SR VLZ Pro Owner`s Manual
Contents
1. o o X0 Xu 1 955 uL 1 rape ni 1 TO 1 1 mos 55 nii 8 55 8 ig 1 1 1 1114 8 id 8 1 1 1 1 8 TO 8 3 1 8 amp R Sui ue wu rraprrr rrr ur Lilo 1 t h T h 1 gt 1 0105 0105 0105 0105 Aw AHORU LJ31 3491 ans ans INAN ILAN INAN 9L vi El 2 NDISSV 3 1 NDISSV NDISSV 3 1 X SANOHd AAT Nvd Li R w a 3 ra a 1 oz u 1 oz a 1 oz a 1 s2. 133 re Tm Sogno 3 1 E He vvo a 97 INANI LXnv uM Ure 0105 1 USA YOONY 2 40 d NI 133 Xn V AIVANA19 7 T4NNYH9 Pm DES 192112015 INANI lt cp 0923195 g naeg NI Z 1323 XAV 143441 2 O 0105 eh 1 gt 7 O ds o amp 2 LaNae xnv ad ONIHSV14 4210105 0 134 oT 1 Gavais 0 01 Oz 97 A Af __ H 01 01 lt gt lt lt NEN ps A 1 4 art __ 44 C RE lt A lt lt aln 285 SLNALNO O NX NAL 0108 v of x E i a T E lt H gt 1 0 VAM Kd T Olt 22 N 9 Ld IHAN 3 NVd 008 lt ONOW D 9 d310106 2 1
3. o r3 a r3 r3 r r1 n O 1 1 1 0000 59 25 D rm rr 11 c ONE 9 oa O O O O O O O O O O O 0 O 0 O O O 0 0 O O 0
4. E E LE LE E Elio Wd d Lg t E 11 O 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 808080803030 000 H es dB 1 0 1 0 1257 r D mi 27 BLOCK DIAGRAM 441 0105 9 40 1 B XIN 210141
5. gt A H 20 LR 20 LR 20 LR 20 20 20 20 20 30 30 30 30 30 30 30 30 5 1 5d 5 5 5 5 50 a0 EIU RT 11 0111 H The reference numbers Inr E Int TT ED T E n n Inr E liii RRISIN Control Centered 1 inside each switch and control refer to the descriptions in this Control owner s manual Fully Down DOWN MAKE THE CONNECTIONS l Make sure your amplifiers are turned off before making any 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 P
6. CONTENTS page SAFETY INSTRUCTIONS 2 INTRODUCTION eee uuu e eee 3 ABOUT THIS MANUAL 4 QUICK START ee eere eee eee 6 APPLICATIONS DIAGRAMS 9 PATCHBAY FEATURES 14 LINEIN e 14 O INSER fere 15 EFFECTS SERIAL OR PARALLEL 15 STEREO LINE IN 15 p 16 16 SUB INSERTS 16 SUB OUTS obere 16 DOUBLE BUSING 16 STEREO AUX RETURNS 17 BUX SENDS 17 CONTROL ROOM OUT 17 MAIN OUTS 17 MAIN INSERTS 17 MONO MAIN OUT 17 OUTPUT LEVEL 17 MAIN OUT 17 TALKBACK MIC 17 PHONES 18 PHANTOM SWITCH 18 POWER SWITCH 18 AC RECEPTACLE essi eseserasecesuseebesvenss 18 m M 18 CHANNEL STRIP FEATURES IRIM m 19 AUX SEND ni 19 ce EA 19 EQ SECTION
7. Jaydy 5 XIN LE 18 PATCHBAY This is where everything gets plugged in microphones line level instruments effects devices headphones and the ultimate destination s system tape recorder etc MAIN OUTS AUX SENDS STEREO AUX RETURNS SUB INSERTS BAL OR UNBAL BAL OR UNBAL BAL OR UNBAL OR UNBAL ea zI T 525 TAPEIN MAIN INSERTS CONTROL ROOM OUT MONO oui in ies TALK BACK RIGHT MONO MIC MAIN OUT NO MAIN OUT 20 INSERT 120VAC 50 60 HZ 60W PHONES PHONES 1 2 1 250 SLO BLO CCN RZ FUSE INSIDE CAUTION T TOR THE RISK OF FIRE ERAGE WITH THe SAME TYPE FUSI AND RATING 1 2 LINE IN The mono channels are equipped with The line inputs share circuitry but not Mackie s cutting edge XDRTM 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 P
8. lt lt O7 j 1 es 1401 ans 2 amp ob 99 Bux am 29 GAIN PATH DIAGRAM levels in dBu LAdLNO LAASNI XIN _ NI 513441 2 66 21 O1 A33 dn 3an19nils NIVO 7 22 4no ui 22 T afe INOO3 1021 02 NAO 54413 XIN NYd 23 440 ued G up dn dn 22 4 dn 22 4no 1 a 1 33167 1 LNdLNO 14441 4 14441 v quiod 5 40 o4 quiod dn dn jaa dn 4no Oz dn XNV NI LAASNI 880 APO ul 22 032916 550 ul 22 LAdNI 22 LAdNI JIN 29 SERVICE INFORMATION TROUBLESHOOTING If you think your Mackie product has a prob lem please do everything you can to confirm it 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
9. 20 1005 the 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 e Q This graph shows various j Settings of the LOW control with LOW CUT E 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 also known as High Pass low cut dress high pass rate 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 This graph shows various _ Settings of the LOW control with LOW CUT die TOR i wa 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 to
10. lt gt lt gt lt gt lt gt 130 881 120 8P8l 130 881 7H SL z z 7H SL zi zi ZH SL zi 105 ows ows 2 st 1 z L 2 MA Q E MOL E ac p n j 00 K 5 4 051 OR ASH 084 oR 1 OSL omis A 9 Q L6 Q Olt 0 gt s sit S s s s p sit 905 xnv AC HV3OV d NI S s S oo S Xnv SYILSYN a 5 a s gon 34315 aas xnv 1504 1504 1504 1504 1504 1504 1504 1504 1504 E avoa E rs si co 9 9 9 9 9 9 9 9 9 ev Si Si S S Si pes 2 TOR GE O E 9 T 195 8 1 Nana v
11. L3 1 JaziuoueH L o o o HHHH nuu 0000 88888888 0000 22 2 2 024246 ORO 8 9 9 9 T 4 ONO STaNNVHOORURIS SLYISNI ANS 9100 sNuni3u Xnv xny OO 010 mezza a9 Aya juo Ex Ex Ex OY BO 4 49p40223 REDE Sa Bae gt ImnmrrrTr 0 Jaydy 46 Jaydy ZEN Joyo 2 Sy Joyo Iu uounu2 _ OGVW3c 69 t 5 10 Odd ZTA to UO 26 16 1 Z IAtece 991 UO 06 66 x 510 024215 2 E E sna 024215 E I sna Y T 211 NWP hI onu Y onu 4 510 aui 9 vunu bp 02 sna 4 7 ouy youn qop bp onu UN
12. U U U U 7 Q Q 15 15 15 5010 420 OO 315 gt 0 mE TO AUX M SOLO EFX TO MONITOR 4 0 0 15 15 OO 15 20 7 TEN U U 15 15 OO 15 15 5010 20 20 0 m Q U TAPE ES UR is i 5 EN LEVELSET LEFT RIGHT 5 5 5 OO 15 SOLO UH OPERATING LEVEL POST POST POST U ca OO 415 D bea ti e 9 Be POST E vH AUX SEND STEREO MASTERS AUX RETURNS u EO U EO U MODE U5 415 1 2 3 4 5 PREFADER U e e e e LEVEL IN PLACE AFL Y s 7 8 die SOLO AUX SUB 5 415 M5 15 a U 5 5 5 5 d FREQ MID MID 800Hz 800Hz 15 5 15 0 10 0 10 Oo 10 oO 10 MAIN MIX U AIR AIR AIR AIR LEVEL a T a Ke et EI 80Hz 80Hz 80Hz 16kHz 16kHz 16kHz 16kHz M5 15 M5 15 M5 15 SOLO SOLO SOLO SOLO AUX 1 2 LOW CUT iR 57 57 57 57 4 OL 4 OL 4 OL 4 4 4 TAPE RETURN L R L R L R L R L R TO PHONES C R PAN PAN PAN PAN PAN L R ASSIGN L R ASSIGN L R ASSIGN L R ASSIGN 38 38 38 3122 Ex EX SUB SUB SUB SUB DM LEFT RIGHT 55 soo Soo 1 2 10 SOLO 10 SOLO 10 SOLO 10 10 10 10 10 E
13. 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 post TRIM pre LOW CUT and pre EQ Here are three ways to use the INSERT Jacks MONO PLUG Direct out with no signal interruption to master Insert only to first click MONO PLUG Channel Insert jack Direct out with signal interruption to master Insert all the way in to the second click Channel Insert T use as an effects loop SEND to effect RING RETURN from effects yen Channel Insert jack 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 9 _ Return Signal Processor Compr
14. g sandu 9 6T T T 4 00 l papoqhay t no amdu ZI 19 TI 5 Ol 40889400020 NU gon z 10 2 GT 770 TALIA 6 yo 2 nu fJ QuauufissD QP QuauufissD quawuubissp Q2 olpny u 9 M aui Dre O meaa SIOYUOW 42 ED 024246 L 199d p 5 Oe SIH3SNI 805 amg swunigaxny ORORO MOVE vL 8 LO 18109 sanas xnv SLH3SNI NIV ONON 5110 NIVIA S1N0 NIYIN One O oce maan o Umrrrri Jaagu 024245 39243 12 auy 424 45 4271 45 Wolf 2 42 45 02 424 45 aw Wolf 9 424 45
15. 6I 42 45 e aw 42 04 45 42 45 42 45 aw 4217 45 42 45 ZT amus LANQAS Oy aw 421745 amus 42 45 212 421 45 6 aw 421745 2 424 45 42 45 Q NU 3209 4171 StH ul 2 oudeio Jaydy Joyo 4031uo 3 Joquoy CEN E 06820044 HOS Jaydy 420 otudeio uoy 4nd4no 68 AAA Jayjduiy 03 2144020 4041uoW eepe 9 6 110 sino 19149 SL1H3SNI NIYIN ONOIN WOVEN WL STANNVH9 038315 S1H3SNI SNS 0 0 I 4041uo 8 9 fz 4904 Joyo 3 n Ne aaay J T
16. 25 PHONES LEVEL 26 TAPE RETURN TO MAIN MIX 26 MAIN MIX 26 SPECIFICATIONS cssosicvsssoscessaiccstssocnsoniovessass 27 BLOCK DIAGRAM 28 GRIN 29 SERVICE INFORMATION 30 SR24 4 SR32e4 LIMITED WARRANTY 3l 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 4 Set these controls fully down for and the PHANTOM off and the OUTPUT rotary controls down refers to the LEVEL fully down fully counter clockwise position for 2 Disengage these switches for pushbutton switches disengaged or off refers to TRIM 25 up position AUX 26 TO AUX SEND 1 2 49 RETURN 53 LOW CUT 84 AIR 56 p ES 40 CHANNEL FADER 42 SOLO 47 SUBGROUP FADER 60 ASSIGN TO SUB 50 MAIN MIX FADER 72 SUB 51 SOLO 52 PN 59 5 Set these controls at unity for rotary MAIN MIX 67 controls unity refers to the center detent position AUX 1 2 68 TAPE RETURN TO PHONES C R 69 HI 28 TAPE RETURN TO MAIN MIX 71 MID 29 9 Engage these switches for pushbutton aa switches engaged or on refers to the LOW MID 32 down
17. 0 0 LEVEL SET LEFT RIGHT TALKBACK TAPE RETURN TO PHONES C R TAPE M TOMA MAIN MIX LEFT RIGHT IE N 6 onus REFADER N PLACE AFL Y AUX SUB PHONES LEVEL 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 destinations 45 LAMP This female BNC connector provides 12 volts on its center pin Connect any quality gooseneck lamp here AUX SEND MASTER 46 and 47 46 AUX SEND MASTERS Aux send signals originate at each channel s AUX 26 knobs are mixed together sent through these controls and exit at the patchbay s AUX SENDS 10 Turned fully up these controls provide 15 dB of additional gain the center U label is unity gain and fully down is off When an aux send is used for monitors these knobs can be used to raise or lower indi vidual monitor mixes to suit the performer s taste For recording work these knobs are typi cally set near unity and left alone most adjustments are made per channel 47 SOLO Engaging any of these switches will isolate the associated signal and send it to the control room phones and meters See RUDE SOLO LIGHT 61 and MODE 68 for more infor
18. 15 15 80Hz 5 415 LOW ur 1 8dB OCT lt gt OL lt gt OL D 5 AM L R SOLO SOLO dB dB 10 9 0 SOLO 7 ig E 1 2 1 2 E Li o A N o 2 N o 11 1 FEE 11 Stereo channels channels 1 ase say TRIM UNS TRIM N 22 0 60 15dB 45dB 20 20 AUX AUX 15 OO 15 OO 15 15 240 OO 15 15 0 4 15 15 U PRE U PRE POST POST 15 d 5 15 lt gt OL lt gt D O PAN PAN MUTE SOLO SOLO 8 _ 10 soo 0 5010 3 4 3 4 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 All EQ gain controls provide up to 15dB of boost clockwise or cut counter clockwise They are flat no boost or cut at their center detents ef fectively bypassing their circui
19. No channel signal e sthe 1 2 amp 3 4 40 or L R 41 switch set correctly 15 CHANNEL FADER 42 turned up Try soloing that channel Does it appear on the METERS 54 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 Are the L R ASSIGN 59 switches set correctly e Are the MAIN MIX FADER 72 or SUB GROUP FADERs 60 turned up e Try unplugging any insert 7 18 effects devices fit s one of the 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 165 one bad side of a stereo pair try switch ing them around For example if a left output is presumed dead switch the left and right cords at the mixer end If the problem stays on the left side it s not the mixer Noise e 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 15 plugged into it so unplug whatever that is If the noise disappears it s from your whatever Power e Our favorite question Is the POWER 20 switch on e Turn off the power from the wall unplug the power cord and check the fuse 22 30 REPAIR Service for the 24 4 VLZ PRO and the 32 4 VLZ i
20. 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 sends in pre 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 15 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 770 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
21. Qe 20 POWER The POWER switch is located on 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 OUT MAIN OUT To turn the mixer off push the switch the other way Note turning off the switch does not remove all power from the mixer To remove all power the power cord must be disconnected from the power source 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 24 4 VLZ PRO 120V 1 250 SLO BLO 92 4 VLZ PRO 120V 1 250 SLO BLO 24 4 VLZ PRO 230V 500mA 250V SLO BLO 92 4 VLZ PRO 230V 500mA 250V SLO BLO gt 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 an
22. 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 connect amplifi ers to speakers Before making connections to an amp or reconfiguring an amps routing turn the amp s 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 Odd ZTA teg UO 26 161 Z IA trece 991 wo 08 62 x Xwuqns 40sso4dww00 a Q 024
23. e 60mm mono fader P Purchased at 2 stereo line channels with e 20dB to 20dB variable input trim e 2 switchable pre or post fader aux sends e 2 aux sends PUO e e e e Pan mute and 1 2 3 4 L R busing 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 S Part No 820 213 90 Rev B 05 03 7 2003 Mackie Designs Inc Rights Reserved 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 performance The rest of the manual explains the mixer s fea tures in excruciating detail 24 4 VLZ PRO and 32 4 17 PRO 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 ord
24. wan m VR OUT OU OUTPUT OU LEVEL MAIN BALANCED OUTPUTS PIN 2 HOT PIN 3 COLD 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 Alternatively the MAIN OUTS 12 16 could feed the amplifiers while the subgroups feed a recorder In 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 3 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 BUSING Although this is a four bus mixer meaning there are four separate subgroups available it can be used to feed all eight tracks of multi track recorder thanks to a trick called Double busing 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 9 STEREO AUX RETURNS
25. 20 MID M 20 jii e 20 MID ccccoscsccccscsccessceccosseee 20 LOW 20 20 GD LOW 20 OL VED 21 O 20 LED 21 SUN PAN 21 QUE Jj 21 SOLO m 21 BIA 21 OOR 21 CHANNEL FADER 21 page MASTER SECTION FEATURES LAMP CONNECTOR 22 AUX SEND MASTER D AUX SEND MASTERS 22 SOLO P 22 STEREO AUX RETURNS STEREO AUX RETURNS 23 TO AUX SEND 1 2 23 D ASSIGN TO SUB 23 QAI me 23 SOLO 23 RETURN 23 O METERS 23 ZERO EQUALS ZERO 23 POWER LED 23 SUBGROUPS ID AIR sonum 24 24 j Mee 24 L R ASSIGN 24 SUBGROUP FADERS 25 SOLO RUDE SOLO LIGHT 25 LEVEL 25 MODE 25 AUX LED 25 SUB LED 25 TALKBACK GD LEVEL 25 MAIN 25 D AUX 1 2 iussisse iine 25 TAPE RETURN TO PHONES C R
26. INO INE THIN sanas H d 1 d 1 1 24 VIA D Qe 6 9 419 94 024946 1 419 94 084216 OGVW36 abe1g 2 qni pueg Odd ZTA hege 99 UO 26 16 1 Odd ZTA 991 UO 06 66 x 510 u4n324 024238 1022 2 62 6 1 ouy posp 570 Y T aod 40 22 1 2 1 Xwuqns NU WZd snq 1 NU 4270 02 5 9 104042 2 snq g NU GI 5 9 2 T 2 2841 8809 snq 1 20 1101241 I 5 9 170402 ZI 2 Y snq 1 ZI 5 9 CUNS JI 2 snq Z AIDAN 852941 QI 5 9 CUNS 2 10208 wna QI 2 940115 SNQY T 101000 yp ou DU T 4 gXwuqns 24022 6 2 5 qpuoydo 10 YNY posu _ PP quawuubissp 14951 942243 _
27. THE RISK OF FIRE REPLACE WITH THE SAME FUSE AND RATING OFF OFF 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 13 and post MAIN MIX FADER 72 Signals at these jacks will depend on the levels set by the main mix fader PHONES SLEEVE TIP SLEEVE TIP RCA unbalanced wiring Tip hot 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 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 is 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 LINE IN BAL OR UNBAL MIC 16 EDR PRe
28. Tech Support for the latest turn around times when you call for your R number We normally send everything back prepaid using three day shipping However if you rush your mixer to us by next day air we ll treat it in kind by shipping it back the same way in which it was received This paragraph does not necessarily apply to non warranty service SR24e4 56324 LIMITED WARRANTY Please keep your sales receipt in a safe place Mackie warrants all materials workmanship and proper operation of this product for a period of three years from the original date of purchase If any de fects are found in the materials or workmanship or if the product fails to function properly during the ap plicable warranty period Mackie at its option will repair or replace the product Labor for replacing all potentiometers is covered for the first year after which it is excluded from warranty coverage and may be billed to you This warranty applies only to equipment sold and delivered within the U S by Mackie or its authorized dealers B Failure to register online or return the product registration card will not void the 3 year warranty C Service and repairs of Mackie products are to be performed only at the factory see D below OR at an Authorized Mackie Service Center see E below Unauthorized service repairs or modification will void this warranty D To obtain factory service 1 Call Mackie at 800 258 6883 8AM to 5PM Mon
29. 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 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 10d B Re member that most amplifiers clip at about 10dB a
30. o 30 LINOW 4 S ino WOO3 lt d 0134 1 IH H 01 O1 lt 1031402 4 pm i NI 3dv L Sx i 02 40 o 4 TANNVHOD lt lt ONIHSV 14 LANI Rs REM XINA 0105 dd ONOW 1431 avais xnv G 339NI XIN 1 aaiainw 2 Fo d EUN LNALNO 1331 OL LNANI 100 5 lt lt JIN WOAH TYNOIS T 3 101 SANIT NIVO 9424 TaA31 Vu NIV2 NIV2 a Md T 04 O1 110 21201 NIV2 T 1 09 04 ae Jda s NIV2 JIN WIL B EH NI JIN 110 wii 0009 o 7 8 v 40 anc 1 ans 4 JIN Laon 2509 e ANOVA ie HOLIMS di 110 SILL 222222 55 2222 OZ yx 33MO4 WOLNVH4 5
31. 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 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 song s 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 TAPE RETURN TO PHONES C R Ordinarily the main mix or solo stereo signal is sent to the control room and phones Engaging this switch will replace that with ste r
32. the AC mains service when the power switch is in the OFF position 17 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 18 Exposure to extremely high noise levels may cause permanent hearing loss Individuals vary considerably in susceptibility to noise induced hearing loss but nearly everyone will lose some hearing if exposed to sufficiently intense noise for a period of time The U S Government s Occupational Safety and Health Administration OSHA has specified the permissible noise level exposures shown in the following chart According to OSHA any exposure in excess of these permissible limits could result in some hearing loss To ensure against potentially dangerous exposure to high sound pressure levels it is recommended that all persons exposed to equip ment capable of producing high sound pressure levels use hearing protectors while the equipment is in operation Ear plugs or protectors in the ear canals or over the ears must be worn when operating the equi
33. 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 e Full gain range from 0 to 60dB e Massive 22dBu line signal handling capability e 13088 dynamic range e Distortion and noise 0 000775 20Hz to 20KHz Bullet proof RF rejection using DC pulse transformer e 192kHz bandwidth These live sound mixers are designed to meet the needs of almost any venue indoor concert club or theatre meeting room sanctu ary outdoor gathering as well as a recording studio 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 mic 15 mixers are aimed primarily at sound reinforce to 45dB line ment they have features such as 4 bus 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 e insurance claims tech e 3 band mid sweep EQ support return authorization etc e Pan mute and 1 2 3 4 L R busing PFL or AFL solo Serial Number
34. 218 2 2 snq 11 oumd onuqns 4 024218 22 12 snq oumd tI onuqns nu 9 CUNG 02 g gl f NU 2 10208 6I 0880400 gI 206 nu wo f 7 10008 xuuqns snq 11 panoghay ZI 2 ouy 199M P SSOQ QI 206 anus Z snq 71 pavoqhioy 9 onu 5504 6 muqns 206 yog 1 QuauufissD mdu _ mdu 2 quawuubissp 14951 Yo Jexyeadc 07 J ZIUIXEN JUOS Leon Em 3 4 2 Pens 7 ove 7 e yoaq Umrrrr o 1 80 ono Pl Ee d 1 110 d 7 d 1 8 49M04 ade Jo S4NQ 4044100 4ndui 404 310 EST mue mun UM SNUNLIY XNV
35. CHASE FROM AN AUTHORIZED MACKIE DEALER UPON EXPIRATION OF THE APPLI CABLE WARRANTY PERIOD MACKIE SHALL HAVE NO FURTHER WARRANTY OBLIGATION OF ANY KIND MACKIE SHALL NOT BE LIABLE FOR ANY INCIDENTAL SPECIAL OR CONSE QUENTIAL DAMAGES THAT MAY RESULT FROM ANY DEFECT IN THE MACKIE PROD UCT OR ANY WARRANTY CLAIM Some states do not allow exclusion or limitation of incidental special or consequential damages or a limitation on how long warranties last so some of the above limitations and exclusions may not apply to you This warranty provides specific legal rights and you may have other rights which vary from state to state 31 Mackie Designs Inc 16220 Wood Red Road Woodinville WA 98071 USA US and Canada 800 898 3211 Europe Asia Central and South America 425 487 4333 Middle East and Africa 31 20 654 4000 Fax 425 487 4337 www mackie com E mail sales mackie com
36. EL 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 9 o clock and there is 6dB additional gain available when turned fully up To feed a microphone input like that found on a camcorder turn this knob down to the 9 00 range Use the device s input meters to as sure a good level 17 TALKBACK 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 SUB INSERTS A ORUNBAL MAIN OUTS BAL OR UNBAL 23 e e e e e e e e e STEREO AUX RETURNS BALL OR UNBAN BAL OR UNBAL BAL c OR TUNBA eee eee MAIN INSERTS CONTROL ROOM OUT MONO POWER PHANTOM PHONES 1 50 60 HY COW ON ON 1A 250V SLO BLO FUSE INSIDE J CAUTION T d 27 A Hes SAME TYP AND RATINGS 21 22 OFF 18 18 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 PHONES 2 The stereo signal at these jacks is the same as the MAIN OUTS 12 16 except when SOLO 39 or TAPE RETURN TO PHONES C R 69 is engaged Its leve
37. ES 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 fl che 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 risque 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 Foll
38. HANTOM 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 38 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 1 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 switch Turn up that channel s TRIM 25 up 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 70 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 39 switch Repeat steps 1 through 7 for the remaining active channels 9 Stop making noise start making music TWEAK THE MIX 1 Engage MUTE 88 on all channels except your rhythm section drums
39. IP 9 sna aui 4 GI 10900 420425 ZT 906 sna 4 7 211 9 pop gr sna 4 7 906 4078 2 1 906 t sna 4 7 211 qob ZI 40 9 amb AM 0 E I onu mua 5 Y T aur f 21075 40559402 12244p 5504 6 26 anus Z sna 4 202 9r f T 5504 9 2 906 yom xne 40 e4no 1 1 0014 1 10224 4 024246 49440 40 oo00000 1 STINNVHO 039315 SL1H3SN Deren 5 O mz mcr _ D ONON SLNO NIVIA q p 8 8 100 18109 SONIS xnv SLYSNI 5110 NIVIA 110 NI 441 Sze i o CO males B mtr Quanay 024245 1022 4204 9 H E H 208 11 y 1 g 2 4 9
40. Savi E Hl Ol Ol Ok OF OF OF OF OF Of 1 98 0 9 9 2 AN 2 Em 2 2 n 9 TE SR En 2 8Psi 2 5 7 9 T 7 TE EE A oc HL 2 L 2 st O O 2 o 2 6 2 ee 2 2 2 9 O 9 Ne IL 9 C 9 7 rsa 7 vo 2 WR AgpoV SPO SPO WRL ES CSS AgpoV apo Aapo Bpov SPO S VLZ PRO OWNER S MANUAL 0000000000000 SIN ZmHOSNOS DNIXIW 9 0 P P 5 _ 25 285 2 SENOS SUMAS gt SR24e4 VLZ 8 9 5832 4 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 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 RISQU
41. ackie product 12 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 Objects have fallen or liquid has spilled into this Mackie product or This Mackie product has been exposed to rain D This Mackie product does not appear to operate normally or exhibits a marked change in performance or This Mackie product has been dropped its chassis damaged 13 Servicing The user should not attempt to service this Mackie product beyond those means described in this operating manual All other servicing should be referred to the Mackie Service Department 14 To prevent electric shock do not use this polarized plug with an extension cord receptacle or other outlet unless the blades can be fully inserted to prevent blade exposure Pour pr venir 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 15 Grounding or Polarization Precautions should be taken so that the grounding or polarization means of this Mackie product is not defeated 16 Power Precautions Unplug this Mackie product during lightning storms or when unused for long periods of time Note that this Mackie product is not completely disconnected trom
42. b 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 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 MAIN 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 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 additio
43. ce 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 31 00 r COCA oo O O OO O O O OO OO OO OO OO G0 OO 5 8 0000000000000000000000 8 0000000000000000000000 9 H 9 O oa N
44. d 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 52e4 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 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 154 of attenuation fully down and 45dB of gain fully up with a 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 moni
45. day through Friday Pacific Time to get a Return Authorization RA Products returned without an RA number will be refused 2 Pack the product in its original shipping car ton If you do not have the carton just ask for one when you get your RA number and we ll send a shipping carton out promptly More infor mation on packing can be found in the Service section of this manual Do not use packing pea nuts shredded newspapers or other material with small particles old underwear or socks Please seal the Mackie product in a plastic bag 3 Also include a note explaining exactly how to duplicate the problem a copy of the sales receipt with price and date showing and your return street address no P O boxes or route numbers please If we cannot duplicate the problem at the Mackie Factory or establish the starting date of your Limited Warranty we may at our option charge for service time 4 Ship the product in its original shipping car ton freight prepaid to Mackie Designs Service Department 16220 Wood Red Rd NE Woodinville WA 98072 USA IMPORTANT Make sure that the RA number is plainly written on the shipping carton E To obtain service from an Authorized Mackie Ser vice Center 1 Call Mackie at 800 258 6883 8AM to 5PM Monday through Friday Pacific Time to get 1 The name and address of your nearest Mackie Authorized Service Center and 2 A return au thorization RA You must have an RA number before taki
46. eemed eligible for repair or replacement under the terms of this warranty will be repaired or replaced within thirty days of receipt by Mackie Mackie may use refurbished parts for repair or replacement of any product Products returned to Mackie that do not meet the terms of this Warranty will be repaired and returned C O D with billing for labor materials return freight and insurance Prod ucts repaired under warranty at Mackie s factory will be returned freight prepaid by Mackie to any location within the boundaries of the USA H Mackie warrants all repairs performed for 90 days or for the remainder of the original warranty period Mackie assumes no responsibility for the quality or timeliness of repairs performed by Mackie Authorized Service Centers I This warranty is extended to the original purchaser and to anyone who may subsequently purchase this product within the applicable warranty period J This is your sole warranty Mackie does not authorize any third party including any dealer or sales represen tative to assume any liability on behalf of Mackie Designs or to make any warranty for Mackie Designs K THE WARRANTY GIVEN ON THIS PAGE IS THE SOLE WARRANTY GIVEN BY MACKIE AND IS IN LIEU OF ALL OTHER WARRANTIES EXPRESS AND IMPLIED INCLUDING THE WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE THE WARRANTY GIVEN ON THIS PAGE SHALL BE STRICTLY LIMITED IN DURATION TO ONE YEAR FROM THE DATE OF ORIGINAL PUR
47. eo 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 20 N o 6 6 119 TENER mk RRISIN N 5 iiia INI 26 0 MONITOR 000000000000 di GLOBAL AUX RETURN SOLO T 11 6 119 0 7 1 2 2 1 7 9 2 4 LEVEL SET LEFT RIGHT OPERATING LEVEL OdB OdBu 5 a PREFADER IN PLACE AFL TALKBACK TAPE RETURN TO PHONES PHONES C R LEVEL TAPE RETURN TO MAIN MIX MAIN MIX LEFT RIGHT Bom 6 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 kno
48. er to account for 10 o N 6 10 550 1 111 6 119 10 EPI 8 119 24 10 EDU T T o imr IRE o N 6 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 For multi track recording subgroups can be used to route groups of channels to specific tracks of a multi track recorder via the SUB OUTS 8 In this case L R ASSIGN should not be used 60 SUBGROUP FADERS These faders provide 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 89 47 52 or 57 has this resul
49. er 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 Further information This icon marks infor mation that is critically important or unique to your mixer For your own good read and remember them em Lil 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 This entire manual is condensed onto one page albeit in hieroglyphics 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 page 14 2 Along 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 MIC LINE CHANNELS 1 20 IDENTICAL 3 LINE ONLY CHANNELS 21 24 355 MASTER SECTION Sie 999999 2229
50. essor Processed Signal Dry Signal Parallel Device Aux Output Return Section Signal Processor Wet Signal Reverb 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 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 MAIN OUTS BAL OR UNBAL SZ 22 3 6 R SZ Nu Nu 2 MAIN INSERTS AUX SENDS STEREO AUX RETURNS SUB INSERTS BAL OR UNBAL BAL OR UNBAL RUN e e SZ SZ 7 2 5 R ZA SUB OUTS BAL OR UNBAL BAL 23 1 77 TUM L e MONO L 2 6 72 TAPEIN TAPE OUT CONTROL ROOM OUT MONO 120VAC POWER PHANTOM 50 60 HZ 60W ON ON PHONES 1 250 SLO BLO 1 2 FUSE INSIDE CAUTION To REDUCE e
51. in the overall mix ie KD p SOLO EFX TO MONITOR 4 O co 00 B 5 co 15 SOLO 20 co 20 RETURN 0 5 5 LEVELSET LEFT RIGHT 15 5010 B 6 0 CJ soo AUX SEND ERE Engaging this switch isolates the associated MASTERS AUX RETURNS signal and sends it to the control room phones and meters See RUDE SOLO LIGHT 61 and n ia p mm 63 MODE 63 for more information e 9 Note To solo a subgroup AFL mode L R 5 6 7 8 7 ASSIGN 59 must be engaged 58 PAN When a mono subgroup signal is assigned to AIR AIR icy the main mix via L R ASSIGN 59 it effec pd did p rd tively becomes another channel signal and can SOLO SOLO 57 SOLO SOLO AUX 1 2 be panned from left to right This knob then T adjusts the amount of signal sent left versus 58 OS right to the MAIN OUTS 12 16 7 AND The mixer s pan circuits employ a design called constant loudness As the knob is ro PAN PAN PAN i PHONES C R tated from left to center to right the sound will L RASSIGN L RASSIG 59 L RASSIGN L R ASSIGN E remain at the same apparent volume attain MAIN MIX this both sides of the signal must dip down 4 2 3 TOMANMX about 4 dB when panned cent
52. ion ally the adjacent MUTE SOLO LED will glow 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 40 1 2 amp 3 4 Used in conjunction with 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 772 for more information 42 CHANNEL FADER The fader i
53. l 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 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 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 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 03666080 MIC 20 YOR MIC Pp 18 17 16 15 e e e e 0 LINE IN LINE IN LINE IN BAL OR UNBAL BAL OR UNBAL BAL OR UNBAL LINE IN BAL OR UNBAL MIC 18 MIC 17 OR MIC Pre OR MIC Pre TALK BACK RIGHT LEFT MONO MAIN OUT Y Y Y MAIN
54. ma tion 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 controls provide 20 dB of additional gain the center U label is unity gain and fully down is off These knobs are typically set near unity and left alone 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 U 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
55. nal 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 24e4 VLZ PRO and 32 4 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 88 5dBu Total Harmonic Distortion 1KHz 14dBu 20Hz 20k Hz Mic input to insert output 0 000726 Other outputs lt 0 004 Crosstalk 1kHz 0dBu 20Hz to 20Khz bandwidth channel in to Main Left outputs Channel fader down channels at Unity 89 5dB Channel muted channels 2 16 at Unity 88 7dB Frequency Response any input to any output 20Hz to 50KHz 0 1dB 20Hz to 100KHz 0 8dB Maximum Levels Mic preamp input 22dBu All other inputs 22dBu Balanced XLR outputs 28dBu All other outputs 22dBu 18 90 19 20 3 Impedances Mic preamp input 1 5kQ All other inputs gt 10kQ All outputs 120Q 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 91 Ibs 14 kg 92e4 VLZ PRO 40 7 lbs 18 8 kg oin
56. nd 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 7 10 operating levels Basically what determines an operat ing level besides available headroom 15 the relative VU chosen for the meters A 4 mixer with a 4dBu output signal will actually dis play dB on its meters 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 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 AIR is a high frequency peaking EQ cen c gt tered at 16kHz Turned fully up these controls pet pow provide 104 of boost and fully down effec 5 2 C 2 2 1 949 tively bypasses the circuit Use AIR to provide p SOLO D 2 0 0 crystalline effect to subgroups helping them D stand out
57. ng your unit to a service center 2 Make sure that you have a copy of your product s sales receipt from the store where you bought the product It is necessary to establish purchase date and thus determine whether or not your product is still under warranty If you can t find it the Authorized Service Center may charge you for repairs even if your product is still covered by Mackie s 3 Year Limited Warranty 2003 Mackie Designs Inc Rights Reserved 3 Make sure that the problem can be dupli cated If you bring your product to an Authorized Service Center and they can t find anything wrong with it you may be charged a service fee 4 If the Mackie Authorized Service Center is located in another city pack the product in its original shipping carton More information on packing can be found in the Service section of this manual 5 Contact the Mackie Authorized Service Center to arrange service or bring the product to them F Mackie and Mackie Authorized Service Centers reserve the right to inspect any products that may be the subject of any warranty claims before repair or replacement is carried out Mackie and Mackie Authorized Service Centers may at their option re quire proof of the original date of purchase in the form of a dated copy of the original dealer s invoice or sales receipt Final determination of warranty cov erage lies solely with Mackie Designs Inc or its Authorized Service Centers G Any Mackie product d
58. o 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 With the PAN knob hard left the signal will feed LEFT MAIN SUB 1 or SUB 8 depending on the channel s L R 41 and 1 2 amp 3 4 40 assignment settings With the PAN knob hard right the signal will feed RIGHT MAIN SUB 2 or SUB 4 also depending on the channel assignment settings With the PAN knob set somewhere in 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 a channel s mute switch severs its signal from all subsequent outputs Addit
59. 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 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 3 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 LEV
60. ow Instructions All operating and other instructions should be followed 5 Water and Moisture This Mackie product should not be used near water for example near a bathtub washbowl kitchen sink laundry tub in a wet basement near a swimming pool swamp or salivating St Bernard dog etc 6 Cleaning Clean only with a dry cloth 7 Ventilation This Mackie product should be situated so that its location or position does not interfere with its proper ventilation For example the Component should not be situated on a bed sofa rug or similar surtace that may block any ventilation openings or placed in a built in installation such as a bookcase or cabinet that may impede the flow of air through ventilation openings 8 Heat This Mackie product should be situated away from heat sources such as radiators or other devices which produce heat 9 Power Sources This Mackie product should be connected to a power supply only of the type described in these operation instructions or as marked on this Mackie product 10 Power Cord Protection Power supply cords should be routed so that they are not likely to be walked upon or pinched by items placed upon or against them paying particular attention to cords at plugs convenience receptacles and the point where they exit this Mackie product 11 Object and Liquid Entry Care should be taken so that objects do not fall on and liquids are not spilled into this M
61. pment in order fo prevent a 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 Tami screaming at Adrian 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 s 24e4 VLZ PRO and 32 4 VLZ PRO are equipped with our new precision engineered XDR Extended Dynamic Range premium studio grade mic preamps featuring 60mm subgroup mono faders Assign to main switching for each sub group Air EQ for each subgroup PFL or AFL solo for each subgroup 60mm main mix stereo fader TRS insert jacks for main mix Balanced XLR and TRS stereo main outs XLR mono output with level control 13 segment stereo LED metering Mackie s in famous Rude Solo Light 6 aux send masters with level controls A stereo aux returns with level controls 2 effects to monitor controls RCA tape in amp out Tape to Main Mix break switch XLR input for talkback microphone 2 headphone outputs with level control Control room output with level control 12V BNC lamp socket Here s a quick glance at all the features you ve acquired At Mackie
62. position LOW 33 MUTE 98 PAN 37 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 Al BAL OR UNBAL BAL OR UNBAL Ol L ee L xu 77 ZX Ze ZA e SZ QF az R L 9 e 6 R L SUB OUTS BAL OR UNBAL BAL NAI 22 ZN SZ SZ RZ Nx 2 RZ 3 BAL RUNBAL S SZ ep UN SZ 2 TALK BACK TAPEIN 120VAC POWER PHANTOM OUT MAIN QUT MAN OUT 50 60 HZ 60W ON ON PHONES OUTPUT 1A 250V SLO BLO 1 O LEVEL O FUSE INSIDE MAIN BALANCED OUTPUTS EE PIN2 HOT WITH THE SAME TYPE FUSE 6 PIN 3 COLD AND RATING OFF OFF Power Phantom Output Level Off Off Fully Down 2 M N N w N N 2 gt ZA Ba OBB TUM RZ wu 7 US MAIN INSERTS CONTROL R UT ONTROL ROOM O MONO 24 4 21 23 15dB 45dB 2 U U U U U EA OO 15 OO 15 OO 15 5010 OO 20 OO 15
63. rofes sional condenser dynamic and ribbon mics will all sound excellent through these XLR inputs ec The inputs will accept almost any kind of VL balanced mic that has a standard XLR type _ male mic connector 1 4 TS Tip Sleeve unbalanced wiring Tip hot Sleeve shield mix SLEEVE SLEEVE RING TIP SLEEVE 1 4 TRS Tip Ring Sleeve balanced wiring XLR balanced wiring Tip hot Pin 1 shield Ring cold Pin 2 hot Sleeve shield Pin 8 cold 14 3 INSERT With nothing plugged into this Jack the channel 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 TRS plug ring n This plug connecte to of the rin 99 Channel Insert jacks
64. s 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 instructions 1 Review the preceding troubleshooting suggestions Please 2 Call Tech Support at 1 800 258 6883 to opm 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 9 Keepthis 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 18 responsible for damage that occurs due to non factory packaging 6 Include legible note stating your name shipping address no P O 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 Shipthe mixer to us We suggest insurance for all forms of cartage Ship to this address Mackie Designs SERVICE DEPARTMENT 16220 Wood Red Rd NE Woodinville WA 98072 9 Ask
65. s 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 0 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 Mono Stereo channels channels Asc GA TRIM U 02 0158 N 60 22 415dB 45dB 20 20 240 15 15 QO 5 15 5 15 15 t LOW MID 800Hz 15 15 FREQ pe Ko 15 15 5 15 LON 1 828 0 IER m TRE ulia IER n a 11 n na EF N 6 119 8 21 o N o 6 MASTER SECTION FEATURES CP 0 o 8 111 6 119 20 20 AUX ORTOS OP Inm 6 119 Hur o 111 m 5 5 7 4 0 2 0 o 0 0 2 0 0 4 9 7 10 00 2
66. t 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 68 It can be set as desired as it only affects the CONTROL ROOM OUT 11 and PHONES 18 It does not affect the solo levels sent to the METERS 54 63 MODE With this switch down solo signals are 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 U unity gain turn down solo LEVEL 62 to compensate for the difference In AFL mode the solo signal is tapped after circuit s associated controls trim EQ pan fader mute etc It
67. tors 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 15dB 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 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 mute but pre EQ pre fader Any changes made to the channel controls except the EQ and fader will affect the aux send sig nal POST FADER With the PRE switch disengaged up AUX 3 and 4 deliver sig nals post insert post low cut post mute post EQ and post fader Any changes made to the channel controls will affect the aux send signal 19 Stereo channels Mono channels 0 y E UX TRIM 22 LOT 4508 ro 15 15 C 15 15 d MID ihe 3k d FREQ 15 15 MID 800Hz
68. ts 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 or to mask tape hiss 5 Q 0 bu 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 20 e Ike Okie 206 O Q Q so 31 HI MID and 32 LOW MID The stereo channels employ a 2 stage fixed frequency midrange EQ 4 LOW MID is biwwwo centered at E o00Hz 15 rH HI MID 15 JI Ome centered at 3kHz
Download Pdf Manuals
Related Search