User manual MACKIE SR24-4

[. . . ] VERY LOW IMPEDANCE DESIGN GAIN MIC -10 TRIM U 1 U U U U U U U U U U U U U U U 10 60 +10dB -40dB -20 +20 U GAIN MIC -10 TRIM U 2 10 60 +10dB -40dB -20 10 60 +10dB -40dB 10 60 +10dB -40dB 10 60 +10dB -40dB 10 60 +10dB -40dB 10 60 +10dB -40dB 10 60 +10dB -40dB 10 60 +10dB -40dB 10 60 +10dB -40dB 10 60 +10dB -40dB 10 60 +10dB -40dB 10 60 +10dB -40dB 10 60 +10dB -40dB 10 60 +10dB -40dB +20 U GAIN MIC -10 TRIM U 3 AUX U U U U U U U U U U U U U U U GAIN MIC -10 TRIM U 4 AUX AUX PRE O O GAIN MIC -10 TRIM U 5 AUX PRE O O GAIN MIC -10 TRIM 6 AUX PRE O O GAIN MIC -10 TRIM 7 AUX PRE O O GAIN MIC -10 TRIM 8 AUX PRE O O GAIN MIC -10 TRIM 9 AUX PRE O O GAIN MIC -10 TRIM 10 AUX PRE O O GAIN MIC -10 TRIM 11 AUX PRE O O GAIN MIC -10 TRIM 12 AUX PRE O O GAIN MIC -10 TRIM 13 AUX PRE O O GAIN MIC -10 TRIM 14 AUX PRE O O GAIN MIC -10 TRIM 15 AUX PRE O O GAIN MIC -10 TRIM 16 AUX PRE O O GAIN MIC -10 TRIM 17 AUX PRE O O GAIN MIC -10 TRIM 18 AUX PRE O O GAIN MIC -10 TRIM 19 GAIN MIC -10 TRIM U U TRIM TRIM 20 10 60 +10dB -40dB 10 60 +10dB -40dB 10 60 +10dB -40dB 10 60 +10dB -40dB 10 60 +10dB -40dB 21 22 1 23 24 AUX PRE O O LAMP U AUX PRE O O U AUX 1 PRE +15 U U U U U U U U U U U U U U U U U AUX 1 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 U AUX 1 1 1 1 1 1 1 1 1 1 1 1 1 1 U U U U PRE 1 PRE 1 PRE 1 PRE 1 1 +15 U CLIP 1 O O 1 +15 U 1 SOLO O O 28 +20 U O O O O +15 O O +15 O O +15 O O +15 O O +15 +15 U 10 7 PRE U U U U U PRE O O 2 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 PRE +15 U U U U U U U U U U U U U U 2 PRE +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 PRE PRE 2 PRE 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 O O PRE +15 U O O 2 +15 U 2 O O 2 +15 U 2 SOLO O O 4 2 +20 U O O O O +15 U O O +15 O O +15 O O +15 O O +15 +15 U U U U U 0 3 O O 3 +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 3 +15 U U U U U U U U U U U U U 3 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 O O 3 U U 3 3 3 3 3 3 3 3 3 3 3 3 3 3 +15 3 O O 3 +15 U O O 3 +15 U O O 3 +15 U 3 SOLO O O TO AUX SEND (EFX TO MONITOR) +20 U U 2 1-2 4 7 10 O O +15 O O +15 O O +15 O O +15 O O +15 U U U U U 4 4 O O O O 4 +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 4 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 O O 4 +15 O O 4 +15 O O 4 +15 O O 4 +15 U 4 SOLO O O 20 +20 O O O O +15 O O +15 O O +15 O O +15 O O +15 +20 30 TAPE RETURN U 40 PRE U U PRE U U U U U U U U U U U U U U PRE U PRE U PRE U PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE U PRE U PRE 5 5 5 5 5 O O LEVEL SET +15 U O O LEFT SOLO +15 U O O RIGHT ASSIGN TO SUB +15 U O O 5 O O 5 +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 5 +15 U U U U U U U U U U U U 5 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 U 5 5 5 5 5 5 5 5 5 5 5 5 5 5 OPERATING LEVEL 0dB = 0dBu +15 U O O O O +15 O O +15 O O +15 O O +15 O O +15 +15 U GLOBAL AUX RETURN U U U U U 6 6 6 6 6 6 O O 1-2 3-4 +15 6 O O 6 +15 O O O O O O O O O O O O O O O O O O O O O O 6 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 O O 6 6 6 6 6 6 6 6 6 6 6 6 6 6 +15 SOLO O O SUB +15 O O SOLO +15 O O RUDE SOLO LIGHT +15 O O POWER +15 O O +15 O O +15 O O +15 O O +15 O O +15 AUX SEND MASTERS U STEREO AUX RETURNS EQ 12k -15 +15 -15 +15 U U EQ U U U U U U U U U U U U U EQ 12k -15 U U U U U U U U U U U U EQ HI 12k +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 U U EQ HI 12k +15 12k 12k 12k 12k 12k 12k 12k 12k 12k U EQ HI HI HI HI HI HI HI HI HI HI 12k EQ HI EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ HI 12k -15 U U U EQ HI 12k +15 U U EQ HI 12k -15 U U EQ HI +15 12k -15 U U MODE HI +15 12k HI 12k HI 12k HI 12k HI TRACK TRACK TRACK TRACK O O -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 +15 U U U U U LEVEL MID -15 +15 -15 +15 PRE FADER IN PLACE AFL MID -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 MID MID MID MID MID MID MID MID MID MID MID MID MID MID MID MID -15 +15 MID -15 +15 MID -15 U HI MID 3k +15 -15 U HI MID 3k +15 1 · 5 5 2 · 6 5 3 · 7 5 4 · 8 5 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 SOLO AUX SUB FREQ 100 U U U U U U U U U U FREQ 8kHz 100 8kHz 100 8kHz 100 8kHz 100 8kHz 100 8kHz 100 8kHz 100 8kHz 100 8kHz 100 8kHz 100 FREQ FREQ FREQ FREQ FREQ FREQ FREQ FREQ FREQ FREQ FREQ FREQ FREQ 8kHz U FREQ 100 U FREQ 8kHz 100 U FREQ 8kHz 100 U FREQ 8kHz 100 U FREQ 8kHz -15 U 800Hz +15 -15 U LOW MID 800Hz +15 0 +10 0 +10 0 +10 0 +10 O O LOW MID 100 8kHz 100 8kHz 100 8kHz 100 8kHz 100 8kHz MAX U U U U U AIR LOW 80Hz -15 +15 LOW CUT 75 Hz 18dB/OCT AIR LOW 80Hz -15 +15 LOW CUT 75 Hz 18dB/OCT AIR LOW 80Hz -15 +15 LOW CUT 75 Hz 18dB/OCT AIR LOW 80Hz -15 +15 LOW CUT 75 Hz 18dB/OCT LEVEL LOW 80Hz -15 +15 LOW CUT 75 Hz 18dB/OCT MAIN MIX LOW LOW LOW 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 +15 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz LOW 80Hz LOW 80Hz LOW 80Hz LOW LOW LOW LOW LOW LOW LOW LOW LOW LOW LOW 80Hz 80Hz -15 +15 80Hz -15 +15 16kHz 16kHz 16kHz 16kHz -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 SOLO SOLO SOLO SOLO 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 OL OL SR24·4 & SR32·4 OWNER'S MANUAL OL OL OL OL OL OL OL OL OL OL OL OL OL OL L R -20 L R L R L R L R L R L R L R L R L L R -20 L R -20 L R -20 L R -20 -20 -20 -20 -20 -20 -20 -20 -20 R -20 L R -20 L R -20 L R -20 L R -20 L R -20 L R -20 L R -20 L R -20 L R L R L R L R TAPE RETURN TO PHONES / C R O O MAX PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN MUTE MUTE / SOLO MUTE / SOLO MUTE / SOLO MUTE / SOLO MUTE / SOLO MUTE / SOLO MUTE / SOLO MUTE / SOLO 1 MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE 2 MUTE 3 MUTE 4 MUTE 5 6 7 8 9 10 11 12 13 MUTE MUTE / SOLO 14 MUTE MUTE / SOLO 15 MUTE MUTE / SOLO 16 MUTE MUTE / SOLO 17 MUTE MUTE / SOLO 18 MUTE MUTE / SOLO 19 MUTE MUTE / SOLO 20 21 22 MUTE MUTE / SOLO 23 24 MUTE MUTE / SOLO L/R ASSIGN L/R ASSIGN L/R ASSIGN L/R ASSIGN PHONES / C-R LEVEL MAIN MIX SUB SUB SUB SUB MUTE / SOLO MUTE / SOLO MUTE / SOLO MUTE / SOLO MUTE / SOLO 1 dB dB dB dB dB dB dB dB dB dB 2 dB 3 dB 4 dB TAPE RETURN TO MAIN MIX LEFT/RIGHT 1 dB dB dB dB dB dB dB dB dB dB dB dB dB dB 10 SOLO 5 5 1-2 U 5 3-4 10 10 L-R 20 30 40 50 60 O O O O O O O O SOLO 5 1-2 U 5 3-4 10 L-R 20 30 40 50 60 40 50 60 40 50 60 40 50 60 O O 10 SOLO 5 5 1-2 U 5 3-4 10 10 L-R 20 30 30 20 L-R L-R 10 L-R 20 30 3-4 3-4 10 20 30 40 50 60 O O SOLO 5 1-2 U 5 5 3-4 U 1-2 5 1-2 10 SOLO SOLO SOLO SOLO SOLO SOLO SOLO 10 SOLO 10 10 10 10 10 10 10 10 10 5 U 5 SOLO 10 5 1-2 U 5 3-4 10 10 SOLO 10 5 1-2 U 5 3-4 10 SOLO 10 5 1-2 U 5 3-4 10 SOLO 10 5 1-2 U 5 3-4 10 SOLO 10 5 1-2 U 5 3-4 10 SOLO 10 5 1-2 U 5 3-4 10 SOLO 10 5 1-2 U 5 3-4 10 SOLO 10 5 1-2 U 5 3-4 10 SOLO 10 5 1-2 U 5 3-4 10 SOLO 10 5 1-2 U 5 3-4 10 10 5 U 5 10 10 5 U 5 10 10 5 U 5 10 10 5 U 5 10 5 1-2 U 5 3-4 3-4 5 U 1-2 5 5 5 5 U 1-2 U 1-2 U 1-2 U 1-2 U 5 5 5 5 5 3-4 3-4 3-4 3-4 10 L-R 20 30 40 50 60 O O 10 10 10 10 20 L-R 20 L-R 20 L-R 20 L-R 20 L-R 20 30 40 50 60 O O L-R 20 30 40 50 60 O O L-R 20 30 40 50 60 O O L-R 20 30 40 50 60 O O L-R 20 30 40 50 60 O O L-R 20 30 40 50 60 O O L-R 20 30 40 50 60 O O L-R 20 30 40 50 60 O O L-R 20 30 40 50 60 O O L-R 20 30 40 50 60 O O L-R 20 30 40 50 60 O O 20 30 40 50 60 O O 20 30 40 50 60 O O 20 30 40 50 60 O O 20 30 40 50 60 O O 30 30 30 30 30 40 50 60 40 50 60 40 50 60 40 50 60 40 50 60 O O O O O O O O O O CAUTION AVIS RISK OF ELECTRIC SHOCK DO NOT OPEN RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK DO NOT REMOVE COVER (OR BACK) NO USER-SERVICEABLE PARTS INSIDE REFER SERVICING TO QUALIFIED PERSONNEL 9. Object and Liquid Entry -- Do not drop objects or spill liquids into the inside of the SR24·4 or SR32·4 Audio Mixer. Damage Requiring Service -- The SR24·4 and SR32·4 Audio Mixers should be serviced only by qualified service personnel when: A. SR24·4 or SR32·4 Audio Mixer power-supply cord or the plug has been damaged; or B. [. . . ] This allows you to set a good balance between the mics and then simply move the whole section up and down with one fader (the submix fader). Push the L/R ASSIGN button on each submix strip and leave the PAN straight up. The keyboard inputs, which are pretty much pre-mixed before they come to you, are assigned directly to the left and right buses. Carefully raise the MAIN MIX fader until you have the overall level that you desire in the main house speakers. Use the AUX 1 controls on the channel strips to develop a mix for the stage monitor speakers. Use the AUX 3 through 6 controls on the channel strips to develop effects for both the monitors and the main house speakers. The AUX SEND 3 feeds effects unit 1, which is then returned to STEREO AUX RETURN 1. If you want to add this same effect to the main house speakers, you can independently adjust the AUX RETURN 1 control. Use AUX SENDS 4 through 6 on channels 1­20 to set up house effects mixes. These effects are returned through stereo channels 21­24 (29­32 on SR32·4) and can be routed to the subgroups or mains by engaging the bus assignment switches on these channels. You can also route these to monitor sends using AUX 1 and 2 controls on channels 21­24 (or 29­32). NOTE: Do not turn up the volume on AUX 4 through 6 on channels 21­24 in this configuration, you'll give birth to the nasty feedback monster. If you are making a simultaneous recording of the mix, you have a couple of options. One is to simply patch in a tape recorder (DAT) as shown in the chart above and set the input levels so that the tape recorder meters read the same as the SR24·4 main meters. Applications If you want to make a custom mix for the recording, unaffected by the submix or master faders, you can connect the input of the tape recorder to AUX SENDS 3 and 4 and use the channel AUX SENDS 3 and 4 as a left-right pair of mixing controls. This way every channel fader movement you make won't affect your record levels. When you'd like to play BAND IN A CLUB the recording output connections back to check Connection Destination it, just push LEFT MAIN MIX . . . . . . . Stereo effects chain right input & output 35 CHURCH INSTALLATION Here's a very different situation: you are to mix a church service in a large sanctuary featuring a worship team with drums, bass, guitar, piano, synthesizer and three vocalists. There will be two ministers, each with a wireless lavalier mic, occasional speaking from the congregation (using a wireless handheld mic), music playback before the service from a CD player, and a special performance by the women's chorale. You will also need to provide infrared transmission to wireless headphones for the hard-of-hearing, a cry room feed and a stereo recording feed. (Please refer to the graphic on page 10. ) Also, there are three fixed microphones: one on each of the two lecterns or pulpits, and one on the altar. This is how we'll set it up: As you can see on page 10 the worship team band is routed to submix buses 1 & 2 and the three vocalists to submix buses 3 & 4. [. . . ] This sounds insultingly simple, but if the whole mixer is completely WHERE IT GETS FIXED Service and repairs of Mackie SR24·4 mixers are to be performed only at our high-tech, rainforest factory. Unauthorized service, repairs or modification will void your warranty. 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). Products returned without an RA number will be refused. ® 62 Appendices 2. [. . . ]