Mackie SR244-VLZ PRO User's Manual
Contents
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6. 23 ASSIGN TO SUB 23 UD 23 E SDIO 23 69 RETURN 23 D METERS 23 ZERO EQUALS 7 23 POWER LED 23 SUBGROUPS 24 OF SOLO 24 24 L R ASSIGN 24 SUBGROUP FADERS 25 5010 RUDE SOLO 6 25 LEVEL idis 25 O MODE 25 C AUX TED 25 ET 25 TALKBACK O e 25 CD MAIN 26 25 TAPE RETURN TO PHONES 25 PHONES C R 1 26 RETURN TO MAIN MIX 26 MAIN MIX FADER 26 SPECIFICATIONS 27 BLOCK 28 GAIN 29 SERVICE INFORMATION 30 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 Onthe rear panel turn the POWER switch 79 4 Setthese controls fully down for and the PHANTOM off and the OUTPUT Control controls down refers to the LEVEL fully d
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8. SR24e4 VLZ PRO 8 SR32 4 VLZ PRO OF Qu 4 de Qin euo ly log bo Qm P G e GG G G 9000000000000 0 2 M 1 Jj DD 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 NO USER SERVICEABLE PARTS INSIDE REFER SERVICING TO QUALIFIED PERSONNEL ATTENTION POUR EVITER LES RISQUES DE CHOC ELECTRIQUE NE PAS ENLEVER LE COUVERCLE AUCUN ENTRETIEN DE PIECES INTERIEURES PAR L USAGER CONFIER L ENTRETIEN AU PERSONNEL QUALIFIE AVIS POUR EVITER LES RISQUES D INCENDIE OU D ELECTROCUTION N EXPOSEZ PAS CET ARTICLE A LA PLUIE OU A L HUMIDITE The lightning flash with arrowhead symbol within an equilateral triangle is intended to alert the user to the presence of uninsulated dangerous voltage within the product s enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons Le symbole clair avec point de l int rieur d un triangle quilat ral est utilis pour alerter l utilisateur de la pr sence l int rieur du coffret de voltage dangereux non isol d ampleur suffisante pour constituer un ris
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11. manm mmm o EN 4 9 gt 2 0 2 4 7 0 2 _ 0 LEVEL SET LEFT TALKBACK TAPE RETURN TO PHONES C R OPERATING LEVEL OdB OdBu e POWER PREFADER IN PLACE AFL PHONES LEVEL TAPE RETURN TO MAIN MIX i S o 8 MAIN LEFT RIGHT i 70 PHONES C R LEVEL After the MAIN MIX FADER 72 the main mix is sent to the MAIN OUTS 12 16 and MONO MAIN OUT 14 It is also sent through this control and exits at CONTROL ROOM OUT 11 and PHONES 18 This knob allows engineer s listening levels to be set as desired without disturbing the main mix outputs Engaging TAPE RETURN TO PHONES C R 69 or TAPE RETURN TO MAIN MIX 71 will replace the main mix sig nal at the control room and phones outputs with the TAPE IN 6 signal When a channel s SOLO 39 is engaged the main mix signal will be replaced by the solo signal s allowing the engineer to audition channels without disturbing the main mix To prevent the possibility of feedback en gaging either talkback switch 67 68 will attenuate control room output levels by 20dB 71 TAPE RETURN TO MAIN MIX Ordinarily the main mix or solo stereo signals are sent to CONTROL ROOM OUT 11 M
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13. 17 MAIN OUTS TRS 17 MAIN INSERTS 17 MONO MAIN OUT 17 D OUTPUT LEVEL 17 MAIN OUT XLR 17 TALKBACK 17 D PHONES 18 PHANTOM SWITCH 18 6 POWER SWITCH 18 AC RECEPTACLE 2 4 4 18 LEID M 18 CHANNEL STRIP FEATURES TRIM fee 19 AUX SEND q EN 19 19 EQ SECTION 252 20 MID N 20 FREQ 20 MID 1 4 20 LOW MID 2 4 44 4 1 20 20 GD LOW CUT 2 2 47 2 27 20 EUNT 21 970 HED eoe iE 21 B PAN i 21 d ze 21 Oy SOLO 21 BLA 21 Mec 21 CHANNEL FADER 21 page MASTER SECTION FEATURES LAMP CONNECTOR 22 AUX SEND MASTER AUX SEND MASTERS 22 Uo 22 STEREO AUX RETURNS D STEREO AUX RETURNS 23 TO AUX SEND 1 2
14. Alternatively the MAIN OUTS 12 16 could feed the amplifiers while the subgroups feed a recorder studio applications these outputs can be used as four separate paths to feed four or more tracks of a multi track recorder See 1 2 amp 9 4 40 and L R ASSIGN 59 for more information Accepts 1 4 TRS balanced or 1 4 TS unbal anced plugs see page 14 for wiring details DOUBLE BUSSING Although this is a four buss mixer mean ing there are four separate subgroups available it can be used to feed all eight tracks of a multi track recorder thanks to a trick called Double Bussing SUB OUTS 1 and 5 carry the same signal and so do 2 and 6 and 7 4 and 8 Patch these outputs into the corresponding inputs of your multi track recorder To record onto track 1 for example put track 1 in record mode but leave track 5 in safe mode To record onto track 5 put track 5 in record and put track 1 in safe mode MAIN BALANCED OUTPUTS PIN 2 HOT PIN 3 COLD 9 STEREO AUX RETURNS Patch the outputs of external parallel ef fects devices reverb delay etc to these inputs When connecting a mono device just one cord always use the LEFT MONO input and plug nothing into the RIGHT input A trick called jack normalling will cause the signal to appear on both sides Accepts 1 4 TRS balanced or 1 4 TS unbal anced plugs see page 14 for wiring details 10 AUX SENDS With aux send
15. SZ SZ RZ SZ N ZN 3 RZA ZA a BAL OR RZ 2 Q7 az 77 SZ SZ R L 8 4 NX SZ RZ 50786 HZ COW TAPEIN VIR ON ON PHONES OUTPUT 1 6A 250V SLO BLO 1 O P LEVEL O FUSE INSIDE MAIN BALANCED OUTPUTS eT PIN2 HOT WITH THE SAME TYPE FUSE 6 PIN 3 COLD AND RATING OFF OFF Power Phantom Output Level Off Off Fully Down SUB OUTS BAL OR UNBAL 2 M Q N N R GALORUNBA LY Ba MM 2 Nu 7 2 uz MAIN INSERTS CONTROL R UT CONTROL ROOM MONO TALK BACK MIC TRIM 20 ee 227 U TRIM 21 22 15dB 45dB LOW LOW 80Hz 80Hz 15 15 LOW CUT 1848 OCT 4 OL 4 OL 4 OL L R 720 L R 20 L R 20 PAN PAN PAN MUTE MUTE MUTE SOLO SOLO O SOLO 10 SOLO 0 SOLO y gg U E 1 2 A 12 5 1 2 5 EN 5 5 3 4 3 4 3 4 B o EES 1111 1111 7 Js 20 LR 20 20 L R 30 30 30 71 5 7 Set the controls as shown to zero the console See the description on page 6 AUX SEND MASTERS N o H0 07 10 AIR AIR 7 16kHz 16kHz
16. 15 Mixers are aimed primarily at sound reinforce to 45dB line ment they have features such as 4 buss e Phantom power globally switched metering and control room circuitry that make e Switchable 75Hz low cut filter them serve easily as recording or mixing con e TRS insert jack soles 2 pre fader aux sends 2 switchable pre post fader aux sends Please write your serial number here for e 2 post fader aux sends future reference 1 insurance claims tech e 3 band mid sweep EQ support return authorization etc e Pan mute and 1 2 3 4 L R bussing e PFLor AFL solo Serial Number e 60mm mono fader pF Purchased at 2 stereo line channels with e 20dB to 20dB variable input trim 2 switchable pre or post fader aux sends e 2 post fader aux sends Pan mute and 1 2 3 4 L R bussing PFL or AFL solo Make sure that you keep your proof of pur 60mm stereo fader chase in a safe place otherwise it will end up in the land of enchantment where TV remotes car keys and odd socks go 9 Part No 820 218 00 Rev A 03 2000 02000 Mackie Designs Inc Rights Reserved Printed in the U S A ABOUT THIS MANUAL The stuff you MUST read First you must read and follow all the safety instructions on page 2 Before you get to work please read the Quick Start section on page 6 It s a list of steps that will familiarize you with the mixer and help you set up a basic
17. 31
18. 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 53 TAPE RETURN Having entered through the TAPE IN 6 Jacks tape returns are controlled by these knobs and then sent to TAPE RETURN TO PHONES C R 69 and TAPE RETURN TO MAIN MIX 71 Turned fully up this provides 20dB of addi tional gain the center U label is unity gain and fully down is off These knobs are typically set near unity and left alone 54 METERS The mixer s peak metering system is made up of two columns of thirteen LEDs each with thresholds ranging from 40dB up to CLIP 22dBu at TRS MAIN OUTS 12 28dBu at the XLR MAIN OUT 16 The meters display the main mix post MAIN MIX FADER 72 However when a SOLO 89 47 52 57 switch is engaged the meters will instead display the solo infor mation A good mix will show the meter s peaks flashing anywhere between 10 and 10dB Re member that most amplifiers clip at about 10dB and some recorders aren t so forgiving either For best real world results try to keep your peaks between 0 and 7 ZERO EQUALS ZERO You may already be fa miliar with 4 and 10 operating levels Basically what determines an operat ing level besides available headroom 15 the relative 0dB VU chosen for the meters 4 mixer with a 4dBu output si
19. UNBAL eee UNBAL 006000608 e 6 e e 00666060 2c gt e TET 3 TAPEIN TAPE OUT MAIN INSERTS CONTROL ROOM OUT MONO 19 18 MET RIGHT MAIN OUT MONO MAIN OUT 202 249 5 5 1 2 FUSE INSIDE THE RSL OF Fit TO RE 1 MIC 2 LINE IN The mono channels are equipped with The line inputs share circuitry but not Mackie s cutting edge XDR microphone phantom power with the mic preamps and preamplifiers providing up to 60dB of rugged can be driven by balanced or unbalanced low noise crystal clear phantom powered am sources These inputs can accept virtually any plification Their balanced circuitry rejects all line level signal from 45dB up to 20dB manner of extraneous interference Profes sional condenser dynamic and ribbon mics will all sound excellent through these XLR inputs SLEEVE The inputs will accept almost any kind of balanced mic that has standard XLR type _ male mic connector 1 4 TS Tip Sleeve unbalanced wiring Tip hot Sleeve shield icd SLEEVE SLEEVE RING TIP SLEEVE 1 4 TRS Tip Ring Sleeve balanced wiring XLR balanced wiring hot Pin shield Ing Pin 2 hot Sleeve shield Pin 8 cold 14 3 INSERT With nothing plugged into this Jack the channel
20. 9 2 4ZGAH 49440 40 Deren 3 O males mcr _ zn 18109 mee lee 00000 C0000 r nu n on O O O 98888888 9 5015 xnv E E 6 1 Xnuqns 6 1 Xnuqns 6 1 200408 6 1 844705 6 1 Xnuqns 155 021246 5 ooooo ooooo CH Waray 024216 00000 00000 024946 v mn mrn LYA 32841 09 SLUYISNI NIV 220 200 200 5100 ap NU NU 0 194 y 24015 ANA 69 So 1 y 1 4040809 g 0g 2 sandu 9 6T T y 19 l papoqhay t 6 ZI T 4ogfioq 2 OL 40582440400 NU gon 2 1040440 10 nog 42jndwuop T 770 TALIA 6
21. With the PAN knob hard left the signal will feed LEFT MAIN SUB 1 or SUB 3 depending on the channel s L R 41 and 1 2 amp 8 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 be tween 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 re main 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 38 MUTE Engaging channel s mute switch severs its signal from subsequent outputs Additionally the adjacent MUTE SOLO LED will glow Note muted channel can still be soloed set MODE 69 to PFL Note The mixer s pre fader aux sends typi cally used for stage monitors follow this mute switch To effectively mute the signal sent to the main mix without muting monitor feeds use that channel s fader instead of the mute switch 39 SOLO Engaging this switch isolates the as sociated channel s 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 be soloed set MODE 63 to PFL 40 1 2 amp 3 4 Used in conjunction with
22. TWNOIS 2 4 7 OL 3 1604 ALVIIGNI SANIT ONOW vl n 4 OTA AN s o 31001 NIVO NIVO Es 0 T 144 T NIVO JIN 3 101 L JN NAISSY T 110 tno ba Te 2 v 40 Lino ans HSL JUSSI ZHAQ lt LAASNI 3 4 i HOLIMS 174019 dA 100 o MN S388 D 8080 aq V0 5 WOLNWHd 1331 ans c adavd NIVO amp OORONO XX NOISGY 28 GAIN PATH DIAGRAM all levels in dBu 104110 0 22 4no 22 4no LAASNI XIW O dn v 415 O dn 22 4no 62 4no 1X 13 31 4 O dn J242 LAASNI 4 1 SAALSVW XIN 4 xnv 184441 v quiod G dn NI 513441 5 OOOZ AJA 440 dn G dn 2 40 autod quiod dn J242 Oz dn NI ddyl qpoz e dn AANLONALS NIVO Odd ZIA vece vevoao ADVAN S0 PO ui xeu 22 ul xeu 22 10aLNOD LAdNI 3NIT 0143156 NVd LAASNI up 290 ul
23. If the problem stays on the left side it s not the mixer Noise Turn the CHANNEL FADERs 42 and STEREO AUX RETURNS 48 down one by one If the sound disappears it s either that channel or whatever is plugged into it so unplug whatever that is If the noise disappears it s from your whatever 30 Service for the 24e4 VLZ PRO and the 32 4 VLZ PRO is available at our factory lo cated in sunny Woodinville Washington Service for Mackie mixers living outside the United States can be obtained through local dealers or distributors If your mixer needs service follow these in structions 1 Review the preceding troubleshooting suggestions Please 2 Call Tech Support at 1 800 258 6883 8am to 5pm PST to explain the problem and request an RA Return Authorization number Have your mixer s serial number ready You must have an number before you can obtain service at the factory gt 9 Keep this owner s manual We don t need it to repair the mixer 4 Very Important Move all Faders to their UP position as this will help prevent damage to the faders during shipping 9 Packthe mixer in its original package including endcaps and box This is very important When you call for the RA number please let Tech Support know if you need new packaging Mackie 15 not responsible for damage that occurs due to non factory packaging 6
24. amp 2 are always pre fader designed for stage monitor applications Aux sends 5 amp 6 are always post fader de signed for parallel effects applications Aux sends 3 amp 4 thanks to this switch can be set to be pre or post fader so they can be used for monitors or effects PRE FADER With the PRE switch en gaged down AUX 8 and 4 deliver signals post insert post low cut post EQ post mute pre fader Any changes made to the channel controls except the fader will affect the aux send signal POST FADER With the PRE switch disengaged up AUX 8 and 4 deliver sig nals post insert post low cut post EQ post mute and post fader Any changes made to the channel controls will affect the aux send signal 19 Stereo channels Mono channels A 20 U TRIM 4548 00 20 20 AUX OO 15 15 C y 5 415 U 1 MID MID 3k d FREQ 15 15 j MID 800Hz 15 15 80Hz 5 415 LOW cur 1 8dB OCT lt gt OL lt gt OL D 5 L R SOLO SOLO dB dB 1 soo 0 5010 7 E 1 2 E 1 2 E Li o A N o 2 N FEE Stereo channels channels wwe On 21 MU 45dB 20 20 AUX DTO OO 15 OO 15 9416
25. the main mix goes straight through the MAIN MIX FADER 72 to the MAIN OUTS 12 16 With an effects device plugged into these jacks the main mix leaves the mixer goes through the effects device and back into the mixer s main mix faders Use these jacks to send the main mix through a compressor graphic equalizer or similar device Since the insert is before the main mix fader moving the fader will not alter the level sent to a compressor thereby preserv ing the signal s characteristics These unbalanced insert Jacks are wired ex actly the same as shown for INSERT 9 on page 15 14 MONO MAIN OUT The signal sent out of this XLR jack is a sum of the left and right signals at the MAIN OUTS 12 16 It can be used to feed a mono sound system or a mono recording device See OUT PUT LEVEL 15 for more information This XLR balanced output will add 6dB when connected to a balanced input thereby elevating signal from the noise floor by that amount Accepts XLR balanced plugs see page 14 15 OUTPUT LEVEL Use this knob to independently set the level of the MONO MAIN OUT 14 The level is also dependent on the level set by the MAIN MIX FADER 72 Unity gain is at 3 o clock and there is 6dB additional gain available when turned fully up To feed a microphone input like that found a camcorder turn this knob down to the 9 00 range Use the device s input meters to as sure a good level 17 TA
26. 15 5 15 15 t LOW MID 800Hz 15 15 Q FREQ ph Ko 5 15 5 15 LON d 1 IE m TERR o ulia IER n nme 8 EF m N 8 119 n na 8 21 MASTER SECTION FEATURES 65 J s 2 In the master section signals leaving the channel strips are mixed manipulated and sent to the outputs in the patchbay Addition ally there are four more stereo inputs here used to add effects to the main mix or other 7 destinations MO Owes m 2 45 LAMP O SEND 2 0 0 This female BNC connector provides 12 Zs Dunt EFXTO MONTOR 4 volts on its center pin Connect any quality 997 M 2 s gooseneck lamp here DB 22229 iue e AUX SEND MASTER 46 and 47 RETURN wve ser 46 AUX SEND MASTERS m m E 57 Aux send signals originate at each channel s e AUX 26 knobs are mixed together sent through these controls and exit at the m ERO S patchbay s AUX SENDS 10 Turned fully up MEDE these controls provide 15 dB of additional gain ACK TAK TACK 63 the center U label is unity gain and fully down 1 2 3 4 is off 4 7 B 2 When an aux send is used for monitors AUS SUB these knobs can be used to raise or lower indi 5 5 5 5 vi
27. 22 LAdNI qpoo ul 22 LAdNI JIN 29 SERVICE INFORMATION TROUBLESHOOTING Power Ifyou think your Mackie product has a prob ur favorite question Is the POWER 20 lem please do everything you can to confirm it switeh on before calling for service Doing so might save you from the deprivation of your mixer and the associated suffering Here s a few troubleshoot ing suggestions Turn off the power from the wall unplug the power cord and check the fuse 22 No channel signal e Isthe 1 2 amp 3 4 40 or L R 41 switch set correctly Is the CHANNEL FADER 42 turned up e Try soloing that channel Does it appear on the METERS 54 e channels try unplugging any INSERT 3 effects devices e Try the same signal in another channel set up exactly like the suspect channel No Output Arethe L R ASSIGN 59 switches set correctly Are the MAIN MIX FADER 72 or SUB GROUP FADERs 60 turned up e Try unplugging any insert 7 18 effects devices e 1165 one ofthe MAIN OUTS 12 16 try unplugging the other For example if it s the MAIN OUTS TRS 12 unplug the associated MAIN OUT XLR 16 output If the problem goes away it s not the mixer fit s 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
28. 61 and MODE 68 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 effec tively becomes another channel signal and can be panned from left to right This knob then adjusts the amount of signal sent left versus POWER FADER IN PLACE 10 7 2 10 10 II m EET 10 II m ET TALKBACK right to the MAIN OUTS 12 16 The mixer s pan circuits employ a design 7 called constant loudness As the knob is y PHONES C R tated from left to center to right the sound will mE remain at the same apparent volume To attain MAIN this both sides of the signal must dip down TOMANMX 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 sub group faders and then sent to the main mix using this switch and its associated PAN 58 control N
29. Include a legible note stating your name shipping address boxes daytime phone number RA number and a detailed description of the problem including how we can duplicate it 7 Write the RA number in BIG PRINT on top of the box 9 Ship the mixer to us We recommend United Parcel Service UPS We suggest insurance for all forms of cartage Ship to this address Mackie Designs SERVICE DEPARTMENT 16140 Wood Red Rd NE Ste 5 Woodinville WA 98072 9 Ask Tech Support for the latest turn around times when you call for your number We normally send everything back prepaid using UPS Orange Three Day However if you rush your mixer to us by Next Day Air we ll treat it in kind by shipping it back to you UPS RED Next Day Air This paragraph does not necessarily apply to non warranty service COLOPHON Manual composed for the most part by Jeff Gilbert It was created in complete darkness which gave him a whopping headache He then read it over the telephone to Mackie s manual layout droid the Steve Eborall 3000 Mk IIa Rev B Mackie the Running figure XDR 24e4 VLZ PRO and 382 4 VLZ PRO are trademarks or registered trademarks of Mackie Designs Inc All other brand names mentioned are trademarks or registered trade marks of their respective holders and are hereby acknowledged 2000 Mackie Designs Inc All Rights Reserved Printed in the U S A
30. OO 15 OO 15 Du 33 d E T Ow 500 MUTE MUTE 10 soo 0 SOLO E 5 z 12 E 1 2 3 4 3 4 20 LR 2 L R 8 119 EQ 28 through 34 The mixer has low shelving mid peaking and high shelving EQ Shelv ing 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 sur rounding a center hilltop frequency is affected by the EQ control 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 ef fectively bypassing their circuits Note EQ boost is a form of level boost With excessive amounts the sig nal may become too hot and overload subsequent circuitry Should this hap pen 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 28 HI This control is centered at 12kHz and above Boost it to add sizzle and defini tion to sounds with high frequency transients such as cymbals Reduce it to attenuate sibilance
31. SOLO SOLO PAN L R ASSIGN SUB d Inr 11 1 tilili RRISIN o N 8 nimii PAN L R ASSIGN SUB p 1111 o N 8 Control Centered Control Fully Down Down 5 20 55 TO SUB 1 2 SUB SR24 e4 VLZPRO TO AUX SEND EFX TO MONITOR 6 RETURN GLOBAL AUX RETURN SOLO STEREO AUX RETURNS TRACK 3 7 16kHz PAN L R ASSIGN SUB 1111 o 111 8 4 8 L R ASSIGN SUB Inr E 5111 o N 8 nimii 2 7 2 9 90 2 0 7 0 LEVEL SET LEFT RIGHT 55 LIGHT U MODE LEVEL ARERR SOLO AUX SUB m OO MAX MAIN MIX LEVEL gt AUX 1 2 TALKBACK APE RETUR TO PHONES MS 5 LEVEL MAIN MIX TAPE RETURN LEFT RIGHT TO MAIN MIX _ 1111 o 11 N 8 MAKE THE CONNECTIONS l Make sure your amplifiers are turned off before making any
32. also known as High Pass low cut dress high pass To prevent muddy mixes use low cut on ev ery mono channel except those which carry kick drum bass guitar or other bass intensive sounds Low cut can also help reduce the possi bility of feedback in live situations and it helps to conserve amplifier power ii Q graph shows various a buo Settings of the LOW control AH with LOW CUT Exc 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 channel s 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 36 20 LED This LED represents a good thing This LED will flicker in time with a channel s signal when its level peaks at 20dB or higher Also known as a signal present indicator it con firms an adequate signal level 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
33. connections Connect speakers to your amplifier s outputs unless of course you have powered speakers such as the Mackie SRM 450 active monitors Plug all the sound system components into suitable AC outlets properly grounded and capable of delivering adequate current Use power strips to minimize ground loops Using TRS or XLR cables make connec tions from the mixer s MAIN OUTS 12 16 to your amplification system s line inputs Make connections from your microphones and instruments to the mixer Connect balanced microphones to the mono channel MIC 1 jacks For condenser microphones engage the PHANTOM 19 switch Connect line level instruments synthesizers guitar effects devices direct boxes to the mono or stereo channel LINE IN 2 4 TRS jacks Follow the procedure shown on page 6 to zero the console This will also MUTE 98 each channel Turn on all the AC power switches includ ing the mixer and all other equipment Leave the amplifier s power switch for last This prevents power up thumps which can damage speakers Turn up the MAIN MIX FADER 72 to the U label You should hear nothing at this point SET THE LEVELS l Choose one of the microphones or instru ments you ve connected Make some noise If it s a microphone speak at your normal singing volume If it s a synthesizer play it at its normal output level While making noise engage that channel s SOLO 39 swi
34. from the mixer To remove all power the power cord must be disconnected from the power source 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 prop erly grounded and capable of delivering adequate current Replacement AC linecords are widely avail able at any office or computer supply store 22 FUSE INSIDE AC power fuse is located in a tiny slide out compartment inside the AC RECEPTACLE 21 It s a good idea to carry spare fuses Always remove the power cord before changing the fuse Always use the correctly rated fuse for your specific mixer gt Use the fuse value shown on the rear panel of your mixer near the fuseholder CHANNEL STRIP FEATURES The channel strip is where you dress up each channel s audio setting the gain adding EQ riding the fader tapping signal off to stage monitors and effects devices After a signal leaves the channel strip it goes through a mix stage and on to the master section page 22 The 24 4 VLZ PRO has 20 mono channels and two stereo channels The 32e4 VLZ PRO has 28 mono channels and two stereo chan nels All of the mono channels are identical and all of the stereo channels are identical In this chapter both flavors are described with the help of an illustration from the 24 4 1 7 PRO This shows a mono channel strip 20
35. o E 8 1 IRE l 8 1 8 8 8 119 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 24 60 SUBGROUP FADERS These faders provide 104 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 5010 61 through 65 61 RUDE SOLO LIGHT Engaging any SOLO switch 99 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 ste reo in AFL as determined via the MODE 63 switch Any number of solo switches may be si multaneously engaged 62 LEVEL This is the master level control for all solo signals regardless of MODE 69 It can be set as desired as it only affects the CONTROL ROOM OUT 11 and PHONES 18
36. performance The rest of the manual explains the mixer s fea tures in excruciating detail 24 4 VLZ PRO and 3294 17 This manual covers both mixers The 32 4 VLZ PRO has eight more mic line channel strips otherwise the two models are identical About all those numbers Every feature on the mixer has a number as signed to it Whenever a feature is illustrated described or mentioned its number will be right next to it They ll help you find your way around this whopping opus and we opus you will like it Every feature of the mixer is described geo graphically in other words in order of where it is physically placed on the mixer s top or rear panel These descriptions are divided into three chapters just as your mixer is organized into three distinct zones Along the back where everything plugs in CHANNEL STRIPS page 19 The mono mic line channel strips and the two stereo line channel strips MASTER SECTION page 22 The section on the right Further information This icon marks infor mation that is critically important or unique to your mixer For your own good read and remember them gt This icon will lead you to in depth explanations of features and practical tips While not mandatory they usually have some valuable nuggets of information A CLOSER LOOK This entire manual is condensed onto one page albeit in hieroglyphics
37. s signal goes straight through the mic line preamp to the channel strip With an ex ternal effects device plugged into this jack the channel s 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 signal s charac teristics 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 SEND to processor tip TRS plug ring nh This plug connecte to one of the 4 rin 99 mixer s Channel Insert jacks 9 RETURN from processor Specialty Y cables developed just for these jacks are widely available Besides being used for inserting effects de vices these Jacks can also be used as channel direct outputs pre LOW CUT and pre EQ Here are three ways to use the INSERT Jacks MONO PLUG Channel Insert jack Direct out with no signal interruption to master Insert only to firet click MONO PLUG Jo Channel Insert jack Direct out with signal interruption to master Insert all the way in to the second click ME LP Channel
38. the PAN 37 knob these switches allow a channel signal to be sent to the sub groups in stereo pairs Typically if a channel signal is routed to the sub groups 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 multi track 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 in formation 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 1s being sent to a sub group via the 1 2 and 3 4 40 switches See PAN 37 and MAIN MIX FADER 72 for more information 42 CHANNEL FADER The fader is the master level control for the channel s signal output If the TRIM 25 is set correctly the fader position will be best positioned some where between 20dB and 0 U If a fader is set all the way up thereby adding 10dB of gain that s 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 Stereo channels 98 28 H5dB 45dB 45dB Ole OO OO 15 OO 15 OO 15 OO 15 QO Mono channels 15
39. to Main Left outputs 89 5 88 7dB Channel fader down channels at Unity Channel muted channels 2 16 at Unity Frequency Response any input to any output 20Hz to 50KHz 0 1dB 20Hz to 100KHz 0 3dB Maximum Levels Mic preamp input 22dBu All other inputs 22dBu Balanced XLR outputs 28dBu All other outputs 22dBu 18 90 B 19 20 Impedances Mic preamp input 1 5kQ All other inputs gt 10kQ All outputs 1200 Equalization Lo EQ Shelving 80Hz 15dB Mid EQ mono ch Peak 100 8kHz 15dB Hi EQ Shelving 12kHz 15dB Microphone Preamp 150Q terminated max gain 129 5dBm Power Requirements 60 watts Weight 24e4 VLZ PRO 31 lbs 14 kg 92e4 VLZ 40 7 lbs 18 8 kg Since we are always striving to make our products better by incorporating new and im proved materials components and manufacturing methods we reserve the right to change these and other specifications at any time without notice
40. AIN OUTS 12 16 MONO MAIN OUT 14 PHONES 18 and METERS 54 En gaging this switch will replace these signals with stereo signals from the TAPE IN 6 jacks via the TAPE RETURN 53 level control Also known as a break switch this switch is useful for live sound to play recorded enter tainment between sets It can also serve as a global mute switch simply by patching nothing into the TAPE IN 6 jacks 72 MAIN MIX FADER This fader controls the main mix levels sent to CONTROL ROOM OUT 11 MAIN OUTS 12 16 MONO MAIN OUT 14 PHONES 18 and METERS 54 The stereo main mix can be processed before this fader by patching an effects device into the MAIN INSERTS 13 The fader turned fully up provides 10 dB of additional gain the U label is unity gain and fully down is effectively muted Typically this fader is set near the U label and left alone but it can be used for song fade outs or quick system wide mutes SPECIFICATIONS 24 4 17 PRO and 3294 17 PRO Noise 20Hz to 20kHz bandwidth Line inputs to Main L R outputs all channels assigned panned L R Master fader down Ch gains down 94 74 Master fader unity Ch gains down 87 4dBu Master fader unity Ch gains unity 83 5dBu Total Harmonic Distortion 1KHz 14dBu 20Hz 20kHz Mic input to insert output lt 0 0007 Other outputs lt 0 004 Crosstalk 1kHz 0dBu 20Hz to 20Khz bandwidth channel in
41. Insert T use as an effects loop TIP SEND to effect RING RETURN fe effecte EFFECTS SERIAL OR PARALLEL Effects devices are used either in serial or in parallel Serial means that the en tire signal is routed through the effects device Examples include preamps compres sor 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 amp aux returns Oerial Device Insert E Send Insert 0 0 0 4 Return 4 Signal Processor g Compressor Processed Signal Dry Signal Parallel Device Aux Output Return Section Signal Processor Wet Signal Eo Reverb Mix Processed Stage Signal OOOO 1550000 9 9 Channel Path Dry Signal s Dry Signal s 4 STEREO LINE IN These balanced inputs are designed for TRS balanced or TS unbalanced signals from 20dB to 20dB They can accept any line level in strument effects device or tape player When connecting a stereo device two cords use the LEFT MONO input and the RIGHT
42. It does not affect the solo levels sent to the METERS 54 63 MODE With this switch down solo signals PFL pre fader listen With this switch up solo sig nals are AFL after fader listen In PFL mode the solo signal is tapped be fore a circuit s associated level control except aux return SOLO 52 PFL is popular for live sound applications providing quick inspec tions 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 0 unity gain turn down solo LEVEL 62 to compensate for the difference In AFL mode the solo signal is tapped after a circuit s associated controls trim EQ pan fader mute etc It s the equivalent of muting all the other channels AFL is popular for stu dio 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 15 engaged 65 SUB LED Along with the RUDE SOLO LIGHT 61 this LED blinks when any subgroup SOLO 57 15 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 de sired by the engineer 67
43. LKBACK MIC Connect a balanced dynamic microphone to this XLR jack to utilize the mixer s 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 17 SEND BAL UNBAL STEREO AUX RETURNS SUB BAL UNBAL NBAL BAL OR UNBAL BAL OR UNBAL TER p BALORUNBAL ORUNBAL O 95599096 MAIN INSERTS CONTROL ROOM OUT MONO 5 5 1 2 008 5 The stereo signal from each of these identi cal outputs is a high current version of the signal from CONTROL ROOM OUT 11 Con nect TRS headphones to either or both jacks FUSE INSIDE CAUTION m TORE WITHTHE SAME The stereo signal at these jacks is the same as the MAIN OUTS 12 16 except when SOLO 89 or TAPE RETURN TO PHONES C R 69 is engaged Its level is independently con trolled by PHONES C R LEVEL 70 TRS stereo wiring Tip left ring right sleeve shield 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 phan tom power Phantom power is required to operate most condenser microphones some condenser microphones are battery powered 48VDC phantom power is delivered
44. MAIN MIX Engaging this switch sends the talkback sig nal to the main mix allowing the user to speak to the audience live sound or to slate a 50105 start studio recording To prevent the possibility of feedback en gaging this switch will attenuate control room output levels by 20dB 68 AUX 1 2 Engaging this switch sends the talkback sig nal to aux sends 1 and 2 allowing the user to speak to the talent providing that they are us ing those aux sends for monitoring To prevent the possibility of feedback en gaging this switch will attenuate control room output levels by 20dB 69 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 ste reo signal from the TAPE IN 6 jacks via the TAPE RETURN 53 level control It s typically used for studio recording to patch a mixdown deck s outputs directly to the control room and phones thereby always lis tening to the mixdown deck whether it s in playback or input mode 25 MASTERS 11 A o EN N o 8 N ALLEE 8 119 11 5 1 5 N o ERE 1 1 1 ERES GL 26 GLOBAL AUX RETURN SOLO __ Am
45. and its neighbor the stereo strip 21 22 25 TRIM If you haven t already please read SET THE LEVELS on page 8 TRIM adjusts the input sensitivity of the mic and line inputs connected to the channels mono or stereo This allows signals from the outside world to be adjusted to optimal inter nal operating levels Through a mono channel s MIC 1 XLR in put there is 04 of gain fully down and 60dB of gain fully up Through a mono channel s LINE IN 2 TRS input there is 15dB of attenuation fully down and 45dB of gain fully up with U unity gain label at about 10 00 knob one third up Through the stereo channel s STEREO LINE IN 4 TRS inputs there is 20dB of attenuation fully down and 20dB of gain fully up with a U unity gain label at 12 00 knob halfway up AUX SEND 26 and 27 26 AUX These knobs tap a portion of each channel signal and send it out via the AUX SENDS 10 jacks to an amp amp speakers for stage monitors or to an fects device for parallel effects processing Each AUX knob s level ranges from off through unity center detent position on up to 154 of extra gain fully clock wise AUX levels are controlled by these knobs and by the AUX SEND MASTERS 46 The stereo channels AUX knobs con trol a mono sum of the channel s stereo signals For instance channel 21 L and 22 R mix together to feed that channel s mono AUX send knobs 27 PRE Aux sends 1
46. dual monitor mixes to suit the performer s G A taste For recording work these knobs are typi 4 4 5 cally set near unity and left alone most Bes bs Bes 2 adjustments made per channel SOLO 57 SOLO 47 5010 TALKBACK Engaging any of these switches will isolate lt gt 4 50 lt gt pm the associated signal and send it to the control 4 50 room phones and meters See RUDE SOLO TAPERETURN LIGHT 61 and MODE 68 for more informa L R L R L R L R TO PHONES GR PAN PAN PAN PAN p PHONES CR L R ASSIGN L R ASSIG 59 L R ASSIGN L R ASSIGN m MAIN MIX SUB SUB SUB SUB TAPE LEFT RIGHT 1 4 TO MAIN o 8 1111 o 111 8 119 1111 8 119 8 8 117 GI 8 STEREO AUX RETURNS 48 to 52 48 STEREO AUX RETURNS Having entered through the STEREO AUX RETURNS 9 jacks effects returns are con trolled by these knobs and typically continue on to the MAIN MIX FADER 72 Effect re turns are the wet signals to be combined with the channels original dry signals in the main mix Turned fully up these control
47. gnal will actually dis play on its meters A 10 mixer with a 10dBV output signal will also display OdB To eliminate that confusion Mackie s com pact mixers use a Simpler method where zero equals zero 0dBu 0 775V at the output shows as 0dB VU on the meters If a 4 out put is desired set the mix levels so the meters average at 4dB If a 10 output is desired set the mix levels so the meters average at 104 55 POWER LED This LED glows when the POWER 20 switch is turned on 29 SUBGROUPS 56 through 60 56 AIR OPERATING LEVEL OdB OdBu AIR is a high frequency peaking EQ cen 5 c 6 tered at 16kHz Turned fully up these controls pta pw provide 104 of boost fully down effec 5 2 2 2 4 tively bypasses the circuit Use AIR to provide p SOLO 8 2 2 0 0 crystalline effect to subgroups helping them D stand out in the overall mix SEND 0 47 ae EFX TO MONITOR 2 i U m _ co OO 415 20 20 9 RETURN 0 gt LEVELSET LEFT RIGHT 57 SOLO Engaging this switch isolates the associated signal and sends it to the control room phones and meters See RUDE SOLO LIGHT
48. h subgroup e Full gain range from 0 to 60dB e 60mm main mix stereo fader e Massive 22dBu line signal handling e TRS insert jacks for main mix capability e Dalanced XLR and TRS stereo main outs e 13048 dynamic range XLR mono output with level control e Distortion and noise 0 000776 20Hz to e 13 segment stereo LED metering 20kHz e Mackie s in famous Rude Solo Light Bullet proof RF rejection using e 6 aux send masters with level controls DC pulse transformer 4 stereo aux returns with level controls e 192kHz bandwidth 2 effects to monitor controls These live sound mixers are designed to RCA tape in amp out meet the needs of almost any venue indoor e to Main Mix break switch concert club or theatre meeting room sanctu XLR input for talkback microphone ary outdoor gathering as well as a recording 2 headphone outputs with level control PM e Control room output with level control e 2V BNC lamp socket Here s a quick glance at all the features you ve acquired At Mackie we know what it takes to make roadworthy gear After all our mixers have 20 mono channels 24e4 VLZ PRO or traveled all over the world under the worst of 28 mono channels 32 4 VLZ PRO conditions We ve applied these experiences to with the mechanical design of the 24e4 VLZ PRO e Mackie s cutting edge XDRTM microphone preamps Live sound only No way Although both e Variable input trim 0 to 60dB
49. hould be referred to the Mackie Service Department 13 To prevent electric shock do not use this polarized plug with an extension cord receptacle or other outlet unless the blades can be fully inserted to prevent blade exposure Pour pr evenir les chocs lectriques ne pas utiliser cette fiche polarise avec un prolongateur un prise de courant ou une autre sortie de courant saut si les lames peuvent tre ins r es fond sans laisser aucune d couvert 14 Grounding or Polarization Precautions should be taken so that the grounding or polarization means of this Mackie product is not defeated 15 This apparatus does not exceed the Class A Class B whichever is applicable limits for radio noise emissions from digital apparatus as set out in the radio interference regulations of the Canadian Department of Communications ATTENTION Le pr sent appareil num rique n met pas de bruits radio lectriques d passant las limites applicables aux appareils num riques de class A de class selon le cas prescrites dans le r glement sur le brouillage radio lectrique dict par les ministere des communications du Canada 16 Exposure to extremely high noise levels may cause permanent hearing loss Individuals vary considerably in susceptibility to noise induced hearing loss but nearly everyone will lose some hearing if exposed to sufficiently intense noise for period of time The U S Government s Occupational Safet
50. input When connecting a mono device just one cord always use the LEFT MONO input and plug nothing into the RIGHT input A trick called jack normalling will cause the signal to appear on both sides These inputs accept 1 4 TRS balanced and 1 4 TS unbalanced plugs see the previous page for wiring details 15 AUX SENDS BAL OR UNBAL 9 9 9 9 ZX pom 6 6 BAL UNBAL STEREO AUX RETURNS SUB OUTS SUB INSERTS BAL OR BAL OR UNBAL BALORUN 1 0 MONO 20 19 18 17 16 15 14 e e e 0 MAIN OUTS BAL OR UNBAL 23 X 22 S 22 INSERT INSERT INSERT INSERT D RT INSERT LINE IN LINE IN BAL OR UNBAL BAL OR UNBAL LINE IN BAL OR UNBAL 72 LINE IN LINE IN LINE IN BAL OR UNBAL BAL OR UNBAL BAL OR UNBAL MAIN INSERTS FUSE INSIDE CAUTION TO REDUCE THE RISK OF FIRE REPLACE WITH THE SAME TYPE FUSE AND RATING TAPEIN TAPE OUT CONTROL ROOM OUT MONO POWER PHANTOM N 5 TAPE OUT Use these stereo jacks to capture the entire performance to tape The signal at these jacks is the main mix post MAIN INSERTS 18 and post MAIN MIX FADER 72 Signals at these jacks will depend on the levels set by the main mix fader PHONES PHONES SLEEVE TIP SLEEVE TIP RCA unbalanced wiring Tip ho
51. nnect amplifi ers to speakers Before making connections to an amp or reconfiguring an amps routing turn the amp power off make the changes and then turn the power back on When you shut down your equipment turn off all the amplifiers first When powering up turn on the amplifiers last This prevents power up and power down thumps which can damage speakers Save the shipping box and packing mate rial You may need them someday APPLICATION DIAGRAMS Z IA reze 941 UO ZE IE 1 71 4 26 941 UO 06 62 40550440002 f 024215 40 66 510 71 oumd I 4 8 onu xu 49024 094018 22 12 snq H T nojound NU f CUNG IU pona 02 0470408 ousnooy T 206 f XWuqng NU 2 nupa GI gawuqns s0ssasdwuod owy 1 gI f CUNG QI gawuqns 0852 44 2 NU JI 4nuqns NU 510 471 ouy vnuqns 21 ouy 1024p SSOQ 01 570 4 1 asuy 2 5500 6 4nuqns 26 QuauufissD mdu QuauufissD posu 14951 2 5 09294 POM 9 o o o 5 HHHHEH 4 Jossaidui07
52. or to mask tape hiss b HI 29 MID and 30 FREQ The mono channels employ a semi parametric mid sweep EQ The gain is set via MID 29 and then aimed at a specific frequency from 100Hz to 8kHz via FREQ 90 31 HI MID and 32 LOW MID The stereo channels employ a 2 stage fixed frequency midrange EQ r LOW MID is 0 centered at 4 800Hz S N HI MID is A Ore centered at 3kHz 9 20 100 10 20k 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 264 This graph E shows various Settings of the 4 LOW control with LOW CUT notengaged 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
53. own Fully Down fully counter clockwise position for 73 2 Disengage these switches for pushbutton Switch switches disengaged or off refers to the TRIM 25 Up up position AUX 26 TO AUX SEND 1 2 49 RETURN 53 LOW CUT 94 5010 39 d 1 2 amp 3 4 40 CHANNEL FADER 42 5 SOLO 47 SUBGROUP FADER 60 ASSIGN TO SUB 50 MAIN MIX FADER 72 SUB 51 52 SOLO 57 5 Set these controls at unity for rotary L R ASSIGN 59 ene Control controls unity refers to the center 1 Centered detent position AUX 1 2 68 ea TAPE RETURN TO PHONES C R 69 HI 28 TAPE RETURN TO MAIN MIX 71 MID 29 FREQ 90 7 Engage these switches for pushbutton MID 31 Switch switches engaged or refers to the LOW MID 39 Down down position 04 l LOW 33 MUTE 98 PAN 87 L R 41 AUX SEND MASTERS 46 MODE 63 STEREO AUX RETURNS 48 When we say engaged this does not imply PAN 58 that you should become betrothed in any SOLO LEVEL 62 legally binding sense although there is TALKBACK LEVEL 66 probably some drive in wedding chapel in PHONES C R LEVEL 70 Vegas where this can be arranged EO AUX RETURNS R UN MAIN OUTS AUX SENDS EREO RI RTS BAL OR UNBAL BAL OR UNBAL BAL OI L BAL RUNB BAI AIA Za e S 7 NV 27 22 22 SS Iron R SZ ONS
54. que d l ctrocution The exclamation point within an equilateral triangle is intended to alert the user of the presence of important operating and maintenance servicing instructions in the literature accompanying the appliance Le point d exclamation l int rieur d un triangle quilat ral est employ pour alerter les utilisateurs de la pr sence d instructions importantes pour le fonctionnement et l entretien service dans le livret d instruction accompagnant l appareil SAFETY INSTRUCTIONS 1 Read Instructions All the safety and operation instructions should be read before this Mackie product is operated 2 Retain Instructions The safety and operating instructions should be kept for future reference 3 Heed Warnings All warnings on this Mackie product and in these operating instructions should be followed 4 Follow Instructions All operating and other instructions should be followed 5 Water and Moisture This Mackie product should not be used near water for example near a bathtub washbowl kitchen sink laundry tub in a wet basement near a swimming pool swamp or salivating St Bernard dog etc 6 Ventilation This Mackie product should be situated so that its location or position does not interfere with its proper ventilation For example the Component should not be situated on a bed sofa rug or similar surface that may block any ventilation openings or placed in a built in installa
55. s in mode patch these jacks into stage monitor amplifier inputs With aux sends in post mode patch these jacks into the inputs of an effects device See AUX 26 and PRE 27 for more information Accepts 1 4 TRS balanced or 1 4 TS unbal anced plugs see page 14 for wiring details 11 CONTROL ROOM OUT These line level jacks are used to feed am plifier inputs in a control room situation typically found in a recording studio The stereo signal at these jacks is the same as the MAIN OUTS 12 16 except when any SOLO 39 47 52 57 or the TAPE RE TURN TO PHONES C R 69 is engaged Its level is independently controlled by PHONES C R LEVEL 70 Accepts 1 4 TRS balanced or 1 4 TS unbal anced plugs see page 14 for wiring details 12 MAIN OUTS TRS and 16 MAIN OUT XLR Available in two types XLR and TRS the main output represents the end of the signal path just after the MAIN MIX FADER 72 where the fully mixed stereo signal enters the real world The XLR balanced outputs will add 6dB when connected to balanced inputs thereby el evating signal from the noise floor by that amount The TRS balanced outputs offer the advan tage of having no 6dB level change to deal with while still providing extraneous noise re jection These accept 1 4 TRS balanced or 1 4 TS unbalanced plugs see page 14 for wiring details 13 MAIN INSERTS With nothing plugged into these jacks
56. s 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 49 TO AUX SEND 1 2 These knobs work just like the channel strips AUX 26 1 and 2 knobs but here the source signal is the STEREO AUX RETURNS 9 1 and 2 Typically these knobs are used to add effects to the stage monitors Via these knobs aux return 1 combines its left and right sides to feed aux send 1 stereo aux return 2 combines to feed aux send 2 Turned fully up these controls provide 15 dB of additional gain the center label is unity gain and fully down is off 50 ASSIGN TO SUB and 51 SUB These switches allow stereo aux return 4 to be sent to pairs of subgroups instead of being sent directly to the main mix Engage ASSIGN TO SUB 50 to divert aux return 4 to the sub groups use SUB 51 to choose the subgroup pair 1 2 switch up or 3 4 switch down For live sound subgroups allow a group of channel levels and aux return 4 to be con trolled by one or two subgroup faders For multi track recording subgroups can be used to route groups of channels and aux return 4 to specific tracks of a multi track recorder See L R ASSIGN 59 and SUBGROUP FADER 60 for more information 52 SOLO Engaging this switch 1solates the associated signal and sends it to the control room phones and meters See RUDE SOLO LIGHT 61 and MODE 68 for more information
57. see the Block Dia gram on page 28 Please come on by and visit our website at http www mackie com It contains helpful stuff about mixers and audio as well as spe cific information about this and other Mackie products PATCHBAY a MIC LINE CHANNELS 1 20 IDENTICAL 212 LINE ONLY CHANNELS 21 24 MASTER SECTION pe 988999 8898 5 page SAFETY INSTRUCTIONS 2 INTRODUCTION 3 ABOUT THIS MANUAL 4 QUICK START 6 APPLICATIONS DIAGRAMS 9 PATCHBAY FEATURES D 14 O LINEIN eee 14 15 EFFECTS SERIAL OR PARALLEL 15 STEREO LINE IN 15 TAPE OUT 16 c 16 SUB INSERTS 16 SUB OUTS 16 DOUBLE BUSSING 16 STEREO AUX RETURNS 17 9 AUX SENDS 17 CONTROL ROOM OUT
58. t sleeve shield 6 TAPE IN Patch the outputs of an intermission enter tainment device here Any line level mono or stereo device can be used tape CD player television audio etc See TAPE RETURN TO PHONES C R 69 and TAPE RETURN TO MAIN MIX 71 for more information When connecting a mono device just one cord use a Y splitter RCA adapter It turns a mono cord into two cords so both the left and right tape input jacks can be patched This adapter 15 widely available 7 SUB INSERTS With nothing plugged into these jacks the subgroup mix goes straight through the SUB GROUP FADER 60 to the SUB OUTS 8 With an effects device plugged into these jacks the subgroup mix leaves the mixer goes through the effects device and back into the mixer s subgroup faders Use these jacks to send a subgroup mix through a compressor graphic equalizer or similar device Since the insert is before the subgroup faders moving the fader will not 16 1774 TALK BACK RIGHT LEFT MONO MAIN OUT MAIN OUT MAIN OUT OUTPUT LEVEL alter the level sent to a compressor thereby preserving the original signal s characteristics These unbalanced insert Jacks are wired ex actly the same as shown for INSERT 3 on page 15 8 SUB OUTS In live sound applications these jacks can be patched into secondary amplifiers allowing levels to be controlled independently of the main mix via the SUBGROUP FADERs 60
59. tch Turn up that channel s TRIM 25 until the METERS 54 peak near the 0 label Disengage that channel s MUTE 38 Turn up the CHANNEL FADER 42 to the unity gain 4 label You should now hearing your noise in the phones or control room 70 OO If necessary apply channel EQ 28 34 changes Resultant level changes can be corrected by readjusting the TRIM 25 Disengage that channel s SOLO 99 switch Repeat steps 1 through 7 for the remaining active channels 9 Stop making noise start making music TWEAK THE MIX 1 Engage MUTE 98 on all channels except your rhythm section drums amp bass Adjust the rhythm section s channel PANs 97 and CHANNEL FADERs 42 to get a good balance of levels Un mute the other active channels and adjust their pans and faders Tweak the fader pan and EQ controls Fine tune your mix Walk the room to see how it sounds away from the mixer Keep tweak ing Consider applying the proper EQ adjust ments by cutting certain frequencies rather than boosting Compensate for EQ cut by a slight boost in volume For live sound applications this technique allows for more gain before feedback and gives improved system reliability KNOW THESE THINGS e Never listen to loud music for prolonged periods See the safety instructions on page 2 VERY IMPORTANT e Never plug amplifier outputs into anything except speakers Never use guitar cables to co
60. tion such as a bookcase or cabinet that may impede the flow of air through ventilation openings 7 Heat This Mackie product should be situated away from heat sources such as radiators or other devices which produce heat 8 Power Sources This Mackie product should be connected to a power supply only of the type described in these operation instructions or as marked on this Mackie product 9 Power Cord Protection Power supply cords should be routed so that they are not likely to be walked upon or pinched by items placed upon or against them paying particular attention to cords at plugs convenience receptacles and the point where they exit this Mackie product 10 Object and Liquid Entry Care should be taken so that objects do not fall on and liquids are not spilled into this Mackie product 11 Damage Requiring Service This Mackie product should be serviced only by qualitied 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 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 pertormance or This Mackie product has been dropped or its chassis damaged 12 Servicing The user should not attempt to service this Mackie product beyond those means described in this operating manual All other servicing s
61. 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 microphone s 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 18 LINE IN BAL OR UNBAL 15 e INSERT NSERT LINE IN BAL OR UNBAL LINE IN LINE IN BAL OR UNBAL BAL OR UNBAL BAL OR UNBAL BAL OR UNBAL BAL OR UNBAL 27 18 16 15 14 PRe Pre YOR PRe YOR Pp yor MC MAIN Oi MAIN OUT MAIN QUT our ou OUTPUT cas 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 MAIN BALANCED OUTPUTS 2 PIN 3 COLD 20 POWER To turn the mixer off push the switch the other way Note turning off the switch does not remove all power
62. y 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 expo sure to high sound pressure levels it is recommended that all persons exposed to equipment capable of producing high sound pressure levels use hearing pro tectors 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 permanent hearing loss if exposure is in excess of the limits set forth here Duration Per Day Sound Level dBA Slow Response Typical Example Duo in small club In Hours Subway Train Very loud classical music Patrice screaming at Ron about deadlines 0 5 0 25 or less Loudest parts at a rock concert WARNING reduce the risk of fire or electric shock do not expose this appliance to rain or moisture INTRODUCTION Thank you for choosing a Mackie Designs Comprehensive master section with professional sound reinforcement mixer The 24e4 VLZ PRO and 32e4 VLZ PRO are equipped with our new precision engineered XDRTM Extended Dynamic Range premium 60mm subgroup mono faders Assign to main switching for each sub group e Air EQ for each subgroup studio grade mic preamps featuring e PFL AFL solo for eac
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