Mackie SR244-VLZ PRO, SR324-VLZ User Manual

SR24•4-VLZ PRO & SR32•4-VLZ PRO OWNER’S MANUAL

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.

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

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

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

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.

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

TRIM

10U60

+10dB-40dB

AUX

PRE

+15

PRE

+15

4 44

MIC/LINE CHANNELS 1-20 (IDENTICAL)

+15

PRE

+15

12k

+15-15

MID

+15-15

FREQ

8kHz100

LOW

80Hz

+15-15

LOW CUT

75 Hz

18dB/OCT

-20

LR LR LR

PAN PAN PAN

MUTE

MUTE / SOLO MUTE / SOLO MUTE / SOLO

SOLO

1-2

3-4

L-R

40 50 60

LINE ONLY CHANNELS 21-24

TRIM

20 +20

AUX

PRE

+15

PRE

+15

PRE

+15

12k

+15-15

MID

+15-15

LOW

MID

800Hz

+15-15U+15-15

LOW

80Hz

+15-15U+15-15

-20OL-20

21 22

23 24

MUTE

SOLO SOLO

1-2

3-4

L-R

LAMP

CLIP

121

SOLO

+15

+20

SOLO

+15

+20

+15

TO AUX

SEND

1-2

(EFX TO MONITOR)

SOLO

+20

+15

SOLO

+15

+20

TAPE

RETURN

LEVEL SET

MASTER SECTION

ASSIGN

SOLO

+15

TO SUB

SOLO

SUB

+15

STEREO

AUX SEND

AUX RETURNS

MASTERS

TRACK

•

+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

LEFT RIGHT

OPERATING LEVEL

0dB = 0dBu

GLOBAL

AUX RETURN

1-2 3-4

SOLO

POWERRUDE SOLO LIGHT

MODE

TRACK

+15

PRE FADER

IN PLACE AFL

LEVEL

• 8

SUBAUX

SOLO

MAX

MAIN MIX

LEVEL

16kHz16kHz16kHz16kHz

AUX 1-2

TALKBACK

TAPE RETURN

MAX

TO PHONES / C R

PHONES / C-R

PANPANPAN PAN

LEVEL

MAIN MIX

TAPE RETURN

LEFT/RIGHT

TO MAIN MIX

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

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)

40 50 60

Fader

Down

MAIN OUTS

(BAL OR UNBAL)

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)

CONTROL ROOM OUTMAIN INSERTS

STEREO AUX RETURNS

(BAL OR UNBAL)

POWER

OFF

Power

Off

(MONO)

PHANTOM

OFF

Phantom

Off

SUB OUTS

(BAL OR UNBAL)

SUB INSERTS

23 21

MONO MONO

TAPE OUTTAPE IN

PHONES

INSERT INSERT INSERT INSERT INSERT INSERT INSERT

LINE IN

(BAL OR UNBAL)

MIC 20

TALK BACK

MIC

LINE IN

(BAL OR UNBAL)

MIC 19

LINE IN

(BAL OR UNBAL)

MIC 1818MIC 1717MIC 1616MIC 1515MIC 14

RIGHT

MAIN OUT

LINE IN

(BAL OR UNBAL)

LEFT

MAIN OUT

LINE IN

(BAL OR UNBAL)

OUTPUT

LEVEL

LINE IN

(BAL OR UNBAL)

MONO

MAIN OUT

LINE IN

(BAL OR UNBAL)

MAIN

BALANCED

OUTPUTS

PIN 2 = HOT PIN 3 = COLD

Output Level

Fully Down

SR24•4-VLZPRO

40 50

+15

MAX

+20

+15

+100

LR LR LR LR LR LR LR

+15

+15-15

+15

20 +20

POST POST

POST

+15dB-45dB

600

1.5k150

8k100

16kHz16kHz16kHz16kHz

LAMP

12k

MID

800Hz

MID

LOW

STEREO

AUX RETURNS

AUX SEND

MASTERS

LEVEL

12k

MID

800Hz

MID

AIR AIR AIR AIR

LOW

SOLO SOLO SOLO SOLO

LOW CUT

75 Hz

18dB/OCT

80Hz

LOW

80Hz

LOW

80Hz

LOW

SOLO

1-2

SUB

SOLO

GLOBAL

AUX RETURN

ASSIGN TO SUB

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

CLIP

3-4

L-R

1-2

3-4

L-R

1-2

3-4

L-R

1-2

-20

PRE

12k

MID

FREQ

TRIM

21 22

TRIM

23 24

AUX

PRE

AUX

PRE

AUX

MUTE

21 22

MUTE

23 24

TRACK

• 5

TRACK

• 6

TRACK

• 7

TRACK

•

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

25 25 25

26 26 26

27 27 27

28 28 28

29 31 31

30 32 32

33 33

37 37 37 58 58 58 58

42 42 42 60 60 60 60 72

383838

56 56 56 56

57 57 57 57

59 59 59 59 71

47 51

Set the controls as shown to zero the console. See the description on page 6.

Control Centered

Control Fully Down

Switch Up

Switch Down

40 50 60

Fader

Down

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.

APPLICATION DIAGRAMS

2-track Recorder

TAPE IN

TAPE OUT

NOTE: For input level control,

use Control Room Outs

instead of Tape Outs.

Band in a Club

Stereo Reverb #1

Stereo Reverb #2

12 12

STEREO CHANNELS

SUB

OUTS

5678

AUX RETURNS SUB INSERTS

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

Graphic EQ

AUX SENDS

1234

2LR L

56 LR

MAIN OUTS

MAIN INSERTS

MONO

MAIN OUTS

PHONES

TALKBACK

Power Amplifier

Stereo

FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN

Cassette

or DAT

TAPE IN

TAPE OUT

Playback Only

(DAT, CD, etc.)

Church Installation

4-track Recorder

Assisted Listening

Station

FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN

Power Amplifier

Stage Monitor

STEREO CHANNELS

SUB

OUTS

12 12

5678

AUX RETURNS SUB INSERTS

LRLR

CNTRL RM OUT

OFF OL PWR

HIGH RESOLUTION

STUDIO MONITOR

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

FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN

Power Amplifier

SRM450

Active Monotors

FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN

Power Amplifier

AUX SENDS

1234

56 LR

Effects Device

MAIN OUTS

MAIN INSERTS

2LR L

MONO

MAIN OUTS

PHONES

TALKBACK

Power Amplifier

FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN

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

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