Mackie Musical Instrument LM 3204 User Manual

LM-3204 OWNER’S MANUAL

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PLEASE! SAVE THE

SHIPPING BOX!

LAYOUT

AND

FUNCTION

Top Ten Reasons for

saving your shipping box:

PANEL LAYOUT AND

FUNCTION

10. It’s here.

9. It’s yours.

8. It’s paid for.

7. It’s strong and sturdy.

6. It fits your mixer perfectly.

5. You will need it if you ever ship your mixer.

4. We may have to sell you another one if you

need to ship your mixer and you don’t have

it.

GENERAL

INFORMATION

GENERAL

INFO

3. It will impress your friends who have no

lives when they see it in your basement.

2. It’s the ecologically sound thing to do.

1. It’s the Mackie sound thing to do.

USING THE

LM-3204

USING THE

LM-3204

Top Ten Reasons for not saving your

shipping box:

CONNECTIONS, OPTIONS, _APPENDICES

SPECS, AND SERVICE

10. Your cat has already used it.

9. You stole the mixer out of a Karaoke bar.

8. Your Mackie mixer will never break.

7. You will never move again.

6. You wrote a song on it and are considering

framing it.

5. You have cut off the top and are using it as

an equipment rack.

4. You really hate planning ahead because it

never works out anyway.

3. It fits some other manufacturer’s product,

which is broken, perfectly.

TABLE OF CONTENTS

SECTION 1:

Introduction ..................................................... 4

Sensitivity Adjustments .................................... 5

SECTION 2:

Panel Layout & Function.................................. 6

Input module (channel strip) .................. 6

Master output section................................ 9

Rear Panel ................................................12

SECTION 3:

2. You have kept all the boxes of all the other

equipment you have ever bought and you

have never used one of them ever.

1. You are afraid of corrugated products.

General Information........................................16

SECTION 4:

Using the LM-3204 ..........................................19

Instrument submixer, stage.....................19

Instrument submixer, studio ...................20

Effects submixer, studio ...........................20

Main mixer, studio...................................20

Club sound reinforcement mixers...........20

Other applications....................................21

APPENDIX A:

Connections ....................................................30

APPENDIX B:

Options, Add-Ons and Extra Stuff ...................33

APPENDIX C:

Specifications, Tech Stuff ................................34

APPENDIX D:

Service ............................................................38

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SECTION 1: INTRODUCTION

The Mackie LM-3204 is a 32-input, 2+2 Bus

line level sound mixer. Each of the 16 stereo in-

put modules is fitted with gain, balance, EQ and

auxiliary send controls.

The LM-3204 is designed for applications re-

quiring control of a number of stereo/mono line

level sources, while providing exceptional audio

performance in a small (and very affordable)

rack-mounted unit — it makes the ideal center-

piece of a MIDI project suite.

It marks information that is absolutely critical or

is unique to the LM-3204.

In addition, sections tagged with this icon:

The LM-3204 is equally suited for use as a

synthesizer/sampler/effects submixer for stage,

sound reinforcement and studio applications.

The LM-3204 is also perfect for audio-visual

sound mixing in exhibit halls and in presenta-

tion rooms, for multiple-source architectural

sound distribution, and for simple audio and video

post-production suites.

include both in-depth information and our own

deeply felt but never biased opinions.

Note: one of the icons in the manual is actu-

ally a scratch-off icon, which, if you rub long

enough with the edge of a coin, will make a hole

in the page. If you succeed in finding a secret

message under a Mackie icon, please write us

and tell us about it. (We were going to make an-

other industry first and put a scratch-and-sniff

icon in this manual, but our Odors and Phero-

mones Department could not find a smell

related to sound mixing that was not in some

way offensive.)

IF YOU IGNORE MANUALS...

How did you find this section?

Because you’re secretly wondering if there

might actually be something worth your time in

a book like this. What can we say? We’ll give you

concise, accurate information that even relates

to the real world, some nice patching diagrams,

a bit of entertainment and a full year’s worth of

weather forecasts for 7 regions of the country.

Why, we’re even thinking of drilling a hole in the

corner so you can hang it by the toilet.

If you’re moving too fast to review all this

great prose, try to check out Section 2 and the

system Block Diagram. There are a few handy

and/or unique features in the LM-3204 design

you should know about.

At the very least, look for this important icon:

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IMPORTANT SENSITIVITY

ADJUSTMENT PROCEDURE!

So important we put it first, before anything

else.

To fully achieve the LM-3204 Mixer’s

impressive headroom and specs, you should

always “tune” the input sensitivity for each

channel.

For a meter reading of 0dBu with +4dBu

input (line level) signals, the settings in step 3

should be just about right. Adjust the channel

Gain control slightly so that you get peaks that

regularly hit 0dB on the Left and Right meters.

For –10dBV signals, you may have to turn

the channel Gain control clockwise to

FOLLOW THIS PROCEDURE FOR EACH

CHANNEL IN USE

boost the signal to read 0d

the Left and Right meters.

B on

1. Set the Control Room, Phones, Left and Right

Master Fader and Solo controls all the way

off. (As you are working through the steps,

you can bring these controls up a bit to hear

what you are doing, but be careful. There’s a

lotta level in this mixer.)

On the other hand, you might have to deviate

from this approach on certain channels. For

example, you don’t want to set the hi-hat cymbal

channel at 0dB. Use your judgement on this.

The Long Arm Exercise: For Microphone

signals (using an onboard Mackie mic

preamp), leave the channel Gain setting at

the “U” detent and instead adjust the Mic

Trim pot on the rear of the mixer until you

get peak levels of around 0dB on the Left and

Right meters. Remember, the sound coming

in the microphone should be typical of what

you will really be using. For patching instruc-

tions, see page 11, “Microphone

2. Apply signal to channel input.

Insert a stereo line input into the correspond-

ing Left and Right Input jacks at the rear of

the mixer.

Insert a mono line input into the correspond-

ing Left Input jack on the rear of the mixer.

3. Set channel strip controls as follows:

Gain control at “U” detent.

Solo switch down.

Preamplifiers.”

6. If desired (optional):

Adjust the channel strip’s EQ to about what

you will be using during the session.

Repeat Step 5.

Mute switch up.

Balance control at “U” detent.

EQ controls at “U” detent.

7. Return the channel strip’s Solo button to the

Aux controls fully counterclockwise (off).

up position.

4. Apply an audio signal to the input. The

material and level you use to set up the mixer

should be vaguely representative of what you

will really be doing when you really do it. If

you’re connected to a tape deck or a CD

player, put some music on and push the

button! If you’re hooked up to a synthesizer,

tickle those plastic ivories!

8. Repeat steps 1–7 on the next channel that is

being used.

9. As you un-solo the channel strips to listen to

your mix, ease up the Left and Right master

faders to set a good mix level on the meters,

with occasional peaks of 0dB.

5. The channel’s –20dB LED should light. The

L/R main meters will show the actual

internal operating level of soloed signals.

Now you will optimize levels.

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SECTION 2: PANEL LAYOUT & FUNCTION

THE GAIN CONTROL

ON THE LEFT SIDE

At the bottom of each strip is the white Gain

knob, which is a stereo gain control for that

channel’s signal. In the time-honored Mackie

tradition, the Gain control has a tremendous

range, from off at the “ ” mark to unity (no gain

or loss of gain) to a 30dB increase in signal level

when fully clockwise providing 15dB of gain

above unity. This range allows the LM-3204 to

easily handle a wide range of “line level” inputs,

from professional +4dBu and +8dBu levels all

the way down to consumer and semi-pro-type –

10dBV levels and lower.

Most of the LM-3204 front panel (four-fifths,

precisely) is occupied by the 16 stereo, line

level input modules or channel strips. Each

strip sports identical features, functions, knobs

and buttons, so we’ll take a close look at one

and leave it to you to extrapolate. Still with us?

O O +15

STEREO

O O +15

MONO

SHIFT

AUX

12k

–15 +15

ON THE RIGHT SIDE

MID

2.5k

The rightmost one-fifth of the LM-3204 is

the Master Output section, featuring auxiliary

returns, master level controls, meters, lights

and a few other tricks.

–12 +12

GAIN

The “U” mark at the top

center the Gain control’s

arc of travel stands for

“Unity Gain.” It’s the point

–15 +15

THE OFFICIAL GUIDED TOUR OF A

TYPICAL LM-3204 INPUT MODULE

(CHANNEL STRIP)

BALANCE

at which no level is added

Pretty straightforward. But remember,

these are all stereo input modules, so even

though there is only one volume control and

one EQ section per channel strip, there are

actually two audio channels, Left and Right,

routed through each strip…so each control

on an input module is a dual control, working

on both sides of the stereo signal.

MUTE

ALT 3-4

to or subtracted from the input signal. With

the input Gain control and Left/Right master

gain controls set at “U,” a –10dBV signal at

the input jacks of the LM-3204 is still –10 at

the output jacks. Likewise, a +4dBu signal

comes in at +4 and goes out at +4.

SOLO

-20

CHANNEL

O O

+30dB

GAIN

O O +15

STEREO

O O +15

MONO

SHIFT

AUX

12k

–15 +15

MID

2.5k

MID

2.5k

MID

2.5k

MID

2.5k

MID

2.5k

MID

2.5k

MID

2.5k

MID

2.5k

MID

2.5k

–12 +12

–15 +15

BALANCE

BALANC

MUTE

ALT 3-4

MUTE

ALT 3-4

MUTE

ALT 3-4

MUTE

ALT 3-4

MUTE

ALT 3-4

MUTE

ALT 3-4

MUTE

ALT 3-4

MUTE

ALT 3-4

MUTE

ALT 3-4

MUTE

ALT 3-4

SOLO

-20

CHANNEL

O O

+30dB

O O

+30dB

O O

+30dB

O O

+30dB

O O

+30dB

O O

+30dB

O O

+30dB

O O

+30dB

O O

+30dB

O O

GAIN

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To make matters even easier, the crack Mackie show you somebody’s home. We designed it to

Detent Crew have put a little mechanical “pot-

hole” or detent at the Unity Gain point on every

be ultra-responsive, so, with a little practice,

you can probably tell what’s on the channel (or

LAYOUT

AND

FUNCTION

rotary control. Adding detents is a precise, tedious at least the difference between the kick drum

and largely thankless job, so think of those guys

every now and then as you’re going about your

channel and a keyboard channel). However, it’s

not the way to determine levels. There is a

glamorous and exciting lives mixing and recording much more accurate way to measure your in-

and performing, while they work late into the

night in rainy Woodinville with their little bags of

punches and elf-sized ball-peen hammers.

put strip levels: see the section on Setting

Levels in Solo further down the pike here.

Note: The –20 LED shows

signal activity on the right

side of each channel. If you

had a stereo source (two

cords, two plugs) or a mono

THE LEDs

O O +15

Above the Gain knob are two LED (light-emit-

ting diode) indicator lights to help you monitor

the signal levels within each input module.

STEREO

source (one plug into the left MONO jack), the

–20 LED will reflect that signal. However, if you

have a stereo source with no signal happening

on the right side, the –20 LED will be as unre-

sponsive as a hybernating hippo on Sominex^™.

O O +15

MONO

SHIFT

AUX

–20 LED

12k

The green LED is marked –20. It will light

whenever there is a signal level of –20dBu (at

1kHz) or above at the input jacks of that chan-

nel strip. In practice, this LED will flicker or

light almost constantly when there is activity in

–15 +15

MID

2.5k

OL LED

–12 +12

The red LED is marked OL, and that stands

that channel, and it basically serves as a conve- for OverLoad. The channel strip OverLoad cir-

nient indicator for you — a way of figuring out cuits constantly check at two critical points in

who’s singing now or what’s plugged into where. the input module: after the line input’s first gain

GAIN

–15 +15

Whether it lights rarely or is on all the time

is not really important; it’s just a porch light to

amplifier and after the EQ and gain circuits. If

either circuit is driven too hard (into overload),

BALANCE

MUTE

ALT 3-4

SOURCE

ALT 3-4

+15

O O +15

O O +20

SOLO

STEREO

-20

CHANNEL

AUX RETURN

TO CONTROL

ROOM ONLY

O O +15

O O +20

LEVEL

O O +20

LEVEL

MONO

SHIFT

AUX

STEREO AUX RETURNS

12k

LM-3204 STEREO LINE MIXER POWER

O O

+30dB

15 +15

–15 +15

CLIP

GAIN

MID

2.5k

MID

2.5k

MID

2.5k

MID

2.5k

MID

2.5k

MID

2.5k

MID

2.5k

O O +20

SOLO

+12

–12 +12

O O

LEVEL

PHONES

+15

–15 +15

TAPE

MONITOR

–

ALANCE

BALANCE

3-4

MUTE

ALT 3-4

MUTE

ALT 3-4

MUTE

ALT 3-4

MUTE

ALT 3-4

MUTE

ALT 3-4

MUTE

ALT 3-4

SOLO

-20

ANNEL

CHANNEL

O O

+30dB

O O

+30dB

O O

+30dB

O O

+30dB

O O

+30dB

O O

+30dB

O O

+30dB

GAIN

LEFT RIGHT

CONTROL RM

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the red OL light will flash.

will also light that pulsating flambeau, that im-

pudent alarm, that ruby pharos guarding the

Mackie shore, the Rude Solo Light.

This is to be avoided. Overloading a mixer cir-

cuit forces the audio signal to clip and seriously

distort the sound. When the OL light flashes, it

means something is too loud. It could be the

level of the unit connected to the LM-3204 input

jacks or a device you plugged into the Insert

Jack; maybe you have the Gain control turned

too high or an extreme amount of EQ (which

lifts the gain in certain frequency ranges). You

need to find out what is too loud and turn it

down until the OL LED no longer lights.

Note: When a channel

MUTE/ ALT 3–4

O O +15

STEREO

Next up is the Mute switch, which lives up to

its name by muting its channel strip. When the

Mute switch is depressed, the signal in that in-

put module is removed from the main Left/Right

buses and from any selected Auxiliary buses.

Even though the channel is muted, there

can still be audio within the input module. The

–20 and OL lights will light, signal will still be

available at the Insert jack (channels 1–4),

and the channel Solo function will still work. In

regard to the main and auxiliary outputs,

though, the channel is effectively turned off.

But there is a twist.

O O +15

MONO

SHIFT

AUX

12k

–15 +15

MID

2.5k

–12 +12

strip is soloed, both the

channel LEDs light

steadily to indicate that

module’s solo status.

GAIN

–15 +15

SOLO

IMPORTANT: Any and all muted channels

are routed to an additional pair of stereo out-

puts, called the Alt 3–4 outputs. If you have

nothing connected to Alt 3–4 outputs, the

Mute switch is simply a Mute switch. If you

use Alt 3–4, then the Mute switch acts like an

assignment button, switching the signal be-

tween two sets of stereo output buses: the

Main L–R and the Alt 3–4 buses. This feature

is fraught with potential. What appeared at

first as a two-bus mixer now is revealed to be,

for many purposes, a four-bus mixer. Yow!

BALANCE

A solo function on a mixer allows you to lis-

ten to (and on a Mackie mixer, to observe on

the meters) any input or combination of in-

puts without affecting the main or auxiliary

outputs of the mixer. In other words, you can

push a solo button to check something out

just about any time without affecting your

recording or sound reinforcement feed.

The Solo switch on each LM-3204 channel

strip assigns the stereo signal in that channel

to the stereo solo buses. Both the channel –20

LED and OL LED will light steadily to indicate

the module’s solo status. The solo signals are

tapped off after the Balance control, the Gain

control and the EQ circuits, and will be af-

fected by all these settings.

MUTE

ALT 3-4

SOLO

-20

CHANNEL

O O

+30dB

GAIN

BALANCE

What looks like a pan pot, acts like a pan pot but

is not a pan pot? It’s a Balance control! With a ste-

reo input module, you are no longer dealing with a

mono signal to pan from left to right. Instead, you

have a stereo signal already spread across the

soundstage, and you may have to only tweak the

balance between the two channels a bit.

IMPORTANT!! Setting Levels with Solo

On the LM-3204, Solo has another impor-

tant function.

Each Solo switch also triggers circuitry

that disconnects the meters, the Control

Room monitors and the Phones from their

normal duties and reconnects them all to the

output of the solo buses. Not only can you lis-

ten to the soloed tracks but you can measure

them on the 13-segment main meters.

In fact, this is the recommended way to ad-

just input levels. As you are initially setting up

a stereo pair of inputs, push the Solo button. It

doesn’t matter if the channel strip is muted:

solo will function on a muted or unmuted

track. Now set the input level to the range you

want, simply by checking out the main meters.

Lastly, by means of extremely expensive state-

of-the-art highly obfuscated envelope-pushing

silicon technology, any Solo switch on the board

That’s what the Balance control on the

LM-3204 does. It’s identical to the balance

control on your Aunt Agatha’s Unrealistic hi-fi

receiver. There is a detent at the top, where

the balance is even. As you shift the control

from one side to the other, the stereo balance

changes, with the extremes being left channel

only or right channel only.

Note: It is possible to use a channel strip

on the LM-3204 as a mono input by plugging a

cord only into the Left (MONO) input. In this

case, the mono signal is applied equally to

both of the stereo signal paths. In this mode,

the Balance control acts just like a pan pot,

automatically! What a world we live in.

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O O +15

STEREO

AUX SENDS

In keeping with the stereo theme of this entire

mixer, the engineers at Mackie have decided to

provide stereo equalization as well. Just like the

stereo Gain control, the EQ knobs have both left

and right EQ sections ganged on a single shaft.

The LM-3204 EQ has three sections, each

with a fixed knee or center frequency and

The LM-3204 offers 4 separate sets of auxil-

iary sends from each input module. Two sets

of sends per module can be selected at any

one time. The Shift switch allows you to

choose either sends 1 and 2, or sends 3 and 4

on any channel strip.

O O +15

MONO

SHIFT

AUX

12k

–15 +15

MID

2.5k

Sends 1 and 3 , selected alternately by

bandwidth. Frequency curves are shown below. the Shift button, are true stereo sends with

–12 +12

left and right channels maintained separately

+15

GAIN

throughout the auxiliary send circuitry.

+10

–15 +15

Sends 2 and 4 , also selected alternately

by the Shift switch, are mono sends. Within

each channel strip, the left and right input

signals are combined into a mono sum for

sends 2 and 4, which appear at their output

–5

BALANCE

–10

MUTE

ALT 3-4

–15

jacks as monaural signals.

100

1kHz

10kHz

20kHz

All the sends on the LM-3204 are post-Gain

control, post-EQ, post-Mute switch. Unfortu-

nately, due to the incredibly dense surface

mount circuitry inside this beast, modifica-

tions are not possible.

Each AUX send control has a “Unity” de-

tent at the top of its travel, and, like the rest

of the mixer, will deliver a “level in = level

out” signal at the send outputs when set to

“U.” Setting the aux send controls fully clock-

wise delivers a whopping +15dB of gain.

SOLO

LM-3204 Lo shelving EQ ±15dB boost/cut.

-20

CHANNEL

+15

+10

O O

+30dB

–5

GAIN

–10

–15

100

1kHz

10kHz

20kHz

LM-3204 Mid peaking EQ ±12dB boost/cut.

+15

+10

THE MASTER OUTPUT SECTION —

THE TOUR CONTINUES

SOURCE

ALT 3-4

O O +20

The Master Output section is that right-hand

one-fifth of the LM-3204 we promised we’d talk

about earlier in the manual. This section is

home to the Master Faders, Control Room,

Headphone and Solo level controls, the AUX Re-

turns and, of course, the Rude Solo Light.

AUX RETURN

TO CONTROL

ROOM ONLY

O O

+20

O O +20

LEVEL

STEREO AUX RETURNS

–5

LM-3204 STEREO LINE MIXER POWER

–10

–15

CLIP

100

1kHz

10kHz

20kHz

O O +20

SOLO

LM-3204 Hi shelving EQ ±15dB boost/cut.

LEFT AND RIGHT MASTER FADERS

The low-frequency equalizer is a shelv-

The mix level of the main Left and Right

O O

LEVEL

ing EQ with the knee of the shelf set at 80 Hz. buses is controlled by the Left and Right

The Lo section offers a swing of ±15dB. Master Faders. The unity gain point for the

The mid-frequency EQ is a peaking EQ, mix output circuits is marked with a “U,”

PHONES

TAPE

MONITOR

featuring a bell-shaped peak/dip curve cen-

tered at 2.5 kHz with a smooth-sounding

2-octave bandwidth. The Mid section can cut

or boost over a range of ±12dB.

with 10dB of gain available beyond that

point. When both channel strip Gain and

the Left and Right Master Faders are set at

unity, the output level of the LM-3204 will

–

The high-frequency equalizer is a shelv- be the same as the input level.

ing EQ with the knee of the shelf set at 12

LEFT AND RIGHT METERS

kHz. Like the Lo section, the Hi section offers

a swing of ±15dB at a very useful frequency.

When any of the EQ knobs are set at their

“Unity” detents, that section is effectively out

of the circuit.

Above the Master Faders are the Left

and Right Meters. These are peak averag-

ing meters, with zero (0)dB referenced to

O O

LEFT RIGHT

CONTROL RM

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0dBu (.775 volts rms) at the rear output

jacks. The LM-3204’s main outputs are

0dBu=0dB Meter whether you are using

balanced or unbalanced cables.

Return 3 control and circuitry.

This allows you to use Alt 3–4 as a pair of

submix buses and then re-mix them back into

the main Left and Right buses.

The meters are switched by the same circuits

that switch the Control Room and Phones moni-

tors. So whatever you are hearing in the monitors

is what’s on the meters. Normally, that would be

the main Left and Right bus outputs. If the Tape

Monitor switch is pushed down, the meters (and

AUX RETURN TO CONTROL ROOM ONLY

It has such a long name that it hardly

needs any explanation. When this switch is

up, AUX Return 4 functions normally. When

the switch is down, the AUX Return 4 is dis-

the monitors) are connected to the Tape In jacks. connected from the main Left and Right buses

(See the Tape Monitor switch note in the Monitor- and is re-connected to the control room moni-

ing section a little farther on.)

NOTE: The Control

tor and headphone circuits (where it is mixed

back in with Left and Right signal on its way

Room fader does not affect to the Monitor section).

meter levels.

This allows you to use wet monitor, listen-

And remember, whenever ing with echo or delay without actually using

any solo button is pressed,

the effect in the main Left and Right outputs,

the meters are not reading the main output bus or to “play along” to a cue or click feed with-

level. When a Solo button is pressed, the moni-

tors and the meters are connected to the solo

buses for input level adjustment.

out having it go onto tape.

SOLO

You should set your L/R levels for a reading in

When a Solo button is pressed, the soloed

the middle of the meters, with occasional peaks signals are sent to the meters and the solo

reaching into the yellow +7 to +10 range. You buses, which are fed to the control room

should never have the levels loud enough to light monitor and headphone circuits. The Solo

the red OL LEDs, which are set at +20dBu, just

before clipping (+22dBu) to indicate

control in the main Output section sets

solo monitoring level. It has no effect on the

levels on the meters or on any of the main, al-

ternate or auxiliary buses.

Next to the Solo level control is the Rude

Solo Light, as nasty an indicator as our Indi-

cator Department could find without

bus distortion.

SOURCE

ALT 3-4

O O +20

STEREO AUX RETURNS

The LM-3204 has 4 stereo Auxil-

iary (AUX) returns for reverb, delay

AUX RETURN

TO CONTROL

ROOM ONLY

O O

+20

O O +20

LEVEL

STEREO AUX RETURNS

and other effect returns. The returns actually being dangerous. When it is blink-

pass through ganged stereo level con- ing, something is soloed. Simplicity itself.

LM-3204 STEREO LINE MIXER POWER

trols and are routed into the main

Furthermore, the –20 and OL LEDs on soloed

CLIP

Left and Right buses. Each level con- channel(s) glow steadily to indicate Solo-ed status.

trol has a “U” detent and plenty of

gain (+20dB) for any effect you use.

O O +20

SOLO

MONITORING

Just like a channel strip input, any

The LM-3204 has both Control Room

O O

LEVEL

return can be used in mono by patch- and Phone monitoring outputs, each cir-

PHONES

ing into the Left input only.

There are a

cuit with its own level control. Monitoring

controls consist of the stereo Control Rm

couple of Mackie bo- fader, the Phones level control (with a handy

nus switches in the Phones jack just below it), and the Tape

AUX Return circuits: Monitor switch.

Control Rm and Phone monitor outputs

TAPE

MONITOR

–

always share the same sources:

• The main Left and Right buses under

normal conditions;

• The output of your tape recorder (or some

other source patched into the Tape In jacks)

when the Tape Monitor switch is pushed, or;

• The stereo solo buses whenever any Solo

switch is pressed. The solo circuits override

the Tape Monitor switch.

THE SOURCE ALT 3–4 SWITCH

This switch works on the AUX

Return 3. With the switch up, AUX

Return 3 is just what it’s advertised

to be: an AUX Return. When the

Source Alt 3–4 switch is down, AUX

Return 3 inputs are disconnected.

Instead, the outputs of the Alt 3–4

buses are routed into the AUX

O O

LEFT RIGHT

CONTROL RM

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Quick recap: In the up position, the Tape

Monitor switch selects the main Left and

Right bus outputs for the monitor circuits and

the meters. In the down position, the Tape

Monitor switch selects the Tape Inputs for the

monitor circuits and the meters.

NOTE: While dynamic

mics ignore phantom

power, ribbon mics don’t.

Make sure that the Phan-

tom Power switch is off

LAYOUT

AND

FUNCTION

before plugging in a ribbon mic. Wouldn’t

want to barbecue your Beyer^®…

MICROPHONE PREAMPLIFIERS

The Long Arm Exercise revisited

Another Mackie bonus feature! How did

this come about? Was there just too much

blank space on the back panel? Did some-

body say, “Well, what if you have a

microphone?” We’ll never know. But the

happy fact is, in addition to all the fabulous

The mic Trim knob will add from +10dB

to +50dB of sensitivity to an LM-3204 input.

For proper level setting, put all the controls

in your signal path at the “U” detent and

solo the input module you are using for a

stereo line input features you could possibly mic input. Then, while someone is making

want, there are two high-performance

Mackie microphone preamplifiers hidden

appropriate noises in front of the micro-

phone, adjust the mic trim so that the peak

away on the rear panel, just in case you need levels read about 0dB on the meters.

them.

The mic preamps each have a standard

XLR-3 input connector, a trim control, and

switchable phantom powering. However, they

don’t go anywhere (non-normalled). That’s up

to you.

If you are using condenser microphones,

don’t forget to engage the Phantom Power

switch, located between the two mic trim knobs.

To use a mic preamp, simply patch one of

the (unbalanced ¹⁄4") Mic Out jacks into any

one of the line input jacks of the mixer. Patch

’em in mono, patch ’em in stereo, patch ’em

anywhere your cord will reach.

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REAR-PANEL CONNECTIONS

WARNING:

XPOSE THIS E UIPM

O USER SERVIC ABLE PARTS INSIDE. REFER SERVICING TO Q

AVIS: RISC DE C C E TRIQ E NE PAS O RIR

O RE

E THE RISK OF FIRE OR E

TRIC SH

K, D

E C

ALIFIE

CAUTION

T TO RAIN OR MOISTURE. DO N

T RE

RISK OF ELECTRIC SHOCK

DO NOT OPEN

LM-3204 • STEREO • LINE • MIXER

CONCEIVED, DESIGNED, AND MANUFACTURED

BY MACKIE DESIGNS INC • WOODINVILLE • WA

98072 • USA • MADE IN USA • FABRIQUE AU USA

With the exception of the handy Phones out-

put jack, all of the connections to the LM-3204 are

made on the rear panel of the unit, back in your

equipment rack where all the cabling is lurking.

REPLACE WITH THE SAME TYPE FUSE AND RATING.

DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE

UTILISE UN FUSIBLE DE RECHANGE DE M

DEBRANCHER AVANT DE REMPLACER L

LINE INPUTS

There are 32 line inputs in the LM-3204, a left-

right pair for each of the 16 input modules. The

channel inputs are each electronically balanced,

high impedance line inputs, accommodating a

range of signals from nominal levels of less than –

10dB to over +4dBu.

STEREO AUX RETURNS

2 3

(MONO)

The input jacks will also accept unbalanced

line level inputs.

Each jack is wired as a TRS (Tip-Ring-

Sleeve) ¹⁄4" phone jack, commonly called a

“stereo” phone jack. The tip of the jack is wired

to the “high” (hot) side of the input circuitry, the

ring is wired to the “low” (cold) side, and the

sleeve is the circuit ground (earth) connection.

Standard TS (Tip-Sleeve) ¹⁄4" phone plugs

(often called “mono” plugs) may be used to

bring unbalanced signals into the LM-3204. The

sleeve of the TS plug will automatically connect

the low side of the input jack to ground and un-

balance the input.

CONTROL ROOM

OUTPUTS

AUX SENDS

MONO

STEREO

ALT 3/4

OUTPUTS

EXPANDER IN

USE ONLY WITH LM-3204E EXPANDERS.

MONO PATCHING

2. As a “direct output,” which also interrupts the

signal to the output section. Use a ¹⁄4" TS

(mono) plug, and push it in all the way to the

second click.

The stereo pair of input jacks connected to

each input module is wired so that an input sig-

nal plugged only into the LEFT (Mono) jack will

be applied to both the left and right input cir-

cuits. Inserting a plug into the RIGHT input jack

(with the LEFT input still plugged in) disables

the mono switching and returns the input mod-

ule to the stereo mode.

MONO PLUG

Direct out with no signal interruption to master.

Insert only to first click

INSERTS—CHANNELS 1–4 ONLY

Stereo input modules 1 through 4 have channel

insert jacks on the back panel. An insert jack allows

you to tap the signal out of the circuit for processing

in another piece of equipment and then return the

processed audio back into the LM-3204.

The channel inserts occur just before the

balance, gain and EQ circuits and controls.

Mackie inserts use ¹⁄4" TRS

MONO PLUG

Direct out with signal interruption to master.

Insert all the way in to the "second click"

STEREO

PLUG

phone jacks, and can be used

in three different ways:

TIP

RING

For use as an effects loop.

(TIP= send to effect, RING = return from effects)

1. As a “direct output,” with no interruption of

SEND

ring

tip

shield

the signal to the output section. Use a ¹⁄4

TS (mono) plug, but insert it only to the

first click.

this plug connects to the CR-1604

"ring"

RETURN

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SERIAL NUMBER

MANUFACTURING DATE

120VAC

50/60 HZ 60W

1A/250V SLO BLO

STEREO

PLUG

MONO PLUG

ERSO

N L.

POWER

ME TYPE.

FUSIBLE

INSERT ONLY INTO THE

"FIRST CLICK"

INSERT ALL THE WAY IN TO

THE "SECOND CLICK"

TIP OUT TO EFFECTS DEVICE

RING RETURN FROM EFFECTS

LAYOUT

AND

FUNCTION

CHANNEL INSERT OPTIONS

DIRECT OUT WITH

NO SIGNAL

INTERRUPTION

TO MASTER

DIRECT OUT WITH

FOR USE AS AN

EFFECTS LOOP

(TIP= SEND,

SIGNAL

INTERRUPTION

TO MASTER

RING = RETURN)

OFF

FUSE INSIDE

CAUTION:TO REDUCE THE

RISK OF FIRE, REPLACE WITH THE

SAME TYPE FUSE AND RATING

STEREO BALANCED OR UNBALANCED LINE INPUTS

(MONO)

MAIN/TAPE OUTPUTS

TAPE INPUTS

MIC PREAMP GAIN

CHANNEL INSERTS

PHANTOM

POWER

+48V

10dB 50dB

MAIN INSERTS

MIC PREAMP

OUTPUT

MIC IN

3. As a send-return insert for processing. Use a

There is no change in signal level when using

an unbalanced (TS) cord instead of a balanced

(TRS) cord.

The Main Outputs also appear as unbalanced

outputs on the Tape L–R Out RCA jacks immedi-

ately to the right. (Also able to drive –10 to +4.)

⁄4" TRS (stereo) plug “Y”-ed to two mono

(TS) ¹⁄4" plugs. The tip should be wired to

send to the effect’s input, and the ring should

be wired as the return from the effect back

into the LM-3204. The sleeve is the common

ground connection.

MAIN INSERTS

See the Insert Jack diagram at left. The same

diagram is on the back panel of the LM-3204 for

your wiring convenience. Bring your own flashlight.

The main left and right output circuits also

have insert jacks available on the back panel.

Like the channel inserts, these jacks allow you to

tap the signal out of the circuit for processing in

another piece of equipment and then return the

processed audio back into the LM-3204. In this

case, the entire main left-right mixing buses will

be processed.

MAIN/ TAPE OUTPUTS

The Left and Right Main Outputs are each

electronically balanced, line level outputs, ca-

pable of driving line levels of –10dBV or +4dBu

equally well.

Each output jack is wired as a TRS (Tip-

Ring-Sleeve) ¹⁄4" phone jack. Like the balanced

input jacks, the tip of the jack is wired to the

“high” side of the input circuitry, the ring is

wired to the “low” side, and the sleeve is the

circuit ground connection.

Standard TS (Tip-Sleeve) ¹⁄4" phone plugs

may be connected to the LM-3204 Main Outputs

for connection to unbalanced equipment. The

sleeve of the TS plug will automatically connect

the low side of the jack to ground and unbalance

the output.

The main inserts occur just

after the bus summing amplifi-

ers and before the master Left

and Right faders. When “print-

ing” a mix, this would be the

place to patch in a stereo compressor/limiter, EQ

and/or aural exciter. If you’re using the LM-3204

for live sound, you may want to patch in a stereo

graphic equalizer or anti-feedback processor here.

The main inserts are the same as the channel

inserts in regard to send/return, direct, and direct

with interrupt wiring. See the three ways to use

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AUX Sends 1 and 3 each have a left-right pair

of line level, unbalanced ¹⁄4" TS phone jacks for

connection to the outside world.

STEREO BALANCED OR UN

If you want to use AUX Send 1 and/or AUX

Send 3 as a good old mono AUX send (like 2 and

4), just plug your cord into the Left (MONO)

AUX Send output. Then both the Left and Right

signals will be summed into that output.

(MONO)

Sends 2 and 4 have one mono, unbalanced

4" TS phone jack each.

CONTROL ROOM

OUTPUTS

MAIN/TAPE OUTPUTS

TAPE INPUTS

⁄

STEREO AUX RETURNS

The LM-3204 has four sets of stereo AUX returns

for bringing that fine stereo reverb and delay

back into your mix. (Even though sends 2 and 4

are mono, all the AUX returns are ready for ste-

reo signals generated within your effects boxes.)

Each input is a line level, unbalanced ¹⁄4" TS

standard phone jack, which routes the signal

directly to the AUX Return amplifiers and front

panel controls, and on to the main L/R mix bus. See

page 10, “Stereo Aux Returns,” for switching options.

Just like the channel inputs, using the

ALT 3/4

MAIN INSERTS

MIC PREAMP

OUTPUT

OUTPUTS

an insert at left, or check the patching illustra-

tion on the back of the LM-3204.

TAPE OUT AND TAPE IN

(Mono) Left input jack only will apply the re-

turn signal equally to both the left and right

AUX inputs for a mono return.

The LM-3204 provides a number of ways to

feed a tape deck, a cassette or DAT recorder and

to monitor the output of the recorder as well.

The Main Output connections are mentioned

earlier, and may be used as the primary feed to

your recorder.

STEREO AUX RETURNS

(MONO)

The ¹⁄4" TS Tape In jacks provide a monitor

return from the output of your deck. The Tape In

jacks are routed through the Tape Monitor

switch in the Main Output section on the front

panel, which can send the signal to the control

room and phones.

AUX SENDS

Additionally, the LM-3204 has four unbal-

anced “RCA”-type connectors labeled “Tape” on

the rear panel for easy connection to your re-

corder. The Tape Out RCA jacks are connected

in parallel to the Main Output jacks.

MONO

STEREO

The Tape In RCA jacks are connected in par-

allel with the Tape In ¹⁄4" phone jacks.

EXPANDER IN

USE ONLY WITH LM-3204E EXPANDERS.

NOTE: Using the ¹⁄4

Tape In jacks will de-

activate the RCA Tape In

jacks.

ALT 3/ 4 OUTPUTS

The Alt 3/4 Outputs are straightforward: Left

and Right line level unbalanced ¹⁄4" TS jacks,

each connected to the Alt 3/4 buses. Use them

for whatever you can dream up. For instance,

you could use them to send selected channels to

your multitrack deck for bouncing or overdub-

bing (see the hook-up diagrams farther on for

more possibilities).

AUX SENDS

Remember that on the front panel, AUX

Sends 1 and 3 were stereo sends and AUX Sends

2 and 4 were mono? Well, it’s true back here too,

where they finally come out of the mixer.

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CONTROL ROOM OUTPUTS

EXPANDER IN

This is where you plug in your monitor

power amplifier. The Left and Right Control

Room Outputs are line level unbalanced ¹⁄4

The Expander In jack is where you plug in your

optional LM-3204E expander. See Appendix B.

LAYOUT

AND

FUNCTION

TS jacks, controlled by the Control Room

fader on the front panel.

STEREO AUX RETURNS

(MONO)

CONTROL ROOM

MAIN/TAPE OUTPUTS

OUTPUTS

AUX SENDS

MONO

ALT 3/4

MAIN INSERTS

OUTPUTS

STEREO

MICROPHONE CONNECTIONS

Here’s a Mackie bonus: two mic preamps hid-

den away on the back panel!

The Mic In connectors are standard fe-

male XLR3-type microphone connectors, wired

to a pair of classic Mackie balanced mic pream-

plifiers with more headroom than a Kenworth

cab and less noise than a mortuary at midnight.

Pin 2 is wired high, pin 3 is low and pin 1 is

grounded, per AES standards.

EXPANDER IN

USE ONLY WITH LM-3204E EXPANDERS.

PHONES OUT

The Phones jack is located on the front panel

to the right of the meters and below the Phones

Level knob. The jack is a standard ¹⁄4" TRS stereo

headphone jack with the left channel on the tip,

Phantom mic powering can be applied to

both inputs with a flick of the Phantom Power

switch . Mic preamp levels are individually ad- the right channel on the ring, and the common

justed by two Trim controls.

ground connection on the sleeve. Careful; it’s

The mic sig- loud. It is an IC, and it will not drive a speaker

MIC PREAMP GAIN

nals won’t go

anywhere un-

less you patch

them. Each

preamp has a

line level unbal-

anced ¹⁄4" TS

Mic Out jack.

and it will toast a power amp (if turned up).

WARNING: Turn down the

PHANTOM

POWER

+48V

Phones level control before

you plug in the headphones.

Then inch the control up

10dB 50dB

until you feel groovy.

MIC IN

CLIP

You can patch the mic out signal into any chan-

nel input or even into other pieces of line level

equipment in your rack.

O O +20

SOLO

O O

LEVEL

PHONES

TAPE

MONITOR

–

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SECTION 3: GENERAL INFORMATION

grinding distortion.

Maybe you don’t need to read this at all.

Battle-scarred pros: skip to Section 4.

Beginners: face the blackboard, please.

Somewhere between the noise and the

clipping is an optimum level for your signal:

high enough above the noise floor to render

the hiss inaudible, and far enough below the

distortion point to allow range for loud peaks

of music to pass without clipping. This safe

operating zone might be called operating level

or nominal level or zero or perhaps line level.

The range between your operating level and

clipping is called headroom, which defines

just how tall your signal can be without hav-

ing to duck for the rafters.

Your mission as a designated Master of the

Levels is to get the low level signals up to line

level as soon as possible and to keep them

there as much as possible, but not to turn them

up too much.

Many of you reading this

manual have a lot of experi-

ence in using mixers and

mixing consoles. For you

battle-scarred pros, Section 2

and the Block Diagram will probably be all that

you need to look at.

For those of you who are either new to using

mixers or just like to read even larger quantities

of our glib prose, we’ve provided this short sec-

tion. It discusses the basic concepts and

procedures used in recording, mixing and sound

reinforcement work. If you can make some

sense of it, you can check out your application

and patching in Section 4 and start plugging

things in.

Unity Gain

On a Mackie mixer, the easy way to do this

is to set all the level controls in your path to

the “U” marks screened onto the panels. Set

the Balance control to the center and press

the channel Solo button. This will display the

channel level on the Left and Right meters.

Then adjust the channel Gain or the Mic trim

until you have a good level on the meters. The

“U” stands for unity gain, which basically

means level in = level out. Now, with mic in-

puts that’s not exactly the case, but ignore

that and set your faders at “U”. That will get

you in the safe zone.

GENERAL INFORMATION

Here is a primer covering a few important

ideas you should be on good terms with before

you sit down to a mixer.

LEVELS

Microphones have low output levels. Line

level devices have high output levels. One of the

functions of a mixer is to amplify or attenuate

these signal levels properly. Since it’s easy to de-

grade the signal by not handling levels well, and

since it’s your hand on the knobs, you should be

sure you know how much gain to apply and

where to apply it.

Metering

Note: No matter what

combination of cable

adapters you may have at

hand, never connect the

Pay close attention to the meters. A meter

is an aid, a window looking onto part of the

dynamic range of your signal, and it will tell

you if your level is in the ballpark, so to speak.

Try to keep your signals in the middle

output of a power ampli-

fier to the input of a mixer.

range of the meters, for the most part. If the

signal is always very low, you may not be get-

ting the best signal-to-noise ratio you can.

If the meter LEDs are always solidly lit from

bottom to top, you are likely distorting both

the console and your recording tape regularly.

Keep the signal in the middle, with occasional

peaks into the yellow. Remember, the top

yellow LED of the meter represents a level of

+10dBu, and the LM-3204 doesn’t clip until

+22dBu. Even when “banging” the yellow

LEDs hard, you still have around 12dB of

headroom for your peaks. The Left and Right

meters have a red LED segment to show

imminent clipping at +20dBu.

Noise

Every electronic circuit produces noise or

hiss or hash or buzz, and any noise present on

the input of an electronic circuit will be faith-

fully passed through. Turn it up high enough,

and you will hear the noise.

Headroom

Every electronic circuit also has a point of

overload, a clip point, where the voltage simply

cannot rise any higher, no matter what the input

signal and your fader move would like. This

overload, or clipping, will show up as tooth-

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But if your music is sounding good, don’t

worry if you’re in the yellow a lot or if some

parts of the track hardly read at all. You’ll

quickly get a feel for what works for you, when

you can get away with really smacking the tape

or the electronics.

The solo circuits are designed not to interrupt

the recording process. The solo bus signal is sent

directly to the Control Room and Headphone

outputs without affecting any of the other inputs,

outputs or recording buses. Solo circuits on the

LM-3204 are “After Fader Listen” (AFL), mean-

ing the soloed channel’s gain control affects the

solo level.

BUSES

More often than not, the goal in a mixing con-

sole is to mix two or more inputs into one

output. Like a coach who has two or more play-

ers to get to the same ballgame, console

designers use a bus. Even Webster’s Unabridged

Dictionary agrees, defining the word bus in elec-

tronics as “a conductor serving as a common

connector for three or more circuits.”

The Mackie LM-3204 has 12 buses. The four

suggested in the name (the main Left and Right

buses and the Alt 3–4 buses) are important, but

there are also Auxiliary buses (two stereo and

two mono = six) and a pair of solo buses. We will

try to be clear just what bus we are talking about

when we do talk about buses.

GENERAL

INFO

Everybody knows what EQ is, but just in case

you’d like a refresher, we’ll put in a few para-

graphs here.

Equalization (EQ) refers to purposely

changing the frequency response of a circuit,

sometimes to correct for previous unequal re-

sponse (hence the term, equalization), and

more often to add or subtract level at certain

frequencies for a pleasing effect.

Bass and treble controls on your stereo are

EQ; so are the units called parametrics and

graphics and notch filters.

A lot of how we refer to equalization has to do

with what a graph of the frequency response

would look like. A flat response (no EQ) is a

straight line; a peak looks like a hill, a dip is a val-

ley, a notch is a really skinny valley, and a shelf

looks like a plateau (or a shelf). The slope is the

grade of the hill on the graph.

Graphic equalizers have enough frequency

slider controls to form a visual representation

of the EQ curve right on the front panel.

Parametric EQs let you vary several EQ para-

meters at once. A filter is simply a form of

equalizer which allows certain frequencies

through unmolested and other frequencies

are attenuated or removed.

The equalizer on the LM-3204 combines

two different types of EQ into three different

sections.

The LO and HI sections of the EQ are shelving

equalizers. As you can

SENDS AND RETURNS

Sends are buses fed to outputs, and returns

are inputs. So why don’t we call them outputs

and inputs?

Well, actually, the terms send and return

can mean many things, but the way they are

generally used in mixing console parlance is

to refer to send buses, which tap off a little of

a signal to send to some effects device (like a

reverberation unit), and return inputs, which

function to return that reverb back into the

mix. The original, unprocessed signal is called

the “dry” signal. The reverb unit’s output sig-

nal is called the “wet” signal.

Sends are also used to tap some of the signal

from a collection of channels for a headphone

cue mix or monitor mix. For that matter, sends

can be used as additional mix buses, if needed.

In the same way, if you don’t need returns for

reverb or effects, they can be used as additional

line level inputs to your mix.

Lo shelf

see, shelving EQs lift or

lower the entire range

of frequencies above or

below a certain point.

The LO EQ on the

SOLO

Solo is a standard console function that al-

lows you to listen to one or more sources all by

themselves (soloed).

You can check EQ, possible distortion or buzz,

or just listen to see if a particular mic is open or

not. When soloing more than one source, you

can listen to the blend of just part of your mix:

only a flute sample on channel one, for example,

or just the percussion module on channel eight.

LM-3204 is at 80 Hz and

the HI is at 12 kHz, and

can vary the bass and

treble by 15dB. We

picked these frequen-

cies because they make

for a more musical and

pleasant sounding

Hi shelf

equalizer; they give you

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more punch and more

sizzle without making

the mix muddy or harsh.

The MID EQ section

is a peaking/dipping

equalizer with a bell-

shaped response curve.

The frequency is centered

CONNECTORS

If you’ve used a Mackie MicroSeries 1202, a

CR-1604 or a Mackie 8-Bus Series, you’re famil-

iar with the various kinds of connectors used

with or mixers. If you’re new to the whole thing,

review the drawings below. They’re also de-

scribed in detail in Appendix A on page 30 of

this manual.

Midrange peak

at 2.5kHz and the bandwidth is fixed. The MID EQ

can cut or boost 12dB.

Tip/Sleeve (TS) Plug

Balanced XLR Connectors

COMMON

SLEEVE

TIP

COLD HOT

COMMON

TIP

SLEEVE

COLD HOT

HOT

Tip/Ring/Sleeve (TRS) Plug

COLD

RING SLEEVE

SLEEVE RING TIP

COMMON

TIP

RING

TIP

RCA Plug used on some outboard gear

SLEEVE TIP SLEEVE TIP

SLEEVE

Effects Send/Return connector

RING (IN)

RING

(RETURN)

TIP

(SEND)

TIP (RETURN)

TIP (OUT)

TO MIXER

CHANNEL INSERT

FROM

PROCESSOR

OUTPUT

PROCESSOR

INPUT

TIP (SEND)

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SECTION 4: USING THE LM-3204

If you’re a seasoned patch-cord weaver and

general propellor-head, just refer the to the

way-cool hook-up drawings that start on page

22 of this section.

hooked up to a synthesizer, tickle those

plastic ivories! On the other hand, you might

have to deviate from this approach on certain

channels. For example, you don’t want to set

the hi-hat cymbal channel at 0dB. Use your

judgement on this.

If, you’re a glutton for verbal effluvia, read on.

IMPORTANT SENSITIVITY ADJUSTMENT

PROCEDURE!

5. The channel’s –20dB LED should light. The

L/R main meters will show the actual internal

operating level of soloed signals. Now you will

optimize levels.

To fully achieve the

LM-3204 Mixer’s impressive

headroom and specs, you

must “tune” the input sensi-

tivity for each channel. This

For a meter reading of 0dBu with +4dBu

input (line level) signals, the settings in step 3

should be just about right. Adjust the channel

Gain control slightly so that you get peaks that

regularly hit 0dB on the Left and Right meters.

For –10dBV signals, you may have to turn

the channel Gain control clockwise to

boost the signal to read 0dB on the Left

and Right meters.

The Long Arm Exercise: For Microphone

signals (using an onboard Mackie mic

preamp), leave the channel Gain setting at

the “U” detent and instead adjust the Mic

Trim pot on the rear of the mixer until you

get peak levels of around 0dB on the Left

and Right meters. Remember, the sound

coming in the microphone should be typical

of what you will really be using. For patching

instructions, see page 11, “Microphone

Preamplifiers.”

USING THE

LM-3204

simple operation is so important that we’re re-

peating it here as well as at the beginning of this

manual. If our Technical Support department

had its way, the adjustment procedure would

probably be repeated on every other page of this

manual. They spend a fair amount of their time

“solving” new Mackie Mixer users’ noise and

headroom “problems” by directing neophyte

owners to the IMPORTANT SENSITIVITY

ADJUSTMENT PROCEDURE.

FOLLOW THIS PROCEDURE FOR EACH LM-

3204 CHANNEL IN USE:

1. Set the Control Room, Phones, Left and Right

Master Faders, and Solo controls all the way

off. (As you are working through the steps,

you can ease these controls up a bit to hear

what you are doing, but be careful. There’s a

lotta level in this mixer.)

6. If desired (optional):

Adjust the channel strip’s EQ to about what

you will be using during the session.

Repeat Step 5.

2. Apply signal to channel input.

Insert a stereo line input into the corre-

sponding Left and Right Input jacks at the

rear of the mixer.

7. Return the channel strip’s Solo button to the

up position.

8. Repeat steps 1–7 on the next channel that is

Insert a mono line input into the correspond-

ing Left Input jack on the rear of the mixer.

being used.

9. As you un-solo the channel strips to listen to

your mix, ease up the Left and Right master

faders to set a good mix level on the meters,

with occasional peaks of 0dB.

3. Set channel strip controls as follows:

Gain control at “U” detent.

Solo switch down.

Mute switch up.

MUSICAL INSTRUMENT SUBMIXER:

STAGE

Balance control at “U” detent.

EQ controls at “U” detent.

Aux controls fully counterclockwise (off).

A rock stage setup used to only include

three guitar amps and a set of drums. Here at

the turn of the century, it still means guitars

and drums, but add to that samplers and

synthesizers and drum pads and guitar

synths and MIDI saxophones and delays and

reverbs and choruses and maybe even sub-

harmonic synthesis. Imagine the joy your

4. Apply audio signal to the input. The material

and level you use to set up the mixer should

be vaguely representative of what you will

really be doing when you really do it. If you’re

connected to a tape deck or a CD player, put

some music on and push the button! If you’re

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sound engineer feels when you come at her

with your 12 output cables.

We figure that if you bought an LM-3204 for

stage use, you already have an equipment rack

So, use your LM-3204 as a musical instrument

submixer. Connect your banks of instruments

into the stereo inputs of the LM-3204, and

patch the main Left and Right outputs into a

just about full of fine electronic musical technol- pair of inputs on your main console. Suddenly,

ogy. So, we designed the LM-3204 to be 19" wide more mixing inputs appear!

and a mere 5 rack units high. To fit in your rack.

EFFECTS SUBMIXER

The LM-3204 will let you submix all your in-

struments in stereo, add your effects and provide

stage amp, sound reinforcement, monitor or re-

cording feeds. Not only does it make the

impossible possible and clean up that nest of

cables, but it leaves the balance, EQ and effects

blend in your hands, right there in your rack.

And as long as we’re discovering more inputs for

your studio, consider your main console auxiliary

returns: do you have enough? An LM-3204 can

give you an additional 16 stereo returns with the

added bonus of EQ on the returns.

Keep the routing of the sends from your main

All of your electronic instruments (and CD console the same; but run all your many effects’

players and DAT players) can patch directly

into the LM-3204 stereo inputs. Guitar and

bass preamps, whether rack-mount units or

built into the amp heads, can patch in here

too. If you have a mono instrument, simply

plug its output into the Left (MONO) jack of

the LM-3204 channel input you select.

stereo returns through the LM-3204, and patch

the LM-3204 Left and Right outputs back into

one pair of auxiliary returns (or into a pair of

channel inputs).

MAIN STUDIO MIXER

There’s no reason why you can’t use the

Use the LM-3204 main Left and Right out-

LM-3204 as your main mixer. Not everybody’s in

puts to connect to the main house PA mixer, or love with adjusting mixes with rotary controls,

feed them directly into your stage amp. In fact, but it’s not hard to get used to (a gazillion

you can connect to both at once, using the

main 1/4" outputs for the house mixer and the

RCA Tape outputs (which carry the same sig-

nal) for your amplifier.

MS1202 mixers owners can’t be all wrong). And

remember, the LM-3204 has the same legendary

sound quality that’s allowed our CR-1604 to be

used for tracking and mixing of all sorts of hits.

Plus, we’ll send you a free T-shirt if you send us a

You can use the Control Room outputs to

feed a small amp next to you, if you’d like. This CD or cassette mixed on the LM-3204 (see page

output will also allow you to Solo various

LM-3204 inputs to check MIDI patches, verify

presets, send a click track (via AUX Return 4’s

“AUX Return to Control Room Only” switch) to

yourself only, and so on, without affecting the

main outputs. You can also use headphones on

the Phones output.

39 for details).

CLUB SOUND REINFORCEMENT MIXER

For a small act with entirely electronic instru-

ments and only two vocalists, the LM-3204 is an

extremely affordable, compact and easy-to-oper-

ate sound reinforcement mixer.

Effects such as reverb, delay or chorus

Plug your mics into the two preamps in the

can easily be patched into the AUX send and rear and patch the preamp outputs into a pair of

return circuits in the LM-3204. Gates and

compressors will usually be connected to

either a stereo pair of channel strip Insert

jacks (channel 1–4 inserts for mics, drum

channel strips, using the Left (MONO) jacks.

Now connect your drum machines, keyboards

and samplers to more inputs. Connect your ef-

fects to the AUX sends and returns, and patch

machines, guitars…) or to the main Left and the main Left and Right (or Control Room) out-

Right Insert jacks. After you’ve adjusted the puts to your power amplifier. Turn on the

compressor or gate settings as you want, ad- spotlights, smoke generator and bubble ma-

just the effect’s overall gain for unity, so that chine, and you’re ready.

the level of your signal is about the same

You can use the same setup to record a

with the insert device in or out of the circuit. demo of your band. Simply connect a stereo

recorder to the Tape In and Tape Out jacks.

MUSICAL INSTRUMENT SUBMIXER:

STUDIO

To check out what you’re recording, plug in

some headphones (or use the Control Room

MIDI suites and project studios run into the

same problems as large stage setups: racks full

of synthesizers and samplers eating up all the

mixing console inputs.

outputs) and press the Tape Monitor switch.

You can record and check playback as you are

performing, if you want, without affecting

what your audience is hearing (unless a bit of

button-pushing gets you off tempo).

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DJ MIXER

Note: If you are using turntables and vinyl

discs, you must have a stereo phono preampli-

fier for each turntable for correct impedance

matching, gain and EQ response tailoring.

Connect the outputs of the phono preamplifi-

ers into the LM-3204 line input jacks. The

Mackie LM-3204 does not have internal phono

preamplifiers. Sorry.

Connect a couple of CD players, a DAT player

or two and a microphone. Add subwoofers and

an attitude and stir well.

The LM-3204 makes a great Disc Jockey

mixer. With stereo gain, mutes and EQ, it’s

easy to keep all your music sources balanced.

Each pair of inputs simply plugs into the back,

with the main Left and Right outputs feeding

your amplifiers.

Any processing or effects can be handled

either by using the Insert jacks or the AUX

sends and returns. You can cue and pre-audi-

tion the next selection by using headphones

and the LM-3204 Solo circuits along with

headphones plugged into the Phones jack.

Be sure the channel you want to cue is muted

(Mute 3/4 switch pushed) and then press the

Solo button.

MULTI-IMAGE/ MULTIMEDIA MIXER

With its 16 stereo inputs, the LM-3204 is per-

fect for combining the multiple VCR/CD player/

DAT machine/cassette player/reel-to-reel/laser-

disc/computer audio/you-name-it sources found in

a corporate boardroom, a focus-group cubicle or a

sales convention exhibit.

All these line level sources will plug directly

into the LM-3204, and the main Left and Right

outputs connect to the system power amplifiers.

Headphones and the Solo switches will allow you

to audition upcoming audio cues privately (be

sure the channels are muted for cueing). And, of

course, there are two microphone preamplifiers

for live presentations or voice-overs.

USING THE

LM-3204

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Sound Module

Cassette Deck

Stereo

Digital Delay

Out

CD Player

Digital Delay

Out

STEREO AUX RETURNS

2 3

(MONO)

R in

Stereo

L in

Reverb

CONTROL ROOM

OUTPUTS

MAIN/TAPE OUTPUTS

AUX SENDS

R out

L out

MONO

STEREO

ALT 3/4

MAIN INSERTS

OUTPUTS

EXPANDER IN

USE ONLY WITH LM-3204E EXPANDERS.

Out

Limiter

Power Amplifier

Out

DAT or 2-track Deck

Studio Monitors

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Sound Module

Keyboard, or other line level input

Sound Module

Keyboard, or other line level input

Percussion Module 2

Percussion Module 1

Sound Module

Drum

Machine 1

STEREO BALANCED OR UNBALANCED LINE INPUTS

(MONO)

Drum

Machine 2

TAPE INPUTS

MIC PREAMP GAIN

CHANNEL INSERTS

PHANTOM

POWER

+48V

10dB 50dB

L in

R in

R out

L out

Stereo

Compressor

MIC PREAMP

OUTPUT

MIC IN

L in

R in

R out

L out

Stereo

Compressor

LIVE 2trk RECORDING

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CD Player

Digital Delay

Out

STEREO AUX RETURNS

(MONO)

R in

Stereo

L in

Reverb

CONTROL ROOM

OUTPUTS

MAIN/TAPE OUTPUTS

AUX SENDS

R out

L out

MONO

STEREO

ALT 3/4

MAIN INSERTS

OUTPUTS

EXPANDER IN

USE ONLY WITH LM-3204E EXPANDERS.

Out

Stereo Compressor

Cassette Deck

Power

Amplifier

(For checking playback

on the ’ol headphones.)

PA Cabinet

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Guitar Pre-amp

Sound Module

Keyboard, or other line level input

Sound Module

Keyboard, or other line level input

Drum

Machine

Bass Guitar

Pre-amp

STEREO BALANCED OR UNBALANCED LINE INPUTS

(MONO)

TAPE INPUTS

MIC PREAMP GAIN

CHANNEL INSERTS

PHANTOM

POWER

+48V

10dB 50dB

Compressor

MIC PREAMP

OUTPUT

MIC IN

NIGHTCLUB ACT w/2trk RECORDING

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Cassette Deck

Stereo

Digital Delay

CD Player

Out

Digital Delay

Out

STEREO AUX RETURNS

2 3

(MONO)

R in

Stereo

L in

Reverb

CONTROL ROOM

OUTPUTS

MAIN/TAPE OUTPUTS

AUX SENDS

R out

L out

MONO

STEREO

ALT 3/4

MAIN INSERTS

OUTPUTS

EXPANDER IN

USE ONLY WITH LM-3204E EXPANDERS.

Out

Limiter

Stereo Submix Feed

to Main Mixing Console

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Sound Module

Keyboard, or other line level input

Sound Module

Keyboard, or other line level input

Percussion Module 2

Percussion Module 1

Sound Module

Drum

Machine 1

STEREO BALANCED OR UNBALANCED LINE INPUTS

(MONO)

Drum

Machine 2

TAPE INPUTS

MIC PREAMP GAIN

CHANNEL INSERTS

PHANTOM

POWER

+48V

10dB 50dB

L in

R in

R out

L out

Stereo

Compressor

MIC PREAMP

OUTPUT

MIC IN

L in

R in

R out

L out

Stereo

Compressor

STEREO SUBMIXER

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Digital 8-track

Out

Reverb 2

Out

Stereo

Digital Delay

STEREO AUX RETURNS

2 3

(MONO)

R in

Stereo

L in

Reverb

CONTROL ROOM

OUTPUTS

MAIN/TAPE OUTPUTS

AUX SENDS

R out

L out

MONO

STEREO

ALT 3/4

OUTPUTS

MAIN INSERTS

EXPANDER IN

USE ONLY WITH LM-3204E EXPANDERS.

Out

Stereo Compressor

Power Amplifier

Out

DAT or 2-track Deck

Studio Monitors

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NOTE: Tascam DA-88 owners:

go buy a bunch of “y” cords!

Sound Module

Keyboard, or other line level input

Sound Module

Keyboard, or other line level input

Sound Module

Drum

Machine 1

STEREO BALANCED OR UNBALANCED LINE INPUTS

(MONO)

TAPE INPUTS

MIC PREAMP GAIN

CHANNEL INSERTS

PHANTOM

POWER

+48V

10dB 50dB

Out

Compressor

MIC PREAMP

OUTPUT

MIC IN

L in

L out

R in

R out

Stereo

Compressor

MULTITRACK RECORDING AND MIXING

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APPENDIX A: Connections

“XLR” CONNECTORS

• Stereo Headphones, and rarely, stereo

microphones and stereo line connections.

When wired for stereo, a ¹⁄4" TRS jack or

plug is connected tip to left, ring to right

and sleeve to ground (earth). Mackie

mixers do not directly accept 1-plug-type

stereo microphones. They must be separated

into a left cord and a right cord which are

plugged into the two mic preamps.

Mackie mixers use 3-pin female “XLR” con-

nectors on all microphone inputs, with pin 1

wired to the grounded (earthed) shield, pin 2

wired to the “high” (”hot” or positive polarity)

side of the audio signal and pin 3 wired to the

“low” (“cold” or negative polarity) side of the

signal (Figure A). All totally aboveboard and in

COMMON

You can cook up your own adapter for a

stereo microphone adapter. “Y” two cables

out of a female ¹⁄4" TRS jack to two male

XLR plugs, one for the Right signal and one

for the Left.

COLD HOT

COMMON

• Balanced mono circuits. When wired as a

balanced connector, a ¹⁄4" TRS jack or plug

is connected tip to signal high (hot), ring

to signal low (cold), and sleeve to ground

(earth).

COLD HOT

HOT

Figure A:

XLR Connectors

COLD

COMMON

• Unbalanced Send/Return circuits. When

wired as send/return “Y” connector, a ¹⁄4

full accord with the hallowed standards dic-

tated by the AES (Audio Engineering Society).

Use a male “XLR”-type connector, usually

found on the nether end of what is called a

“mic cable,” to connect to these inputs.

TRS jack or plug is connected tip to signal

send (output from mixer), ring to signal

return (input back into mixer), and sleeve

to ground (earth).

¹⁄4" TRS PHONE PLUGS AND JACKS

“TRS” stands for Tip-Ring-Sleeve, the

three connections available on a “stereo” ¹⁄4

or “balanced” phone jack or plug. See Figure

B. TRS jacks and plugs are used in several

different applications:

RING SLEEVE

TIP

SLEEVE RING TIP

RING

TIP

SLEEVE

Figure B: 1/4” TRS plugs

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¹⁄4" TS PHONE PLUGS AND JACKS

RCA PLUGS AND JACKS

“TS” stands for Tip-Sleeve, the two connections

RCA-type plugs (also known as phono

available on a “mono” ¹⁄4" phone jack or plug (Fig- plugs) and jacks are often used in home stereo

ure C). TS jacks and plugs are used in many

and video equipment and in many other appli-

cations (Figure D). They are unbalanced, and

electrically identical to a ¹⁄4" TS phone plug or

jack. Connect the signal to the center post and

the ground (earth) or shield to the surround-

ing “basket.” Tape In and Tape Out are available

on RCA jacks on the Mackie LM-3204.

SLEEVE

TIP

SLEEVE

Figure C: TS plug

UNBALANCING A LINE

different applications, always unbalanced. The tip

is connected to the audio signal and the sleeve to

ground (earth). Some examples:

• Unbalanced microphones

• Electric guitars and electronic instruments

• Unbalanced line level connections

In most studio, stage and sound reinforce-

ment situations, there is a combination of

balanced and unbalanced inputs and outputs on

the various pieces of equipment. This usually will

not be a problem in making connections.

• When connecting a balanced output to an

unbalanced input, be sure the signal high

(hot) connections are wired to each other,

and that the balanced signal low (cold) goes

to the ground (earth) connection at the

unbalanced input. In most cases, the

balanced ground (earth) will also be

connected to the ground (earth) at the

unbalanced input. If there are hum or radio

frequency ground-loop problems, this

connection may be left disconnected at the

balanced end.

• When connecting an unbalanced output to a

balanced input, be sure that the signal high

(hot) connections are wired to each other.

The unbalanced ground (earth) connection

should be wired to the low (cold) and the

ground (earth) connections of the balanced

input. If there are ground-loop problems, try

connecting the unbalanced ground (earth)

connection only to the input low (cold)

connection, and leaving the input ground

(earth) connection disconnected.

NOTE: All the unbal-

anced ¹⁄4" inputs on the

LM-3204 have the ring con-

ductor wired to the shield

(ground), so that you can

APPENDIX

plug in a balanced cord with no loss of level.

ANOTHER NOTE: All the unbalanced ¹⁄4

outputs on the LM-3204 implement “imped-

ance balancing”. When you plug a balanced

cord into one of these, both the tip and ring

conductors have equal impedance, significantly

improvings common mode characteristics. In

other words, although unbalanced, a balanced

input receiving this cord will “think” it’s getting

a balanced signal!

SWITCHED ¹⁄4" PHONE JACKS

Switches can be incorporated into ¹⁄4" phone

jacks which are activated by inserting the plug.

These switches may open an insert loop in a cir-

cuit, change the input routing of the signal or

serve other functions. The Mackie LM-3204 uses

switches in the channel insert and bus insert

jacks, input jacks, AUX sends and AUX returns la-

beled “(MONO) Left.” See Special Mackie

Connections farther on. We also use these

switches to ground the line level inputs when

nothing is plugged into them.

In some cases, you will have to make up spe-

cial adapters to interconnect your equipment. For

example, you may need a balanced XLR female

connected to an unbalanced ¹⁄4" TS phone plug.

SPECIAL MACKIE CONNECTIONS

In most cases, the plug must be inserted

fully to activate the switch. Mackie takes

The balanced-to-unbalanced connection

has been anticipated in the wiring of the

Mackie LM-3204 jacks. A ¹⁄4" TS plug inserted

into a ¹⁄4" TRS balanced input, for example,

will automatically unbalance the input and

advantage of this

SLEEVE TIP SLEEVE TIP

in some circuits,

specifying circum-

stances where you

are to insert the

Figure D: RCA plug

make all the right connections. Conversely, a

⁄

4" TRS plug inserted into a ¹⁄4" unbalanced in-

plug only partially. Once again, see Special

put will automatically tie the ring (low or

cold) to ground (earth).

Mackie Connections, later in this section.

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TRS Send/ Receive Insert Jacks

Note: Do not overload or

short-circuit the signal you

are tapping from the mixer.

That will affect the internal

signal in the LM-3204.

The insert jacks on both the LM-3204 input

channels 1-4 and on the left and right main

buses are the three-conductor, TRS type ¹⁄4

phone. They are unbalanced, but have both the

mixer output (send) and the mixer input (re-

turn) signals in one connector (See Figure B).

The sleeve is the common ground (earth)

for both signals. The send from the mixer to

the external unit is carried on the tip, and the

return from the unit to the mixer is on the ring.

MACKIE STEREO INPUTS AND RETURNS:

Mono, Stereo, Whatever

The LM-3204 stereo line inputs, stereo AUX

sends and stereo AUX returns are a fine example

of the Mackie philosophy (which we just made

up) of Maximum Flexibility with Minimum

Headache. The inputs and returns will auto-

matically be mono or stereo, depending upon

how you use the jacks. Here’s how it works:

A mono signal should be patched into

the input or return jack labeled Left

(MONO). The signal will be routed to both

the left and right sides of the return cir-

cuit, and will show up in the center of the

stereo pair of buses it’s assigned to, or can

be “panned” with the Balance control.

A stereo signal, having

Using the Send Only on an Insert Jack

If you insert a TS (mono) 1/4" plug only

partially (to the first click) into an LM-3204

insert jack, the plug will not activate the jack

switch and will not open the insert loop in the

circuit (thereby allowing the channel signal to

continue on its merry way through the mixer).

This allows you to tap out the channel or

bus signal at that point in the circuit without

interrupting normal operation.

If you push the ¹⁄4" TS plug in to the second

click, you will open the jack switch and create

a direct out, which does interrupt the signal in

that channel. See Figure F.

two plugs, should be patched

into the Left (MONO) and

the RIGHT input or return

jacks. A jack switch in the

RIGHT jack will disable the mono function,

and the signals will show up in stereo.

A mono signal connected to the RIGHT jack

will show up in the right bus only. You probably

will only want to use this sophisticated effect

for special occasions (weddings, bar mitzvahs,

Rush Limbaugh’s birthday party, etc.)

MONO PLUG

Direct out with no signal interruption to master.

Insert only to first click

MULTS AND “Y”s

A mult or “Y” connector allows you to

route one output to two or more inputs by

simply providing parallel wiring connections.

You can make “Y”s and mults for the outputs

of both unbalanced and balanced circuits.

Remember: Only mult

MONO PLUG

Direct out with signal interruption to master.

Insert all the way in to the "second click"

or “Y” an output into sev-

eral inputs. If you need to

combine several outputs

into one input, you must

use a mixer, not a mult or a “Y.”

STEREO

PLUG

TIP

RING

For use as an effects loop.

(TIP= send to effect, RING = return from effects)

Figure E

SEND

ring

tip

shield

this plug connects to the CR-1604

"ring"

RETURN

Figure F

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APPENDIX B: OPTIONS, ADD-ONS

AND EXTRA STUFF

LM-3204E Stereo Line Expander

But why stop there? You can expand your

expander, and expand that expander, and

expand that expander, until you reach the

theoretical limit of 65,536 inputs or the weight

limitation of your building. (Actually, there IS

some residual noise build-up — utterly

inaudible when adding two or three or four

expanders, so we suggest keeping it to that

number).

Nobody ever has enough inputs. And when

16 stereo line inputs are finally too few, you, a

proud Mackie LM-3204 owner, don’t even need

to think about a new mixer. For less than the

price of another LM-3204, you can get an

LE-3204E Stereo Line Expander and add

another 16 stereo line inputs to your system.

It looks just like an LM-3204 but without

the Master Section.

Contact your dealer.

APPENDIX

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APPENDIX C: SPECIFICATIONS: TECH STUFF

LM-3204 Owner’s Manual Specs

Noise (20Hz to 20kHz bandwidth, Line inputs to Main Maximum Levels

L/R outputs, all channels assigned):

Mic preamp input

All other inputs

All outputs

+14dBu

+22dBu

Master fader down, Ch. gains down

Master fader @ unity, Ch. gains down

Master fader @ unity, Ch. gains @ unity

–104.2dBu

–86.6dBu

–84.0dBu

Impedances

Total Harmonic Distortion

(1KHz @ +14dBu 20Hz–20kHz, Channel input):

Main L/R output

Control Room output

Alt 3–4 output

Mic preamp input

All other inputs

All outputs

10k

120

.0022%

.0024%

.0016%

Equalization

Lo EQ

Mid EQ

Hi EQ

Shelving

Peak

Shelving

80Hz

2kHz

12kHz

+/–15dB

+/–12dB

+/–15dB

Crosstalk (1kHz @ 0dBu, 20Hz to 20Khz bandwidth,

channel in to Main Left outputs):

Channel gain down, channels 2–16 at Unity –73dBu

Microphone Preamp

E.I.N. (150 terminated, max gain):

Channel muted, channels 2–16 at Unity

–81dBu

–129dBm

Power Requirements

Frequency Response (any input to any output):

120 VAC, 50/60Hz, 60 watts

20Hz to 50KHz

20Hz to 100KHz

+0dB/–1dB

+0dB/–3dB

Weight

LM-3204 console

24 lbs.

LM-3204 Gain Path Diagram — all levels in dBu

max out +22

+14 max in

-10 t rim dn

ALT OUTPUT

MIC INPUT

-50 t rim up

gain up +30

+22 max in

max out +22

lo/hi +15

max out +22

fader up +10

FADER

fader up +10

mid +12

0 (B)

level up 0

-6

mid -12

lo/hi -15

LINE INPUT

+22 max in

INSERT

GAIN

MIX INSERT

OUTPUT

CONTROL ROOM

CHANNEL

OUTPUT SECTION

max out +22

level up +20

level up +15

t o met ers

TAPE INPUT

AUX RETURN

CH. LEVEL

MIX OUTPUT

METER FEED

(0dB @ O/P = 0dB @ METERS)

AUX SEND

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LM-3204 LINE MIXER

LM-3204

WEIGHT

21 lbs.

Dimensions also apply to LM-3204E Expander.

7/94

17.50"

.75

APPENDIX

19.00"

5 rack spaces

(5U)

9.66"

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•

MUTE/

ALT 3-4

INSERT

•

(CH’s 1-4)

•

LEFT (MONO)

LINE IN

•

LO MID HI

•

BALANCE

BAL/UNBAL

INPUTS

LEVEL

INSERT

(CH’s 1-4)

•

RIGHT

LINE IN

•

LO MID HI

•

SHIFT

•

CLIP LED

•

SOLO

STEREO

CHANNEL

1 of 16

AUX 1/3

-20 LED

•

AUX 2/4

CONTROL

•

∑

•

LEFT (MONO)

AUX RETURN 1

LEVEL

∑

•

RIGHT

•

LEFT (MONO)

AUX RETURN 2

MACKIE

MIC PREAMPS

TRIM

MIC 1

•

RIGHT

OUT

SOURCE ALT 3-4

•

• • •

•

LEFT (MONO)

•

48 V

MIC 2

OUT

•

LEVEL

•

AUX RETURN 3

•

• • • •

RIGHT

•

OPTIONAL

LM-3204E

EXPANDER

•

To Schenectady

LEFT (MONO)

LEVEL

AUX RETURN 4

RIGHT

RET 4 TO

CONTROL ROOM ONLY

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LM-3204

BLOCK DIAGRAM

Rev. 3.3 - 8/15/94

L MAIN

INSERT

L FADER

•

LEFT

MAIN

OUT

∑

•

R MAIN

INSERT

R FADER

•

RIGHT

MAIN

OUT

∑

•

METER

CLIP

C/R FADER

CONTROL

ROOM OUT

APPENDIX

-2

-4

-7

-10

-20

-30

-40

•

∑

•

PHONES

OUT

•

PHONES

LEVEL

•

TAPE

MONITOR

•

TAPE IN

LEFT

TAPE IN

RIGHT

•

ALT 3-4

OUT

•

SOLO

RELAY

DRIVER

∑

•

∑

L ( MONO)

AUX 1

OUT

•

SOLO

LEVEL

•

AUX 2

OUT

•

∑

L ( MONO)

• • • • • • • • •

AUX 3

OUT

•

AUX 4

OUT

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APPENDIX D: SERVICE

PLEASE! SAVE THE SHIPPING BOX!

to short or stop conducting. If you’re having

trouble with an individual channel, send or

return, for gosh sakes swap cables before

sending the mixer in for service.

Check patching and switch positions.

The LM-3204 is not a Boeing 777 (the Glass

Cockpit pride of the Northwest) but it is

possible to have a switch in the wrong

position and not notice it. How about the

Tape Monitor switch? Or, have you plugged

something into a channel or bus Insert jack?

Yes, we know that it’s slightly larger than

the suitcase you’re living out of, but you will

need the entire carton and internal foam if

your mixer ever needs service at some time in

the future.

If your kids make the box into a gerbil pal-

ace and cut holes in it — or if you stuff it in

the dumpster of the fast-food place next door

to your studio, we may have to sell and ship

you another packing box later on.

Finally, it doesn’t hurt to call our

Product Support Department at

800/258.6883 (8:00 AM–5:00 PM

Pacific Time) to see if they have any

ideas as to what might be wrong.

Don’t end up buying an empty box!

SERVICE

Mackie mixing systems are notoriously bul-

let-proof and reliable. But, hey...stuff happens.

Any electronic product with as many parts as

a 40-input audio mixer can occasionally have

a minor casualty somewhere inside.

And even if we could build our products to

never break, there are those acts of nature

that tend to visit mixing boards on occasion:

spilled coffee, toppling monitors, lizard infes-

tations, etc. This section covers how to get

your Mackie LM-3204 mixer healthy again.

WHERE IT GETS FIXED

Service and repairs of Mackie LM-3204

mixers are to be performed only at our high-

tech, rainforest factory.

Unauthorized service, repairs or modifica-

tion will void your warranty.

TO OBTAIN FACTORY SERVICE:

1. Call Mackie Customer Service at

TROUBLESHOOTING

800/258-6883 (Monday through Friday 8:00

AM–5:00 PM Pacific Time) to get a Return

Authorization Number (RA number).

Products returned without an RA

number will be refused.

It benefits everyone if you do a bit of basic

troubleshooting in advance of panicking and

sending the unit back. Some low-key de-

tective work will determine whether or not

your mixer is really malfunctioning. First, it

saves you downtime and embarrassment if,

for example, you discover that the only thing

wrong is an unplugged power cord. Second,

it will save money. If you ship your mixer to

Mackie and we can’t duplicate the problem,

you may get slapped with a service charge

(plus shipping costs).

2. Pack the LM-3204 mixer in its original

shipping carton. If you do not have the

carton, request one when you get your RA

number, and we’ll send a shipping carton

out promptly. There may be a charge,

however—we put those huge “SAVE THE

BOX” warnings in this manual for a reason.

Make sure that you encase the mixer in its

plastic wrapper and insert all the foam

blocks to properly protect the mixer.

We could write a whole manual on trouble-

shooting, but our main point is that there are

a few obvious things you can easily look for:

3. When packing the mixer, include:

Power connections. This sounds insult-

ingly simple, but if the whole mixer is

completely dead, it’s time to make sure

that: the power cable is connected into a

live source of power, the mixer is turned

on, the fuse is OK, etc.

Intermittent signal problems. Faulty plugs

and cables are often the culprits. A TRS plug

can sit in a socket for months doing its job

and then suddenly decide (based on the

phase of the moon and barometric pressure)

A. a note explaining exactly how to

duplicate the problem.

B. a copy of the sales receipt showing price

and date. If we cannot duplicate the problem

at the Mackie factory or establish the starting

date of your Limited Warranty, we may, at our

option, charge for service time.

C. your complete return street address (no

P.O. boxes or route numbers, please!) and

DAYTIME phone number.

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4. Write the RA number plainly on the

outside of the shipping carton in BIG

print (those huge stinky sign markers

work well for this).

Bouquets and brickbats

This manual was primarily written by Dave

Matthew, with additional scribbles by Ron

Koliha. It was viciously scribbled up with red

pens by the Mackie Technical Support

5. Ship the product in its original shipping

carton, freight prepaid to:

Department and by Manufacturing Engineer-

ing Honcho, Jeff Gilbert. Valiant attempts at

proofreading by Linn Compton. Composed on

souped-up Mac™s in PageMaker™ 5.0 by the

galley slaves in the Mackie Digital Mosh Pit.

As is invariably the case, there are mis-

takes and fuzzy parts that need correction.

Feel free to write us with your comments and

criticisms. We do respond to outside input

— except for the occasional priggish letters

that take us to task for our lighthearted writ-

ing style. Since comments run 100-to-1 FOR

our non-stuffy style, we tend to ignore com-

ments about how smart-alecky we are and

secretly hope that the writers are condemned

to a lifetime of reading other companies’ often

dry or incomprehensible manuals.

Mackie Designs

20205 144th Avenue N.E.

Woodinville, WA 98072

U.S.A.

A FREE T-SHIRT OFFER

We love to hear what folks have created

using our mixers. If you use your LM-3204 to

track or mix (or track and mix) a CD or cas-

sette that is commercially released, we’ll trade

you a copy for a genuine Mackie T-shirt.

If you send us some notes as to when and

where and how the production was accom-

plished, a picture of your cassette or CD, a

short caption will probably end up in our

monthly newsletter.

APPENDIX

Printed in the USA.

Also Greg Mackie listens to most of ’em.

By “commercially released,” we mean

“offered for sale,” even if it’s just being sold

in your local area, during band breaks at

clubs or via mail order.

No hand-lettered dubs, please. Save those

for our infrequent Mixed on a Mackie contests.

To get your genuine 100% cotton, Made in

USA, Mackie celebrity T-shirt, send your cas-

sette or CD to:

Mackie Designs

FREE T-SHIRT OFFER

attn: Communications Department

20205 144th Ave. NE

Woodinville, WA 98072

Make sure to specify L, XL or XXL size.

If you prefer a small or medium size, just

request a Large and run it through a hot dryer

several times.

Allow several weeks for delivery. We’re

always busier than a carrion fly at a Rottweiler

convention.

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