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Mackie SR32-4

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About

Mackie SR32-4Road Ready RRM324W Case for Mackie Mixing Board *
Designed to fitthe Mackie SR 32.4 mixer, theRRM324W features a heavy-duty, removable, latchable cover for easy access toyour gear and Road Ready's unique low profile base design that allows you toaccess your mixer's rear connection panel without removing your mixer from thecase. And to make transporting your gear even easier, low profile wheels forsleek, stealth mobility are included. Tougher than the pavement! That's theidea. Features: Heavy Duty Industrial Grade Ball Corners Double... Read more

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Brand: Road Ready
Part Number: RRM324W

 

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Comments to date: 8. Page 1 of 1. Average Rating:
Paul Flannery 5:34am on Tuesday, October 19th, 2010 
Sony DCR-HC32 MiniDV Handycam Camcorder with 20x Optical Zoom, Handycam Station. Great camera. Bought this to digitize tapes shot on my procam. Now I use this more than the HDV camera.
marsavi 2:03am on Saturday, September 18th, 2010 
The Audio Video cable and Jack. Compact Small/Lightweight Great recording picture/Color/Options Audio Video Jack/Port Very solid camera. optical zoom, night shot, super night shot, LCD panel zoom, touchscreen B&W viewfinder
and234 7:22am on Friday, July 9th, 2010 
Sony SR32 HDD camcorder This camcorder produces very good quality video and audio unfotunately there is no viewfinder which I was very annoyed about a...
frank.z 1:24am on Thursday, May 27th, 2010 
good all round machine this machine is so easy to use,bought as a replacement for the same model,such an easy choice. Nice and compact, easy to use I have used this product for quite a long time now... Its very easy to use... the touch screen is quick and responsive.
hakke 3:18am on Tuesday, April 20th, 2010 
chirps from high dpi science and technology ? c lifting ? to compete with each other in skill ? g institute ? M is able first, plain ? of ? Sony Handycam DCR-HC32 camcorder is the first that I have, HC32 I bought about 1 year ago.
bedla 7:45am on Wednesday, April 14th, 2010 
I was quite disappointed with the features of...  Light weight, fairly easy to use, good image stabilization. I was quite disappointed with the features of this cam.
rnelson 9:26am on Thursday, March 25th, 2010 
Sony DCR-HC32 MiniDV Handycam Camcorder with 20x Optical Zoom, Handycam Station. Broken After 18 months, Otherwise *Great*, (note sarcasm) I once thought this was a great camcorder for all the reasons already noted.
ecbritz 2:43am on Tuesday, March 16th, 2010 
This camera is small, easy to use, and has a ton of features. Easy to use. Quality images. Sound. I really enjoy using this camcorder. I love this camcorder! Compact, great zoom, easy LCD screen, and more.

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Documents

doc0

32-Channel Sound Reinforcement Console Introduction
THE SR324-VLZ PRO is the latest update of our SR324
sound reinforcement console, incorporating our ultra-high quality XDR (Extended Dynamic Range) mic preamps with the best RFI rejection of any sound reinforcement mixer design on the market. Like all Mackie mixers, the SR324-VLZ PRO is designed for rugged, 24-hour-a-day use. With its multiple input/ output configurations, true 4-bus architecture, 6 aux sends, and extensive routing capabilities, it can be used in a variety of live sound and recording applications. Its sturdy steel construction houses rugged, double-sided SMT-plated fiberglass circuit boards, and 60 mm faders with ultra-tight lip seals for keeping out dust and other contaminants. Impact-resistant knobs are mounted so they ride just above the steel chassis. The SR324-VLZ PRO has 28 mono mic/line input channels, with XLR mic inputs and 1/4" TRS line inputs, and 2 stereo line input channels with 1/4" TRS inputs. All mono channels have TRS insert jacks (tip = send, ring = return). Each channel strip has an input trim, 6 aux sends (2 prefader, 2 post-fader, and 2 switchable pre or post), 3-band EQ with sweepable midrange (4-band EQ on the stereo channels), pan control, and mute, solo, and bus assign switches. A 60 mm fader provides output gain for each channel. Twenty-eight XDR mic preamps provide high-headroom and low-noise. They are impedance-independent, so the frequency response remains constant whether the mic preamp is presented with an extremely high- or low-impedance load. Additionally, each channel has its own switchable low-cut filter (18 dB/octave @ 75 Hz). The mono channel EQs provide a range of 15 dB at the following frequencies: 12 kHz shelving high-frequency EQ, 100 Hz to 8 kHz sweepable peaking mid-frequency EQ, and 80 Hz shelving low-frequency EQ. The stereo channels (21-24) provide 15 dB of boost and cut at the following frequencies: 12 kHz shelving high-frequency EQ, 3 kHz peaking high-mid frequency EQ, 800 Hz peaking low-mid frequency EQ, and 80 Hz shelving low-frequency EQ.

(continued on page 2)

Features
Low noise/high headroom XDR (Extended Dynamic
Range) mic preamps with excellent RFI rejection
New high-performance 2068 op-amps for incredibly low
noise and distortion Improved cooling for even greater thermal protection 28 mic/line mono, and 2 stereo line channels True 4-bus design Solo, pan, and 16 kHz Air EQ on each submaster 6 individual aux sends per channel (2 pre, 2 post, 2 switchable pre/post) 3-band swept midrange EQ on mic channels; 4-band fixed on stereo line channels 75 Hz low-cut filters on mic channels Mute, solo, signal present and OL LEDs on every channel 6 aux send masters with individual solos 4 stereo aux returns with EFX monitor Separate Talkback section with mic preamp Double-bused sub outs for easy multi-track routing Balanced stereo TRS & XLR main outputs Balanced XLR mono output with level control
R E LA TE D PR O D U C TS

SR244-VLZ PRO

Applications
Live sound mixing Multi-track recording

OF 8 PAGES

SR324-VLZ PRO

Specifications

Noise (20 Hz to 20 kHz bandwidth, Line inputs to Main L/R outputs, all channels assigned, panned L/R): Master fader down, Ch. gains down 94.7 dBu Master fader @ unity, Ch. gains down 87.4 dBu Master fader @ unity, Ch. gains @ unity 83.5 dBu Total Harmonic Distortion (1 kHz @ +14 dBu, 20 Hz-20 kHz): Mic input insert output Other outputs
32-Channel Sound Reinforcement Console

(continued from page 1)

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

Main Mix L/R, and the 4 subs can be assigned to Left and Right Main Mix. Furthermore, each bus is double-bused, providing eight outputs that can be connected to an 8-track recorder without repatching. Each sub out (1-4) and main out (L/R) has a TRS insert jack. Furthermore, Mackies unique AIR EQ circuit is included on each of the four subgroups. It provides a gentle nudge to the extreme high-end, without affecting lower treble octaves. Outputs include XLR and 1/4" TRS line outputs for the left and right mains, 1/4" TRS line outputs for subs 1-4, and an XLR mono main output. The mono main out has its own level control, so a mono mix can be sent to another zone and adjusted accordingly. The Phones/Control Room switch and level control are connected to two stereo headphone outputs and the left and right Control Room output, allowing the stereo Tape Return, Left/Right Main Mix, and Solo to be monitored. A stereo playback device can be monitored via the Tape Return Inputs. Tape Return to Phones/C-R routes the tape playback signal into the monitor system and meters, and the Tape Return knob adjusts the level of playback, which can be monitored via headphones. Tape Return signals can also be assigned directly to the Main Mix. The SR324-VLZ PRO also has RCA-style Tape Outs for output to conventional stereo recording devices. Each of the six aux sends has its own individual master send control, driving 1/4" TRS output jacks. Six stereo aux returns are provided, with 1/4" TRS input jacks. Two aux returns can be folded back into Aux Sends 1 and 2 via their own volume controls to add effects in stage monitors. An XLR input is provided for a talkback mic, which can be assigned to the Main Mix or to Aux 1-2. The talkback mic has a level control in the talkback section.

<0.0007% <0.004%

Crosstalk (1 kHz @ 0 dBu, 20 Hz to 20 kHz bandwidth, channel in to Main Left outputs): Channel fader down, channels at Unity 89.5 dB Channel muted, channels 2-16 at Unity 88.7 dB Frequency Response (any input to any output): 20 Hz to 60 kHz 10 Hz to 100 kHz Maximum Levels Mic preamp input All other inputs Balanced XLR outputs All other outputs Impedances Mic preamp input All other inputs All outputs Equalization Lo EQ Shelving 80 Hz Mid EQ (mono ch) Peak 100 Hz-8 kHz Hi EQ Shelving 12 kHz Microphone Preamp E.I.N. (150 terminated, max gain) Power Requirements 60 watts Physical Dimensions (HxWxD): 5.60" x 39.25" x 19.20" 142.24 mm x 996.95 mm x 487.68 mm Net Weight: 324-VLZ PRO 40.7 lbs (18.8 kg)

+0/1dB +0/3dB +22 dBu +22 dBu +28 dBu +22 dBu 1.5 k >10 k 120 +15 dB +15 dB +15 dB 129.5 dBm

SR324-VLZ PRO Top

SR SERIES BUS MIXING CONSOLE
WITH PREMIUM XDR T M MIC PREAMPLIFIERS

SR32 -VLZ PRO 4

C GAIN MI

+10dB -40dB U

+10dB -40dB

-20 +20

PRE PRE PRE

TO AUX SEND

(EFX TO MONITOR)

TAPE RETURN

LEVEL SET

ASSIGN TO SUB

OPERATING LEVEL

0dB = 0dBu

GLOBAL AUX RETURN

1-2 3-4

AUX SEND MASTERS

STEREO AUX RETURNS

RUDE SOLO LIGHT

-15 +15

MID MID MID MID

PRE FADER IN PLACE AFL

HI MID

100 8kHz

LOW MID

MAIN MIX

80Hz 80Hz

80Hz 80Hz 80Hz 80Hz 80Hz

LOW CUT 75 Hz 18dB/OCT
LOW CUT 75 Hz 18dB/OCT LOW CUT 75 Hz 18dB/OCT LOW CUT 75 Hz 18dB/OCT LOW CUT 75 Hz 18dB/OCT LOW CUT 75 Hz 18dB/OCT

AUX 1-2

LOW CUT 75 Hz 18dB/OCT LOW CUT 75 Hz 18dB/OCT LOW CUT 75 Hz 18dB/OCT LOW CUT 75 Hz 18dB/OCT LOW CUT 75 Hz 18dB/OCT LOW CUT 75 Hz 18dB/OCT

TALKBACK

OL OL OL OL OL OL

PAN MUTE

MUTE / SOLO
MUTE / SOLO MUTE / SOLO MUTE / SOLO MUTE / SOLO MUTE / SOLO MUTE / SOLO MUTE / SOLO MUTE / SOLO MUTE / SOLO
TAPE RETURN TO PHONES / C R

L/R ASSIGN

PHONES / C-R LEVEL

MAIN MIX 3 4

TAPE RETURN TO MAIN MIX

LEFT/RIGHT

SOLO 10

10 SOLO

3-4 10

SR324-VLZ PRO Rear Panel

MAIN OUTS (BAL OR UNBAL)

AUX SENDS (BAL OR UNBAL)

STEREO AUX RETURNS (BAL OR UNBAL)

SUB OUTS (BAL OR UNBAL)

SUB INSERTS (BAL OR UNBAL)
MONO INSERT INSERT INSERT INSERT INSERT INSERT INSERT

INSERT

MIC 28

XD R XD R XD R

LINE IN (BAL OR UNBAL)

MIC PR E

MIC 27

MIC 26

MIC 25

MIC 24

MIC 23

MIC 22

MIC 21

MIC 20

MIC 19

MIC 18

MIC 17

MIC 16

MIC 15

MIC 14

MIC 13

MIC 12

MIC 11

MIC 10

TAPE OUT TALK BACK MIC OUTPUT LEVEL RIGHT MAIN OUT LEFT MAIN OUT MONO MAIN OUT

(BAL OR UNBAL)

MAIN INSERTS PHONES

CONTROL ROOM OUT

(MONO)

TAPE IN

120VAC 50 - 60 HZ 110W

POWER ON

PHANTOM ON

FUSE INSIDE

MAIN BALANCED OUTPUTS

PHONES

THE FOLLOWING ARE TRADEMARKS OR REGISTERED TRADEMARKS OF MACKIE DESIGNS INC.: "MACKIE.", AND THE "RUNNING MAN" FIGURE US PATENT NUMBER Des. 380,760 COPYRIGHT 2000 XDRTM EXTENDED DYNAMIC RANGE MIC PREAMPLIFIERS ARE PROPRIETARY TO MACKIE DESIGNS INC.

T 1A L 250V

CAUTION: TO REDUCE THE RISK OF FIRE, REPLACE WITH THE SAME TYPE FUSE AND RATING

PIN 2 = HOT PIN 3 = COLD

STEREO PLUG

STANDBY

RISK OF ELECTRIC SHOCK DO NOT OPEN

CAU T I O N

WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT
EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL. AVIS: RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR

SERIAL NUMBER

MANUFACTURING DATE

-BUS MIXING CONSOLE

WITH PREMIUM XDRTM MIC PREAMPLIFIERS
TIP OUT TO EFFECTS DEVICE RING RETURN FROM EFFECTS
REPLACE WITH THE SAME TYPE FUSE AND RATING. DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE
UTILISE UN FUSIBLE DE RECHANGE DE MME TYPE. DEBRANCHER AVANT DE REMPLACER LE FUSIBLE

SR324-VLZ Pro Dimensions

18.90" 2.80" 5.60" 2.80"

1.80" 1.30"

19.20"

0.50"

39.25"

324 WEIGHT 41 lbs.

SR324-VLZ PRO Block Diagram
Architects and Engineers Specifications
1. GENERAL CONFIGURATION. The audio mixer shall have a free-standing frame fitted with four resilient feet suitable for tabletop placement. The frame shall be comprised of 28 monaural input channels, 2 stereo input channels, 4 submix output channels and 2 main output channels. The monaural input channels shall be capable of accepting either microphone- or line-level signals, and shall be fitted with trim, equalization, balance, and auxiliary send controls; solo, mute, and bus assign switches; level-indicating LEDs and insert jacks. The stereo input channels shall be capable of accepting either stereo or monaural line-level signals, and shall be fitted with stereo trim, equalization, balance, and auxiliary send controls; solo, mute and bus assign switches; and level indicating LEDs. The submix outputs shall each have level, pan, and air controls; solo and assign switches; and a bus access insert jack. The main outputs shall share a stereo master output fader and shall be fitted with insert jacks. Additionally, the mixer shall include a pre-fader/post fader solo function, a main monaural output with level control derived from the main stereo outputs, 6 monitor/effects send outputs, 4 stereo effects return inputs with switching and control functions, 1 stereo control room monitor output, 2 stereo headphone outputs, 1 set of stereo tape recorder convenience outputs, and 1 set of stereo tape monitor inputs. 2. POWER SUPPLY. All necessary operating voltages for the mixer shall be provided by an internal power supply. 3. INPUT CHANNEL CONNECTIONS. Each monaural channel (1-28) shall include an XDR (Extended Dynamic Range) electronically balanced microphone input, using an XLR-3-F-type connector, accepting nominal levels from 60 dBu to +4 dBu via a rotary Trim control. Phantom power shall be globally controlled via a rocker-type switch. Each monaural input channel shall also have an electronically balanced line level input, accommodating a nominal line level of between 10 dBV and +4 dBu, and appearing on the rear panel as a 1/4" TRS phone jack. Each stereo input channel shall have left and right electronically balanced line level input, accommodating a nominal line level of between 10 dBV and +4 dBu, and appearing on the rear panel as 1/4" TRS phone jacks. These jacks shall be fitted with internal switching contacts to accommodate monaural configuration. Additionally, each of the monaural input channels (1-28) shall offer an unbalanced insert connection, appearing on the rear panel as a 1/4" TRS phone jack. 4. INPUT CHANNEL LEVEL AND ASSIGNMENT CONTROLS AND INDICATORS. Each monaural input channel shall be equipped with a preamplifier gain control, a solo switch, a mute switch, three bus assignment

switches, and a stereo pan control. Each stereo input channel shall be equipped with a dual preamplifier gain control, a solo switch, a mute switch, three bus assignment switches and a stereo balance control. 5. INPUT CHANNEL EQUALIZATION. Each monaural input channel shall be equipped with an equalization function. The equalizer shall have three sections: a lowfrequency shelving equalizer with the knee set at 80 Hz and a range of +15 dB; a mid-frequency peaking equalizer with a center frequency sweepable from a range of 100 Hz to 8 kHz, and a range of +15 dB; and a high-frequency shelving equalizer with the knee set at 12 kHz and a range of +15 dB. Each stereo input channel shall be equipped with a stereo equalization function. The equalizer shall have four sections: a low-frequency shelving equalizer with the knee set at 80 Hz and a range of +15 dB; a low-mid-frequency peaking equalizer centered at 800 Hz and a range of +15 dB; a high-mid-frequency peaking equalizer centered at 3.5 kHz and a range of +15 dB; and a high frequency shelving equalizer with the knee set at 12 kHz and a range of +15 dB. 6. INPUT CHANNEL AUXILIARY SENDS. Each mixer input channel shall have 6 monaural auxiliary send controls. Two auxiliary send controls shall be fixed as prefader sends; two shall be fixed as post-fader sends; and two shall be switchable between pre-fader and post-fader. All auxiliary sends shall be post-mute switch. 7. MAIN OUTPUT CONNECTIONS. The mixer shall have electronically balanced, line-level left and right main outputs, appearing on male XLR-3 type connectors and impedance balanced on 1/4" phone TRS jacks on the rear panel. Additionally, the main buses shall offer left and right unbalanced insert connections, appearing on the rear panel as 1/4" phone TRS jacks. Further, there shall be a main, electronically balanced, monaural output derived from the main stereo output, appearing as a male XLR-3 type connector on the rear panel. There shall be an output level control to adjust the main monaural output level. 8. OTHER OUTPUT AND MONITORING CONNECTIONS. The mixer shall have the following impedance balanced line-level connections, appearing as 1/4" TRS jacks on the rear panel: submix bus outputs 1-4, also wired in parallel respectively to submix outputs 5-8; left and right control room monitor outputs, left and right tape monitor outputs, left and right tape monitor inputs. For convenience, the left and right main outputs (unbalanced) and the left and right tape monitor inputs shall also appear as RCA phono jacks on the rear panel. There shall also be two stereo headphone outputs on the rear panel of the mixer, carrying the control room monitor signals at levels and impedances proper for headphones. Each headphone output connection shall be a stereo 1/4" jack.

9. OUTPUT AND MONITORING CONTROLS AND SWITCHES. The mixer shall include one linear fader control for gain adjustment of main L/R outputs, covering a range from infinite attenuation to +10 dB above unity gain. A tape monitor switch shall alternately select either the main L/R outputs or the signal at the tape inputs as the source for the control room and headphones monitoring circuits. There shall be a stereo dual-channel rotary control for gain adjustment of the control room and headphone monitor output. The mixer shall have a stereo dual-channel control for adjustment of the monitoring level of the internal solo signals, and a light to indicate channel solo condition. The solo system shall be capable of switching between PFL (pre-fader listen) and AFL (after-fader listensolo in place) operation. 10. OUTPUT METERING. The mixer frame shall include two 13-segment LED meters each displaying a signal range from 40 dBU to +10 dBu, each with an additional LED indicating mixer clipping level at +22 dBu. The meters shall monitor the main left and right output channels; alternately, the meters shall monitor the tape return signals when the tape monitor switch is depressed; or, the soloed input channel signals when the solo switch is depressed. 11. AUXILIARY SEND CONNECTIONS. The mixer shall include impedance balanced, line-level outputs from the six auxiliary send buses, appearing on the rear panel as 1/4" TRS phone jacks. 12. AUXILIARY RETURN CONNECTIONS. The mixer shall include 4 stereo auxiliary return inputs. Each auxiliary return shall have a left and a right balanced line-level input, accommodating a nominal line level of between 10 dBu and +4 dBu, and shall appear on the rear panel as 1/4" TRS phone jacks. The jacks shall be fitted with internal switching contacts to accommodate monaural configuration.
13. AUXILIARY RETURN CONTROLS AND SWITCHES. The mixer shall include 4 dual-channel auxiliary return gain controls, each feeding the main stereo buses. Auxiliary returns 1-2 shall have their signals assignable to auxiliary send buses 1 and 2, respectively, through rotary level controls. Auxiliary return 4 shall be assignable to three different pairs of destinations, feeding either the main left and right buses or the submix buses. 14. PHYSICAL CONFIGURATION. The mixer shall have a steel chassis frame painted grey-black and designed to rest on a horizontal surface. The SR324-VLZ PROs dimensions shall be 6.1" (155mm) high by 39.3" (997mm) wide by 19.2" (487mm) deep. 15. SPECIFICATIONS. In addition to specifications previously cited, the mixer shall meet or exceed the following specifications. Frequency response, microphone input to any output, 20 kHz to 60 kHz, +0 dB/ 1 dB; Total Harmonic Distortion (THD), any input to any output, 1 kHz @ +14dBu, 0.004%; Equivalent Input Noise (EIN), microphone input to insert send, 129.5 dBm; Common Mode Rejection (CMR), microphone input to insert send, maximum gain, 1 kHz, better than 90 dB; Typical Main Output noise, all channels assigned, odd channels panned left, even channels panned right, all faders down 94.7 dBu; Signal to Noise ratio, ref +4 dBu operating level, 90 dB; Attenuation, ref. 0 dB @ 1 kHz, Main Mix level control down, 85 dBu; Channel Mute engaged, 84 dBu; Channel Gain control down, 83 dBu; Input impedance, microphone inputs, 1.5 k; Channel Insert return, 2.5 k; all other inputs, greater than 10 k; Output impedance, Tape Out, 1.1 k; All other outputs, 120. 16. DESIGNATION. The mixer shall be a Mackie SR324-VLZ PRO.

Electronic files for this product available at: www.mackie.com/installed This Specification Sheet Owner/Operators Manual SR32VLZPRO_SS.PDF SRVLZPRO_OM.PDF

www.mackie.com

LOUD Technologies continually engages in research related to product improvement. New material, production methods, and design refinements are introduced into existing products without notice as a routine expression of that philosophy. For this reason, any current LOUD Technologies product may differ in some respect from its published description, but will always equal or exceed the original design specifications unless otherwise stated. 19992004 LOUD Technologies Inc. All rights reserved. Mackie and the Running Man figure are registered trademarks of LOUD Technologies Inc. Part No. 0003712 Rev A2 9/04
16220 Wood-Red Road NE, Woodinville, WA 98072 USA 800.898.3211, fax 425.487.4337, sales@mackie.com
UK +44.1268.570.808, fax +44.1268.570.809, uk@mackie.com

doc1

SR SERIES 244 4BUS MIXING CONSOLE WITH PREMIUM XDRTM MIC PREAMPLIFIERS 2

SR24 4-VLZ PRO

d -10GBV C AIN MI

+15dB - 45dB

-20 +20 +20
+15dB - 45dB +15dB - 45dB +15dB - 45dB +15dB - 45dB +15dB - 45dB +15dB - 45dB +15dB - 45dB +15dB - 45dB +15dB - 45dB +15dB - 45dB +15dB - 45dB +15dB - 45dB +15dB - 45dB
U U U U U U U U U U U U U U
U U U U U U U U U U U U U U U
+15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15

PRE +15

O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O
PRE +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE
O O O O O O O O O O O O O O O O O O O O O O O O O O O O
+15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15

TO AUX SEND

(EFX TO MONITOR) +20

TAPE RETURN

LEVEL SET 5

SOLO ASSIGN TO SUB

OPERATING LEVEL

U U U U

+15 +15 +15

0dB = 0dBu

U U U U U U U U U U
+15 +15 +15 +15 +15 +15 +15 +15

GLOBAL AUX RETURN

1-2 3-4

+15 +15 +15 +15 +15

RUDE SOLO LIGHT

AUX SEND MASTERS EQ

STEREO AUX RETURNS EQ
U U U U U U U U U U U U U

12k -15

U U U U U U U U U U U U
12k -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 12k 12k 12k 12k 12k 12k 12k 12k 12k 12k -15
HI HI HI HI HI HI HI HI HI HI HI

12k +15

+15 -15

-15 +15 -15 +15

PRE FADER IN PLACE AFL
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15

-15 +15

HI MID

3k -15 +15

1.5k FREQ 1.5k FREQ 1.5k FREQ 1.5k FREQ 1.5k FREQ 1.5k FREQ 1.5k FREQ 1.5k FREQ 1.5k FREQ 1.5k FREQ 1.5k FREQ 150

1.5k FREQ 150

1.5k FREQ

LOW MID

8k 100

U U U U U U U U U U U

AIR LOW

MAIN MIX

80Hz -15 LOW CUT 75 Hz 18dB/OCT LOW CUT 75 Hz 18dB/OCT LOW CUT 75 Hz 18dB/OCT LOW CUT 75 Hz 18dB/OCT LOW CUT 75 Hz 18dB/OCT LOW CUT 75 Hz 18dB/OCT LOW CUT 75 Hz 18dB/OCT LOW CUT 75 Hz 18dB/OCT LOW CUT 75 Hz 18dB/OCT +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz -15 LOW CUT 75 Hz 18dB/OCT +15
+15 LOW CUT 75 Hz 18dB/OCT
80Hz -15 +15 LOW CUT 75 Hz 18dB/OCT -15 +15 LOW CUT 75 Hz 18dB/OCT -15 +15 LOW CUT 75 Hz 18dB/OCT -15 +15 LOW CUT 75 Hz 18dB/OCT -15 +15 -15 +15

AUX 1-2

LOW CUT 75 Hz 18dB/OCT

TALKBACK

OL OL OL OL OL OL OL OL
-20 L R L R L R L R L R L R L R L R L R
TAPE RETURN TO PHONES / C R
SR244-VLZ PRO & SR324-VLZ PRO OWNERS MANUAL

MUTE / SOLO

dB dB dB dB dB dB dB dB
MUTE / SOLO MUTE / SOLO MUTE / SOLO MUTE / SOLO MUTE / SOLO MUTE / SOLO MUTE / SOLO
MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE

L/R ASSIGN

PHONES / C-R LEVEL
10 SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO 5 10

TAPE RETURN TO MAIN MIX

LEFT/RIGHT
10 SOLO 5 1-2 U 5 3-L-R 60

O O O O O O O O O O

SOLO 5 1-2 U 5 3-L-R 60
SOLO 1-2 U 5 3-10 L-R 20 L-R L-R 10 L-R L-R 3-4 3-5 3-60
SOLO 5 1-2 U 5 U U 1-2 1-5
10 SOLO SOLO SOLO SOLO SOLO

1-2 U 5 3-L-R 60

5 1-2 U 5 3-4

5 1-2 U 5 3-L-R 60

U 5 3-L-R 60

CAUTION

12. 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. 13. 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. 14. 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.

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. Cleaning Clean only with a dry cloth. 7. 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. 8. Heat This Mackie product should be situated away from heat sources such as radiators, or other devices which produce heat. 9. 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. 10. 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. 11. Object and Liquid Entry Care should be taken so that objects do not fall on, and liquids are not spilled into, this Mackie product.
ATTENTION Le prsent appareil numrique nmet pas de bruits radiolectriques dpassant las limites applicables aux appareils numriques de class A/de class B (selon le cas) prescrites dans le rglement sur le brouillage radiolectrique dict par les ministere des communications du Canada.
18. 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. Governments 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.

-15 +15 -15

3k +15 -15

3k +15

MASTER SECTION (page 22)
The section on the right.

FREQ 100

800Hz -15

80Hz -15 +15

LINE ONLY CHANNELS 21-24

3-10 L-R 60

(EFX TO MONITOR)

MASTER SECTION

LEVEL SET

AUX SEND MASTERS

STEREO AUX RETURNS

CONTENTS

page SAFETY INSTRUCTIONS. 2 INTRODUCTION... 3 ABOUT THIS MANUAL.. 4 QUICK START.. 6 APPLICATIONS DIAGRAMS. 9 page

MASTER SECTION FEATURES

LAMP CONNECTOR.. AUX SEND MASTER AUX SEND MASTERS. SOLO.. STEREO AUX RETURNS STEREO AUX RETURNS. TO AUX SEND 1-2.. ASSIGN TO SUB.. SUB.. SOLO.. TAPE RETURN.. METERS.. ZERO EQUALS ZERO.. POWER LED.. SUBGROUPS AIR.. SOLO.. PAN.. L/R ASSIGN.. SUBGROUP FADERS.. SOLO RUDE SOLO LIGHT.. LEVEL.. MODE.. AUX LED.. SUB LED.. TALKBACK LEVEL.. MAIN MIX.. AUX 1-2.. TAPE RETURN TO PHONES/C-R. PHONES/C-R LEVEL.. TAPE RETURN TO MAIN MIX.. MAIN MIX FADER.. SPECIFICATIONS.. BLOCK DIAGRAM.. GAIN PATH.. SERVICE INFORMATION.. SR244/SR324 LIMITED WARRANTY. 30 31

PATCHBAY FEATURES

MIC.. LINE IN... INSERT.. EFFECTS: SERIAL OR PARALLEL?. STEREO LINE IN.. TAPE OUT.. TAPE IN... SUB INSERTS.. SUB OUTS.. DOUBLE BUSING.. STEREO AUX RETURNS.. AUX SENDS.. CONTROL ROOM OUT. MAIN OUTS (TRS). MAIN INSERTS. MONO MAIN OUT. OUTPUT LEVEL. MAIN OUT (XLR).. TALKBACK MIC. PHONES.. PHANTOM SWITCH.. POWER SWITCH.. AC RECEPTACLE.. FUSE.. 21 21

CHANNEL STRIP FEATURES

TRIM.. AUX SEND AUX.. PRE.. EQ SECTION HI.. MID.. FREQ.. HI MID.. LOW MID.. LOW.. LOW CUT.. OL LED.. -20 LED... PAN.. MUTE.. SOLO.. 1-2 & 3-4.. L-R.. CHANNEL FADER..

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.

Switch Up

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) MODE (63) MAIN MIX (67) AUX 1-2 (68) TAPE RETURN TO PHONES/C-R (69) TAPE RETURN TO MAIN MIX (71)

SRM450 Active Monitors

Stereo Reverb #1

Graphic EQ

Stereo Reverb #2

L R L L 3 R R 2

STEREO CHANNELS

PHONES MAIN OUTS MAIN INSERTS CNTRL RM OUT

L R L R L R MONO

MAIN OUTS AUX SENDS

L L R L

TAPE IN TAPE OUT

2-track Recorder

APPLICATION DIAGRAMS

AUX RETURNS

SUB OUTS

SUB INSERTS

Power Amplifier
NOTE: For input level control, use Control Room Outs instead of Tape Outs.
Tape Deck Stereo EQ Stereo Compressor Harmonizer
FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN

Zone Speaker

Sonic Maximizer

Stereo Digital Delay

ch. assignment ch. device gate gate gate gate 15

device

input insert

assignment

compressor submix 1 submix 1 submix 1 submix 1 submix 1 submix 1 submix 1 submix 1
kick snare hi hat tom 1 tom 2 tom 3 drum overhead mic L drum overhead mic R
mic mic mic mic mic mic mic mic
bass mic bass direct guitar mic guitar direct Acoustic guitar piano low piano high
mic line mic line mic mic mic

compressor compressor

submix 2 submix 2 submix 3 submix 3 submix 3 L/R bus L/R bus

20 2122* 2324

keyboard submix L keyboard submix R vocal mic 1 vocal mic 2 vocal mic 3 stereo reverb stereo delay

line line mic mic mic

L/R bus L/R bus Submix 4 Submix 4 Submix 4 L/R mix Submix 4
* 2930 on the 324-VLZ PRO 3132 on the 324-VLZ PRO

Church Installation

Stage Monitor Stage Monitor Assisted Listening Station Stage Monitor Power Amplifier

4-track Recorder

SRM450 Active Monotors
Playback Only (DAT, CD, etc.)
PHONES MAIN OUTS MAIN INSERTS

L R L R L R 4

MAIN OUTS AUX SENDS CNTRL RM OUT AUX RETURNS SUB OUTS

Cassette or DAT

OL PWR PWR
HIGH RESOLUTION STUDIO MONITOR

OFF OFF

Stereo Compressor/ Limiter HR824 Active Monitors Effects Device

Harmonizer

Effects Device
ch. assignment submix 12 submix 12 submix 12 submix 12 submix 12 submix 12 submix 12 submix 14 device all optional

input insert mic mic mic mic mic mic all optional
assignment submix 34 submix 34 submix 34 submix 34 submix 34 submix 34

ch. 2122* 2324

device wireless lavalier mic 1 wireless lavalier mic 2 wireless hand-held mic 1 lectern mic 1 lectern mic 2 alter mic CD player digital effect stereo return
input insert line line line mic mic mic all optional
assignment L/R bus L/R bus L/R bus L/R bus L/R bus L/R bus L/R bus L/R bus
kick snare drum overhead mic L drum overhead mic R bass direct guitar mic piano PZM mic synth direct
mic mic mic mic line mic mic line
worship team vocal 1 worship team vocal 2 worship team vocal 3 choral L choral center choral R

Headphone Amplifier

8-Track Recording
DAT Player Stereo EQ Stereo Reverb #1
Keyboard, or other line level input

L R L R L R

L L 24 R L

Tape Cassette

8-track Recorder
Stereo Compressor/ Limiter HR824 Active Monitors Stereo Reverb #3
NOTE: for recording more than 4 tracks at once, use either the channel inserts as direct outs or use aux sends.
assignment ch. gate gate gate gate submix 12 submix 12 submix 12 submix 12 submix 12 submix 3 submix 13 14
device bass bass direct guitar close mic guitar distant mic scratch vocal digital multitrack 1 digital multitrack 2
input insert mic line mic mic mic line line EQ compressor gate gate
assignment submix 4 submix 4 aux 6 or dir. L/R bus L/R bus L/R bus L/R bus
device digital multitrack 3 digital multitrack 4 digital multitrack 5 digital multitrack 6 digital multitrack 7 digital multitrack 8 MIDI keyboard 1 (stereo) MIDI keyboard 2 (stereo)
input insert line line line line line line line line
kick snare hi hat hi tom lo tom drum overhead mic L drum overhead mic R
mic mic mic mic mic mic mic

Audio/Video Production

Effects Device Stereo Compressor/ Limiter

DAT player

L R L R L L 3 R R 21 L 22 R

Video Deck #2

Video Deck #1 HR824 Active Monitors
Stereo Compressor/ Limiter Time Code Time Code

SLEEVE SLEEVE TIP

TIP SLEEVE
1/4 TS (Tip-Sleeve) unbalanced wiring: Tip = hot (+) Sleeve = shield
RING SLEEVE SLEEVE RING TIP

COLD SHIELD

COLD 3 HOT

SHIELD COLD

RING TIP SLEEVE
XLR balanced wiring: Pin 1 = shield Pin 2 = hot (+) Pin 3 = cold (-)
1/4 TRS (Tip-Ring-Sleeve) balanced wiring: Tip = hot (+) Ring = cold (-) Sleeve = shield

3. INSERT

With nothing plugged into this jack, the channels signal goes straight through the mic/ line preamp to the channel strip. With an external effects device plugged into this jack, the channels signal leaves the mixer, goes through the effects device and back into the channel strip. Use these jacks to send the channel signal through a compressor, graphic equalizer or similar device. Since the insert is before the CHANNEL FADER (42), moving that fader will not alter the level sent to a compressor, thereby preserving the original signals characteristics. These unbalanced jacks are wired thusly: Tip = Send (to effects device input) Ring = Return (from effects device output) Sleeve = Common ground (connect shield to all three sleeves)
tip ring sleeve SEND to processor (TRS plug)
EFFECTS: SERIAL OR PARALLEL?
Effects devices are used either in serial or in parallel: Serial means that the entire signal is routed through the effects device. Examples include: preamps, compressor/limiters, graphic equalizers. Connections are typically made via the channel insert jacks. Parallel means that a portion of the signal is tapped off to the effects device processed and returned, to be mixed with the original dry signals. Multiple signals (via multiple mixer channels) can all make use of the same parallel effects device. Examples include: reverb, delay, chorus. Connections are typically made via aux sends & aux returns.

Serial Device

Insert Send Dry Signal Signal Processor (e.g., Compressor) Insert Return Processed Signal
This plug connects to one of the mixers Channel Insert jacks.
ring RETURN from processor

Parallel Device

Aux Send Signal Processor (e.g., Reverb) Aux Return Wet Signal Mix Stage Dry Signal(s) Processed Signal Output Section

17. TALKBACK MIC

Connect a balanced dynamic microphone to this XLR jack to utilize the mixers talkback feature (66) (67) (68). This input does not provide phantom power, so it cannot accept condenser microphones. Accepts XLR balanced plugs, see page 14.

18. PHONES

The stereo signal from each of these identical outputs is a high-current version of the signal from CONTROL ROOM OUT (11). Connect TRS headphones to either or both jacks. The stereo signal at these jacks is the same as the MAIN OUTS (12) (16), except when SOLO (39) or TAPE RETURN TO PHONES/C-R (69) is engaged. Its level is independently controlled by PHONES/C-R LEVEL (70). TRS stereo wiring: Tip = left, ring = right, sleeve = shield

20. POWER

The POWER switch is located on the rear panel, adjacent to the AC RECEPTACLE (21). Push in the top side of the switch to turn on, this connects the mixer to main AC power. The POWER (55) LED in the top right corner of the console, will glow in confirmation. To turn the mixer off, push the switch the other way. Note: turning off the switch does not remove all power from the mixer. To remove all power, the power cord must be disconnected from the power source.

19. PHANTOM

Engage this switch to provide phantom power to all the MIC (1) input jacks. All of the XLR mic inputs, except TALKBACK MIC (17), are capable of simultaneously providing phantom power. Phantom power is required to operate most condenser microphones (some condenser microphones are battery-powered). +48VDC phantom power is delivered to pins 2 and 3 of the XLR connectors. For dynamic, ribbon or tube mics that do not require phantom power, leave this switch off. If both condenser and dynamic mics are used, turn the switch on. Phantom power will not hurt most dynamic mics. If unsure, check the microphones user manual. Caution: Turn all output levels down before operating this switch to avoid the possibility of a pop in the speakers. Caution: Connecting an external line-level device to an XLR input connector with the phantom power activated could damage that device. Use the LINE IN (2) or STEREO LINE IN (4) jacks for connecting line-level signals.

21. AC RECEPTACLE

Connect the supplied AC linecord into this IEC socket to provide AC power to the Mixer. Plug the cord into a suitable AC outlet; properly grounded and capable of delivering adequate current. Replacement AC linecords are widely available at any office or computer supply store.

150 1.5k FREQ

80Hz -15 +15 -15 +15

3-4 10

EQ: (28 through 34)
The mixer has low shelving, mid peaking and high shelving EQ. Shelving means that the circuitry boosts or cuts all frequencies past the specified frequency. For example, boosting the LOW EQ knob boosts bass frequencies at 80Hz and below. Peaking means that only a selected hill of frequencies surrounding a center hilltop frequency is affected by the EQ control. All EQ gain controls provide up to 15dB of boost (clockwise) or cut (counter-clockwise). They are flat (no boost or cut) at their center detents, effectively bypassing their circuits. Note: EQ boost is a form of level boost. With excessive amounts, the signal may become too hot and overload subsequent circuitry. Should this happen, either back off the EQ gain, or repeat the SET THE LEVELS on page 8. The following graphs show how the frequency response changes when the various controls are adjusted.(The graphs are simplified for entertainment and enlightenment purposes only).
31. HI MID and 32. LOW MID
The stereo channels employ a 2-stage fixedfrequency midrange EQ:

+15 +10 +5

15 20Hz 100Hz 1kHz 10kHz 20kHz
LOW MID is centered at 800Hz.
HI MID is centered at 3kHz
Midrange EQ is often considered the most dynamic, because the frequencies that define any sound are almost always found in this range.

33. LOW

This control is centered at 80Hz and below. This frequency represents the punch in kick drums, bass guitar and fat synth patches.

28. HI

This control is centered at 12kHz and above. Boost it to add sizzle and definition to sounds with high-frequency transients, such as cymbals. Reduce it to attenuate sibilance or to mask tape hiss.
This graph shows various settings of the LOW control, with LOW CUT not engaged.

34. LOW CUT

This switch (only on the mono channels) cuts the bass frequencies below 75Hz at a rate of 18dB per octave. Low Cut is also known as High Pass (low cut dress=high pass rate). To prevent muddy mixes, use low cut on every mono channel except those which carry kick drum, bass guitar or other bass-intensive sounds. Low cut can also help reduce the possibility of feedback in live situations and it helps to conserve amplifier power.

10kHz 20kHz

29. MID and 30. FREQ
The mono channels employ a semiparametric mid-sweep EQ. The gain is set via MID (29), and then aimed at a specific frequency, from 100Hz to 8kHz, via FREQ (30).

3 -4 10

This graph shows various settings of the LOW control, with LOW CUT engaged.
Desirable low frequencies can be boosted whilst undesirable lower frequency stage rumble, mic handling clunks and P-p-pops are attenuated.

35. THIS OL LED

This LED represents a bad thing: If a channels OL LED lights up, its signal is too hot, and subsequent circuitry may overload (clip). To correct this, perform the SET THE LEVELS procedure on page 8.

39. SOLO

Engaging this switch isolates the associated channels signal and sends it to the control room, phones and meters. See RUDE SOLO LIGHT (61) and MODE (63) for more information. Note: A muted channel can still be soloed (set MODE (63) to PFL).

36. -20 LED

This LED represents a good thing: This LED will flicker in time with a channels signal when its level peaks at -20dB or higher. Also known as a signal present indicator, it confirms an adequate signal level.

40. 1-2 & 3-4

Used in conjunction with the PAN (37) knob, these switches allow a channel signal to be sent to the subgroups in stereo pairs. Typically, if a channel signal is routed to the subgroups, it will not be directly assigned to the main mix via the L-R (41) switch. For live sound, subgroups allow a group of channels to be controlled by one or two subgroup faders. For multitrack recording, subgroups can be used to route groups of channels to specific tracks of a multi-track recorder. See PAN (37), L/R ASSIGN (59) and SUBGROUP FADER (60) for more information.

37. PAN

PAN adjusts the amount of channel signal sent, left versus right, to the MAIN OUTS (12) (16) and SUB OUTS (8). On mono channels, the knob places the signal somewhere between hard left and hard right. On stereo channels, it works as a balance control, by attenuating one side or the other. With the PAN knob hard left, the signal will feed LEFT MAIN, SUB 1 or SUB 3, depending on the channels L-R (41) and 1-2 & 3-4 (40) assignment settings. With the PAN knob hard right, the signal will feed RIGHT MAIN, SUB 2 or SUB 4, also depending on the channel assignment settings. With the PAN knob set somewhere in between, the signal will be shared across both sides of the mix(es). The PAN circuits employ a design called constant loudness. As the knob is rotated from left to center to right, the sound will remain at the same apparent volume. To attain this, both sides of the signal must dip down about 4 dB when panned center, to account for the doubling of the signal.

41. L-R

Used in conjunction with the PAN (37) knob, this switch allows a channel signal to be sent directly to the stereo main mix. Typically, an active channel will always have this switch engaged, unless its signal is being sent to a subgroup, via the 1-2 and 3-4 (40) switches. See PAN (37) and MAIN MIX FADER (72) for more information.

dB -15

80Hz +15 -15 +15

38. MUTE

Engaging a channels mute switch severs its signal from all subsequent outputs. Additionally, the adjacent MUTE/SOLO LED will glow. Note: A muted channel can still be soloed (set MODE (63) to PFL). Note: The mixers pre-fader aux sends, typically used for stage monitors, follow this mute switch. To effectively mute the signal sent to the main mix without muting monitor feeds, use that channels fader instead of the mute switch.

42. CHANNEL FADER

The fader is the master level control for the channels signal output. If the TRIM (25) is set correctly, the fader position will be best positioned somewhere between -20dB and 0dB (U). If a fader is set all the way up, thereby adding 10dB of gain, thats a sign that the TRIM (25) is set too low. Conversely, if the fader is set way down, the TRIM may be set too high.

5 U -60

In the master section, signals leaving the channel strips are mixed, manipulated and sent to the outputs in the patchbay. Additionally, there are four more stereo inputs here, used to add effects to the main mix or other destinations.

45. LAMP

This female BNC connector provides 12 volts on its center pin. Connect any quality gooseneck lamp here.
AUX SEND MASTER: (46 and 47)

LEFT RIGHT

46. AUX SEND MASTERS
Aux send signals originate at each channels AUX (26) knobs, are mixed together, sent through these controls, and exit at the patchbays AUX SENDS (10). Turned fully up, these controls provide 15 dB of additional gain, the center U label is unity gain and fully down is off. When an aux send is used for monitors, these knobs can be used to raise or lower individual monitor mixes to suit the performers taste. For recording work, these knobs are typically set near unity and left alone; most adjustments are made per channel.

47. SOLO

Engaging any of these switches will isolate the associated signal and send it to the control room, phones and meters. See RUDE SOLO LIGHT (61) and MODE (63) for more information.
STEREO AUX RETURNS: (48 to 52) 48. STEREO AUX RETURNS
Having entered through the STEREO AUX RETURNS (9) jacks, effects returns are controlled by these knobs, and typically continue on to the MAIN MIX FADER (72). Effect returns are the wet signals, to be combined with the channels original dry signals in the main mix. Turned fully up, these controls provide 20 dB of additional gain; the center U label is unity gain and fully down is off. These knobs are typically set near unity and left alone.

52. SOLO

Engaging this switch isolates the associated signal and sends it to the control room, phones and meters. See RUDE SOLO LIGHT (61) and MODE (63) for more information. Note: In PFL mode, aux returns are not soloed before their master level controls, but are instead summed after the controls into a mono signal and sent to the PFL mix.

55. POWER LED

This LED glows when the POWER (20) switch is turned on.
SUBGROUPS: (56 through 60)

56. AIR

AIR is a high frequency peaking EQ centered at 16kHz. Turned fully up, these controls provide 10dB of boost and fully down effectively bypasses the circuit. Use AIR to provide a crystalline effect to subgroups, helping them stand out in the overall mix.

+15 +10

15 20Hz 100Hz 1kHz 10kHz 100kHz

57. SOLO

Engaging this switch isolates the associated signal and sends it to the control room, phones and meters. See RUDE SOLO LIGHT (61) and MODE (63) for more information. Note: To solo a subgroup in AFL mode, L/R ASSIGN (59) must be engaged.

58. PAN

When a mono subgroup signal is assigned to the main mix via L/R ASSIGN (59), it effectively becomes another channel signal and can be panned from left to right. This knob then adjusts the amount of signal sent, left versus right, to the MAIN OUTS (12) (16). The mixers pan circuits employ a design called constant loudness. As the knob is rotated from left to center to right, the sound will remain at the same apparent volume. To attain this, both sides of the signal must dip down about 4 dB when panned center, to account for the doubling of the signal.

59. L/R ASSIGN

This switch allows a subgroup signal to be sent to the main mix. Engaging this switch will not interrupt signal at the SUB OUTS (8) jack. For live sound, subgroups allow a group of channels to be controlled by one or two subgroup faders, and then sent to the main mix using this switch and its associated PAN (58) control. For multi-track recording, subgroups can be used to route groups of channels to specific tracks of a multi-track recorder via the SUB OUTS (8). In this case, L/R ASSIGN should not be used.

60. SUBGROUP FADERS

These faders provide 10dB of gain fully up, unity gain at the U label and are effectively muted fully down. Each fader is the master level control for a subgroups signal, affecting both the SUB OUTS (8) and the main mix, via L/R ASSIGN (59).
lar for studio recording applications; providing the actual outputs of individual or multiple channels.

64. AUX LED

Along with the RUDE SOLO LIGHT (61), this LED blinks when any aux send master SOLO (47) or the global aux return SOLO (52) is engaged.
SOLO: (61 through 65) 61. RUDE SOLO LIGHT
Engaging any SOLO switch (39),(47),(52) or (57) has this result: The CONTROL ROOM OUT (11), PHONES (18) and METERS (54), which ordinarily receive the main mix signals, will instead receive the solo signal. The MAIN OUTS (12) (16) and MONO MAIN OUT (14) are not affected by a solo condition. Additionally, an LED associated with the solo switch and the RUDE SOLO LIGHT will blink obnoxiously. The solo signal will be mono in PFL or stereo in AFL, as determined via the MODE (63) switch. Any number of solo switches may be simultaneously engaged.

65. SUB LED

Along with the RUDE SOLO LIGHT (61), this LED blinks when any subgroup SOLO (57) is engaged.
TALKBACK: (66 through 68) 66. LEVEL
Having entered through the TALKBACK MIC (17) jacks, talkback level is controlled by this knob, and then sent to the MAIN MIX (67) and AUX 1-2 (68) switches. It can be set as desired by the engineer.

67. MAIN MIX

Engaging this switch sends the talkback signal to the main mix, allowing the user to speak to the audience (live sound), or to slate a songs start (studio recording). To prevent the possibility of feedback, engaging this switch will attenuate control room output levels by 20dB.

62. LEVEL

This is the master level control for all solo signals, regardless of MODE (63). It can be set as desired, as it only affects the CONTROL ROOM OUT (11) and PHONES (18). It does not affect the solo levels sent to the METERS (54).

68. AUX 1-2

Engaging this switch sends the talkback signal to aux sends 1 and 2, allowing the user to speak to the talent, providing that they are using those aux sends for monitoring. To prevent the possibility of feedback, engaging this switch will attenuate control room output levels by 20dB.

63. MODE

With this switch up, solo signals are PFL (pre-fader listen). With this switch down, solo signals are AFL (after-fader listen). In PFL mode, the solo signal is tapped (mono) before a circuits associated level control (except aux return SOLO (52)). PFL is popular for live sound applications; providing quick inspections of individual or multiple channels, even if their level controls are turned fully down. Note: In PFL mode, when engaging a solo switch whose associated level control is set well below U (unity gain), turn down solo LEVEL (62) to compensate for the difference. In AFL mode, the solo signal is tapped (stereo) after a circuits associated controls (trim, EQ, pan, fader, mute, etc.). Its the equivalent of muting all the other channels. AFL is popu-
69. TAPE RETURN TO PHONES/C-R
Ordinarily, the main mix (or solo) stereo signal is sent to the control room and phones. Engaging this switch will replace that with stereo signal from the TAPE IN (6) jacks, via the TAPE RETURN (53) level control. Its typically used for studio recording, to patch a mixdown decks outputs directly to the control room and phones; thereby always listening to the mixdown deck, whether its in playback or input mode.

No channel signal

Is the 1-2 & 3-4 (40) or L-R (41) switch set correctly? Is the CHANNEL FADER (42) turned up? Try soloing that channel. Does it appear on the METERS (54)? On mono channels, try unplugging any INSERT (3) effects devices. Try the same signal in another channel, set up exactly like the suspect channel.

No Output

Are the L/R ASSIGN (59) switches set correctly? Are the MAIN MIX FADER (72) or SUBGROUP FADERs (60) turned up? Try unplugging any insert (7) (13) effects devices. If its one of the MAIN OUTS (12) (16), try unplugging the other. For example, if its the MAIN OUTS (TRS) (12), unplug the associated MAIN OUT (XLR) (16) output. If the problem goes away, its not the mixer. If its one bad side of a stereo pair, try switching them around. For example, if a left output is presumed dead, switch the left and right cords, at the mixer end. If the problem stays on the left side, its not the mixer.
Turn the CHANNEL FADERs (42) and STEREO AUX RETURNS (48) down, one by one. If the sound disappears, its either that channel or whatever is plugged into it, so unplug whatever that is. If the noise disappears, its from your whatever.
Our favorite question: Is the POWER (20) switch on? Turn off the power from the wall, unplug the power cord and check the fuse (22).
SR244/SR324 LIMITED WARRANTY
Please keep your sales receipt in a safe place.
A. LOUD Technologies warrants all materials, workmanship and proper operation of this product for a period of three years from the original date of purchase. If any defects are found in the materials or workmanship or if the product fails to function properly during the applicable warranty period, LOUD Technologies, at its option, will repair or replace the product. Labor for replacing all potentiometers is covered for the first year, after which it is excluded from warranty coverage and may be billed to you. This warranty applies only to equipment sold and delivered within the U.S. by LOUD Technologies or its authorized dealers. B. Failure to register online or return the product registration card will not void the three-year warranty. C. Service and repairs of Mackie products are to be performed only at the factory (see D below) OR at an Authorized Mackie Service Center (see E below). Unauthorized service, repairs, or modification will void this warranty. D. To obtain factory service: 1. Call LOUD Technologies at 800/898-3211, 7 am to 5 pm Monday through Friday (Pacific Time) to get a Return Authorization (RA). Products returned without an RA number will be refused. 2. Pack the product in its original shipping carton. If you do not have the carton, just ask for one when you get your RA number, and well send a shipping carton out promptly. More information on packing can be found in the Service section of this manual. Do not use packing peanuts, shredded newspapers, or other material with small particles, old underwear, or socks. Please seal the Mackie product in a plastic bag. 3. Also include a note explaining exactly how to duplicate the problem, a copy of the sales receipt with price and date showing, and your return street address (no P.O. boxes or route numbers, please!). If we cannot duplicate the problem or establish the starting date of your Limited Warranty, we may, at our option, charge for service time. 4. Ship the product in its original shipping carton, freight prepaid to: MACKIE SERVICE DEPARTMENT 16220 Wood-Red Rd. NE Woodinville, WA 98072 USA IMPORTANT: Make sure that the RA number is plainly written on the shipping carton. E. To obtain service from an Authorized Mackie Service Center: 1. Call LOUD Technologies at 800/898-3211, 7 am to 5 pm Monday through Friday (Pacific Time) to get: 1) The name and address of your nearest Authorized Mackie Service Center and 2) A return authorization (RA). You must have an RA number before taking your unit to a service center. 2. Make sure that you have a copy of your products sales receipt from the store where you bought the product. It is necessary to establish purchase date and thus determine whether or not your product is still under warranty. If you cant find it, the Authorized Service Center may charge you for repairs even if your product is still covered by Mackies Three-Year Limited Warranty. 3. Make sure that the problem can be duplicated. If you bring your product to an Authorized Service Center and they cant find anything wrong with it, you may be charged a service fee. 4. If the Authorized Mackie Service Center is located in another city, pack the product in its original shipping carton. More information on packing can be found in the Service section of this manual. 5. Contact the Authorized Mackie Service Center to arrange service or bring the product to them. F. LOUD Technologies and Authorized Mackie Service Centers reserve the right to inspect any products that may be the subject of any warranty claims before repair or replacement is carried out. LOUD Technologies and Authorized Mackie Service Centers may, at their option, require proof of the original date of purchase in the form of a dated copy of the original dealers invoice or sales receipt. Final determination of warranty coverage lies solely with LOUD Technologies or its Authorized Service Centers. G. Any Mackie product deemed eligible for repair or replacement under the terms of this warranty will be repaired or replaced within thirty days of receipt by LOUD Technologies. LOUD Technologies may use refurbished parts for repair or replacement of any product. Products returned to LOUD Technologies that do not meet the terms of this Warranty will be repaired and returned C.O.D. with billing for labor, materials, return freight, and insurance. Products repaired under warranty at the factory will be returned freight prepaid by LOUD Technologies to any location within the boundaries of the USA. H. LOUD Technologies warrants all repairs performed for 90 days or for the remainder of the original warranty period. LOUD Technologies assumes no responsibility for the quality or timeliness of repairs performed by Authorized Mackie Service Centers. I. This warranty is extended to the original purchaser and to anyone who may subsequently purchase this product within the applicable warranty period. A copy of the original sales receipt is required to obtain warranty repairs. J. This is your sole warranty. LOUD Technologies does not authorize any third party, including any dealer or sales representative, to assume any liability on behalf of LOUD Technologies or to make any warranty for LOUD Technologies Inc. K. THE WARRANTY GIVEN ON THIS PAGE IS THE SOLE WARRANTY GIVEN BY LOUD TECHNOLOGIES INC. AND IS IN LIEU OF ALL OTHER WARRANTIES, EXPRESS AND IMPLIED, INCLUDING THE WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE. THE WARRANTY GIVEN ON THIS PAGE SHALL BE STRICTLY LIMITED IN DURATION TO THREE YEARS FROM THE DATE OF ORIGINAL PURCHASE FROM AN AUTHORIZED MACKIE DEALER. UPON EXPIRATION OF THE APPLICABLE WARRANTY PERIOD, MACKIE SHALL HAVE NO FURTHER WARRANTY OBLIGATION OF ANY KIND. LOUD TECHNOLOGIES INC. SHALL NOT BE LIABLE FOR ANY INCIDENTAL, SPECIAL, OR CONSEQUENTIAL DAMAGES THAT MAY RESULT FROM ANY DEFECT IN THE MACKIE PRODUCT OR ANY WARRANTY CLAIM. Some states do not allow exclusion or limitation of incidental, special, or consequential damages or a limitation on how long warranties last, so some of the above limitations and exclusions may not apply to you. This warranty provides specific legal rights and you may have other rights which vary from state to state.

 

Technical specifications

Full description

Designed to fitthe Mackie SR 32.4 mixer, theRRM324W features a heavy-duty, removable, latchable cover for easy access toyour gear and Road Ready's unique low profile base design that allows you toaccess your mixer's rear connection panel without removing your mixer from thecase. And to make transporting your gear even easier, low profile wheels forsleek, stealth mobility are included. Tougher than the pavement! That's theidea. Features: Heavy Duty Industrial Grade Ball Corners Double Anchor Industrial Rivets Recessed, Industrial Grade Latches Recessed, Industrial Grade Handles Industrial Grade Rubber Feet Premium 3/8?

 

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