+15
AUX SEND
MASTERS
TRACK
1
•
5
5
+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
SOLO
TRACK
2
•
6
5
+100
SUB
STEREO
AUX RETURNS
TRACK
3
•
7
5
+100
1
2
3
(EFX TO MONITOR)
4
1-2
3-4
U
OO
+15
U
OO
+15
TO AUX
SEND
1-2
U
OO
+20
TAPE
RETURN
GLOBAL
AUX RETURN
SOLO
TRACK
4
•
8
5
+100
16kHz16kHz16kHz16kHz
PANPANPAN PAN
1234
dB
10
5
U
5
10
20
30
40
50
60
OO
dB
10
5
U
5
10
20
30
40
50
60
OO
dB
10
5
U
5
10
20
30
40
50
60
OO
dB
10
5
U
5
10
20
30
40
50
60
OO
1
2
LEVEL SET
TALKBACK
TAPE RETURN
TO PHONES / C R
TAPE RETURN
TO MAIN MIX
U
OO
LEVEL
SOLO
OO
LEVEL
LAMP
SOLO
LIGHT
+15
MAX
CLIP
28
10
7
4
2
0
2
4
7
10
20
30
40
LEFT RIGHT
OPERATING LEVEL
0dB = 0dBu
POWERRUDE
MODE
PRE FADER
IN PLACE AFL
SUBAUX
MAIN MIX
AUX 1-2
OO
MAX
PHONES / C-R
LEVEL
MAIN MIX
LEFT/RIGHT
dB
10
5
U
5
10
20
30
40
50
60
OO
SUBGROUPS: (56 through 60)
56. AIR
AIR is a high frequency peaking EQ centered at 16kHz. Turned fully up, these controls
provide 10dB of boost and fully down effectively bypasses the circuit. Use AIR to provide a
crystalline effect to subgroups, helping them
stand out in the overall mix.
+15
+10
+5
0
–5
–10
–15
20Hz100
Hz
1k
Hz
10k
Hz
AI
100k
Hz
57. SOLO
Engaging this switch isolates the associated
signal and sends it to the control room, phones
and meters. See RUDE SOLO LIGHT (61) and
MODE (63) for more information.
Note: To solo a subgroup in AFL mode, L/R
ASSIGN (59) must be engaged.
58. PAN
When a mono subgroup signal is assigned to
the main mix via L/R ASSIGN (59), it effectively becomes another channel signal and can
be panned from left to right. This knob then
adjusts the amount of signal sent, left versus
right, to the MAIN OUTS (12) (16).
The mixer’s pan circuits employ a design
called “constant loudness.” As the knob is rotated from left to center to right, the sound will
remain at the same apparent volume. To attain
this, both sides of the signal must dip down
about 4 dB when panned center, to account for
the “doubling” of the signal.
59. L/R ASSIGN
This switch allows a subgroup signal to be
sent to the main mix. Engaging this switch will
not interrupt signal at the SUB OUTS (8) jack.
For live sound, subgroups allow a group of
channels to be controlled by one or two subgroup faders, and then sent to the main mix
using this switch and its associated PAN (58)
control.
For multi-track recording, subgroups can be
used to route groups of channels to specific
tracks of a multi-track recorder via the SUB
OUTS (8). In this case, L/R ASSIGN should not
be used.
24
Page 25
60. SUBGROUP FADERS
These faders provide 10dB of gain fully up,
unity gain at the “U” label and are effectively
muted fully down. Each fader is the master
level control for a subgroup’s signal, affecting
both the SUB OUTS (8) and the main mix, via
L/R ASSIGN (59).
SOLO: (61 through 65)
61. RUDE SOLO LIGHT
Engaging any SOLO switch (39),(47),(52)
or (57) has this result: The CONTROL ROOM
OUT (11), PHONES (18) and METERS (54),
which ordinarily receive the main mix signals,
will instead receive the solo signal. The MAIN
OUTS (12) (16) and MONO MAIN OUT (14)
are not affected by a solo condition.
Additionally, an LED associated with the
solo switch and the RUDE SOLO LIGHT will
blink obnoxiously.
The solo signal will be mono in PFL or stereo in AFL, as determined via the MODE (63)
switch. Any number of solo switches may be simultaneously engaged.
62. LEVEL
This is the master level control for all solo
signals, regardless of MODE (63). It can be set
as desired, as it only affects the CONTROL
ROOM OUT (11) and PHONES (18). It does
not affect the solo levels sent to the METERS
(54).
63. MODE
With this switch down, solo signals are PFL
(pre-fader listen). With this switch up, solo signals are AFL (after-fader listen).
In PFL mode, the solo signal is tapped before a circuit’s associated level control (except
aux return SOLO (52)). PFL is popular for live
sound applications; providing quick inspections of individual or multiple channels, even if
their level controls are turned fully down.
Note: In PFL mode, when engaging a solo
switch whose associated level control is set
well below “U” (unity gain), turn down solo
LEVEL (62) to compensate for the difference.
In AFL mode, the solo signal is tapped after
a circuit’s associated controls (trim, EQ, pan,
fader, mute, etc.). It’s the equivalent of muting
all the other channels. AFL is popular for studio recording applications; providing the actual
outputs of individual or multiple channels.
64. AUX LED
Along with the RUDE SOLO LIGHT (61),
this LED blinks when any aux send master
SOLO (47) or the global aux return SOLO (52)
is engaged.
65. SUB LED
Along with the RUDE SOLO LIGHT (61),
this LED blinks when any subgroup SOLO (57)
is engaged.
TALKBACK: (66 through 68)
66. LEVEL
Having entered through the TALKBACK
MIC (17) jacks, talkback level is controlled by
this knob, and then sent to the MAIN MIX (67)
and AUX 1-2 (68) switches. It can be set as desired by the engineer.
67. MAIN MIX
Engaging this switch sends the talkback signal to the main mix, allowing the user to speak
to the audience (live sound), or to slate a
song’s start (studio recording).
To prevent the possibility of feedback, engaging this switch will attenuate control room
output levels by 20dB.
68. AUX 1-2
Engaging this switch sends the talkback signal to aux sends 1 and 2, allowing the user to
speak to the talent, providing that they are using those aux sends for monitoring.
To prevent the possibility of feedback, engaging this switch will attenuate control room
output levels by 20dB.
69. TAPE RETURN TO PHONES/C-R
Ordinarily, the main mix (or solo) stereo
signal is sent to the control room and phones.
Engaging this switch will replace that with stereo signal from the TAPE IN (6) jacks, via the
TAPE RETURN (53) level control.
It’s typically used for studio recording, to
patch a mixdown deck’s outputs directly to the
control room and phones; thereby always listening to the mixdown deck, whether it’s in
playback or input mode.
25
Page 26
U
U
1
OO
+15
U
SOLO
OO
+20
U
2
OO
+15
U
SOLO
OO
+20
U
3
OO
+15
U
SOLO
OO
+20
U
4
OO
+15
U
SOLO
OO
+20
5
OO
+15
U
SOLO
ASSIGN
TO SUB
6
OO
+15
AUX SEND
MASTERS
TRACK
1
•
5
5
+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
SOLO
TRACK
2
•
6
5
+100
SUB
STEREO
AUX RETURNS
TRACK
3
•
7
5
+100
1
2
3
(EFX TO MONITOR)
4
1-2
3-4
U
OO
+15
U
OO
+15
TO AUX
SEND
1-2
U
OO
+20
TAPE
RETURN
GLOBAL
AUX RETURN
SOLO
TRACK
4
•
8
5
+100
16kHz16kHz16kHz16kHz
PANPANPAN PAN
1234
dB
10
5
U
5
10
20
30
40
50
60
OO
dB
10
5
U
5
10
20
30
40
50
60
OO
dB
10
5
U
5
10
20
30
40
50
60
OO
dB
10
5
U
5
10
20
30
40
50
60
OO
1
2
LEVEL SET
TALKBACK
TAPE RETURN
TO PHONES / C R
TAPE RETURN
TO MAIN MIX
U
OO
LEVEL
SOLO
OO
LEVEL
LAMP
SOLO
LIGHT
+15
MAX
CLIP
28
10
7
4
2
0
2
4
7
10
20
30
40
LEFT RIGHT
OPERATING LEVEL
0dB = 0dBu
POWERRUDE
MODE
PRE FADER
IN PLACE AFL
SUBAUX
MAIN MIX
AUX 1-2
OO
MAX
PHONES / C-R
LEVEL
MAIN MIX
LEFT/RIGHT
dB
10
5
U
5
10
20
30
40
50
60
OO
70. PHONES/C-R LEVEL
After the MAIN MIX FADER (72), the main
mix is sent to the MAIN OUTS (12) (16) and
MONO MAIN OUT (14). It is also sent through
this control, and exits at CONTROL ROOM
OUT (11) and PHONES (18).
This knob allows engineer’s listening levels
to be set as desired without disturbing the
main mix outputs. Engaging TAPE RETURN
TO PHONES/C-R (69) or TAPE RETURN TO
MAIN MIX (71) will replace the main mix signal at the control room and phones outputs
with the TAPE IN (6) signal.
When a channel’s SOLO (39) is engaged,
the main mix signal will be replaced by the solo
signal(s), allowing the engineer to audition
channels without disturbing the main mix.
To prevent the possibility of feedback, engaging either talkback switch (67) (68) will
attenuate control room output levels by 20dB.
71. TAPE RETURN TO MAIN MIX
Ordinarily, the main mix (or solo) stereo
signals are sent to CONTROL ROOM OUT (11),
MAIN OUTS (12) (16), MONO MAIN OUT
(14), PHONES (18) and METERS (54). Engaging this switch will replace these signals
with stereo signals from the TAPE IN (6) jacks,
via the TAPE RETURN (53) level control.
Also known as a “break switch,” this switch
is useful for live sound, to play recorded entertainment between sets. It can also serve as a
global mute switch simply by patching nothing
into the TAPE IN (6) jacks.
72. MAIN MIX FADER
This fader controls the main mix levels sent
to CONTROL ROOM OUT (11), MAIN OUTS
(12) (16), MONO MAIN OUT (14), PHONES
(18) and METERS (54). The stereo main mix
can be processed before this fader by patching
an effects device into the MAIN INSERTS
(13).
The fader turned fully up provides 10 dB of
additional gain, the “U” label is unity gain and
fully down is effectively muted. Typically, this
fader is set near the “U” label and left alone,
but it can be used for song fade-outs or quick
system-wide mutes.
26
Page 27
SPECIFICATIONS
24•4-VLZ PRO and 32•4-VLZ PRO
Noise (20Hz to 20kHz bandwidth, Line inputs to Main
L/R outputs, all channels assigned, panned L/ R):
Master fader down, Ch. gains down –94.7dBu
Master fader @ unity, Ch. gains down –87.4dBu
Master fader @ unity, Ch. gains @ unity –83.5dBu
Total Harmonic Distortion
(1KHz @ +14dBu 20Hz–20kHz):
Mic input to insert output <0.0007%
Other outputs < 0.004%
Crosstalk (1kHz @ 0dBu, 20Hz to 20Khz bandwidth,
channel in to Main Left outputs):
Channel fader down, channels at Unity –89.5dB
Channel muted, channels 2–16 at Unity –88.7dB
Frequency Response (any input to any output):
20Hz to 50KHz +0/–1dB
20Hz to 100KHz +0/–3dB
Maximum Levels
Mic preamp input +22dBu
All other inputs +22dBu
Balanced XLR outputs +28dBu
All other outputs +22dBu
Impedances
Mic preamp input 1.5kΩ
All other inputs >10kΩ
All outputs 120Ω
Equalization
Lo EQ Shelving 80Hz ±15dB
(mono ch)Peak 100–8kHz ±15dB
Mid EQ
Hi EQ Shelving 12kHz ±15dB
Microphone Preamp
E.I.N. (150Ω terminated, max gain): –129.5dBm
Power Requirements
60 watts
Weight
24•4-VLZ PRO 31 lbs. (14 kg.)
32•4-VLZ PRO 40.7 lbs. (18.8 kg.)
Since we are always striving to make our
products better by incorporating new and improved materials, components, and
manufacturing methods, we reserve the right
to change these and other specifications at
any time without notice.
1.80"
1.30"
18.90"
19.20"
31.00"
39.25"
2.80"
2.80"
5.60"
0.50"
19.20"
24•4
WEIGHT
31 lbs.
19.20"
32•4
WEIGHT
41 lbs.
27
Page 28
•
•
•
•
•
•
•
•
•
•
••
•
•
••
••
•••
•
•
•
•
•
•••
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•••
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
••
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
••
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
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)
STOPLIGHT
EXIT 27B
316 GLENDALE
(KNOCK FIRST AND
SAY SID SENT YOU)
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 OUT
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 MIX
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
PLACE
PFL
LOGIC
•
80 800 3k 12k
•
•
•
•
PAN
INSERT
•
•
•
•
MUTE
PHANTOM POWER
(GLOBAL SWITCH)
MACKIE XDR
MIC PREAMP
75Hz
HPF
BLOCK DIAGRAM
28
Page 29
GAIN PATH DIAGRAM — (all levels in dBu)
level up +20
0
0
0
0
0
0
0
0
0
0
max out +22
XLR max out +28
max out +22
max out +22
+22 max in
+22 max in
45dB gain
15dB loss
0dB gain
MIC INPUT
LINE INPUT
0
0
0
0
(C)
–6
–6
–6
+22 max in +22 max in
gain up +3
MACKIE
SR24•4/32•4-VLZ PRO
GAIN STRUCTURE
REV 1.0 3/2000
ALL LEVELS ARE IN dBu
20dB gain
20dB loss
STEREO LINE INPUT
INSERT EQ FADER PAN
MASTERS L-RCHANNEL
CONTROL ROOM SUB 1–4
FADER OUTPUTINSERTMIX
0dBu = 0VU
METERSOUTPUTFADERINSERTMIX
AUX RETURN
CH. LEVEL MIX O/P LEVEL OUTPUT
60dB gain
to point (B)
level up +15
0
0
to point (B) or (C)
gain up +15
fader up +10
fader up +10
gain up +10
gain dn +15
level up +15
level up +15
0
0
(A)
0
0
0
0
(B)
TAPE IN
pan ctr –4.5dB
from point (A)
AUX SEND
29
Page 30
SERVICE INFORMATION
TROUBLESHOOTING
If you think your Mackie product has a problem, please do everything you can to confirm it
before calling for service. Doing so might save
you from the deprivation of your mixer and the
associated suffering. Here’s a few troubleshooting suggestions:
No channel signal
• Is the 1-2 & 3-4 (40) or L-R (41) switch set
correctly?
• Is the CHANNEL FADER (42) turned up?
• Try soloing that channel. Does it appear on
the METERS (54)?
• On mono channels, try unplugging any
INSERT (3) effects devices.
• Try the same signal in another channel, set
up exactly like the suspect channel.
No Output
• Are the L/R ASSIGN (59) switches set
correctly?
• Are the MAIN MIX FADER (72) or SUB-
GROUP FADERs (60) turned up?
• Try unplugging any insert (7) (13) effects
devices.
• If it’s one of the MAIN OUTS (12) (16), try
unplugging the other. For example, if it’s
the MAIN OUTS (TRS) (12), unplug the
associated MAIN OUT (XLR) (16) output.
If the problem goes away, it’s not the mixer.
• If it’s one bad side of a stereo pair, try
switching them around. For example, if a
left output is presumed dead, switch the
left and right cords, at the mixer end. If the
problem stays on the left side, it’s not the
mixer.
Power
• Our favorite question: Is the POWER (20)
switch on?
• Turn off the power from the wall, unplug
the power cord and check the fuse (22).
Noise
• Turn the CHANNEL FADERs (42) and
STEREO AUX RETURNS (48) down, one
by one. If the sound disappears, it’s either
that channel or whatever is plugged into it,
so unplug whatever that is. If the noise
disappears, it’s from your whatever.
30
Page 31
REPAIR
Service for the 24•4-VLZ PRO and the
32•4-VLZ PRO is available at our factory, located in sunny Woodinville, Washington.
Service for Mackie mixers living outside the
United States can be obtained through local
dealers or distributors.
If your mixer needs service, follow these instructions:
1. Review the preceding troubleshooting
suggestions. Please.
2. Call Tech Support at 1-800-258-6883, 8am
to 5pm PST, to explain the problem and
request an RA (Return Authorization)
number. Have your mixer’s serial number
ready.
You must have an RA
number before you can
obtain service at the
factory.
3. Keep this owner’s manual. We don’t need it
to repair the mixer.
4. Very Important: Move all Faders to their
UP position as this will help prevent
damage to the faders during shipping.
5. Pack the mixer in its original package,
including endcaps and box. This is very
important. When you call for the RA
number, please let Tech Support know if
you need new packaging. Mackie is not
responsible for any damage that occurs
due to non-factory packaging.
6. Include a legible note stating your name,
shipping address (no P.O. boxes), daytime
phone number, RA number, and a detailed
description of the problem, including how
we can duplicate it.
7. Write the RA number in
top of the box.
8. Ship the mixer to us. We recommend
United Parcel Service (UPS). We suggest
insurance for all forms of cartage. Ship to
this address:
Mackie Designs
SERVICE DEPARTMENT
16140 Wood-Red Rd. NE Ste 5
Woodinville, WA 98072
BIG PRINT on
9. Ask Tech Support for the latest turnaround times when you call for your RA
number. We normally send everything back
prepaid using UPS Orange (Three Day).
However, if you rush your mixer to us by
Next Day Air, we’ll treat it in kind by
shipping it back to you UPS RED (Next Day
Air). This paragraph does not necessarily
apply to non-warranty service.
COLOPHON
Manual composed, for the most part, by Jeff
Gilbert. It was created in complete darkness,
which gave him a whopping headache. He
then read it over the telephone to Mackie’s
manual layout droid, the Steve Eborall 3000
Mk IIa, Rev B.
“Mackie,” the “Running Man” figure, “XDR,”
“24•4-VLZ PRO” and “32•4-VLZ PRO” are
trademarks or registered trademarks of
Mackie Designs Inc. All other brand names
mentioned are trademarks or registered trademarks of their respective holders, and are
hereby acknowledged.
© 2000 Mackie Designs Inc.
All Rights Reserved.
Printed in the U.S.A.
31
Loading...