Mackie SR40 8, SR56 8 Owner's Manual

SR40•8

/

SR56•8

OWNER’ S MANU AL

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MIC 40

MIC 39

MIC 38

MIC 37

MIC 36

MIC 35

MIC 34

MIC 33

MIC 32

MIC 31

MIC 30

MIC 29

MIC 28

MIC 27

MIC 26

MIC 25

(MACKIE 400-WATT POWER SUPPLY !)

DC POWER IN

MIDI IN MIDI OUT

DATA

PHANTOM POWERED

TALK BACK MIC

INTERCOM

RIGHTLEFT

CENTER

MATRIX OUTPUTS MATRIX INPUTSMAIN OUTPUTS

MATRIX DMATRIX CMATRIX BMATRIX A

MATRIX C&D

SOURCE =

C

A

D

B

MIC 24

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MIC 2

MIC 1

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SUB OUTPUTS

SUB INSERTS

(BAL/UNBAL)

MAIN INSERTS

(BAL/UNBAL)

MONITOR

(BAL/UNBAL)

AUX SEND

(BAL/UNBAL)

"B" AUX RETURNS

(BAL/UNBAL)

TAPE

MAIN AUX RETURNS

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SUB

5

1

SUB

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3

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4

8

SEND RETURN

214

3

SEND RETURN

658

7

RIGHT SEND

CNTR SEND

LEFT SEND

L-INSERT R-INSERT

RIGHT RETURN

CNTR RETURN

LEFT RETURN

HEADPHONES

TALKBACK

R

L

214

3

587

6

(MONO)

LLL

L

123

4

RRR

R

L

INPUT OUTPUT

TAPE

TAPE TAPE

TAPE A

TAPE B

MASTER L-R

SOURCE =

TAPE

L

R

L

(MONO)

LLL

L

A1A2A3

A4

RRR

R

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SET

(AFL)

LEVEL

247

4

7

2

0

102030

10

22

RIGHT

MASTER

LEFT

SET

(PFL)

LEVEL

20247

4

7

CENTER

102030

10

22

CLIP CLIP CLIPCLIPCLIP

8

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A4

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A1

242322212019181716151413121191087654321 25 26

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40

AUX

TRIM

+48 PH

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AUX

TRIM

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38

AUX

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AUX

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AUX

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AUX

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AUX

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32

AUX

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AUX

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AUX

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AUX

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AUX

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AUX

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U

40•8•2 AUDIO MIXING CONSOLE

STATUS

V.- 5 V 12 V48 V

POWER SUPPLY

V.+

PFL

AFL

AUX SEND MASTERS

OUTPUT

SECTION

PFL

AFL

INPUT

SECTION

MAXLOW

METER

DIMMER METERING

MAXLOW

LAMP

AUX

A 4

TRIM

U

20 +20

-

AUX

A 3

TRIM

U

20 +20

-

AUX

A 2

TRIM

U

20 +20

-

AUX

A 1

TRIM

U

20 +20

-

24

AUX

TRIM

+48 PH

0

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C

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GAIN

060

20dB+40dB –

23

AUX

TRIM

+48 PH

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22

AUX

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+48 PH

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21

AUX

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20

AUX

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19

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18

AUX

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17

AUX

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16

AUX

TRIM

+48 PH

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20dB+40dB –

15

AUX

TRIM

+48 PH

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20dB+40dB –

14

AUX

TRIM

+48 PH

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20dB+40dB –

13

AUX

TRIM

+48 PH

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20dB+40dB –

12

AUX

TRIM

+48 PH

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20dB+40dB –

11

AUX

TRIM

+48 PH

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20dB+40dB –

10

AUX

TRIM

+48 PH

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20dB+40dB –

9

AUX

TRIM

+48 PH

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20dB+40dB –

8

AUX

TRIM

+48 PH

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20dB+40dB –

7

AUX

TRIM

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6

AUX

TRIM

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5

AUX

TRIM

+48 PH

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20dB+40dB –

4

AUX

TRIM

+48 PH

0

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060

20dB+40dB –

3

AUX

TRIM

+48 PH

0

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U

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GAIN

060

20dB+40dB –

2

AUX

TRIM

+48 PH

0

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C

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N I

U

M

L

GAIN

060

20dB+40dB –

1

AUX

TRIM

+48 PH

0

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C

I

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060

20dB+40dB –

1

+15

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RECEIVE

+10

U

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1

SUB

FLIP

U

FLIPFLIPFLIPFLIP

U

FLIP

U

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U

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U

1

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+10

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2

SUB

SUB3SUB4SUB5SUB

+15

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2

3

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U

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6

5

4

PRE

+15

U

OO

40

6

5

4

PRE

+15

U

OO

39

6

5

4

PRE

+15

U

OO

38

6

5

4

PRE

+15

U

OO

37

6

5

4

PRE

+15

U

OO

36

6

5

4

PRE

+15

U

OO

35

6

5

4

PRE

+15

U

OO

34

6

5

4

PRE

+15

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OO

33

6

5

4

PRE

+15

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32

6

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31

6

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30

6

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6

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6

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27

6

5

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PRE

+15

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26

6

5

4

PRE

+15

U

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25

ON

400Hz

PINK NOISE

MAX

CALL

OO

LEVEL

OSCILLATOR

PHANTOM POWERED

COMMUNICATIONS

+10

U

OO

+10

U

OO

+10

U

OO

+10

U

OO

7

6

SUB

RUDE

PFL AFL

SOLO LIGHT

MUTE

SOLO SOLO

+15

U

OO

LINE OUT

SOLO

+15

U

OO

LEVELLEVEL

SOLO

+15

U

TAPE RETURNS

5678

OO

+15

U

OO

LEVEL

CENTER

ASSIGNED TO

+15

U

OO

LEVELLEVELLEVEL

SOLO SOLO SOLO

+15

AUX RETURNS

U

OO

MUTE MUTE MUTE MUTE MUTE MUTE

SOLO

+15

U

1234

OO

MUTE

5

6

4

PRE

+15

U

OO

A4

5

6

4

PRE

+15

U

OO

A3

5

6

4

PRE

+15

U

OO

A2

5

6

4

PRE

+15

U

OO

A1

6

5

4

PRE

+15

U

OO

24

6

5

4

PRE

+15

U

OO

23

6

5

4

PRE

+15

U

OO

22

6

5

4

PRE

+15

U

OO

21

6

5

4

PRE

+15

U

OO

20

6

5

4

PRE

+15

U

OO

19

6

5

4

PRE

+15

U

OO

18

6

5

4

PRE

+15

U

OO

17

6

5

4

PRE

+15

U

OO

16

6

5

4

PRE

+15

U

OO

15

6

5

4

PRE

+15

U

OO

14

6

5

4

PRE

+15

U

OO

13

6

5

4

PRE

+15

U

OO

12

6

5

4

PRE

+15

U

OO

11

6

5

4

PRE

+15

U

OO

10

6

5

4

PRE

+15

U

OO

9

6

5

4

PRE

+15

U

OO

8

6

5

4

PRE

+15

U

OO

7

6

5

4

PRE

+15

U

OO

6

5

4

PRE

+15

U

OO

5

6

5

4

PRE

+15

U

OO

4

6

5

4

PRE

+15

U

OO

3

6

5

4

PRE

+15

U

OO

2

6

5

4

PRE

+15

U

OO

1

7

8

HI

12k

MID

EQ

FREQ

6k

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

+15

U

2.5k

PRE FDR

POST EQ

OO

700

7

8

HI

12k

MID

EQ

FREQ

6k

+15-15

+15-15U+15-15

+15

U

2.5k

PRE FDR

POST EQ

OO

700

7

8

HI

12k

MID

EQ

FREQ

6k

+15-15

+15-15U+15-15

+15

U

2.5k

PRE FDR

POST EQ

OO

700

7

8

HI

12k

MID

EQ

FREQ

6k

+15-15

+15-15U+15-15

+15

U

2.5k

PRE FDR

POST EQ

OO

700

7

8

HI

12k

MID

EQ

FREQ

6k

+15-15

+15-15U+15-15

+15

U

2.5k

PRE FDR

POST EQ

OO

700

7

8

HI

12k

MID

EQ

FREQ

6k

+15-15

+15-15U+15-15

+15

U

2.5k

PRE FDR

POST EQ

OO

700

7

8

HI

12k

MID

EQ

FREQ

6k

+15-15

+15-15U+15-15

+15

U

2.5k

PRE FDR

POST EQ

OO

700

7

8

HI

12k

MID

EQ

FREQ

6k

+15-15

+15-15U+15-15

+15

U

2.5k

PRE FDR

POST EQ

OO

700

7

8

HI

12k

MID

EQ

FREQ

6k

+15-15

+15-15U+15-15

+15

U

2.5k

PRE FDR

POST EQ

OO

700

7

8

HI

12k

MID

EQ

FREQ

6k

+15-15

+15-15U+15-15

+15

U

2.5k

PRE FDR

POST EQ

OO

700

7

8

HI

12k

MID

EQ

FREQ

6k

+15-15

+15-15U+15-15

+15

U

2.5k

PRE FDR

POST EQ

OO

700

7

8

HI

12k

MID

EQ

FREQ

6k

+15-15

+15-15U+15-15

+15

U

2.5k

PRE FDR

POST EQ

OO

700

7

8

HI

12k

MID

EQ

FREQ

6k

+15-15

+15-15U+15-15

+15

U

2.5k

PRE FDR

POST EQ

OO

700

7

8

HI

12k

MID

EQ

FREQ

6k

+15-15

+15-15U+15-15

+15

U

2.5k

PRE FDR

POST EQ

OO

700

7

8

HI

12k

MID

EQ

FREQ

6k

+15-15U+15-15

+15-15

+15

U

2.5k

PRE FDR

POST EQ

OO

700

7

8

HI

12k

MID

EQ

FREQ

6k

+15-15

+15-15U+15-15

+15

U

2.5k

PRE FDR

POST EQ

OO

700

AUX 1-4MATRIX A

MAX

OO

TALKBACK LEVEL

TALKBACK MIC

+10

U

OO

+10

U

OO

+10

U

OO

+10

U

OO

8

SUB

CTR

LEFT

RIGHT

INPUTS

OUTPUTS

9

0-9

PFL

AFL

8

MUTE

MONITOR SOLOTAPE BTAPE A

SOLO

MUTE

SOLO

MUTE

SOLO

MUTE

SOLO

MUTE

MODE

SOLO

MUTE

SOLO

MUTE

01234567

B1 B2 B3 B4

7

8

HI

12k

3.5k

MID

EQ

MID

LOW

+15-15U+15-15

+15-15

+15

U

PRE FDR

POST EQ

OO

7

8

HI

12k

3.5k

MID

EQ

MID

LOW

+15-15U+15-15

+15-15

+15

U

PRE FDR

POST EQ

OO

7

8

HI

12k

3.5k

MID

EQ

MID

LOW

+15-15

+15

+15-15

U

PRE FDR

POST EQ

OO

7

8

HI

12k

3.5k

MID

EQ

MID

LOW

+15-15

+15

U

PRE FDR

POST EQ

OO

7

8

HI

12k

MID

EQ

FREQ

6k

+15-15

+15

U

2.5k

PRE FDR

POST EQ

OO

700

7

8

HI

12k

MID

EQ

FREQ

6k

+15-15

+15

U

2.5k

PRE FDR

POST EQ

OO

700

7

8

HI

12k

MID

EQ

FREQ

6k

+15-15

+15

U

2.5k

PRE FDR

POST EQ

OO

700

7

8

HI

12k

MID

EQ

FREQ

6k

+15-15

+15

U

2.5k

PRE FDR

POST EQ

OO

700

7

8

HI

12k

MID

EQ

FREQ

6k

+15-15

+15

U

2.5k

PRE FDR

POST EQ

OO

700

7

8

HI

12k

MID

EQ

FREQ

6k

+15-15

+15

U

2.5k

PRE FDR

POST EQ

OO

700

7

8

HI

12k

MID

EQ

FREQ

6k

+15-15

+15

U

2.5k

PRE FDR

POST EQ

OO

700

7

8

HI

12k

MID

EQ

FREQ

6k

+15-15

+15

U

2.5k

PRE FDR

POST EQ

OO

700

7

8

HI

12k

MID

EQ

FREQ

6k

+15-15

+15

U

2.5k

PRE FDR

POST EQ

OO

700

7

8

HI

12k

MID

EQ

FREQ

6k

+15-15

+15

U

2.5k

PRE FDR

POST EQ

OO

700

7

8

HI

12k

MID

EQ

FREQ

6k

+15-15

+15

U

2.5k

PRE FDR

POST EQ

OO

700

7

8

HI

12k

MID

EQ

FREQ

6k

+15-15

+15

U

2.5k

PRE FDR

POST EQ

OO

700

7

8

HI

12k

MID

EQ

FREQ

6k

+15-15

+15

U

2.5k

PRE FDR

POST EQ

OO

700

7

8

HI

12k

MID

EQ

FREQ

6k

+15-15

+15

U

2.5k

PRE FDR

POST EQ

OO

700

7

8

HI

12k

MID

EQ

FREQ

6k

+15-15

+15

U

2.5k

PRE FDR

POST EQ

OO

700

7

8

HI

12k

MID

EQ

FREQ

6k

+15-15

+15

U

2.5k

PRE FDR

POST EQ

OO

700

7

8

HI

12k

MID

EQ

FREQ

6k

+15-15

+15

U

2.5k

PRE FDR

POST EQ

OO

700

7

8

HI

12k

MID

EQ

FREQ

6k

+15-15

+15

U

2.5k

PRE FDR

POST EQ

OO

700

7

8

HI

12k

MID

EQ

FREQ

6k

+15-15

+15

U

2.5k

PRE FDR

POST EQ

OO

700

7

8

HI

12k

MID

EQ

FREQ

6k

+15-15

+15

U

2.5k

PRE FDR

POST EQ

OO

700

7

8

HI

12k

MID

EQ

FREQ

6k

+15-15

+15

U

2.5k

PRE FDR

POST EQ

OO

700

7

8

HI

12k

MID

EQ

FREQ

6k

+15-15

+15

U

2.5k

PRE FDR

POST EQ

OO

700

7

8

HI

12k

MID

EQ

FREQ

6k

+15-15

+15

U

2.5k

PRE FDR

POST EQ

OO

700

7

8

HI

12k

MID

EQ

FREQ

6k

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

+15

U

2.5k

PRE FDR

POST EQ

OO

700

3-4

5-6

7-8

1-2

MID

80Hz

FREQ

LOW

EQ IN

350

700

220

3k

80030

15k500

IN

+15-15

U

150

250

MID

LOW

15k500

250

MID

LOW

15k500

250

MID

LOW

15k500

250

MID

LOW

15k500

250

MID

LOW

15k500

250

MID

LOW

15k500

250

MID

LOW

15k500

250

MID

LOW

15k500

250

MID

LOW

15k500

250

MID

LOW

15k500

250

MID

LOW

15k500

250

MID

LOW

15k500

250

MID

LOW

15k500

250

MID

LOW

15k500

250

MID

LOW

15k500

250

L/RMATRIX D

AUX 5-8

EXTERNALMATRIX C

MATRIX B

D

MATRIX

DCBA

C

MATRIX

B

MATRIX

A

MATRIX

5

DO IT

CLEAR

5

STORE

5

MUTE

PREVIEW

5

SYSTEM

BY PASS

5

™

5

ULTRA MUTE

5

2345678

5

GRP SNAP

1

80Hz

LOW

800Hz

+15-15

U

80Hz

LOW

800Hz

+15-15

U

80Hz

LOW

800Hz

+15-15

U

80Hz

LOW

800Hz

+15-15

U

MID

LOW

15k500

+15-15U+15-15

U

250

MID

LOW

15k500

+15-15U+15-15

U

250

MID

LOW

15k500

+15-15U+15-15

U

250

MID

LOW

15k500

+15-15U+15-15

U

250

MID

LOW

15k500

+15-15U+15-15

U

250

MID

LOW

15k500

+15-15U+15-15

U

250

MID

LOW

15k500

+15-15U+15-15

U

250

MID

LOW

15k500

+15-15U+15-15

U

250

MID

LOW

15k500

+15-15U+15-15

U

250

MID

LOW

15k500

+15-15U+15-15

U

250

MID

LOW

15k500

+15-15U+15-15

U

250

MID

LOW

15k500

+15-15U+15-15

U

250

MID

LOW

15k500

+15-15U+15-15

U

250

MID

LOW

15k500

+15-15U+15-15

U

250

MID

LOW

15k500

+15-15U+15-15

U

250

MID

LOW

15k500

+15-15U+15-15

U

250

MID

LOW

15k500

+15-15U+15-15

U

250

MID

LOW

15k500

+15-15U+15-15

U

250

MID

LOW

15k500

+15-15U+15-15

U

250

MID

LOW

15k500

+15-15U+15-15

U

250

MID

LOW

15k500

+15-15U+15-15

U

250

MID

LOW

15k500

+15-15U+15-15

U

250

MID

LOW

15k500

+15-15U+15-15

U

250

MID

LOW

15k500

250

PAN

LR

45

70

FREQ

700

3k

45

70

FREQ

700

3k

45

70

FREQ

700

3k

45

70

FREQ

700

3k

45

70

FREQ

700

3k

45

70

FREQ

700

3k

45

70

FREQ

700

3k

45

70

FREQ

700

3k

45

70

FREQ

700

3k

45

70

FREQ

700

3k

45

70

FREQ

700

3k

45

70

FREQ

700

3k

45

70

FREQ

700

3k

45

70

FREQ

700

3k

45

70

FREQ

700

3k

45

70

ASSIGN

TALKBACK

MUTEMUTEMUTEMUTE

ABCD

+100

EQ IN

FREQ

700

3k

45

70

FREQ

700

3k

45

70

FREQ

700

3k

45

70

FREQ

700

3k

45

70

FREQ

700

3k

45

70

FREQ

700

3k

45

70

FREQ

700

3k

45

70

FREQ

700

3k

45

70

FREQ

700

3k

45

70

FREQ

700

3k

45

70

FREQ

700

3k

45

70

FREQ

700

3k

70

FREQ

700

3k

70

FREQ

700

3k

70

FREQ

700

3k

70

FREQ

700

3k

70

FREQ

700

3k

70

FREQ

700

3k

70

FREQ

700

3k

70

FREQ

700

3k

70

FREQ

700

3k

70

FREQ

700

3k

70

FREQ

700

3k

70

FREQ

700

3k45 45 45 45 45 45 45 45 45 45 45 45 45

70

75

HPF

45

80Hz

FREQ

LOW

EQ IN

350

220

80030

IN

+15-15

U

150

PAN

LR

75

HPF

45

80Hz

FREQ

LOW

EQ IN

350

220

80030

IN

+15-15

U

150

PAN

LR

75

HPF

45

80Hz

FREQ

LOW

EQ IN

350

220

80030

IN

+15-15

U

150

PAN

LR

75

HPF

45

80Hz

FREQ

LOW

EQ IN

350

220

80030

IN

+15-15

U

150

PAN

LR

75

HPF

45

80Hz

FREQ

LOW

EQ IN

350

220

80030

IN

+15-15

U

150

PAN

LR

75

HPF

45

80Hz

FREQ

LOW

EQ IN

350

220

80030

IN

+15-15

U

150

PAN

LR

75

HPF

45

80Hz

FREQ

LOW

EQ IN

350

220

80030

IN

+15-15

U

150

PAN

LR

75

HPF

45

80Hz

FREQ

LOW

EQ IN

350

220

80030

IN

+15-15

U

150

PAN

LR

75

HPF

45

80Hz

FREQ

LOW

EQ IN

350

220

80030

IN

+15-15

U

150

PAN

LR

75

HPF

45

80Hz

FREQ

LOW

EQ IN

350

220

80030

IN

+15-15

U

150

PAN

LR

75

HPF

45

80Hz

FREQ

LOW

EQ IN

350

220

80030

IN

+15-15

U

150

PAN

75

HPF

45

80Hz

FREQ

LOW

EQ IN

350

220

80030

IN

+15-15

U

150

PAN

75

HPF

45

80Hz

FREQ

LOW

EQ IN

350

220

80030

IN

+15-15

U

150

PAN

75

HPF

45

80Hz

FREQ

LOW

EQ IN

350

220

IN

80030

+15-15

U

150

PAN

75

HPF

45

80Hz

FREQ

LOW

EQ IN

350

220

80030

+15-15

U

150

PAN

LR LR LR LR LR

75

HPF

45

MAXOOMAX

OO

PHONES

SOLO LEVEL

INTERCOM

+10

SOLO

U

L & R

R = L/R

FADER LINK

+10

SOLOSOLOSOLO

U

+10

U

MASTER MASTER MASTER

+10

U

OOOOOOOO

MASTER

L-R

16kHz

PAN

LR

CENTER

L-R

16kHz

PAN

LR

CENTER

L-R

16kHz

PAN

LR

CENTER

L-R

16kHz

PAN

LR

CENTER

L-R

16kHz

PAN

LR

CENTER

L-R

16kHz

PAN

LR

CENTER

L-R

16kHz

PAN

LR

CENTER

L-R

AIR AIR AIR AIR AIR AIR AIR AIR

16kHz

PAN

LR

CENTER

ASSIGN ASSIGN ASSIGN ASSIGN ASSIGN ASSIGN ASSIGN ASSIGN

150 Hz

PAN

LOW CUT

18dB/OCT

LR

150 Hz

PAN

LOW CUT

18dB/OCT

LR

150 Hz

PAN

LOW CUT

18dB/OCT

LR

150 Hz

PAN

LOW CUT

18dB/OCT

LR

80Hz

FREQ

LOW

EQ IN

350

220

80030 80030

+15-15

U

150

PAN

LR

75

HPF

45

80Hz

FREQ

LOW

EQ IN

350

220

80030 80030

+15-15

U

150

PAN

LR

75

HPF

45

80Hz

FREQ

LOW

EQ IN

350

220

80030 80030

+15-15

U

150

PAN

LR

75

HPF

45

80Hz

FREQ

LOW

EQ IN

350

220

80030 80030

+15-15

U

150

PAN

LR

75

HPF

45

80Hz

FREQ

LOW

EQ IN

350

220

80030 80030

+15-15

U

150

PAN

LR

75

HPF

45

80Hz

FREQ

LOW

EQ IN

350

220

80030 80030

+15-15

U

150

PAN

LR

75

HPF

45

80Hz

FREQ

LOW

EQ IN

350

220

80030 80030

+15-15

U

150

PAN

LR

75

HPF

45

80Hz

FREQ

LOW

EQ IN

350

220

80030 80030

+15-15

U

150

PAN

LR

75

HPF

45

80Hz

FREQ

LOW

EQ IN

350

220

IN

80030 80030

+15-15

U

150

PAN

LR

75

HPF

45

80Hz

FREQ

LOW

EQ IN

350

220

IN

80030 80030

+15-15

U

150

PAN

LR

75

HPF

45

80Hz

FREQ

LOW

EQ IN

350

220

IN

80030 80030

+15-15

U

150

PAN

LR

75

HPF

45

80Hz

FREQ

LOW

EQ IN

350

220

IN

80030 80030

+15-15

U

150

PAN

LR

75

HPF

45

80Hz

FREQ

LOW

EQ IN

350

220

IN

80030 80030

+15-15

U

150

PAN

LR

75

HPF

45

80Hz

FREQ

LOW

EQ IN

350

220

IN

80030 80030

+15-15

U

150

PAN

LR

75

HPF

45

80Hz

FREQ

LOW

EQ IN

350

220

IN

80030 80030

+15-15

U

150

PAN

LR

75

HPF

45

80Hz

FREQ

LOW

EQ IN

350

220

IN

80030 80030

+15-15

U

150

PAN

LR

75

HPF

45

80Hz

FREQ

LOW

EQ IN

350

220

IN

80030 80030

+15-15

U

150

PAN

LR

75

HPF

45

80Hz

FREQ

LOW

EQ IN

350

220

IN

80030 80030

+15-15

U

150

PAN

LR

75

HPF

45

80Hz

FREQ

LOW

EQ IN

350

220

IN

80030 80030

+15-15

U

150

PAN

LR

75

HPF

45

80Hz

FREQ

LOW

EQ IN

350

220

IN

80030 80030

+15-15

U

150

PAN

LR

75

HPF

45

80Hz

FREQ

LOW

EQ IN

350

220

IN

80030 80030

+15-15

U

150

PAN

LR

75

HPF

45

80Hz

FREQ

LOW

EQ IN

350

220

IN

80030 80030

+15-15

U

150

PAN

LR

75

HPF

45

80Hz

FREQ

LOW

EQ IN

350

220

IN

80030 80030

+15-15

U

150

PAN

LR

75

HPF

45

80Hz

FREQ

LOW

EQ IN

350

220

IN IN IN IN IN IN IN IN IN IN IN IN IN IN IN IN IN IN IN IN IN IN IN IN IN IN

80030 80030

+15-15

U

150

PAN

LR

75

HPF

45

MUTE

40

dB

10

MUTE

39

dB

10

MUTE

38

dB

10

MUTE

37

dB

10

MUTE

36

dB

10

MUTE

35

dB

10

MUTE

34

dB

10

MUTE

33

dB

10

MUTE

32

dB

10

MUTE

31

dB

10

MUTE

30

dB

10

MUTE

29

dB

10

MUTE

28

dB

10

MUTE

27

dB

10

MUTE

26

dB

10

MUTE

25

dB

10

TALKBACK

dB

10

LEFT RIGHT

dB

10

dB

10

CENTER

MUTE

dB

10

MUTE

dB

10

MUTE

dB

10

MUTE

dB

10

MUTE

dB

10

MUTE

dB

10

MUTE

dB

10

MUTE

12345678

dB

10

A4

MUTE

dB

10

A3

MUTE

dB

10

A2

MUTE

dB

10

A1

MUTE

dB

10

MUTE

24

dB

10

MUTE

23

dB

10

MUTE

22

dB

10

MUTE

21

dB

10

MUTE

20

dB

10

19

MUTE

dB

10

18

MUTE

dB

10

MUTE

17

dB

10

16

MUTE

dB

10

15

MUTE

dB

10

14

MUTE

dB

10

13

MUTE

dB

10

12

MUTE

dB

10

11

MUTE

dB

10

MUTE

dB

10

9

MUTE

dB

10

8

MUTE

dB

10

7

MUTE

dB

10

6

MUTE

dB

10

5

MUTE

dB

10

4

MUTE

dB

10

3

MUTE

dB

10

2

MUTE

dB

10

1

MUTE

dB

10

L-R

CENTER

SOLO

OO

5

1-2

5

1-2

5

1-2

5

1-2

5

1-2

5

1-2

5

1-2

5

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SOLO

OO

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SOLO

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OO

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60

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SOLO

OO

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3-4

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7-8

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CENTER

SOLO

OO

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10

PHONES

OO

5

1-2

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60

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10

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10

5

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10

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7-8

3-4

5-6

5

U

10

3-4

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SOLO SOLO

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SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

OO

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CENTER

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CAUTION AVIS

RISK OF ELECTRIC SHOCK

RISQUE DE CHOC ELECTRIQUE

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

NE PAS OUVRIR

DO NOT REMOVE COVER (OR BACK)

A LA PLUIE OU A L'HUMIDITE

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. Heat — This Mackie product should be situated away from heat sources such as radiators, or other devices which produce heat.

7. 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.

8. 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.

9. Object and Liquid Entry — Care should be taken so that objects do not fall into and liquids are not spilled into the inside of this Mackie product.

10. 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.

11. 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.

12. 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.

13. Grounding or Polarization — Precautions should be taken so that the grounding or polarization means of this Mackie product is not defeated.

14. 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.

15. To prevent hazard or damage, ensure that only microphone cables and microphones designed to IEC 268-15A are connected.

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

This equipment has been tested and found to comply with the limits for a Class A digital device, pursuant to part 15 of the FCC rules. These limits are designed to provide reasonable protection against harmful interference when the equipment is operated in a commercial environment. This equipment generates, uses, and can radiate radio energy and, if not installed properly and used in accordance with the instruction manual, may cause harmful interference to radio communications. Operation of this equipment in a residential area is likely to cause harmful interference in which case the user will be required to correct the interference at his own expense.

READ THIS PAGE!!!

We realize that you must have a powerful hankerin’ to try out your new SR40•8. Or you might be one of those people who never read manuals. Either way, all we ask is that you read this page now, and the rest can wait until you’re good and ready. But do read it — you’ll be glad you did.

LEVEL-SETTING PROCEDURE

There isn’t too much to setting levels. No rocket science here (well… maybe a bit). Here’s what you need to do:

Hyper-Quick-T urbo Method

1.Set the at minimum (fully counterclockwise).

2. Set the

switch to settings won’t affect your input meter readings.

3. Set the

switch to reflect the actual output levels.

4. Set all of the Faders to their “

5. Ask the musicians to start playing.

6. Set a rough mix, using the

The goal is to get Meter readings at or around 0dB for all of the inputs.

7. Once you’ve adjusted the input levels, use

the Channel Faders to set the Channel levels, and leave the

8. If the overall level gets too loud, bring the

overall 10dB at the most. You may need to reduce the

METERING: INPUT SECTION

PFL

mode so your Fader

METERING: OUTPUT SECTION

AFL

mode so that the Meters

LEFT

and

RIGHT

TRIM

settings further.

TRIM

U

TRIM

controls alone.

level down a bit,

controls

” markings.

controls.

Alternate Method

This method results in the faders being in a

straight line across the board.

1. Set the

switch to settings won’t affect your input meter readings.

2. Set the

switch to reflect the actual output levels.

3. While the musicians are playing, watch

each Channel Meter and adjust the

on the Channel’s Meter.

4. After setting the Channel

probably want to readjust the slightly to bring the Meter back to near the 0dB reading.

5. As the mix comes together, readjust the

control down so that the Channel Fader can be set at its “

6. You can also

monitor its level via the

CENTER

Other Nuggets of Wisdom

Before plugging or unplugging a cord from a Channel or a sure to engage the

If you shut down your equipment, turn off your amplifiers first. When powering up, turn on your amplifiers last.

Save the shipping boxes! We’re sure that you can find an empty airport hanger or boat moorage to store them. You may need them someday, and you don’t want to have to pay for them again.

METERING: INPUT SECTION

PFL

mode so your Fader

METERING: OUTPUT SECTION

AFL

mode so that the Meters

TRIM

control so that level is near 0dB as read

EQ

, you will

TRIM

control

TRIM

U

” (unity gain) setting.

SOLO

the Channel and

LEFT, RIGHT

Meters in the output section.

MAIN AUX RETURN (A1–A4)

MUTE

switch first.

, and

, be

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

Purchased at:

Date of purchase:

Part No. 820-052-00 Rev. B 6/97

Console Power Supply

3

INTRODUCTION

Thank you! You have voted with your wallet for the folks in Woodinville who specialize in mixing. The SR40•8 and SR56•8 Large Format Sound Reinforcement Consoles are designed to fulfill the mixing needs of almost any type of sound reinforcement application, and it boasts a wealth of features for which you’d expect to pay a lot more. Although you may be familiar with these features, your investment will pay for itself much faster if you take the time to read this manual. (If reading manuals is not your style, please do it anyway, just don’t tell anyone you did.)

HOW TO USE THIS MANUAL

In order to simplify things throughout the rest of the manual we refer to the console as the SR40•8, but rest assured that all the features described herein are identical to the features you will find on the SR56•8.

Overview: The SR40•8 In A Nutshell

If you’re new to mixing, or unfamiliar with some of the features on the SR40•8, check out the Overview section and Hookup Diagrams. They provide a quick summary of the basic functions of your SR40•8.

Feature Descriptions: Mind-boggling Details

Each and every knob, button and connector on the SR40•8 is explained in depth here including the points before and after in the signal chain. This is to give you a better sense of exactly where in the signal path a particular control or connector is located. Each feature is described in order of where it is physically located on the console’s top or rear panel. These descriptions are divided into three sections, just as your mixer is organized into three distinct zones:

1. PA TCH PANEL: The zillion jacks on the

back “pod.”

2. CHANNEL: The 40 Channel strips on the

left and right. The Main Aux Return strips contain many similiar features.

3. OUTPUT SECTION: The output section in

the center.

PA TCH P ANEL

CHANNELS CHANNELS

MAIN

“A”

AUX

RETS.

OUTPUT

4

Special Icons

Throughout these chapters you’ll find illustrations, with each feature numbered. If you’re curious about a feature, simply locate it on the appropriate illustration, note the number attached to it, and find that number in the nearby paragraphs.

This icon marks information that is critically important or unique to the SR40•8. For your own good, read these sections and remember them.

This icon will lead you to in-depth explanations of features and practical tips. While not mandatory, they’ll have some valuable information.

The Glossary: A Haven Of Non-techiness For The Neophyte

Just in case you’re new to the audio world, we’ve included a fairly comprehensive dictionary of pro audio terms. If terms like “clipping,” “noise floor,” or “unbalanced” leave you blank, flip to the glossary at the back of this manual for a quick explanation.

A Plug For The Connectors Section

Also at the back of this manual is a section on connectors: XLR, TRS and RCA connectors, balanced connectors, unbalanced connectors, special hybrid connectors. If you plan on wiring your own cables, please visit this section before you start.

Arcane Mysteries Illuminated

Last but not least, we’ve included an appendix titled “Balanced Lines, Phantom Powering, Grounding and Other Arcane Mysteries.” This section discusses some of the down ’n’ dirty practical realities of microphones, fixed installations, grounding and balanced versus unbalanced lines. It’s a gold mine for the neophyte, and even the seasoned pro might learn a thing or two.

5

The main mix (left, right and center) typically feeds the main sound system. The left/ right mix can be controlled by individual faders or switched to share one fader. Subs 1-8 can be assigned to the left/right or center mix, enabling them to be used as master faders for submixes of channels. Alternatively, the subs can be used for secondary speaker systems. More output routing options involve the matrix, discussed below.

MA TRIX

The SR40•8 has 11 primary mix buses: left, right, center, and 8 subs. Via the channel’s assignment switching, signals can be distributed among these buses. If a situation demands a unique destination for each mix, the dedicated outputs for each of these mixes will suffice.

More likely, a situation will demand that these 11 mixes be recombined in some way, to feed off-site systems, delay towers, assistive listening systems, or special mixes for recording or broadcast. Enter the Matrix.

The matrix is simply four separate 12 x 1 mixers. Its inputs include: left, right, center, subs 1-8 and an external input at the patch panel. Each matrix strip has a level control for each of the eleven internal inputs as well as master level, solo and mute controls.

ST AGE MONITORS & EFFECTS

Every channel, as well as each of the four main aux returns (A1–A4), has eight aux send controls. Per channel, aux sends 1–4 can be switched to be post-fader (for effects sends) or pre-EQ/pre-fader (for stage monitors). Aux sends 5–8 have a similar switch, post-fader (for effects sends) or post-EQ/pre-fader (for stage monitors with EQ).

In the output section, aux sends can be routed in one of two ways. Normally, these aux mixes are controlled by the rotary master level control and mute switch, and then sent to TRS output jacks. This method is fine for effects sends or small applications. Larger installations may demand more flexibility for the stage mixes. Enter the flip switch.

Each aux send master has a flip switch. This removes an aux mix from its dedicated mute switch and level control, and diverts it to the like-numbered sub routing. This way, an aux send designated for stage cueing will have its own dedicated 100mm fader, “Air” EQ, insert, and balanced XLR output. Meanwhile, a flipped aux send also diverts the sub signal to the original aux send master controls and TRS output, ensuring that sub assignments can still be used.

When used for effects, aux sends are patched into the inputs of parallel effects devices, like reverb and delay units. The outputs of these devices are the origin of aux return signals. Aux return signals, or any stereo linelevel signals, can be injected into either the main aux returns or the “B” aux returns (or into pairs of channels). The main aux returns provide most of the controls present in the channels: trim, high-pass filter, EQ, mute, pan, and assign. “B” aux returns B1, B2, and B3 are dedicated to the left/right mix and offer only rotary level and mute switch controls. (Aux return B4 is dedicated to the center mix.) Additionally, there are two stereo line-level RCA tape returns, dedicated to the left/right mix, with level control and mute switch.

10

MONITORING, SOLO, & METERING

Usually an engineer listens to the left/right mix (with the center mix blended in), just as the audience is hearing it. Signals available for monitoring by the engineer are available via either of the high-powered headphone outputs, with level control, or a line-level monitor (control room) output, also with level control. There is a stereo insert dedicated to the phones mix, to allow a delay device to synchronize the distance delay present in large halls.

To audition individual signals or groups of signals, there are solo switches on every channel, main aux return, aux send master, matrix A–D, tape return, and sub 1–8, as well as the left/right/center faders. The engineer behind an SR40•8 can listen to any signal, individually or in groups, without disturbing the content of any of the console’s primary outputs. Input signals (channels, main aux returns, “B” aux returns, tape A, and tape B) can be globally switched PFL (pre-fader-listen) or AFL (after-fader-listen, stereo-in-place). Output signals (main/left/ right, subs 1–8, aux send masters, and matrix A–D) have a similar switch.

There are 59 twelve-segment LED-ladder meter displays on the SR40•8, one for each channel and sub, two for each stereo main aux return, and one each for the left/right/center main mixes. Input and output meters can each be globally switched PFL or AFL. During solo, described earlier, the left/right/center meters automatically display the solo levels: AFL on the left/right meters and PFL on the center.

TALKBACK & INTERCOM

The SR40•8’s extensive talkback section allows the engineer to speak into several outputs via a master talkback switch, with assignment switches for aux 1–4, aux 5–8, L/R mix, an external talkback output, and one switch for each matrix (A–D). Talkback microphones are patched into either of the two phantom powered XLR inputs and regulated by a level control. Additionally, the talkback signal may be replaced by a 400Hz sine wave for checking levels, or pink noise for quickly checking frequency response.

®

The Clear-Com standard equipment in most large facilities. It allows all crew members to share a “party line,” so they may communicate at will, without

Intercom System is already

having to toggle between send and receive. The Mackie SR40•8 takes that a step farther by allowing the engineer to join in at his/her discretion using the talkback microphone and phones outputs: No separate intercom headset is required for the engineer.

UL TRA MUTE

Almost every signal path in the SR40•8 has an electronically-controlled mute switch, including the channels, main aux return, subgroups, aux sends, and matrices. These mutes may be activated in four ways: By pressing the local mute switch included for each path, by assigning paths to a mute group, by assigning paths to a mute snapshot, or by external MIDI and RS232 commands. Using just the local switches and mute groups, an engineer can quickly mute or un-mute large groups of signal paths. Using an external sequencer to generate MIDI muting commands, complicated muting moves can be made automatically, with no user intervention.

When a channel or main aux return is muted, the entire channel is muted, including the assign outputs, pre- and post-fader aux sends, and direct out. The insert send remains active, as do the channel’s PFL meters and PFL solo outputs.

™

SWITCH POSITIONS

You may have noticed the white lines printed just above most of the push-button switches on your SR40•8. We’ve put them there to make it easier for you to see if the switch is engaged (down). Here’s how they work:

Assuming you are sitting in front of the console, when a switch is disengaged (up), its button hides the white line from your field of vision. When you engage the switch, the line suddenly appears. Although it may not seem obvious at first, you’ll soon find that the indicator line really helps you determine switch positions at a glance. Clever, ain’t it?

11

PATCH PANEL

25

DIRECT OUT

At the risk of stating the obvious, this is where you plug everything in: microphones, instruments, effects, headphones, and the ultimate destination for your sound: PA system, tape recorder and the like.

E-Z INTERFACE

Concerned about levels, balancing, impedances, polarity, or other interface goblins? Don’t be. On your

SR40•8, you can patch anything almost anywhere, with nary a care. Here’s why:

• Every input and output is balanced (except single-jack inserts, phones and RCA jacks), using close-tolerance components to ensure noise-free performance.

• Every input and output will also accept unbalanced lines (except floating-ring cables into XLR inputs — just tie the cable’s ring to the shield first).

• Every input is designed to accept virtually any output impedance.

• The XLR outputs can deliver 28dBu into a 600 ohm load.

• All the other outputs can deliver 22dBu into a 600 ohm load.

• All the outputs are polarity-correct with the inputs.

SUB OUTPUTS

SUB

1

SUB

2

SUB

3

All we ask is that you perform the Level-

Setting Procedure

every time you patch in a new sound source. So stop worrying, and start mixing!

MIC INPUT

Point Before: Balanced microphone-level cable with male XLR connector (pin 2 = hot, pin 3 = cold, pin 1 = shield).

Point After: Channel

The female XLR input can accept almost any type of microphone — dynamic, condenser, ribbon or tube condenser. (phantom power) is switchable per Channel. Radio frequency interference (RFI) is eliminated by means of close-tolerance balanced circuitry, input filtering and the SR40•8’s steel chassis. Mic-level signals can be boosted by as much as 60dB.

Do not use this input simultaneously with its associated and engage

LINE IN

MUTE

moving mic cables. Do not insert unbalanced single-ended cables (signal on pin 2, pin 3 open) unless pin 3 is first tied to ground (pin

1), and the

SUB

4

+48 PH

SEND RETURN

1

.

+48 PH

. Turn

TRIM

down

before inserting or re-

is switched off.

SUB INSERTS

(BAL/UNBAL)

SEND RETURN

5

INSERT SEND

INSERT RETURN

LINE IN

MIC 25

SUB

5

DC POWER IN

(MACKIE 400-WATT POWER SUPPLY !)

12

SUB

6

SUB

7

MIDI IN MIDI OUT

DATA

SUB

SEND RETURN

2

SEND RETURN

8

TALK BACK MIC

PHANTOM POWERED

3

SEND RETURN

4

SEND RETURN

INTERCOM

6

7

8

LEFT

LINE IN

Point Before: Balanced or unbalanced mic- or

1

line-level cable with

⁄4" TRS or TS connector,

(tip = hot, ring = cold, sleeve = shield). Point After: Channel .

This input is similar to the

MIC

input, but without phantom power. Both signals mix together at the mic preamp. Mic-level signals can be accommodated here with up to 40dB of gain. The

MIC

the

LINE IN

input.

is 20dB less sensitive than

Do not use this input simultaneously with its associated and engage

MIC

MUTE

input. Turn

TRIM

before inserting or re-

down

moving line cables. Do not use open-ended TRS cables (signal on tip, ring open) unless the ring is first tied to ground (sleeve). It won’t hurt anything, it will just work better if you ground the sleeve. Although you can connect a microphone to this input, there will be less noise when connected to the

MIC

input jack.

INSERT SEND AND RETURN

Point Before: Channel mic/line preamp,

, 0/ (Polarity Reversal) ,

Point After:

Both the

RETURN

EQ

.

INSERT SEND

jacks are balanced, and can also

and

HPF

INSERT

accommodate unbalanced TS cables. Signal feeding the

INSERT SEND

jack is also sent to

TRIM

.

the

INSERT RETURN

With nothing plugged into the

RETURN

jack, the (dry) send signal will be

jack’s normalling pins.

INSERT

passed along to the rest of the channel path (this is called half-normalled).

To insert a serial effects device, simply patch

from the

INSERT SEND

put, and from the effect’s output to the

RETURN

jack, using either balanced TRS or

jack to the effect’s in-

INSERT

unbalanced TS cables.

Since using the

INSERT SEND

jack by it-

self does not interrupt the channel’s signal

EQ

path, it may also be used as a pre-

/preFader direct output, in addition to the post-Fader

DIRECT OUT

.

DIRECT OUT

Point Before: Channel signal,

,

nel Fader

MUTE

Point After: Balanced or unbalanced cable with 1⁄4" TRS or TS connector.

The

DIRECT OUT

’s signal is the same as the

output of the Channel, except that the

control has no effect.

These jacks can be used to feed multitrack recorder inputs, as a one-channel effects send, as a secondary sound source’s trigger command, or for any other purpose that requires the post-Fader signal of an individual Channel. Using this jack does not interrupt the Channel’s signal path to the output section.

EQ

, Chan-

.

PAN

MAIN INSERTS

(BAL/UNBAL)

LEFT SEND

RIGHT SEND

CNTR SEND

L-INSERT R-INSERT

LEFT RETURN

RIGHT RETURN

CNTR RETURN

RIGHT

MONITOR

(BAL/UNBAL)

L

R

TALKBACK

HEADPHONES

CENTER

AUX SEND

(BAL/UNBAL)

1

2

3

4

MAIN AUX RETURNS

(MONO)

L

(MONO)

L

R

(MONO)

L

(MONO)

L

R

A

C

A1

A2

A3

A4

24

R

B

D

DIRECT OUT

INSERT SEND

INSERT RETURN

LINE IN

MIC 24

L

R

TAPE TAPE

INPUT OUTPUT

L

R

TAPE

INPUT OUTPUT

TAPE

TAPE A

TAPE B

MATRIX DMATRIX CMATRIX BMATRIX A

SOURCE =

MASTER L-R

TAPE

SOURCE =

MATRIX C&D

"B" AUX RETURNS

(BAL/UNBAL)

(MONO)

L

MATRIX OUTPUTS MATRIX INPUTSMAIN OUTPUTS

5

6

7

8

R

1

R

2

R

3

R

4

13

MAIN AUX RETURNS (A1–A4)

Point Before: Balanced or unbalanced line-

1

level cable with (tip = hot, ring = cold, sleeve = shield).

Point After:

The left jack’s signal is normalled to the right jack — a mono signal, patched into the left jack only, appears on the left and right sides.

Since the actually stereo channels with full routing and

EQ

, patch in the outputs of your essential effects devices (or any line-level signals) here. These signals can be sent to any mix, including

AUX SEND MASTERS

the ideal for sending effects to the stage monitors. Similarly, essential mono effects outputs (one cable) should be patched into a mono Channel.

⁄4" TRS or TS connector,

MAIN AUX RETURNS (A1–A4)

.

MAIN AUX RETURNS (A1–A4)

, making them

“B” AUX RETURNS

Point Before: Balanced or unbalanced line-

1

level cable with (tip = hot, ring = cold, sleeve = shield).

Point After:

The left jack’s signal is normalled to the right jack — a mono signal, patched into the left jack only, will appear on the left and right sides.

are

AUX RETURNS B1, B2

Since assigned only to the only to the fects devices (or any line-level signals) that need to go only to these destinations. If you need full routing but you’ve already used all four of the

MAIN AUX RETURNS (A1–A4)

patch into two Channels, panning one left and the other right.

⁄4" TRS or TS connector,

“B” AUX RETURNS

LEFT/RIGHT

CENTER

mix, patch the outputs of ef-

.

and

B3

can be

mix, and

B4

, you can also

25

DIRECT OUT

INSERT SEND

INSERT RETURN

LINE IN

MIC 25

SUB OUTPUTS

SUB

1

SUB

5

DC POWER IN

(MACKIE 400-WATT POWER SUPPLY !)

SUB

2

SUB

6

SUB

3

SUB

7

MIDI IN MIDI OUT

DATA

SUB

SUB INSERTS

(BAL/UNBAL)

SEND RETURN

4

8

TALK BACK MIC

PHANTOM POWERED

1

SEND RETURN

2

SEND RETURN

3

SEND RETURN

4

SEND RETURN

INTERCOM

5

6

7

8

LEFT

14

TAPE INPUT

Point Before: Unbalanced line-level cable with RCA connector.

Point After:

TAPE RETURNS

.

RCA jacks, bless their little hearts, have no normalling — if you need a mono signal to appear on both sides, that will require a Y-splitter so that both jacks can be patched.

This is a good place to patch in a tape deck or CD player intended for music between sets.

LEFT

the

TAPE RETURNS

and

RIGHT

mix .

are dedicated to

TAPE A OUTPUT

Point Before: Point After: Unbalanced line-level cable with

RCA connector.

These jacks have a 3kΩ output impedance, enabling you to combine the left and right outputs (using a Y-cord adapter), thereby creating a mono signal. Do not attempt this on any of the SR40•8’s TRS or XLR outputs.

Patch these outputs to the inputs of a 2-track recording device and you’ll record exactly the same signals present at the left and

MAIN OUTPUTS

right

MAIN OUTPUTS

.

T APE B OUTPUT

Point Before:

MATRIX C

Point After: Unbalanced line-level cable with RCA connector.

These jacks have a 3kΩ output impedance,

enabling you to combine the left and right outputs (using a Y-cord adapter), thereby creating a mono signal. Do not attempt this on any of the SR40•8’s TRS or XLR outputs.

Patch these outputs to the inputs of a 2-track recording device and you’ll record exactly the same signals present at the

OUTPUTS

MATRIX OUTPUTS

output, right from

MATRIX D

’ C and D XLR jacks.

, left from

output.

MATRIX

AUX SEND

Point Before: Point After: Balanced or unbalanced cable

1

⁄4" TRS or TS connector.

with

Patch these outputs to the inputs of your effects devices or stage monitor amps. Remember that if deliver the like-numbered instead of

AUX SEND MASTERS

FLIP

is engaged, these outputs

SUB OUTPUTS

AUX SEND

outputs.

.

MAIN INSERTS

(BAL/UNBAL)

LEFT SEND

RIGHT SEND

CNTR SEND

L-INSERT R-INSERT

LEFT RETURN

RIGHT RETURN

CNTR RETURN

RIGHT

MONITOR

(BAL/UNBAL)

L

R

TALKBACK

HEADPHONES

CENTER

AUX SEND

(BAL/UNBAL)

1

2

3

4

"B" AUX RETURNS

(BAL/UNBAL)

(MONO)

L

MATRIX OUTPUTS MATRIX INPUTSMAIN OUTPUTS

5

6

7

8

R

1

R

2

R

3

R

4

TAPE

TAPE A

L

R

TAPE TAPE

INPUT OUTPUT

TAPE B

L

R

TAPE

INPUT OUTPUT

MATRIX DMATRIX CMATRIX BMATRIX A

SOURCE =

MASTER L-R

TAPE

SOURCE =

MATRIX C&D

MAIN AUX RETURNS

(MONO)

L

(MONO)

L

R

(MONO)

L

(MONO)

L

R

A

C

A1

A2

A3

A4

24

R

B

D

DIRECT OUT

INSERT SEND

INSERT RETURN

LINE IN

MIC 24

15

MAIN OUTPUTS

Point Before:

MAIN INSERTS ,LEFT/RIGHT/CENTER

Faders . Point After: Balanced or unbalanced cable

with female XLR connector (pin 2 = hot, pin 3 = cold, pin 1 = shield).

Unless you’ve created an elaborate main mix using the to your primary sound system’s amplifier inputs. Be aware that if you have no Channels

or

MAIN AUX RETURNS (A1–A4)

assigned to the

CENTER

LEFT/RIGHT/CENTER

MATRIX

CENTER

, patch these outputs

mix, patching the

output jack is unnecessary.

mixes ,

MAIN INSERTS

Point Before: Point After:

Both the anced, but can accommodate unbalanced TS cables. Signal feeding the sent to the With nothing plugged into the the (dry) rest of the mix output’s path.

LEFT/RIGHT/CENTER

.

SEND

and

RETURN

SEND

RETURN

SEND

jack’s normalling pins.

signal gets passed along to the

mix .

Faders

jacks are bal-

jack is also

RETURN

jack,

To insert a serial processor (such as a graphic equalizer or compressor/limiter), simply patch from the and from the effect’s output to the

SEND

jack to the effect’s input,

RETURN

jack, using either balanced TRS or unbalanced

SEND

TS cables. Since using the

jack by itself does not interrupt the mix signal path, it may also be used as a pre-Fader direct output.

SUB OUTPUTS

Point Before:

INSERTS

Point After: Balanced or unbalanced cable with female XLR connector (pin 2 = hot, pin 3 = cold, pin 1 = shield).

If necessary, patch these outputs to the amplifier inputs of secondary speaker systems, unless you’ve chosen to use the

OUTPUTS

also essential for recording to multitrack.

In the event that you have engaged any

switches, the signals at these outputs will not be the Subgroup signals — they will be the like-numbered stance, if the

MASTER 1

will appear at Subgroup vice versa.)

SUBS (SUB 1-8

mixes) ,

, Subgroup Fader .

MATRIX

for this task. The Subgroups are

AUX SEND

FLIP

switch on

is engaged,

ouputs. (For in-

AUX SEND

AUX SEND 1

1

’s output jack, and

’s output

SUB

FLIP

25

DIRECT OUT

INSERT SEND

INSERT RETURN

LINE IN

MIC 25

SUB OUTPUTS

SUB

1

SUB

5

DC POWER IN

(MACKIE 400-WATT POWER SUPPLY !)

SUB

2

SUB

6

SUB

3

SUB

7

MIDI IN MIDI OUT

DATA

SUB

SUB INSERTS

(BAL/UNBAL)

SEND RETURN

4

8

TALK BACK MIC

PHANTOM POWERED

1

SEND RETURN

2

SEND RETURN

3

SEND RETURN

4

SEND RETURN

INTERCOM

5

6

7

8

LEFT

16

SUB INSERTS

M

Point Before:

FLIP

Point After:

sent to the With nothing plugged into the the (dry) rest of the mix output’s path. (The jacks are half-normalled.)

To insert a serial processor (such as a graphic equalizer or compressor/limiter), simply patch from the and from the effect’s output to the jack, using either balanced TRS or unbalanced TS cables. Since using the does not interrupt the mix signal path, it may also be used as a pre-Fader direct output.

.

SUBS 1–8

RETURN

SEND

SUB 1–8

mixes ,

AIR

Faders .

Both the

RETURN

SEND

and

jacks are balanced, but can accommodate unbalanced TS cables. Signal

SEND

feeding the

jack is also

jack’s normalling pins.

RETURN

signal gets passed along to the

SEND

jack to the effect’s input,

RETURN

SEND

jack by itself

,

jack,

HEADPHONES

Point Before: Point After: Your favorite headphones (one set

only per jack, conventionally wired: tip = left, ring = right, sleeve = shield.)

MAIN INSERTS

(BAL/UNBAL)

LEFT SEND

INSERT (HEADPHONES

MONITOR

(BAL/UNBAL)

LEFT RETURN

L

AUX SEND

(BAL/UNBAL)

1

) .

5

W ARNING: The SR40•8’s stereo phones jack will drive any standard headphone to very loud levels. When we say

the headphone amp is loud, we’re not kidding. It can cause permanent ear damage. Even intermediate levels may be painfully loud with some earphones. BE CAREFUL!

Always turn the

PHONES

level all the way down before connecting headphones. Keep it down until you’ve put the phones on. Then turn it up slowly. Why? “Engineers who fry their ears find themselves with short careers.”

The SR40•8’s headphone amplifiers will drive headphones of any impedance, but for best results (loudest volume), use 60-ohm headphones.

L-INSERT , R-INSER T (HEADPHONES)

Point Before: Point After:

MONITOR

Per side, these unbalanced inserts share the send and return on the same jack; tip = send (to device), ring = return (from device), sleeve = common ground.

This particular pair of insert points has only one function: Patch in a digital delay here and adjust the delay time so it matches the delay caused by the distance between the console and the stage speakers. This eliminates the slap-back effect of hearing the console first and then the speakers.

PHONES

level .

HEADPHONES

outputs .

and

OO

MAX

TALKBACK LEVEL

AUX 1-4MATRIX A

MATRIX B

COMMUNICATIONS

AUX 5-8

EXTERNALMATRIX C

L/RMATRIX D

ASSIGN

TALKBACK

OO

MAX

SOLO LEVEL

OO

MAX

PHONES

INTERCOM

TALKBACK

RIGHT SEND

CNTR SEND

L-INSERT R-INSERT

RIGHT RETURN

CNTR RETURN

MAIN OUTPUTS

RIGHT

R

TALKBACK

HEADPHONES

CENTER

2

3

4

MATRIX A

6

7

8

PHONES

17

MONITOR

Point Before: Point After: Balanced or unbalanced cable

1

⁄4" TRS or TS connector.

with

Patch these outputs to an amp’s inputs, and patch the amp’s outputs to speakers mounted at the console. Alternatively, the outputs can deliver the FOH (front-of-house) headphone mix to an engineer operating a secondary stage monitor console.

If you want to drive several pairs of headphones via an outboard amplifier, patch these outputs to that amp.

If the console is in a soundproof room, as in live sound-studio work or studio recording/mixdown, patch these outputs to your control room amplifier and speakers. Be aware: the intercom signals

INSERT (HEADPHONES

MONITOR

do not appear at these jacks.

) .

T ALKBACK

Point Before: Point After: Balanced or unbalanced cable with

1

⁄4" TRS or TS connector.

If you want the routed somewhere other than the

MASTERS

patch this output to that device. Similar to the

MONITOR

required, but can be a lifesaver in unusual situations.

ASSIGN (EXTERNAL

TALKBACK

signal to be

AUX SEND

,

LEFT/RIGHT

mix, or

MATRIX A–D

outputs, this jack is generally not

)

You can use the

ASSIGN

(

OSCILLATOR

EXTERNAL

) to deliver the

) signal to a second console, such

switch

TALKBACK

as a monitor console. Simply patch from the FOH (front-of-house) console’s

TALKBACK

output to a line-level Channel input of the monitor console. Then use that Channel’s sends to deliver the

TALKBACK

signals to the

stage monitors.

TALKBACK MIC INPUT

Point Before: Balanced microphone-level cable with male XLR connector (pin 2 = hot, pin 3 = cold, pin 1 = shield). This connector has 48-volt phantom power permanently engaged.

Point After:

TALKBACK

Patch one dynamic or condenser microphone to either jack to enable the tions (there is no built-in microphone). The two phantom-powered jacks are wired in parallel, feeding a balanced mic preamp, then controlled

TALKBACK LEVEL

by the

Since these jacks are wired in parallel, only one should be used at a time.

,

section .

TALKBACK

control.

(and

AUX

func-

25

DIRECT OUT

INSERT SEND

INSERT RETURN

LINE IN

MIC 25

SUB OUTPUTS

SUB

1

SUB

5

DC POWER IN

(MACKIE 400-WATT POWER SUPPLY !)

SUB

2

SUB

6

SUB

3

SUB

7

MIDI IN MIDI OUT

DATA

SUB

SUB INSERTS

(BAL/UNBAL)

SEND RETURN

4

8

TALK BACK MIC

PHANTOM POWERED

1

SEND RETURN

2

SEND RETURN

3

SEND RETURN

4

SEND RETURN

INTERCOM

5

6

7

8

LEFT

18

INTERCOM

Point Before: Externally supplied Clear -

™

or compatible party-line intercom

Com line, with power.

Point After: SR40•8 intercom interface, headphone amplifiers, and talkback system.

This connector accepts a 3-pin male XLR connector connected to a Clear-Com or compatible party-line intercom system. This system uses the following wiring: pin 1 = ground/0V, Pin 3 = audio + DC signalling, pin 2 = 28–30VDC. The ground pin of this connector is isolated from the SR40•8’s ground system.

MA TRIX OUTPUTS

Point Before: Point After: Balanced or unbalanced cable

with female XLR connector (pin 2 = hot, pin 3 = cold, pin 1 = shield).

If necessary, patch these outputs to the amplifier inputs of additional speaker systems or use for other applications requiring composite mixes.

MA TRIX , MASTER

level .

MA TRIX INPUTS

Point Before: Balanced or unbalanced line-

1

level cable with = hot, ring = cold, sleeve = shield).

Point After:

Signals injected into these jacks are fed directly to their respective puts, governed only by the

MASTER

LEFT SEND

levels .

MAIN INSERTS

(BAL/UNBAL)

⁄4" TRS or TS connector, (tip

MATRIX

.

MATRIX

MONITOR

(BAL/UNBAL)

LEFT RETURN

L

section’s

AUX SEND

(BAL/UNBAL)

1

out-

5

DC POWER IN

Arguably the most important connector on any console, the SR40•8 will not work until you’ve connected its power cable here.

POWER SUPPLY STATUS

LEDs in the output section will confirm that the console is fully powered.

MIDI IN/OUT

This is where you interface the SR40•8 with an external sequencer or other MIDI device, to enable

ULTRA MUTE™

to perform complex automated muting moves. Connect the MIDI OUT of the sequencer to the SR40•8, and the

MIDI OUT

MIDI IN

of the SR40•8 to

of the

the MIDI IN of the sequencer.

DA T A

This connector allows you to connect the SR40•8 with an external computer via an RS-232 connector, to enable remote control of

ULTRA MUTE™

the application requires RS-422, use an external protocol adapter.

"B" AUX RETURNS

(BAL/UNBAL)

(MONO)

L

R

1

system. If your

TAPE

TAPE A

MAIN AUX RETURNS

(MONO)

OO

MAX

RECEIVE

IGNORE

CALL

COMMUNICATIONS

OO

MAX

LEVEL

ON

400Hz

PINK NOISE

OSCILLATOR

TALKBACK MIC

24

A1

R

L

DIRECT OUT

RIGHT SEND

CNTR SEND

L-INSERT R-INSERT

RIGHT RETURN

CNTR RETURN

RIGHT

R

TALKBACK

HEADPHONES

CENTER

SOURCE =

MASTER L-R

TAPE

SOURCE =

MATRIX C&D

L

(MONO)

L

R

(MONO)

L

(MONO)

L

R

A

C

A2

A3

A4

R

B

D

INSERT SEND

INSERT RETURN

LINE IN

MIC 24

L

(MONO)

2

3

4

6

7

8

(MONO)

L

MATRIX OUTPUTS MATRIX INPUTSMAIN OUTPUTS

R

2

3

4

R

TAPE TAPE

INPUT OUTPUT

R

L

R

TAPE

INPUT OUTPUT

TAPE B

MATRIX DMATRIX CMATRIX BMATRIX A

19

N

E

I

L

C

I

M

060

–

20dB +40dB

GAIN

U

OO

+15

U

OO

+15

U

OO

+15

U

OO

+15

U

OO

+15

U

OO

+15

U

OO

+15

U

OO

+15

PRE FDR

POST EQ

+48 PH

TRIM

CHANNEL

40

The forty Channel strips placed on either

0

AUX

1

2

side of the console look alike and function identically. They’re loaded with professional features. Let’s start at the top of a Channel and

AUX

work our way down, but save the

send

section for later.

“U” LIKE UNITY GAIN

3

4

for “unity gain,” meaning no boost or cut in signal level. Once you have performed the

PRE

5

Level-Setting Procedure

U

control at “

” and your signals will travel through the mixer at optimal levels. What’s more, all the labels on our controls are mea-

6

sured in decibels (dB), so you’ll know what you’re doing level-wise if you choose to change a control’s settings.

7

Be aware that unity gain is also reliant on the position of the panned center, there will be about 4dB of at-

8

tenuation on each side to preserve “constant loudness”

.

Mackie consoles have a

U

” symbol on almost every

“ level control. This “

, you can set every

PAN

knob. When

U

” stands

TRIM

Point Before:

MIC

and

LINE IN

jacks,

summed at mic preamp input.

0/

Point After: Channel path, at reversal)

switch.

(polarity

Have you read the Level-Setting Procedure

yet? If not, go to item

right now and read it — it’s at the beginning of this manual. That procedure is basically “How to Use the Trim Control.” We ask that you commit that procedure to memory. You’ll be glad you did — it assures your incoming signal of being treated to the highest headroom and lowest noise possible.

Signals entering through the

MIC

XLR jack have unity gain (no level boost or attenuation) with the knob fully down, and a 60dB boost fully up.

Through the

LINE IN

TRS jack, there is

20dB of attenuation fully down and a 40dB boost

U

fully up, with a “

” (unity gain) mark at 9:00.

This 20dB of attenuation can be very handy

when you are inserting a signal that is very hot,

EQ

or adding a lot of

gain, or both. Without this “virtual pad,” a scenario like this might lead to clipping (which is an automatic 15 yard

CHANNEL INPUT CONTROLS

A Channel’s input controls manipulate the

signal just after the

MIC

From there, a line-level signal is sent on to the Channel output controls

+48 PH (PHANTOM POWER)

Point Before: 48VDC power supply for condenser microphones.

Point After:

MIC

input .

This one’s easy. If you have a condenser microphone plugged in, or any mic that requires 48VDC phantom power, engage this switch. If you have a dynamic microphone, or any mic that does not require phantom power, leave this switch up, although it won’t do any harm if it’s down (as long as you’re using good quality balanced cables). The LED next to the switch glows when the power is on.

and

.

LINE IN

penalty in the NFL).

.

Ø (POLARITY REVERSAL)

Point Before:

MIC

and

LINE IN

output. Point After:

and

RETURN , EQ

HPF

, Channel

.

INSERT SEND

Engaging this switch inverts the polarity of

the incoming

MIC

or

LINE IN

signal. Although you’ll want to start off with this switch disengaged (up), there’s no right way or wrong way to set this switch — it’s all based on which way sounds better, especially when auditioning the signal with its partner signals.

For instance, by engaging the switches on all the drum Channels, you can experiment with polarity reversal of the overhead mics, the snare drum’s underside mic, and so forth until you hit upon the right combination

preamp

SOLO

of settings.

You’ll want to make the “up” position the default setting for this switch so all the signals will have correct polarity (also known as “in phase”) — and only reverse the polarity of Channels that you deem necessary.

20

EQ

Point Before: Channel mic/line preamp, Channel

Point After: Meter

INSERT SEND

MUTE , PFL

and

SOLO

The SR40•8 has a 4-band, dual-mid-sweep

HI

equalization:

shelving at 12kHz;

bandpass, swept from 500Hz to 15kHz;

bandpass, swept from 45Hz to 3kHz; and

MID LOW

shelving at 80Hz. Chances are, it’s all the equalization you’ll ever need. Shelving means that the circuitry boosts or cuts all frequencies past the specified frequency. For example, the SR40•8’s boosts (or cuts) bass frequencies starting at 80Hz, and all frequencies below. Bandpass means that gain levels form a “hill” around the center frequency.

With too much equalization, you can screw things up royally. We’ve designed a lot of boost and cut into each equalizer circuit because we know everyone will occasionally need that. But if you max the

EQ

mix mush. Equalize subtly and use the left sides of the knobs (cut), as well as the right (boost). If you find yourself repeatedly using full boost or cut, consider altering the sound source, such as placing a mic differently, trying a different kind of mic, changing the strings, or gargling.

Be aware: The quencies can be set to the same frequencies as

HI

and

LOW

the

shelving EQs. This is usually not a problem, but it is unnecessary by virtue of being redundant, and can sometimes cause clipping. For instance, if you fully boost the

LOW-MID

fully boost the

, with the

LOW

you’ll be asking for 30dB of gain at 80Hz! If you started out with signal with a 0dB level at that frequency, you’d be clipping for sure.

and

RETURN

.

feed to Channel

.

HI-MID

LOW-

LOW

shelving

EQ

on every Channel, you’ll get

HI-MID

and

FREQ

set at 80Hz, and

LOW-MID

fre-

shelving, preset at 80Hz,

HI 12K

The

HI EQ

provides up to 15dB boost or cut at 12kHz, and is flat (no boost or cut) at the detent. Use it to add sizzle to cymbals, an overall sense of transparency, or an edge to keyboards, vocals, guitar, and bacon frying. Turn it down a little to reduce sibilance, minimize high frequency leakage, or to mask hiss caused by a frugal client’s fifty-cent cassette tape.

+15

+10

+5

0

–5

–10

–15

20

Hz

100

Hz

1k

Hz

10kHz20k

Hz

HI MID and FREQ

The

HI-MID EQ

octaves. The

has a fixed bandwidth of 1.5

HI-MID

knob sets the amount of

boost or cut up to 15dB, and is flat at the center

FREQ

detent. The

knob sets the center fre-

quency, sweepable from 500Hz to 15kHz.

+15

+10

+5

0

–5

–10

–15

20

Hz

100

Hz

+15

+10

+5

0

–5

–10

–15

20

Hz

100

Hz

1k

Hz

1k

Hz

10kHz20k

Hz

Most of the root and lower harmonics that define a sound are located in the 100Hz– 10kHz frequency range, and you can create drastic changes with these four midrange

EQ

knobs. Many engineers use mid

to cut midrange frequencies, not boost them. One popular trick is to set mid gain fully up, turn

FREQ

the associated

knob until you find a point where it sounds just terrible, then back the mid down into the cut range, causing those terrible frequencies to disappear. Sounds silly, but it works. Sometimes.

700

70

HPF

45

dB

5

U

5

50

60

75

PAN

40

MUTE

OO

U

EQ

HI

12k

+15-15

U

HI

MID

+15-15

2.5k

6k

FREQ

15k500

U

LOW MID

+15-15

250

700

FREQ

3k45

U

LOW

80Hz

+15-15

150

EQ IN

220

350

FREQ

80030

RL

1-2

3-4

5-6

7-8

CENTER

L-R

21

SOLO

700

70

HPF

45

dB

5

U

5

50

60

75

PAN

40

MUTE

OO

SOLO

LOW MID and FREQ

The

LOW-MID EQ

1.5 octaves. The

has a fixed bandwidth of

LOW-MID

knob sets the amount

of boost or cut up to 15dB, and is flat at the cen-

FREQ

ter detent. The

U

EQ

HI

12k

+15-15

U

HI

MID

+15-15

2.5k

6k

FREQ

15k500

U

LOW

MID

+15-15

250

700

FREQ

3k45

U

LOW

80Hz

+15-15

150

EQ IN

220

350

FREQ

80030

frequency, sweepable from 45Hz to 3kHz.

+15

+10

+5

0

–5

–10 –15

20

Hz

+15

+10

+5

0

–5

–10 –15

20

Hz

LOW 80HZ

The

LOW EQ

knob sets the center

100

Hz

1k

Hz

1k

Hz

10kHz20k

provides up to 15dB boost or

Hz

cut at 80Hz and is flat at the center detent position. This frequency represents the punch in

RL

bass drums, bass guitar, fat synth patches, and some really serious male singers.

Used in conjunction with

boost the

LOW EQ

without injecting a ton of

HPF

, you can

infrasonic debris into the mix. In fact, we rec-

HPF

ommend using the

feature on all

Channels at all times.

1-2

3-4

5-6

7-8

CENTER

L-R

+15

+10

+5

0

–5

–10 –15

20

Hz

100

Hz

1k

Hz

10kHz20k

Hz

EQ IN

Point Before:

EQ

up), Point After:

Meter

If the switch is up, the engaged (down), the ite use of an modified by determine if your

INSERT RETURN

output (switch down)

MUTE

and

SOLO

switch,

.

EQ

will work. The favor-

EQ

switch is to compare a signal

EQ

to the unmodified signal, to

EQ

settings are taking you

(switch

PFL

to Channel

won’t work. If it’s

where you want to go. As mentioned earlier,

EQ

the

boost/cut controls are all flat (no boost or cut) at their center detents, so this switch could actually be engaged all the time.

Be aware that the

HPF

switched independently of this

feature is

EQ IN

switch.

HPF and FREQ

Point Before: Channel mic/line preamp,

0/

(polarity reversal) . Point After: Channel path at

,

PRE

switch (

AUX 1–4

INSERT SEND

) .

Be aware that signal path placement of the

HPF

circuit is not as it might appear by looking

at the console’s controls. It’s actually right after

MIC/LINE IN

the

preamp and before the

INSERT

(outboard gear also appreciates the effects of

HPF

), but we feel strongly about using part of your EQ arsenal. That’s why the controls are in the

+15

+10

+5

0

–5

–10

–15

20

Hz

The

HPF

EQ

section.

100

Hz

1k

Hz

(high pass filter) switch, often

HPF

10kHz20k

as

HPF

Hz

referred to as a low cut filter, cuts bass frequencies at a rate of 12dB per octave below a swept-select point, ranging from 30Hz–800Hz.

HPF

Using

will clean out the “mud” in your mix, can help reduce the possibility of feedback in live situations, and help to conserve amplifier power.

We recommend that you use low cut on every sound source, and adjust the frequency point to match the characteristics of the signal. For instance, if the signal is a kick drum, bass guitar, bassy synth patches, or recordings

FREQ

of earthquakes, set the

knob fully down at 30Hz. The difference will be virtually inaudible and your amplifiers will love you for it.

22

Almost all other signals call for higher

HPF

frequency points (at least 80Hz). With these signals, there isn’t much below 80Hz that you want to hear, and filtering it out gives the low stuff you do want much more definition.

HPF

With

and

LOW-MID EQ

EQ

can really benefit voices. Trouble is, adding

LOW

, you can safely boost

. Many times bass shelving

shelving EQalso boosts the infrasonic de-

LOW EQ

bris: stage rumble, mic handling clunks, wind

HPF

noise, and breath pops. debris so you can boost the

removes all that

LOW EQ

without

frying a woofer.

CHANNEL OUTPUT CONTROLS

Now that we’ve made it through the Channel’s input controls, we have a signal that has been level-corrected, polarity-adjusted,

HPF

-ized, and beautifully shaded with EQ. It’s ready to go out and meet the audience. The Channel output controls offer many ways to get this signal out of the console. Just to get a handle on things, we’ll stick to the basic triedand-true methods and leave the wild routing schemes up to you.

MUTE

Point Before: Point After: Fader

Muting a Channel removes the signal from these output paths: mixes and

AUX SEND MASTERS , AFL SOLO, AFL

Channel Meters. The

, and

SOLO

Unlike the “latching” switches, which live in an up-or-down position, the is “momentary” — when you press it, it comes right back up. Pressing the switch toggles the electronic mute relay in the signal path’s circuitry. If the Channel is muted, pressing the switch un-mutes it, and vice versa. An LED adjacent to the switch glows when a Channel is muted.

The reason this switch is of the momentary persuasion is to enable you to change mute settings by other means, namely

™

MUTE

different mute groups can be configured, enabling you to mute several signals at once. Not only that, but you can automate the muting of Channels (and other signal paths) via an external MIDI sequencer or the We’ll discuss all this in excruciating detail later on

EQ IN

switch .

,

PRE

switch (

AUX 1–4

LEFT/RIGHT/CENTER

SUBS

(

SUB 1–8

mixes) ,

INSERT SEND, PFL

PFL

Meter paths are not affected.

MUTE

ULTRA

. With

ULTRA MUTE

™

, up to 100

DATA

.

) .

and

switch

port.

700

70

HPF

45

dB

5

U

5

75

PAN

40

MUTE

U

EQ

HI

12k

+15-15

U

HI

MID

+15-15

2.5k

6k

FREQ

15k500

U

LOW MID

+15-15

250

700

FREQ

3k45

U

LOW

80Hz

+15-15

150

EQ IN

220

350

FREQ

80030

RL

1-2

3-4

5-6

7-8

23

CENTER

L-R

50

60

OO

SOLO

700

70

HPF

45

dB

5

U

5

50

60

75

PAN

40

MUTE

OO

FADER

Point Before: Point After:

DIRECT OUT , AUX

U

EQ

HI

12k

+15-15

U

HI

MID

+15-15

2.5k

6k

FREQ

15k500

U

LOW

MID

+15-15

250

700

FREQ

3k45

U

LOW

80Hz

+15-15

up),

The Fader is almost the last control in a Channel’s signal path. It’s placed after the and the control. The “U” mark, about three-quarters of the way up, indicates unity gain, meaning no increase or decrease of signal level. All the way up provides an additional 10dB, should you need to boost a section of a song. If you find that the overall level is too quiet or too loud with a Fader near unity, you’ll want to confirm the trim setting by keeping an eye on the Channel Meter

INPUT SECTION PFL/AFL

“up” position), or performing the Level-Setting Procedure

MUTE

.

PAN , CENTER (ASSIGN

(with

AFL CHANNEL METER

MUTE

controls but before the

(with the

METERING:

switch in the

.

PRE

) ,

switch

.

EQ

PAN

feeds the right where in between left and right, the signal is divided between the left and right buses.

occurs before the the same level as the Fader output, regardless of the

you follow this standard convention: When patching stereo sound sources into Channels, always plug the left signal into an “odd” Channel ( adjacent “even” Channel (

PAN

Channel hard right.

A CLEAN FADE

150

EQ IN

220

350

FREQ

80030

track). Despite the elaborate dust barriers

RL

built into the SR40•8’s Faders, it is still remotely possible for airborne crud to land on the track. Should that happen, you may hear scratchy

Fader mechanics are not rocket science — a Fader operates by dragging a metal pin (the wiper) across a carbon-based strip (the

turn the causing the sound to move from left to center to right), you want the sound to move, but the volume (loudness) must stay the same. To accomplish this trick, the SR40•8 has a constant loudness pan circuit, meaning the signal level dips down about 4dB on each side when panned center. Without this trick, the sound would appear louder when panned center.

RIGHT

mix,

AFL SOLO

. With the

Be aware: Since

P AN

position.

SUBs 2, 4, 6,

P AN

CENTER

P AN

control, it will receive

and 8, and the

knob set some-

assignment

With stereo sources your life will be easier if

1, 3, 5

, etc.) and the right signal into the

2, 4, 6

, etc.). Then

the odd Channel hard left and the even

CONSTANT LOUDNESS

The SR40•8’s

PAN

controls employ a design called “constant loudness”. It has nothing to do with living next to a freeway. As you

PAN

knob from left to right (thereby

noises or signal dropouts as the wiper stumbles

1-2

3-4

5-6

7-8

CENTER

L-R

over the crud. Do all you can to keep airborne crud out of your profession. Avoid smoking near the mixer, keep food and drink away from the mixer, and for pity’s sake, never put the mixer in the kitchen! We also recommend “exercising” the Faders — give them a few full-travel excursions once a week or so, and that will help scare the crud away. We do not recommend spray cleaners.

PAN

Point Before: Channel Fader . Point After:

switches)

P AN

sent to the left versus the right outputs. determines the fate of the Subgroups, and

P AN

knob hard left, the signal feeds the

mix,

SUBs 1, 3, 5

1-2, 3-4, 5-6, 7-8

,

SOLO

(in

(assignment

AFL

mode) .

adjusts the amount of Channel signal

PAN

SOLO

LEFT/RIGHT

(in

AFL

mode). With the

mix,

LEFT

and 7, and the left

AFL SOLO

1-2, 3-4, 5-6, 7-8, L-R (assignment switches)

Point Before: Point After:

mixes .

1–8

PAN

.

LEFT/RIGHT

mixes and

SUB

Alongside each Channel Fader are five but-

tons labeled

1-2, 3-4, 5-6, 7-8,

and

L-R

. These are collectively referred to as stereo assignment switches.

1, 3, 5, 7,

sides of these stereo pairs, and

and L are the left

2, 4, 6, 8,

and are the right sides. Used in conjunction with the Channel’s

PAN

control, these switches

determine the destination of a Channel’s sig-

P AN

nal: With the

knob set at the center detent, the left and right sides receive equal signal levels. To feed only one side or the other,

PAN

turn the

knob accordingly.

If you’re doing a conventional stereo mix

(with no center Channel), simply engage the

L-R

switch on each Channel that you want to

hear and they’ll be sent to the main

R

(assuming their assignment switches are en-

P AN

gaged). With the

knob hard right, the signal

SOLO

24

LEFT/RIGHT

mix . If you want to create a

Subgroup of certain Channels, engage one of

L-R

the numbered switches instead of the

, and the signals from those Channels are sent to the appropriate Subgroup Fader

. From there,

the Subgroups can be sent back to the main

LEFT/RIGHT

mix , allowing you to use the Subgroup Faders as a master control for those Channels.

CENTER (assignment)

Point Before: Fader . Point After:

CENTER

mix .

This switch works the same way as the other assignment switches — engage the switch and that Channel’s signal is sent to that mix — but it is not a stereo destination. Since the assignment occurs before the

P AN

CENTER

control, it

will receive the same level as the Fader output,

P AN

regardless of the

Be aware: If you’re using the

MAIN OUTPUTS

, and you want a Channel’s signal to

PUT

appear in the center of the main mix, engage the control to the center. Don’t use the

position.

but not the

L-R

switch and set the

LEFT/RIGHT

CENTER OUT-

LEFT/RIGHT

PAN

CENTER

assignment switch — it won’t go anywhere, but it will appear in the

PHONES

mix, and that could mislead you into thinking it actually is in the main

LEFT/RIGHT

If you want to create a mix for your main feed, and also a mix with

CENTER

blended in for a secondary

feed, you’ll want to use the

MATRIX A

Use

RIGHT

the

TRIX A

’s

for the

secondary mix outputs. Turn

LEFT

knob and

knob to their “U” markings. On

B

, turn their

CENTER

mix.

LEFT/RIGHT/CENTER

LEFT/RIGHT

LEFT

MATRIX

and

section.

MATRIX B

for

MA-

MATRIX B

’s

RIGHT

MATRIX A

and

knobs about one-third of

the way up (10:00 position).

SOLO

PFL Point Before: PFL Point After:

LEFT/RIGHT/CENTER

AFL Point Before: AFL Point After:

LEFT/RIGHT/CENTER

EQ IN

PFL

mix (mono)

Faders) .

P AN

AFL

mix (stereo)

Faders) .

switch.

.

SOLO

(of

SOLO

allows you to audition signals through your headphones without having to assign them to any of the

mixes or Subgroup (

TER

. You can simultaneously

LEFT/RIGHT/CEN-

SUB 1–8

SOLO

mixes)

as many Channels (and other signals) as you like. The SR40•8 features nondestructive solo: Engaging

SOLO

does not interrupt any of the other

Channels, buses, or outputs. Not only that, via

INPUTS PFL/AFL

the

AFL SOLO

switches in the output section, the

system comes in two flavors:

Fader-Listen) and

and

OUTPUTS PFL/

AFL

(After-Fader-Listen,

PFL

(Pre-

solo-in-place).

PFL

is the key player in the all-important

Level-Setting Procedure Channel’s actual internal levels to the

PHONES

, Channel Meters and

SOLO LEFT/RIGHT/CENTER

. It’ll send the

HEAD-

Meters so you’ll know just what’s going on level-wise. This procedure should be performed every time a new sound source is patched into a Channel’s

PFL

is often the preferred mode in SR

LINE IN

jacks.

MIC

or

(Sound Reinforcement, or live sound), to preview Channels before they are assigned into the mix. It won’t give you stereo placement, but will give you signal even if the Fader is pulled down.

PFL

Remember,

taps the Channel signal before the Fader. If you have a Channel’s Fader set way below “

” (unity gain), the

SOLO

mix won’t

U

know that and will send a unity gain signal to

HEADPHONES

the

and Meters. That may result in a startling level boost at these outputs, depending on the position of

AFL

In

sent directly to the

mode, the soloed Channel’s signal is

HEADPHONES

SOLO LEVEL

and Meters

just as it would sound to the Channel’s stereo

EQ

assignment switches: postpost-

PAN. AFL

works regardless of the

, post-Fader and

Channel’s assignment settings, and that makes it handy for auditioning a Channel before you assign it to a mix.

AFL

is the preferred mode during mixdown:

If the Channel has some midrange boost at

4.26kHz, is panned 20.3 degrees to the left, and its Fader is at –5.38dB, that’s exactly what

AFL

you’ll hear if you solo during

-SIP mode. It’s just as if you took the time to mute all the other signals.

Be aware:

OUTPUTS SOLO

over

INPUTS SOLO

these signals. For instance, if you have (an output signal) in

SOLO

on Channel

SUB 1

signal will be removed and replaced by

the Channel

15

SOLO

15

signal.

has precedence

— you can’t combine

SUB 1

, then you engage

(an input signal), the

U

EQ

HI

12k

+15-15

U

HI

MID

+15-15

2.5k

70

HPF

45

dB

75

PAN

40

MUTE

6k

FREQ

15k500

U

LOW

MID

+15-15

250

700

FREQ

3k45

U

LOW

80Hz

+15-15

150

EQ IN

220

350

FREQ

80030

RL

700

.

5

U

5

50

60

OO

SOLO

25

1-2

3-4

5-6

7-8

CENTER

L-R

N

C

E

I

L

C

I

M

060

–

20dB +40dB

GAIN

U

OO

+15

U

OO

+15

U

OO

+15

U

OO

+15

U

OO

+15

U

OO

+15

U

OO

+15

U

OO

+15

PRE FDR

POST EQ

Be further aware: If this happens, remem-

+48 PH

TRIM

40

0

AUX

1

2

ber that you still have the Subgroup switched engaged, even though you can’t hear it. In this situation, to get out of you’ll have to disengage all the even the ones you can’t hear.

METER

Point Before:

EQ IN

switch (with

ING: INPUT SECTION PFL/AFL

up), Channel Fader (with

INPUT SECTION PFL/AFL

3

These individual Channel Meters give you

switch down).

1 SOLO

SOLO

mode

SOLO

switches,

METER-

switch

METERING:

constant visual information about the signal

4

PRE

level in that Channel. In fact, with the

ING: INPUT SECTION PFL/AFL

PFL

(up), you may use these Meters for a

to

METER-

switch set

quick signal check without even engaging

5

SOLO

. With that switch down, the Meters will

MUTE

display the post-

/post-Fader/pre-

PAN

output of the Channel.

6

You may already be an expert in the world

of “+4” (+4dBu=1.23V) and “–10”

7

(–10dBV=0.32V) operating levels. Basically, what makes a mixer one or the other is the relative 0dB VU (or 0VU) chosen for the

8

Meters. A “+4” mixer, with a +4dBu signal pouring out the back, will actually read 0VU on the Meters. A “–10” mixer, with a –10dBV signal trickling out, will also read 0VU on its Meters. So when does 0VU actually equal 0dBu? Right now!

At the risk of creating another standard, Mackie has done away with the two standards just mentioned in favor of a simpler one: 0dBu at the output equals 0VU on the Meters. What could be easier? (By the way, the most wonderful thing about standards is that there are so many to choose from.)

AUX SEND

These eight rotary controls tap a portion of each Channel’s signal, mix them together, and send them to the puts (or the

SUB OUTPUTS

AUX SEND

outputs out-

if

FLIP

is engaged). They are off when turned fully down, deliver unity gain at the center detent, and provide 15dB of gain turned fully up.

AUX SEND

The

outputs are then patched to stage monitor amp inputs (pre-Fader) or parallel effects processor inputs (post-Fader). In the output section, overall levels are adjusted by the

AUX SEND MASTERS

(or Subgroup Fader if

AUX

sends can also be used to generate

FLIP

’ level

is engaged).

separate mixes for recording or “mix-minuses” for broadcast. By using

sends in the

PRE

AUX

modes , these mix levels can be obtained independently of a Channel’s Fader settings.

We recommend going into a stereo reverb in mono and returning in stereo. We have found that most “stereo” reverbs’ second input just ties up an extra aux send and adds nothing to the sound. There are exceptions, so try it both ways.

PRE switch (AUX 1 –4)

Point Before: Channel Fader (switch up),

HPF

Point After:

(switch down).

AUX

sends

1–4

.

This switch determines the tap point of

AUX

sends

1–4

. Generally, post sends are used

to feed effects devices, and pre sends are used to feed your stage monitors.

AUX

sends

MUTE

1–4

set-

In post mode (switch up), will follow the EQ,

HPF

, Fader and

tings. If you fade the Channel, you fade the

AUX

send. This is a must for effects sends, since you want the levels of your “wet” signals to follow the level of the “dry” signal.

PRE

In

1–4

follow the

MUTE

settings only. EQ,

mode (switch down),

TRIM, 0/

(polarity),

PAN

AUX

sends

HPF

and

and Fader set-

tings have no effect on the

PRE

24232221

22

10

7

4

2

0

2

4

7

10

20

30

22

10

7

4

2

0

2

4

7

10

20

30

22

10

7

4

2

0

2

4

7

10

20

30

sends. This is a popular method for setting up stage monitor feeds — they’ll be controlled independently of the Fader moves.

26

Mackie SR40 8, SR56 8 Owner's Manual

CONTENTS