SAFETY INSTRUCTIONS

1. Read Instructions Read all the safety and operation instructions before operating the SR244 or SR324 Audio Mixer. 2. Retain Instructions Keep the safety and operating instructions for future reference. 3. Heed Warnings Follow all warnings on the SR244 and SR324 Audio Mixers and in these operating instructions. 4. Follow Instructions Follow all operating and other instructions. 5. Water and Moisture Do not use the SR244 or SR324 Audio Mixer near water for example, near a bathtub, washbowl, kitchen sink, laundry tub, in a wet basement, in the rain, near a swimming pool or salivating St. Bernard dog, etc. 6. Heat Locate the SR244 or SR324 Audio Mixer away from heat sources such as radiators, compost pits or other devices that produce heat. 7. Power Sources Connect the SR244 or SR324 Audio Mixer only to a power supply of the type described in these operation instructions or as marked on the SR244 or SR324 Audio Mixer. 8. Power Cord Protection Route power supply cords so that they are not likely to be walked upon or pinched by items placed upon or against them, paying particular attention to cords at plugs, convenience receptacles, and the point where they exit the SR244 or SR324 Audio Mixer.
Pour prevenir les chocs lectriques ne pas utiliser cette fiche polarise avec un prolongateur, un prise de courant ou une autre sortie de courant, sauf si les lames peuvent tre insres fond sans laisser aucune pariie dcouvert.
13. Grounding or Polarization Do not defeat the grounding or polarization of the SR244 or SR324 Audio Mixer. This apparatus does not exceed the Class A/Class B (whichever is applicable) limits for radio noise emissions from digital apparatus as set out in the radio interference regulations of the Canadian Department of Communications.
ATTENTION Le 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.
WARNING To reduce the risk of fire or electric shock, do not expose this appliance to rain or moisture.
PLEASE! SAVE THE SHIPPING BOX!
Top Ten Reasons for saving your shipping box:
10. 9. 8. 7. 6. 5. 4. Its here. Its yours. Its paid for. Its strong and sturdy. It fits your mixer perfectly. You will need it if you ever ship your mixer. We may have to sell you another one if you need to ship your mixer and you dont have it. 3. It will impress your friends who have no lives when they see it in your basement. 2. Its the ecologically sound thing to do. 1. Its the Mackie sound thing to do.

STEREO MIXDOWN: THE FIVE-MINUTE MUSIC MASTER
Be sure you do the 60-Second Exercise first to set everything up. This will assure you that your mixer works and has no hum or buzz coming in on the wiring. Reset your stopwatch one last time and begin. 1. It is preferable to plug the powercords of all your gear Mixer, DAT, Power Amp, etc. into the same powerstrip. Make sure the powerstrip is properly grounded. 2. Make sure all the faders and controls and switches are still normalled. Leave the SOLO master control up, where it was set in the 60Second Exercise, but turn the PHONES/ C-R LEVEL control down. 3. Connect the outputs of the RIGHT MAIN MIX and the LEFT MAIN MIX to the inputs of your stereo tape deck or DAT recorder. 4. Connect the outputs of your stereo tape deck or DAT recorder to the TAPE IN L and TAPE IN R RCA jacks on the rear of the SR244. 5. Connect CONTROL ROOM OUT L and R to the left and right inputs of your control room monitor power amplifier. 6. Connect the monitor speakers to the amplifier, turn the amp on, and go listen to one of the speakers. You should not hear buzz, hum or tiny voices urging you to immediately go out and buy several hot fudge sundaes. If you do hear anything more than a little pristine hiss or white noise, you have a wiring or grounding problem. Sorry; go directly to Appendices A D. 7. Now, lets assume you are mixing down a recording made on an eight-track recorder. Connect the eight outputs of the recorder to the first eight LINE IN jacks on the SR244 rear panel. 8. Engage the L/R buttons and set the faders in channel strips 18. Then adjust the MAIN MIX fader to approximate Unity on the mixdown deck level indicators. 9. Start your tape machine and play the session youd like to mix. 10.Decide which tape track is the busiest; which track has the most constant activity and highest levels. Now, on the channel strip for that track, press the SOLO button and turn
the TRIM control clockwise until you get a good level on the SR244 main meters. (A good level might be average meter readings of perhaps 7dB to 0dB, with occasional peak readings of +4dB to +7dB. See Sensitivity Adjustment Procedure, page 5.) Now release the SOLO switch. 11.Set the TRIM controls on the other seven active channel strips to the same point on their dials. 12.Now turn up the PHONES/C-R LEVEL control slowly. Depending upon the gain of your control room monitor amplifier, it could be really loud. You should hear your tape track(s) coming clearly through the monitor speakers. OK? 13.For analog recorders put your two-track recorder in Source or Record Ready, set the record input level controls so that the tape machines meters read the same as the SR244 meters. For digital recorders use the 244 metering to make sure your DAT is receiving enough signal. 14.If you want to use an auxiliary effect such as a reverb unit, patch AUX SEND 5 into the input of the reverb. Connect the outputs of the reverb to STEREO AUX RETURN 1 L and R. 15.Set AUX SEND MASTER 5 LEVEL and STEREO AUX RETURN 1 LEVEL to U and then turn up the source channel strip AUX 5 until you hear the amount of reverb you like. 16.Now try a mix: set the channel strip faders, PAN pots and EQ controls wherever it sounds good, watch your levels on the main meters and put your two-track recorder into Record. 17.To check the two-track playback, press the TAPE RETURN TO PHONES/CR switch, and adjust the playback level with the TAPE RETURN control (located up by the main meters). This concludes our express instructions for the chronically impatient. We resume our normally-paced, lavishly illustrated manual on the next page.

SOLO MASTER SECTION

LEVEL The solo LEVEL control is the master for the solo buses, and it sets the volume for the solo signals routed to the phones/control room monitor section. When the LEVEL control is set to the unity gain detent, the solo level you hear will match the level of the soloed signals to the same signals unsoloed. Solo LEVEL does not affect the meter levels observed while in solo. NOTE: You should use the LEFT and RIGHT meters as a trusty guide to input level-setting in solo no matter how loud 1 you are monitoring.
AUX and SUB LEDs There are two red indicator LEDs [26] in the master solo section. The AUX LED lights when any aux send or aux return is soloed. The SUB LED lights whenever one or more of the four submix buses are in solo.

AUX SUB

MODE The solo MODE switch [25] selects one of two master solo modes, labeled PREFADER and IN PLACE AFL. In PREFADER mode (MODE switch up), any input channel strip or submix bus soloed will have the solo signal tapped off before the channel or submix fader. This is a mono solo mode, and all soloed signals will appear as monaural, centered on both monitor channels. This mode is also referred to as Pre-Fade-Listen or PFL mode. In IN PLACE AFL mode (MODE switch down), the signal from any circuit soloed will be tapped off after the circuits fader or level control. This is a stereo solo mode, and all stereo soloed signals will appear as stereo, soloed in place between the left and right monitor channels. This mode is also referred to as AfterFade-Listen (AFL) or Solo-In-Place mode. See page 17 for a further reiteration on this feature.
Using talkback, you can communicate with musicians or other personnel, and you can also record comments or slates on your recordings. First, plug a dynamic microphone into the TALKBACK MIC connector on the rear panel, hit the appropriate switch and speak into it when you have something to say. Engaging either switch will light the yellow LED in the TALKBACK area, so you dont accidentally leave it on. The MAIN MIX talkback button [27] assigns the talkback signal to the main LEFT and RIGHT output buses. In an SR situation, this allows you to put your voice on the main house speakers. When you are recording, the MAIN MIX switch would be used to slate your recording by putting song titles and take numbers on the tape, for instance. The AUX 12 talkback button assigns the talkback signal to Aux Send buses 1 and 2. Since Aux 1 and 2 are usually used for stage monitor sends or headphone monitor sends, the AUX 12 switch allows you to communicate with the performers privately. NOTE: Dont try to communicate with performers via MAIN MIX talkback and your main house speaker system. Always use the AUX 12 talkback to communicate with band members through their monitors.

METERS

The LEFT and RIGHT LED meter ladders serve triple purposes on the SR244. In normal operation, the meters indicate the signal level at the output of the main left and right buses. However, when any solo button is depressed, the meters are removed from the left and right buses and are connected to the output of the solo buses. This is an easy way to
check input, aux send, aux return and submix levels. Also, if you have engaged the TAPE TO PHONES/C-R switch, the meters will show the tape levels. Whatever you hear in the monitor speakers or headphones when you solo you will also see on the meters (the meters are also affected by the solo MODE switch.) In fact, using SOLO is the recommended way to set level. See the section titled Important Sensivity Adjustment Procedure!. We feel strongly about it. Each meter has 13 LED segments displaying levels from 40dB through +28dB. The +10dB segment is yellow and the +28dB segments are red to give you a clear notice when the audio levels are high. The meters are calibrated so that a 0dB meter reading indicates a 0dBu signal level at the main output jacks.
thoughts and sleepy daydreams and jerks you back from the edge of unconsciousness screaming SOLO! SOLO! YOURE IN SOLO, YOU FOOL! THATS WHY YOU CANT HEAR ANYTHING! Most of us need that kind of help every now and then. If you dont, and the peace and grace of your own Magic Mixing Moments are disturbed by the RSL, you can order a Mackie RUDE SOLO LIGHT-OBSCURING OCCULTANT/ ATTENUATOR KIT hand-woven from Pygmy African Hedgehog underhair and tape it right over that bright, blinking sucker. A note about all this flashing. As the RSL flashes, the channel(s) that you soloed will also flash. If the channel(s) is muted, the SOLO function will not operate but the channel MUTE/SOLO LED will pulsate to let you know that something is goofy.

LAMP CONNECTOR

There was quite a bit of discussion in our Mackie Engineering Meetings as to whether or not we should place the LAMP connector where it is. One group of engineers felt some users would think it was another TRIM knob; another faction feared it would be mistaken for an extra AUX ZEN MASTER. But we realized that we have very intelligent customers and that no one would mistake the LAMP connector for a knob after they had tried to turn it a few times. The pokey little bayonets on the sides would give it away. The LAMP connector is a female BNC connector with 12 volts AC on the center pin. It is designed to mate with and power a small gooseneck mixer lamp. Mackie doesnt offer lamps, but most dealers do. We recommend the Littlite #12G or #12G-HI (a high-intensity version). (This connector is not found on the SR324.)

Insert the plug just to the FIRST click. Do not push the plug all the way in. This connection allows you to tap a direct out without interrupting the channel strip signal; or Insert the plug all the way in to the SECOND click. This also provides a direct out connection, but the channel strip signal is interrupted at that point. See Figure D on page 30.
Here is where many boards fall short when it comes to sound reinforcement purposes. The SR244 offers SIX (6) independent auxiliary sends. The outputs of each are capable of driving a balanced line. This means that you no longer have to use balancing transformers to get your monitor sends to the stage. Just plug in a balanced TRS plug into one of the Aux outputs and run a line to the monitor graphic EQ. Voila! The six auxiliary send buses of the SR244 appear at the six numbered 1/4" AUX SEND jacks, located near the rear panels left side[13]. The AUX SEND connections are impedance balanced 1/4" TRS (tip-ring-sleeve) phone jacks, with sleeve connected to ground, tip to signal hot (or high or +), and to ring to signal cold (or low or ). These jacks are also wired to accommodate unbalanced 1/4" TS
(tip-sleeve) connections. The nominal line level at the AUX SEND jacks is 0dBu. Depending on how you have decided to use your aux functions, you could connect the AUX SEND to headphone amplifier inputs, monitor speaker amplifier inputs, reverb, delay or other effects inputs, and so on.
NOTE: A very common arrangement is to use a line input (mono or stereo) for effects returns. This neat trick allows you to EQ your EFX returns, route EFX to monitors, and assign EFX to any output.
For stereo operation, just plug balanced
1/4" TRS (tip-ring-sleeve) or unbalanced 1/4" TS
If you are using effects such as delay or reverb, you must first send a signal to the effect with an aux send, and then remix the output of the effect back into your final mix. The SR244 provides four stereo auxiliary return inputs for this purpose. The inputs to each stereo aux return are made through a pair of 1/4" TRS (tip-ringsleeve) phone jacks [14]. These are balanced line inputs which will accept input levels from 10dBu to +22dBu, and will also accept unbalanced cables. Return input clipping is at a level of 22dB. The sleeve of each jack is connected to ground, the tip is signal hot (or high or +), and the ring is signal cold (or low or ). AUX RETURN ROUTING OPTIONS You have several routing options with the Aux returns. Please see STEREO AUX RETURNS on page 21. If you need even more assignment flexibility, you can use one of the stereo line inputs. Please read the TO AUX SEND 12 controls section on page 21 for more information on the special tricks that these jacks can do.

(tip-sleeve) left and right phone plugs into the left and right jacks. If you only have a mono effects return, insert that plug into the L input jack. With no plug in the R jack, an internal jack switch will automatically route the signal in the L jack to both the left and right circuits of the aux return for mono operation. NOTE: The numbering systems for the aux sends (16) and the aux returns (14) have no correspondence with each other. In other words, there is no reason that you must send to a particular effects device with Aux Send 1 and then return that device in Stereo Aux Return 1. As long as you can keep track of what is where, you are free to intermix send and return numbers. Send on 1, return on 4; send on 5, return on 3, etc.

TAPE IN and OUT

For convenience, the main mixer outputs that appear at the RIGHT and LEFT MAIN OUTS (XLR) and MAIN OUTS L & R (1/4" connectors) are also provided on unbalanced RCA-type jacks for connection to tape recorder inputs [16]. Nominal level is 0dBu.
For even more convenience, there are two more RCA jacks labeled TAPE IN. Connect R R your tape playback to the TAPE IN TAPE IN TAPE OUT jacks and youll be able to quickly monitor your tape recorder with the TAPE RETURN switches on the front panel. The TAPE IN jacks are unbalanced RCA inputs with a nominal level of 0dBu. Caution: Assigning the TAPE RETURN MAIN MIX could cause a several-megaton feedback loop. Stick to control room/ phones monitoring while in record mode on your tape deck.
Youll get maximum smoke with 60-ohm headphones. (See tinnitus in the Glossary.)

TALKBACK MIC

Remember the talkback function we talked about before? Here is where you plug in the microphone. This is a balanced mic input [18] using a standard XLR-type mic connector which will accept a wide range of microphone levels and impedances. NOTE: There is no phantom power available at the TALK BACK MIC input. ADDITIONAL NOTE: Engaging talkback to AUX 1/2 or MAIN MIX will attenuate control room out by 20dB.
The CONTROL ROOM OUT L and R jacks [15] carry the monitoring signal controlled by the PHONES/C-R LEVEL knob on the front panel, and should be connected to the inputs of your control room monitor power amplifier. CONTROL ROOM OUT L and R are impedance balanced 1/4" TRS (tip-ringsleeve) phone jacks with ground wired to the sleeve, signal hot (or high or +) to the tip and signal cold (or low or ) wired to the ring. You can connect either balanced or unbalanced inputs to these outputs. Nominal level is 0dBu.

Main power is provided through the IEC connector at the lower left of the rear panel [19]. An IEC power cord of relatively generous length is provided with the SR244. Replacement cords are available anywhere (try making that statement when you only ship a lame wall wart with a mixer). A mains power fuse is located in a tiny compartment in the power cord connector housing. Replace only with the correct fuse. Its a very good idea to carry spares. Just to the right of the power cord connector is the main power switch. Turn this switch ON for normal operation and OFF for silent (ultra-ultralow noise) PHONES PHONES mode. 1 2

PHONES 1 & 2

The PHONES jacks [17] carry the same signals as the CONTROL ROOM OUT L and R jacks, with extra amplification to drive stereo headphones. Careful; theyre loud! The connections are 1/4" TRS (tip-ringsleeve) stereo phone jacks wired for standard stereo phones with common (ground) connected to the sleeve, left channel to the tip and right channel wired to the ring. PHONES 1 120VAC 50/60 HZ 60W and PHONES 2 1A/250V SLO BLO are parallel and FUSE INSIDE provide the same signals.

TALK BACK MIC

POWER ON

PHANTOM ON

SECTION 4: APPLICATIONS SR & RECORDING
The Mackie SR244 (and 324) mixing console was designed from the ground up as a mixer for either sound reinforcement (SR) or recording, or even both together. Section 4 will help you make the right patches to set up the SR244 for both applications and also offers a few tips on how to approach each job. About three-quarters of the staff at Mackie are musicians or sound engineers or at least knew a musician or sound engineer once, and they all seem to put in their two cents worth whether we want it or not. Its true, this open policy has provided us with some highly inappropriate suggestions from time to time, but weve tried to weed most of those out and give you something useful here. In fact, if you would like to put in your three cents worth, just write down your unique SR244 application (rotor pitch control in turbine-powered helicopters?) and mail it in to Technical Support. Well try to keep the Chihuahua away from it. If you are not yet familiar with your Mackie SR244, or if you havent turned it on yet, run through the drills in Section 2: Making Sound Come Out Now! That way you can be sure that everything is functioning properly and that you have no grounding problems. Then read through Section 3: Panel Layout, which should give you a good idea of what all the knobs and switches do. You may also want to look at Appendices A, B and C, which provide background information on general subjects, Mackie connections and the wacky world of proper grounding.

EQUALIZATION

Everybody knows what EQ is, but just in case youd like a refresher, well put a few paragraphs in here. Equalization (EQ) refers to purposefully changing the frequency response of a circuit, sometimes to correct for previous unequal response (hence the term, equalization), and more often to add or subtract level at certain frequencies for a pleasing effect. Bass and treble controls on your stereo are EQ; so are the units called parametrics and graphics and notch filters. A lot of how we refer to equalization has to do with what a graph of the frequency response would look like. A flat response (no EQ) is a straight line; a peak looks like a hill, a dip is a valley, a notch is a really skinny valley, and a shelf looks like a plateau (or a shelf). The slope is the grade of the hill on the graph. Graphic equalizers have enough frequency slider controls to form a graph of the EQ right on the front panel. Parametric EQs let you vary several EQ parameters at once. And a filter is simply a form of equalizer which allows certain frequencies through unmolested and other frequencies reduced or not at all. Passport, please? The equalizers on the SR244 use four different types of EQ in various places. The LOW and HI sections of the EQ are shelving equalizers, with a family of curves shown at right. As you can see, shelving EQs lift or lower the entire range of frequencies above or below a certain point. Most tone controls on home stereos are shelving EQs, often set at 100Hz for the bass and 10kHz for the treble. The LOW EQ on the SR244 is at

SENDS AND RETURNS

Sends are buses fed to outputs, and returns are inputs. So why dont we call them outputs and inputs? Well, actually, the terms send and return can mean many things, but the way they are generally used in mixing console parlance is to refer to send buses, which tap off a little of a signal to send to some effects device (like a reverberation unit), and return inputs, which function to return that reverb back into the mix. Sends are also used to tap some mix of signal from a collection of channels for a headphone cue mix. For that matter, sends can be used as additional mix buses, if needed. In the same way, if you dont need them for reverb or effects, returns can be used as additional line-level inputs to your mix. Incidentally, the terms send and return also apply to insert jacks. The only difference is that they process the entire signal, not just tap a little bit of it.

large range of values that the dB is used to simplify the numbers. A ratio of 1000V:1V=60dB. When one of the terms in the ratio is an agreed upon standard value such as 0.775V, 1V or 1mw, the ratio becomes an absolute value, i.e., +4dBu, 10dBV or 0dBm.
In sound work, delay usually refers to an electronic circuit or effects unit whose purpose it is to delay the audio signal for some short period of time. Delay can refer to one short repeat, a series of repeats or the complex interactions of delay used in chorusing or reverb. When delayed signals are mixed back with the original sound, a great number of audio effects can be generated, including phasing and flanging, doubling, Haas-effect positioning, slap or slapback, echo, regenerative echo, chorusing and hall-like reverberation. Signal time delay is central to many audio effects units.

console

A term for a sound mixer, usually a large desk-like mixer.

cueing

In broadcast, stage and post-production work, to cue up a sound source (a record, a sound effect on a CD, a song on a tape) means to get it ready for playback by making sure you are in the right position on the cue, making sure the level and EQ are all set properly. This requires a special monitoring circuit which only the mixing engineer hears and does not go out on the air or to the main mixing buses. This cueing circuit is the same as pre-fader (PFL) solo on a Mackie mixer, and often the terms are interchangeable.

detent

A point of extra physical resistance (a clickstop) in the travel of a knob or slide control, used in Mackie mixers to indicate unity gain.

See decibel

dipping
Is the opposite of peaking, of course. A dip is an EQ curve which looks like a valley, or a dip. Dipping with an equalizer reduces a band of frequencies. (See guacamole.)
A unit of measurement of audio signal level in an electrical circuit, expressed in decibels referenced to 1 milliwatt. The m in dBm stands for milliwatt. In a circuit with an impedance of 600 ohms, this reference (0dBm) corresponds to a signal voltage of 0.775 VRMS (because 0.775 V across 600 ohms equals 1mw).

doubling

A delay effect, where the original signal is mixed with a medium (20 to 50 msec) delay. When used carefully, this effect can simulate double-tracking (recording a voice or instrument twice).
A unit of measurement of audio signal level in an electrical circuit, expressed in decibels referenced to 0.775 VRMS into any impedance. Commonly used to describe signal levels within a modern audio system.
Usually means without reverberation, or without some other applied effect like delay or chorusing. Dry is not wet, i.e. totally unaffected.
A unit of measurement equal to the dBu but no longer in use. It was too easy to confuse a dBv with a dBV, to which it is not equivalent.

dynamic

Another word for signal voltage, power, strength or volume. Audio signals are sometimes classified according to their level. Commonly used levels are: microphone level (40dBu or lower), instrument level (20 to 10dBu), and line level (10 to +30dBu).

line level

A signal whose level falls between 10dBu and +30dBu.

main house speakers

The main loudspeakers for an SR system. These are usually the largest and loudest loudspeakers, and are usually positioned so that their sound seems to come from the area of the main stage.

monitor

In sound reinforcement, monitor speakers (or monitor headphones or in-the-ear monitors) are those speakers used by the performers to hear themselves. Monitor speakers are also called foldback speakers. In recording, the monitor speakers are those used by the production staff to listen to the recording as it progresses. In zoology, the monitor lizard is the lizard which observes the production staff as the recording progresses. Keep the lizard out of the mixer.

See main house speakers.

master
A control affecting the final output of a mixer. A mixer may have several master controls, which may be slide faders or rotary controls.

mic amp

See mic preamp.

mic level

The typical level of a signal from a microphone. A mic level signal (usually but not always coming from a microphone) is generally below 30dBu. With a very quiet source (a pin dropping?) the signal can be 70dBu or lower. It is also possible for some microphones to deliver more signal than this; in which case it may be referred to as a hot mic level. Alternately, you can just say, Boy, is that loud!

Short for monaural.

Probably short for multiple. In audio work, a mult is a parallel connection in a patch bay or made with patch cords to feed an output to more than one input. A Y cable is a type of mult connection. Also a verb, as in Why did you mult the flanger into every input in the board?

mic pre

Whatever you dont want to hear. Could be hum, buzz or hiss; could be crosstalk or digital hash or your neighbors stereo; could be white noise or pink noise or brown noise.

mic preamp

Short for microphone preamplifier. An amplifier which functions to bring the very low signal level of a microphone (approximately 50dBu) up to line level (approximately 0dBu). Mic preamps often have their own volume control, called a trim control, to properly

noise floor

A term used to describe a secondary mix and output of the input signals, typically used for foldback monitors, headphone monitors or for effects devices. Mackie mixers call it an Aux Send.

RCA phono plug

The male counterpart to an RCA phono jack. See above.

shelving

A term used to describe the shape of an equalizers frequency response. A shelving equalizers response begins to rise (or fall) at some frequency, and continues to fall (or rise) until it reaches the shelf frequency, at which point the response curve flattens out and remains so to the limits of audibility. If you were to graph the response, it would look like a shelf. Or more like a shelf than a hiking boot. The EQ controls on your stereo are usually shelving equalizers. See also peaking and dipping.

regeneration

Also called recirculation. A delay effect created by feeding the output of a delay back into itself to cause a delay of the delay of the delay. You can do it right on the front panel of many effects units, or you can route the delay return back into itself on your mixer. Can be a great deal of fun at parties.

return

A return is a mixer line input dedicated to the task of returning processed or added sound from reverb, echo and other effects devices. Depending on the internal routing of your mixer and your own inclination, you could use returns as additional line inputs, or you could route your reverb outputs to ordinary line inputs rather than the returns.

slap, slapback

A single-delay echo without any repeats. Also see echo.
Italian for alone. In audio mixers, a solo circuit allows the engineer to listen to individual channels, buses or other circuits singly, or in combination with other soloed signals. In Mackie mixers, activating a solo function never interferes with or interrupts any of the main or

reverberation

Reverberation (or reverb) is the sound remaining in a room after the source of sound is
auxiliary mixing circuits (even in Italy).
An acronym for Tip-Sleeve, a scheme for connecting two conductors through a single plug or jack. 1/4" phone plugs and jacks and 1/8" mini phone plugs and jacks are commonly wired TS. Sometimes called mono or unbalanced plugs or jacks. A 1/4" TS phone plug or jack is also called a standard phone plug or jack.

2There

Dos and Donts of Fixed Installations
If you install sound systems into fixed installations, there are a number of things that you can do to make your life easier and that increase the likelihood of the sound system operating in a predictable manner. Even if you dont do fixed installations, these are good practices for any sound system, installed. 1. Do use foil-shielded snake cable for long cable runs. Carefully terminate each end, minimizing the amount of shielding removed. Protect the exposed foil shield with shrink sleeving or PVC sleeving. Prevent adjacent shields from contacting each other (electrically). Use insulating sleeving on the drain wire (the one that connects to pin 1) to prevent it from contacting the connector shell.

Appendices Appendices

is another remote powering system called A-B or T-system powering. It uses pins 2 and 3 to carry both power and audio. It is not compatible with dynamic microphones or phantom powered microphones.

DO & DONT CHART

If you are plugging in a condenser microphone, do verify that your microphone can be phantom powered. Ensure that the microphones output is low impedance, balanced and floating. This is especially important for vintage ribbon microphones like the RCA 44BX and 77DX. Mute the sound system when turning the phantom power on or off, or when connecting or disconnecting microphones. If you forget, the resulting loud, nasty POP may be your last.
Worry about your other microphones as long as their output is balanced and floating. Connect microphones or devices that do not conform to the DIN standard.
Dont connect A-B or T-system microphones (another remote powering system) without suitable adaptors.
2. Dont connect the XLR connector shell to pin 1 of the XLR connector (unless necessary for RFI shielding). Doing so is an invitation for a ground loop to come visiting. 3. Do ensure that your speaker lines are physically separated from your microphone lines. 4. If you use floor pockets, use separate pockets for inputs and speakers, or put the connectors on opposite sides of the box, so that they may be shielded separately. 5. If your speaker lines run in the open, they should be twisted pairs, at least 6 twists per foot. Otherwise, run the speaker lines in their own conduit. (Of course, conduit is not too practical for portable systems, heh-heh). 6. Minimize the distance between the power amplifiers and the speakers. 7. Use heavy gauge, stranded wire for speaker lines. Ideally, the wire resistance should be less than 6% (0.5dB power loss) of the load impedance. Remember that the actual run is twice as long as the physical length of the run. See below.

TO OBTAIN FACTORY SERVICE:
1. Call Mackie Customer Service at 800/258-6883 (Monday through Friday 8:00 AM5:00 PM Pacific Time) to get a Return Authorization Number (RA number). Please have your serial number ready. Products returned without an RA number will be refused.
2. Pack the mixer in its original shipping carton. If you do not have the carton, request one when you get your RA number, and well send a shipping carton out promptly. There may be a charge, howeverwe put those huge SAVE THE BOX warnings in this manual for a reason. Make sure that you encase the mixer in its plastic wrapper and insert all the foam blocks to properly protect the mixer. Ultra Important: Move all the faders to their up position before packing the mixer in the shipping carton. This will prevent damage to the faders during shipment. 3. When packing the mixer, include: A. a note explaining exactly how to duplicate the problem. B. a copy of the sales receipt showing price and date. If we cannot duplicate the problem at the Mackie factory or establish the starting date of your Limited Warranty, we may, at our option, charge for service time. C. your complete return street address (no P.O. boxes or route numbers, please!) and DAYTIME phone number. 4. Write the RA number plainly on the outside of the shipping carton in BIG print (those huge stinky sign markers work well for this). 5. Ship the product in its original shipping carton, freight prepaid to: Mackie Designs attn: Service 16220 Woodinville-Redmond Road NE Woodinville, WA 98072 U.S.A.
By commercially released, we mean offered for sale, even if its just being sold in your local area, during band breaks at clubs or via mail order. No hand-lettered dubs, please. Save those for our infrequent Mixed on a Mackie contests. To get your genuine 100% cotton, Made in USA, Mackie celebrity T-shirt, send your cassette or CD to: Mackie Designs FREE T-SHIRT OFFER attn: Communications Department 16220 Woodinville-Redmond Road NE Woodinville, WA 98072 Make sure to specify L, XL or XXL size. If you prefer a small or medium size, just request a Large and run it through a hot dryer several times. Allow several weeks for delivery. Were always busier than a carrion fly at a Rottweiler convention.

24-Channel Sound Reinforcement Console Introduction
THE SR244-VLZ PRO is the latest update of our SR244
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 SR244-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 SR244-VLZ PRO has 20 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 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 20 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

SR324-VLZ PRO

Applications
Live sound mixing Multi-track recording

OF 8 PAGES

SR244-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
24-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 SR244-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 31" x 19.20" 142.24 mm x 787.40 mm x 487.68 mm Net Weight: 244-VLZ PRO 31 lbs (14 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

SR244-VLZ PRO Top

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

SR24 4-VLZ PRO

d -10GBV C AIN MI

+15dB - 45dB

-20 +20

PRE PRE

PRE PRE PRE

TO AUX SEND

(EFX TO MONITOR)

TAPE RETURN

LEVEL SET

ASSIGN TO SUB

GLOBAL AUX RETURN

OPERATING LEVEL

0dB = 0dBu

1-2 3-4

RUDE SOLO LIGHT

AUX SEND MASTERS

STEREO AUX RETURNS

-15 +15

MID MID MID

HI MID

PRE FADER IN PLACE AFL

1.5k FREQ

LOW MID

AIR LOW

MAIN MIX

80Hz 80Hz

80Hz 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

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 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

TALKBACK

OL OL OL OL OL OL OL

L R L R L R L R L R L R L R L R L R L R L R

PAN MUTE

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 4

SOLO 10

TAPE RETURN TO MAIN MIX

LEFT/RIGHT

SR244-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)

R 1 L L

MONO INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT MONO

INSERT

MIC 20
LINE IN (BAL OR UNBAL) LINE IN (BAL OR UNBAL) LINE IN (BAL OR UNBAL) LINE IN (BAL OR UNBAL) LINE IN (BAL OR UNBAL) LINE IN (BAL OR UNBAL) LINE IN (BAL OR UNBAL) LINE IN (BAL OR UNBAL) LINE IN (BAL OR UNBAL) LINE IN (BAL OR UNBAL) LINE IN (BAL OR UNBAL) LINE IN (BAL OR UNBAL)

LINE IN (BAL OR UNBAL)

MIC PR E

MIC 19

MIC 18

XD R XD R

MIC 17

MIC 16

MIC 15

MIC PR E MIC PR E

MIC 14

MIC 13

MIC 12

MIC 11

MIC 10

(BAL OR UNBAL)

TAPE IN TALK BACK MIC OUTPUT LEVEL RIGHT MAIN OUT LEFT MAIN OUT MONO MAIN OUT TAPE OUT
MAIN INSERTS PHONES PHONES

CONTROL ROOM OUT

(MONO)
120VAC 50/60 HZ 60W 1A/250V SLO BLO

POWER ON

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

FUSE INSIDE

CAUTION

BUS MIXING CONSOLE

WITH PREMIUM XDR TM MIC PREAMPLIFIERS
WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT

SERIAL NUMBER

STEREO PLUG

MANUFACTURING DATE

RISK OF ELECTRIC SHOCK DO NOT OPEN
TIP OUT TO EFFECTS DEVICE RING RETURN FROM EFFECTS
CAUTION: TO REDUCE THE RISK OF FIRE, REPLACE WITH THE SAME TYPE FUSE AND RATING
MAIN BALANCED OUTPUTS PIN 2 = HOT PIN 3 = COLD
CONCEIVED, DESIGNED, AND MANUFACTURED BY MACKIE DESIGNS INC. WOODINVILLE WA 98072 USA MADE IN USA FABRIQUE AU USA

244-VLZPRO

AVIS: RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR
REPLACE WITH THE SAME TYPE FUSE AND RATING. DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE
EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.
UTILISE UN FUSIBLE DE RECHANGE DE MME TYPE. DEBRANCHER AVANT DE REMPLACER LE FUSIBLE

SR244-VLZ Pro Dimensions

18.90" 2.80" 5.60" 2.80"

19.20"

1.80" 1.30"

0.50"

31.00"

244 WEIGHT 31 lbs.

AUX 1 AUX 2 AUX 3 AUX 4 AUX 5 AUX 6

SUB 1 SUB 2 SUB 3 SUB 4

SR244-VLZ PRO Block Diagram
LO LO CUT FADER GAIN FREQ GAIN GAIN

80 1008k 12k

-20 dB LED MID EQ HI MUTE

ASSIGN SWITCHES

L MIX R MIX

O/L LED

SOLO L SOLO R PFL LOGIC

GAIN FADER

PHANTOM POWER (GLOBAL SWITCH) MACKIE XDR MIC PREAMP
SUB OUT 1 (1 OF 4) ASSIGN TO L-R

AIR 16kHz

SUB OUT 1 LEFT OUT

MIC IN

75Hz HPF

SUB OUT 5

L TAPE OUT R RIGHT OUT

LINE IN

TRIM: MIC GAIN0 to +60 dB LINE GAIN-15 to +45 dB

MONO LEVEL

PRE-FADER POST-FADER
BOLD LINES INDICATE SIGNAL PATH FROM MIC INPUT TO LEFT MAIN OUTPUT. AUX 1

AUX 2 PFL AUX 3 LOGIC

SOLO IN PLACE
R MIX L MIX INSERTS FADER

MUTE LED

TAPE IN SOLO RELAY

TAPE TO L-R

MONO XLR OUT

AUX 4 AUX 5

3 MONITOR LEVEL 1
LEFT XLR OUT RIGHT XLR OUT
MONO INPUT CHANNEL (1 of 20)

TAPE TO MONITOR

LEFT (MONO)

3k 12k

LO LO- HI- HI MID MID

CONTROL ROOM OUT R

PFL/SIP

RUDE SOLO LED

-20dB LED
SOLO LEVEL PHONES AMPS PHONES OUTPUTS

AUX SEND 1 (2)

LINE GAIN-20 TO +20dB
PRE-FADER AUX 1 AUX 2 PRE AUX 3 AUX 4 AUX 5 AUX 6 LEVEL TB TO AUX 1-2
STEREO INPUT CHANNEL (1 OF 2)

POST-FADER

+22 +10 +7 +4 +-2 -4 -7 -10 -20 -30 -40

AUX RET 1 (2) IN

L R AUX RET 3 IN +

METERS dBu= VU

TB TO L-R MIX
SR244-VLZ PRO BLOCK DIAGRAM REV 1 3/28/2000

TALKBACK XLR INPUT

L-R/SUBS

AUX RET 4 IN

AUX 1 OUTPUT

SOLO LED

AUX SEND (1 OF 6)
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 20 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 (1-20) 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 (1-20) 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 SR244-VLZ PROs dimensions shall be 6.1" (155mm) high by 31" (787mm) 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 SR244-VLZ PRO.
Electronic files for this product available at: www.mackie.com/installed This Specification Sheet Owner/Operators Manual SR24VLZPRO_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. 0003711 Rev A2 9/04
16220 Wood-Red Road NE, Woodinville, WA 98072 USA 800.898.3211, fax 425.487.4337, sales@mackie.com