SR24•4-VLZ PRO &
SR32•4-VLZ PRO
OWNER’S MANUAL
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INTRODUCTION
Comprehensive master section, with:
Thank you for choosing a Mackie Designs
professional sound reinforcement mixer! The
24•4-VLZ PRO and 32•4-VLZ PRO are
equipped with our new precision-engineered
XDRTM 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
• 4 stereo aux returns with level controls
• 2 effects to monitor controls
• RCA tape in & 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
• Full gain range from 0 to 60dB
• Massive +22dBu line signal handling
capability
• 130dB dynamic range
• Distortion and noise: 0.0007%, 20Hz to
20kHz
• Bullet-proof RF rejection using a
DC pulse transformer
• 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.
Here’s a quick glance at all the features
you’ve acquired:
At Mackie, we know what it takes to make
roadworthy gear. After all, our mixers have
traveled all over the world under the worst of
conditions. We’ve applied these experiences to
the mechanical design of the 24•4-VLZ PRO
and 32•4-VLZ PRO mixers.
20 mono channels (24•4-VLZ PRO) or
28 mono channels (32•4-VLZ PRO)
with:
• Mackie’s cutting-edge XDRTM
microphone preamps
• Variable input trim (0 to +60dB mic, -15
to +45dB line)
• Phantom power (globally switched)
• Switchable 75Hz low cut filter
• TRS insert jack
Live sound only? No way! Although both
mixers are aimed primarily at sound reinforce-
ment, they have features such as 4-buss,
metering and control room circuitry, that make
them serve easily as recording or mixing con-
soles.
• 2 pre-fader aux sends
• 2 switchable pre or post-fader aux sends
• 2 post-fader aux sends
Please write your serial number here for
future reference (i.e., insurance claims, tech
support, return authorization, etc.):
• 3-band mid-sweep EQ
• Pan, mute, and 1-2/3-4/L-R bussing
• PFL or AFL solo
• 60mm mono fader
Serial Number
Purchased at:
Date of purchase:
2 stereo line channels, with:
• -20dB to +20dB variable input trim
• 2 pre-fader aux sends
• 2 switchable pre or post-fader aux sends
• 2 post-fader aux sends
• 4-band EQ
• Pan, mute, and 1-2/3-4/L-R bussing
• PFL or AFL solo
• 60mm stereo fader
Make sure that you keep your proof of pur-
chase in a safe place, otherwise it will end up
in the land of enchantment, where TV remotes,
car keys and odd socks go.
3
Part No. 820-213-00 Rev. A 03/2000
®
©2000 Mackie Designs Inc. All Rights Reserved. Printed in the U.S.A.
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ABOUT THIS MANUAL
Further information:
The stuff you MUST read:
This icon marks infor-
mation that is critically
important or unique to your
mixer. For your own good,
read and remember them.
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.
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.
24•4-VLZ PRO and 32•4-VLZ PRO
This manual covers both mixers. The 32•4-
VLZ PRO has eight more mic/line channel
strips, otherwise the two models are identical.
This entire manual is condensed onto one
page, albeit in hieroglyphics: see the Block Dia-
gram on page 28.
About all those numbers:
Please come on by and visit our website, at
stuff about mixers and audio, as well as spe-
cific information about this and other Mackie
products.
Every feature on the mixer has a number as-
signed to it. Whenever a feature is illustrated
described or mentioned, its number will be
right next to it. They’ll help you find your way
around this whopping opus, and we opus you
will like it.
Every feature of the mixer is described “geo-
graphically;” in other words, in order of where
it is physically placed on the mixer’s top or rear
panel. These descriptions are divided into
three chapters, just as your mixer is organized
into three distinct zones:
PATCHBAY
PATCHBAY (page 14)
Along the back where everything plugs in.
U
U
U
U
TRIM
1
TRIM
21
TRIM
23
24
U
22
1
0
+
1
0
d
B
-
4
0
d
B
-20
+20
-20
+20
U
AUX
1
AUX
1
AUX
1
P
RE
P
RE
P
RE
CHANNEL STRIPS (page 19)
The mono mic/line channel strips and the
two stereo line channel strips.
O
O
+1
5
O
O
+1
5
O
O
+1
5
U
U
U
2
2
2
PRE
PRE
PRE
O
O
+15
O
O
+15
O
O
+15
U
U
U
3
3
3
O
O
+15
O
O
+15
O
O
+15
U
U
U
4
MIC/LINE CHANNELS 1-20 (IDENTICAL)
LINE ONLY CHANNELS 21-24
4
4
O
O
+15
O
O
+15
O
O
+15
U
PRE
U
PRE
U
PRE
5
5
5
O
O
+15
O
O
+15
O
O
+15
U
U
U
6
6
6
O
O
+15
O
O
+15
O
O
+15
U
EQ
HI
U
EQ
HI
U
EQ
HI
1
2k
1
2k
1
2k
-1
5
15
-1
5
15
-1
5
+15
U
U
U
U
U
U
U
HI
MID
3k
HI
MID
3k
MID
-1
5
+15
-15
-15
+15
+15
-15
-15
+15
+15
LOW
MID
LOW
MID
F
REQ
800Hz
800Hz
1
0
0
8
k
H
z
U
LOW
80Hz
LOW
80Hz
LOW
80Hz
-
1
5
+1
5
-
1
5
+1
5
-
1
5
+1
5
LOW CUT
75 Hz
18dB/OCT
MASTER SECTION (page 22)
OL
OL
OL
-20
-20
-20
L
R
L
R
L
R
PAN
PAN
PAN
1
21 22
MUTE
23 24
MUTE
MUTE
MUTE
/
SOLO
MUTE
/
SOLO
M
U
T
E
/
S
O
L
O
The section on the right.
dB
10
dB
10
dB
10
SOLO
SOLO
SOLO
5
5
5
1-2
3-4
L-R
1-2
3-4
L-R
1-2
3-4
L-R
U
5
U
5
U
5
1
0
1
0
1
0
20
30
20
30
20
30
40
50
60
40
50
60
40
50
60
O
O
O
O
O
LAMP
U
U
U
CLI
P
1
2
3
4
5
6
1
2
3
4
1
2
28
SO
SOLO
SOLO
SOLO
SOLO
SO
1
0
O
O
+15
+15
+15
+15
15
+15
O
O
+20
+20
+20
+20
O
O
+15
+15
U
U
U
7
4
2
O
O
O
O
O
O
0
U
U
TO AUX
SEND
2
1-2
4
(EFX TO MONITOR)
O
O
O
7
U
U
U
10
20
30
40
O
O
O
O
O
0
U
TAPE
RETURN
LEVEL SET
LEFT
RIGHT
MASTER SECTION
ASSIGN
TO SUB
O
P
E
R
A
T
I
N
G
LEVEL
O
O
0dB
=
0dBu
U
GLOBAL
AUX RETURN
1-2
3
-
4
S
LO
O
O
RUDE
SOLO
LIGHT
POWER
AUX SEND
MASTERS
STEREO
AUX RETURNS
U
MODE
TRACK
TRACK
TRACK
TRACK
1
•
2
•
3
•
4
•
O
O
+1
5
P
R
E
FADER
LEVEL
I
N
P
L
ACE AFL
5
6
7
8
SOLO
AUX SUB
MAIN MIX
5
5
5
5
0
+10
AIR
0
+10
AIR
0
+10
AIR
0
+10
AIR
O
O
MAX
LEVEL
16kHz
16kHz
SOLO
16kHz
SOLO
16kHz
SOLO
SOLO
AUX
1
2
TALKBACK
TAPE RETURN
O
O
MAX
L
R
L
R
L
R
L
R
TO PHONES
/
C
R
PAN
PAN
PAN
PAN
P
H
O
N
E
S
/
C
-
R
LEVEL
L/R ASSIGN
L/R ASSIGN
L/R ASSIGN
L/R ASSIGN
MAIN MIX
LEFT/RIGHT
SUB
2
TAPE RETURN
TO MAIN MIX
S1UB
S3UB
S4UB
dB
dB
dB
dB
dB
10
10
10
10
10
5
5
5
5
5
U
5
U
5
U
5
U
5
U
5
10
10
10
10
10
20
30
20
30
20
30
20
30
20
30
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
O
O
O
O
O
O
O
O
O
4
®
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CONTENTS
page
page
SAFETY INSTRUCTIONS............................... 2
INTRODUCTION ......................................... 3
ABOUT THIS MANUAL ................................ 4
QUICK START ............................................ 6
APPLICATIONS DIAGRAMS.......................... 9
MASTER SECTION FEATURES
LAMP CONNECTOR .............................. 22
AUX SEND MASTER
AUX SEND MASTERS ..................... 22
SOLO ........................................... 22
STEREO AUX RETURNS
PATCHBAY FEATURES
STEREO AUX RETURNS .................. 23
TO AUX SEND 1-2 ......................... 23
ASSIGN TO SUB ............................ 23
SUB............................................. 23
SOLO ........................................... 23
TAPE RETURN ..................................... 23
METERS ............................................. 23
ZERO EQUALS ZERO ............................ 23
POWER LED ........................................ 23
SUBGROUPS
AIR ............................................. 24
SOLO ........................................... 24
PAN ............................................ 24
L/R ASSIGN ................................. 24
SUBGROUP FADERS ...................... 25
SOLO
RUDE SOLO LIGHT ......................... 25
LEVEL .......................................... 25
MODE.......................................... 25
AUX LED ...................................... 25
SUB LED ....................................... 25
TALKBACK
LEVEL .......................................... 25
MAIN MIX ................................... 26
AUX 1-2 ...................................... 25
TAPE RETURN TO PHONES/C-R ............. 25
PHONES/C-R LEVEL ............................. 26
TAPE RETURN TO MAIN MIX ................. 26
MAIN MIX FADER ................................ 26
MIC .................................................. 14
LINE IN .............................................. 14
INSERT ............................................... 15
EFFECTS: SERIAL OR PARALLEL? ............ 15
STEREO LINE IN ................................... 15
TAPE OUT ........................................... 16
TAPE IN .............................................. 16
SUB INSERTS ...................................... 16
SUB OUTS .......................................... 16
DOUBLE BUSSING ................................ 16
STEREO AUX RETURNS......................... 17
AUX SENDS ........................................ 17
CONTROL ROOM OUT .......................... 17
MAIN OUTS (TRS) ............................... 17
MAIN INSERTS .................................... 17
MONO MAIN OUT ............................... 17
OUTPUT LEVEL .................................... 17
MAIN OUT (XLR) ................................. 17
TALKBACK MIC .................................... 17
PHONES ............................................. 18
PHANTOM SWITCH ............................. 18
POWER SWITCH.................................. 18
AC RECEPTACLE ................................... 18
FUSE .................................................. 18
CHANNEL STRIP FEATURES
TRIM ................................................. 19
AUX SEND
AUX ............................................ 19
PRE ............................................. 19
EQ SECTION
SPECIFICATIONS ........................................ 27
BLOCK DIAGRAM....................................... 28
GAIN PATH ............................................... 29
SERVICE INFORMATION .............................. 30
HI ............................................... 20
MID ............................................ 20
FREQ ........................................... 20
HI MID ........................................ 20
LOW MID ..................................... 20
LOW ........................................... 20
LOW CUT ..................................... 20
OL LED ............................................... 21
-20 LED .............................................. 21
PAN .................................................. 21
MUTE................................................. 21
SOLO ................................................. 21
1-2 & 3-4........................................... 21
L-R .................................................. 21
CHANNEL FADER ................................. 21
5
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QUICK START
ZERO THE CONSOLE
Note: the numbers in brackets refer to the
numbers inside each switch and control in the
drawing on the next page.
4. Set these controls fully down (for
rotary controls, “down” refers to the
1. On the rear panel, turn the POWER switch
and the PHANTOM off, and the OUTPUT
LEVEL fully down.
Control
fully counter-clockwise position; for
faders, it refers to all the way down):
Fully Down
2. Disengage these switches (for pushbutton
switches, “disengaged” or “off” refers to the
“up” position):
TRIM (25)
AUX (26)
Switch
Up
TO AUX SEND 1-2 (49)
TAPE RETURN (53)
PRE (27)
LOW CUT (34)
SOLO (39)
1-2 & 3-4 (40)
SOLO (47)
ASSIGN TO SUB (50)
SUB (51)
30
AIR (56)
CHANNEL FADER (42)
40
50
60
O
SUBGROUP FADER (60)
MAIN MIX FADER (72)
Fader
Down
SOLO (52)
SOLO (57)
5. Set these controls at unity (for rotary
L/R ASSIGN (59)
MAIN MIX (67)
AUX 1-2 (68)
TAPE RETURN TO PHONES/C-R (69)
TAPE RETURN TO MAIN MIX (71)
controls, “unity” refers to the center
detent position.
Control
Centered
HI (28)
MID (29)
FREQ (30)
HI MID (31)
LOW MID (32)
LOW (33)
PAN (37)
AUX SEND MASTERS (46)
STEREO AUX RETURNS (48)
PAN (58)
SOLO LEVEL (62)
TALKBACK LEVEL (66)
PHONES/C-R LEVEL (70)
3. Engage these switches (for pushbutton
switches, “engaged” or “on” refers to the
“down” position):
Switch
Down
MUTE (38)
L-R (41)
MODE (63)
When we say engaged, this does not imply
that you should become betrothed in any
legally binding sense, although there is
probably some drive-in wedding chapel in
‘Vegas, where this can be arranged.
MAIN OUTS
(BAL OR UNBAL)
AUX SENDS
(BAL OR UNBAL)
STEREO AUX RETURNS
(BAL OR UNBAL)
SUB OUTS
(BAL OR UNBAL)
SUB INSERTS
(BAL OR UNBAL)
23
21
20
19
18
17
16
15
14
1
2
3
R
4
5
6
L
R
R
R
R
L
L
L
L
1
2
3
4
5
6
7
8
1
2
3
4
1
2
3
L
L
L
MONO
MONO
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
R
L
R
R
LINE IN
(BAL OR UNBAL)
LINE IN
(BAL OR UNBAL)
LINE IN
(BAL OR UNBAL)
LINE IN
(BAL OR UNBAL)
LINE IN
(BAL OR UNBAL)
LINE IN
(BAL OR UNBAL)
LINE IN
(BAL OR UNBAL)
24
22
MIC 20
MIC 19
MIC 18
MIC 17
MIC 16
MIC 15
MIC 14
M
M
M
M
M
M
M
L
L
(BAL OR UNBAL)
4
R
R
R
TAPE IN
TAPE OUT
MAIN INSERTS
CONTROL ROOM OUT
(MONO)
POWER
ON
PHANTOM
ON
TALK BACK
MIC
RIGHT
LEFT
MONO
120VAC
50/60 HZ 60W
MAIN OUT
MAIN OUT
MAIN OUT
PHONES
1
PHONES
2
OUTPUT
LEVEL
1.6A/250V SLO BLO
FUSE INSIDE
MAIN
BALANCED
OUTPUTS
PIN 2 = HOT
PIN 3 = COLD
CAUTION:TO REDUCE
THE RISK OF FIRE, REPLACE
WITH THE SAME TYPE FUSE
AND RATING
O O +6
OFF
OFF
Power Phantom
Off Off
Output Level
Fully Down
6
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SR24•4-VLZPRO
U
U
A
TRIM
TRIM
21
TRIM
23
24
U
25
25
25
20
LAMP
22
+15dB -6405dB
0
-20
+20
-
20
+20
AUX
AUX
AUX
U
U
U
U
U
U
CLIP
28
49
26
26
26
1
1
1
1
2
3
4
5
6
47
SOLO
1
2
3
4
1
PRE
PRE
PRE
46
O O +15
U
48
O O +20
U
10
7
O O +15
U
O O +15
U
O O +15
U
O O +15
U
49
26
26
26
4
2
2
2
47
SOLO
2
PRE
PRE
PRE
46
O O +15
U
48
O O +20
U
2
0
2
4
O O +15
U
O O +15
U
O O +15
U
O O +15
TO AUX
SEND
26
26
26
3
4
3
4
3
4
47
SOLO
-
1 2
46
O O +15
48
O O +20
U
(EFX TO MONITOR)
O O +15
U
O O +15
U
O O +15
U
7
U
U
10
20
30
40
53
26
26
26
47
SOLO
46
O O +15
U
48
O O +15
O O +15
O O +15
O O +20
O O +20
TAPE
27
PRE
27
PRE
27
PRE
RETURN
U
U
U
47
SOLO
50
LEVEL SET
LEFT
RIGHT
46
O O +15
U
26
26
26
ASSIGN
OPERATING LEVEL
0dB = 0dBu
5
5
5
TO SUB
POST
POST
POST
GLOBAL
AUX RETURN
O O +15
U
O O +15
U
O O +15
U
-
1 2
47
SOLO
51
SUB
52
SOLO
-
3 4
46
26
26
26
O O +15
RUDE
SOLO
LIGHT
POWER
6
6
6
POST
POST
POST
AUX SEND
MASTERS
STEREO
O O +15
O O +15
O O +15
AUX RETURNS
EQ
EQ
EQ
U
U
U
U
MODE
HI
HI
HI
TRACK
TRACK
TRACK
TRACK
63
12k
12k
12k
28
28
28
62
1
•
5
2
•
6
3
•
7
4
•
8
-15
-15
+15
-15
+15
-15
-15
-15
-15
+15
O O +15
LEVEL
PRE FADER
IN PLACE AFL
U
U
U
HI
MID
3k
HI
MID
3k
MID
29
31
31
+15
SOLO
AUX SUB
+15
-15
-15
-15
+15
600
U
U
5
5
5
5
LOW
MID
LOW
MID
56
56
56
56
FREQ
1.5k
150
67
800Hz
800Hz
30
32
+15
32
+15
66
O O MAX
LEVEL
0
+10
AIR
0
+10
AIR
0
+10
AIR
0
+10
AIR
100
8k
MAIN MIX
U
U
U
LOW
80Hz
LOW
80Hz
LOW
80Hz
16kHz
16kHz
16kHz
16kHz
68
33
33
33
-15
+15
+15
+15
SOLO
SOLO
SOLO
SOLO
-
AUX 1 2
LOW CUT
75 Hz
57
57
57
57
34
18dB/OCT
TALKBACK
69
OL
OL
-20
OL
-20
37
37
37
58
58
58
58
70
TAPE RETURN
O O MAX
-20
L
R
L
R
L
R
L
R
L
R
L
R
L
R
TO PHONES / C R
-
PHONES / C R
PAN
PAN
PAN
PAN
PAN
PAN
PAN
LEVEL
L/R ASSIGN
L/R ASSIGN
L/R ASSIGN
L/R ASSIGN
20
21 22
23 24
MUTE
38
38
38
59
SUB
1
59
SUB
2
59
SUB
3
59
SUB
4
71
MUTE
MUTE
MAIN MIX
TAPE RETURN
TO MAIN MIX
LEFT/RIGHT
MUTE/
SOLO
MUTE/
SOLO
MUTE/
SOLO
39
SOLO
39
SOLO
39
SOLO
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
5
U
5
5
U
5
5
U
5
5
U
5
5
U
5
5
5
U
5
5
U
5
40
40
40
-
-
-
1 2
1 2
1 2
U
5
40
40
40
-
-
-
3 4
3 4
3 4
10
10
10
10
10
10
10
10
41
L R
41
L R
41
L R
-
-
-
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
40
50
60
40
50
60
40
50
60
40
50
40
50
40
50
60
40
50
40
50
60
60
60
60
42
42
42
60
60
60
60
72
O
O
O
O
O
O
O
O
20
30
Set the controls as
shown to zero the
console. See the
Control
Switch
Centered
Up
40
50
60
7
O
description on page 6.
Control
Fully Down
Switch
Down
Fader
Down
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MAKE THE CONNECTIONS:
6. If necessary, apply channel EQ (28-34)
changes. Resultant level changes can be
corrected by readjusting the TRIM (25).
1. Make sure your amplifiers are turned off
before making any connections.
7. Disengage that channel’s SOLO (39)
switch.
2. Connect speakers to your amplifier’s
outputs (unless, of course, you have
powered speakers, such as the Mackie
SRM 450 active monitors).
8. Repeat steps 1 through 7 for the remaining
active channels.
9. Stop making noise, start making music.
3. 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.
TWEAK THE MIX:
1. Engage MUTE (38) on all channels except
your rhythm section (drums & bass).
4. Using TRS or XLR cables, make connec-
tions from the mixer’s MAIN OUTS (12),
(16) to your amplification system’s line
inputs.
2. Adjust the rhythm section’s channel PANs
(37) and CHANNEL FADERs (42) to get a
good balance of levels.
5. Make connections from your microphones
and instruments to the mixer: Connect
balanced microphones to the mono
channel MIC (1) jacks. (For condenser
microphones, engage the PHANTOM (19)
switch.) Connect line-level instruments
(synthesizers, guitar effects devices, direct
boxes) to the mono or stereo channel LINE
IN (2) (4) TRS jacks.
3. Un-mute the other active channels and
adjust their pans and faders.
4. 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.
5. 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.
6. Follow the procedure shown on page 6 to
zero the console. This will also MUTE (38)
each channel.
7. 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.
KNOW THESE THINGS:
•
Never listen to loud
music for prolonged
periods. See the safety
instructions on page 2.
8. Turn up the MAIN MIX FADER (72) to the
“U” label. You should hear nothing at this
point.
•
Never plug amplifier
outputs into anything except speakers.
SET THE LEVELS:
•
•
Never use guitar cables to connect amplifi-
ers to speakers.
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.
Before making connections to an amp or
reconfiguring an amp’s routing, turn the
amp’s power off, make the changes and
then turn the power back on.
2. While making noise, engage that channel’s
SOLO (39) switch.
•
•
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.
3. Turn up that channel’s TRIM (25) until the
METERS (54) peak near the “0” label.
4. Disengage that channel’s MUTE (38).
5. Turn up the CHANNEL FADER (42) to the
unity gain (“U” label). You should now be
hearing your noise in the phones or control
room (70).
Save the shipping box and packing mate-
rial. You may need them someday.
8
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APPLICATION DIAGRAMS
9
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10
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11
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12
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13
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PATCHBAY
This is where everything gets plugged in: microphones, line-level instruments, effects devices,
headphones and the ultimate destination(s): PA system, tape recorder, etc.
MAIN OUTS
(BAL OR UNBAL)
AUX SENDS
(BAL OR UNBAL)
STEREO AUX RETURNS
(BAL OR UNBAL)
SUB OUTS
(BAL OR UNBAL)
SUB INSERTS
(BAL OR UNBAL)
23
21
20
19
18
16
15
14
1
2
3
R
4
5
6
L
R
R
R
R
L
L
L
L
1
2
3
4
5
6
7
8
1
2
3
4
1
2
3
L
R
L
L
L
MONO
MONO
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
R
R
LINE IN
(BAL OR UNBAL)
LINE IN
(BAL OR UNBAL)
LINE IN
(BAL OR UNBAL)
(BAL AL)
LINE IN
(BAL OR UNBAL)
LINE IN
(BAL OR UNBAL)
LINE IN
(BAL OR UNBAL)
24
22
MIC 20
MIC 19
MIC 18
MIC 17
MIC 16
MIC 15
MIC 14
M
M
M
M
M
M
M
L
L
(BAL OR UNBAL)
4
R
R
R
TAPE IN
TAPE OUT
MAIN INSERTS
CONTROL ROOM OUT
(MONO)
POWER
ON
PHANTOM
ON
TALK BACK
MIC
RIGHT
L
MONO
MAIN OUT
MAIN OUT
MAIN OUT
PHONES
1
PHONES
2
OUTPUT
LEVEL
FUSE INSIDE
MAIN
BALANCED
OUTPUTS
PIN 2 = HOT
PIN 3 = COLD
CAUTION:TO REDUCE
THE RISK OF FIRE, REPLACE
WITH THE SAME TYPE FUSE
AND RATING
O O +6
OFF
OFF
1. MIC
2. LINE IN
The mono channels are equipped with
Mackie’s cutting-edge XDRTM microphone
preamplifiers; providing up to 60dB of rugged,
The line inputs share circuitry (but not
phantom power) with the mic preamps, and
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
manner of extraneous interference. Profes-
sional condenser, dynamic and ribbon mics will
all sound excellent through these XLR inputs.
line-level signal, from -45dB up to +20dB.
SLEEVE
SLEEVE
TIP
TIP
TIP
SLEEVE
The inputs will accept almost any kind of
balanced mic that has a standard XLR-type
male mic connector.
1/4” TS (Tip-Sleeve) unbalanced wiring:
Tip = hot (+)
2
SHIELD
HOT
Sleeve = shield
1
3
COLD
RING SLEEVE
TIP
SLEEVE RING TIP
SHIELD
1
3
COLD
2
RING
TIP
HOT
SHIELD
COLD
HOT
1
SLEEVE
3
2
1/4” TRS (Tip-Ring-Sleeve) balanced wiring:
Tip = hot (+)
XLR balanced wiring:
Pin 1 = shield
Ring = cold (-)
Sleeve = shield
Pin 2 = hot (+)
Pin 3 = cold (-)
14
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3. INSERT
EFFECTS: SERIAL OR PARALLEL?
With nothing plugged into this jack, the
Effects devices are used
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.
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.
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.
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 & aux returns.
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)
Serial Device
Insert
Insert
Send
Return
Signal Processor
(e.g., Compressor)
SEND to processor
“tip”
ring
Processed
Signal
Dry Signal
(TRS plug)
sleeve
tip
This plug connects to one of the
mixer’s Channel Insert jacks.
Parallel Device
“ring”
RETURN from processor
Aux
Aux
Output
Section
Send
Return
Specialty “Y” cables, developed just for these
jacks, are widely available.
Signal Processor
(e.g., Reverb)
Wet Signal
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.
Mix
Processed
Signal
Stage
Channel Path
Dry Signal(s)
Dry Signal(s)
Here are three ways to use the INSERT
jacks:
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.
MONO PLUG
Channel Insert jack
When connecting a stereo device (two
cords), use the LEFT (MONO) input and the
RIGHT input.
Direct out with no signal interruption to master.
Insert only to first “click”
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.
MONO PLUG
Channel Insert jack
Direct out with signal interruption to master.
Insert all the way in to the second “click”
These inputs accept 1/4” TRS balanced and
1/4” TS unbalanced plugs, see the previous
page for wiring details.
STEREO
PLUG
Channel Insert jack
For use as an effects loop.
(TIP= SEND to effect, RING = RETURN from effects)
15
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MAIN OUTS
(BAL OR UNBAL)
AUX SENDS
(BAL OR UNBAL)
STEREO AUX RETURNS
(BAL OR UNBAL)
SUB OUTS
(BAL OR UNBAL)
SUB INSERTS
(BAL OR UNBAL)
23
21
20
19
18
17
16
15
14
1
2
3
R
4
5
6
L
R
R
R
R
L
L
L
L
1
2
3
4
5
6
7
8
1
2
3
4
1
2
L
R
L
L
L
MONO
MONO
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
R
R
LINE IN
(BAL OR UNBAL)
LINE IN
(BAL OR UNBAL)
LINE IN
(BAL OR UNBAL)
LINE IN
(BAL OR UNBAL)
LINE IN
(BAL OR UNBAL)
LINE IN
(BAL OR UNBAL)
LINE IN
(BAL OR UNBAL)
24
22
MIC 20
MIC 19
MIC 18
MIC 17
MIC 16
MIC 15
MIC 14
M
M
M
M
M
M
M
L
L
(BAL OR UNBAL)
4
R
R
R
TAPE IN
TAPE OUT
MAIN INSERTS
CONTROL ROOM OUT
(MONO)
POWER
ON
PHANTOM
ON
TALK BACK
MIC
RIGHT
LEFT
MONO
MAIN OUT
MAIN OUT
MAIN OUT
PHONES
1
PHONES
2
OUTPUT
LEVEL
FUSE INSIDE
MAIN
BALANCED
OUTPUTS
PIN 2 = HOT
PIN 3 = COLD
CAUTION:TO REDUCE
THE RISK OF FIRE, REPLACE
WITH THE SAME TYPE FUSE
AND RATING
O O +6
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.
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
SLEEVE TIP SLEEVE TIP
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).
RCA unbalanced wiring:
Tip = hot, sleeve = shield
Alternatively, the MAIN OUTS (12) (16)
could feed the amplifiers while the subgroups
feed a recorder.
6. TAPE IN
Patch the outputs of an intermission enter-
tainment device here. Any line level mono or
stereo device can be used: tape, CD player,
television audio, etc. See TAPE RETURN TO
PHONES/C-R (69) and TAPE RETURN TO
MAIN MIX (71) for more information.
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 & 3-4 (40) and L/R ASSIGN (59) 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.
Accepts 1/4” TRS balanced or 1/4” TS unbal-
anced plugs, see page 14 for wiring details.
DOUBLE BUSSING
Although this is a “four-buss mixer,” mean-
ing there are four separate subgroups
available, it can be used to feed all eight tracks
of a multi-track recorder, thanks to a trick
called Double Bussing.
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.
SUB OUTS 1 and 5 carry the same signal,
and so do 2 and 6, 3 and 7, 4 and 8. Patch these
outputs into the corresponding inputs of your
multi-track recorder.
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
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.
16
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9. STEREO AUX RETURNS
13. MAIN INSERTS
Patch the outputs of external parallel ef-
fects devices (reverb, delay, etc.) to these
inputs.
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.
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.
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.
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.
These unbalanced insert jacks are wired ex-
actly the same as shown for INSERT (3) on
page 15.
14. MONO MAIN OUT
Accepts 1/4” TRS balanced or 1/4” TS unbal-
anced plugs, see page 14 for wiring details.
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.
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.
This XLR balanced output will add 6dB
when connected to a balanced input, thereby
elevating signal from the noise floor by that
amount.
The stereo signal at these jacks is the same
as the MAIN OUTS (12) (16), except when any
SOLO (39) (47) (52) (57) or the TAPE RE-
TURN TO PHONES/C-R (69) is engaged. Its
level is independently controlled by PHONES/
C-R LEVEL (70).
Accepts XLR balanced plugs, see page 14.
15. OUTPUT LEVEL
Use this knob to independently set the level
of the MONO MAIN OUT (14). The level is also
dependent on the level set by the MAIN MIX
FADER (72). Unity gain is at 3 o’clock, and
there is 6dB additional gain available when
turned fully up.
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.
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.
The XLR balanced outputs will add 6dB
when connected to balanced inputs, thereby el-
evating signal from the noise floor by that
amount.
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.
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.
Accepts XLR balanced plugs, see page 14.
17
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MAIN OUTS
(BAL OR UNBAL)
AUX SENDS
(BAL OR UNBAL)
STEREO AUX RETURNS
(BAL OR UNBAL)
SUB OUTS
(BAL OR UNBAL)
SUB INSERTS
(BAL OR UNBAL)
23
21
20
19
18
17
16
15
14
1
2
3
R
4
5
6
L
R
R
R
R
L
L
L
L
1
2
3
4
5
6
7
8
1
2
3
4
1
2
3
L
R
L
L
L
MONO
MONO
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
R
R
LINE IN
(BAL OR UNBAL)
LINE IN
(BAL OR UNBAL)
LINE IN
(BAL OR UNBAL)
LINE IN
(BAL OR UNBAL)
LINE IN
(BAL OR UNBAL)
LINE IN
(BAL OR UNBAL)
LINE IN
(BAL OR UNBAL)
24
22
MIC 20
MIC 19
MIC 18
MIC 17
MIC 16
MIC 15
MIC 14
M
M
M
M
M
M
M
L
L
(BAL OR UNBAL)
4
R
R
R
TAPE IN
TAPE OUT
MAIN INSERTS
CONTROL ROOM OUT
(MONO)
POWER
ON
PHANTOM
ON
TALK BACK
MIC
RIGHT
LEFT
MONO
MAIN OUT
MAIN OUT
MAIN OUT
PHONES
1
PHONES
2
OUTPUT
LEVEL
FUSE INSIDE
MAIN
BALANCED
OUTPUTS
PIN 2 = HOT
PIN 3 = COLD
CAUTION:TO REDUCE
THE RISK OF FIRE, REPLACE
WITH THE SAME TYPE FUSE
AND RATING
O O +6
OFF
OFF
20. POWER
18. PHONES
The POWER switch is located on the rear
panel, adjacent to the AC RECEPTACLE (21).
Push in the top side of the switch to turn on,
this connects the mixer to main AC power. The
POWER (55) LED in the top right corner of the
console, will glow in confirmation.
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.
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 level is independently con-
trolled by PHONES/C-R LEVEL (70).
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.
TRS stereo wiring:
Tip = left, ring = right, sleeve = shield
21. AC RECEPTACLE
19. PHANTOM
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.
Engage this switch to provide phantom
power to all the MIC (1) input jacks. All of the
XLR mic inputs, except TALKBACK MIC (17),
are capable of simultaneously providing phan-
tom power. Phantom power is required to
operate most condenser microphones (some
condenser microphones are battery-powered).
+48VDC phantom power is delivered to pins 2
and 3 of the XLR connectors.
Replacement AC linecords are widely avail-
able at any office or computer supply store.
22. FUSE INSIDE
An 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.
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.
Always remove the
power cord before changing
the fuse.
Caution: Turn all output levels down before
operating this switch to avoid the possibility of
a “pop” in the speakers.
Always use the correctly
rated fuse for your specific
mixer:
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.
Use the fuse value shown on the rear panel
of your mixer, near the fuseholder.
18
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CHANNEL STRIP FEATURES
Mono
Stereo
channels channels
The channel strip is where you dress up
AUX SEND: (26 and 27)
U
TRIM
TRIM
U
20
21
22
each channel’s audio: setting the gain, adding
EQ, riding the fader, tapping signal off to stage 26. AUX
monitors and effects devices. After a signal
leaves the channel strip it goes through a mix
stage and on to the master section (page 22).
+15dB -6405dB
0
-
20
+20
AUX
AUX
U
U
These knobs tap a portion of each
1
1
channel signal and send it out, via the
AUX SENDS (10) jacks, to an amp &
speakers for stage monitors or to an ef-
fects device for parallel effects
processing.
PRE
PRE
O O +15
U
O O +15
U
The 24•4-VLZ PRO has 20 mono channels
and two stereo channels. The 32•4-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-VLZ
PRO. This shows a mono channel strip 20 and
its neighbor, the stereo strip 21/22.
2
2
PRE
PRE
O O +15
U
O O +15
U
3
4
3
4
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).
O O +15
U
O O +15
U
O O +15
U
O O +15
U
PRE
PRE
5
5
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
POST
POST
25. TRIM
O O +15
U
O O +15
U
If you haven’t already, please read SET THE
LEVELS on page 8.
6
6
POST
POST
O O +15
U
O O +15
U
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.
channel’s mono AUX send knobs.
EQ
EQ
HI
HI
27. PRE
12k
12k
-15
-15
+15
+15
-15
-15
-15
-15
+15
+15
+15
+15
U
U
U
U
Aux sends 1 & 2 are always pre-fader,
designed for stage monitor applications.
Aux sends 5 & 6 are always post-fader, de-
signed for parallel effects applications.
Aux sends 3 & 4, thanks to this switch,
can be set to be pre- or post-fader, so they
can be used for monitors or effects.
HI
MID
3k
MID
Through a mono channel’s MIC (1) XLR in-
put, there is 0dB of gain fully down and 60dB of
gain fully up.
600
LOW
MID
FREQ
1.5k
150
800Hz
100
8k
Through a mono channel’s LINE IN (2)
TRS input, there is 15dB of attenuation fully
down and 45dB of gain fully up; with a “U”
(unity gain) label at about 10:00 (knob one-
third up).
U
LOW
80Hz
LOW
80Hz
-15
+15
PRE-FADER: With the PRE switch en-
gaged (down), AUX 3 and 4 deliver
signals post-insert, post-low cut, post-EQ,
post-mute, pre-fader. Any changes made
to the channel controls, except the fader,
will affect the aux send signal.
LOW CUT
75 Hz
18dB/OCT
OL
-20
OL
-20
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).
L
R
L
R
PAN
PAN
POST-FADER: With the PRE switch
disengaged (up), AUX 3 and 4 deliver sig-
nals post-insert, post-low cut, post-EQ,
post-mute and post-fader. Any changes
made to the channel controls will affect
the aux send signal.
20
21 22
MUTE
MUTE
MUTE/
SOLO
MUTE/
SOLO
dB
10
dB
10
SOLO
SOLO
5
U
5
5
U
5
-
-
1 2
1 2
-
-
3 4
3 4
10
10
-
-
L R
L R
20
30
20
30
40
50
60
40
50
60
O
O
19
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Mono
Stereo
channels channels
EQ: (28 through 34)
31. HI MID and 32. LOW MID
The stereo channels employ a 2-stage fixed-
frequency midrange EQ:
U
A
TRIM
TRIM
21
U
20
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.
22
+15dB -6405dB
U
0
-
20
+20
AUX
AUX
U
+15
1
1
+10
PRE
PRE
LOW MID is
+5
O O +15
U
O O +15
U
0
LOW MID
centered at
800Hz.
–5
2
2
PRE
PRE
–10
–15
O O +15
U
O O +15
U
20Hz
100Hz
1kHz
10kHz 20kHz
3
4
3
4
+15
+10
O O +15
U
O O +15
U
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 circuits.
+5
0
HI MID is
centered at
3kHz
HI MID
O O +15
U
O O +15
U
–5
–10
–15
PRE
PRE
20Hz
100Hz
1kHz
10kHz 20kHz
5
5
POST
POST
Midrange EQ is often considered the most
O O +15
U
O O +15
U
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.
dynamic, because the frequencies that define
any sound are almost always found in this
range.
6
6
POST
POST
O O +15
U
O O +15
U
EQ
EQ
33. LOW
HI
HI
12k
12k
-15
-15
+15
+15
-15
-15
-15
-15
+15
+15
+15
+15
This control is centered at 80Hz and below.
This frequency represents the punch in kick
drums, bass guitar and fat synth patches.
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).
U
U
U
U
HI
MID
3k
MID
600
+15
This graph
LOW
MID
+10
FREQ
1.5k
shows various
settings of the
LOW control,
with LOW CUT
not engaged.
800Hz
+5
0
100
8k
LOW
U
28. HI
–5
LOW
80Hz
LOW
80Hz
–10
–15
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.
-15
+15
LOW CUT
75 Hz
20Hz
100Hz
1kHz
10kHz 20kHz
18dB/OCT
34. LOW CUT
OL
-20
OL
-20
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).
L
R
L
R
PAN
PAN
+15
+10
20
21 22
+5
MUTE
MUTE
0
HI
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.
MUTE/
SOLO
MUTE/
SOLO
–5
–10
–15
dB
10
dB
10
SOLO
SOLO
20Hz
100Hz
1kHz
10kHz 20kHz
5
U
5
5
U
5
-
-
1 2
1 2
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 (30).
+15
This graph
-
-
3 4
3 4
+10
10
10
shows various
settings of the
LOW control,
with LOW CUT
engaged.
+5
0
-
-
L R
L R
20
30
20
30
LOW
–5
–10
–15
40
50
60
40
50
60
20Hz
100Hz
1kHz
10kHz 20kHz
+15
O
O
+10
Desirable low frequencies can be boosted
+5
whilst undesirable lower frequency stage
rumble, mic handling clunks and P-p-pops are
attenuated.
0
MID
–5
–10
–15
20Hz
100Hz
1kHz
10kHz 20kHz
FREQ
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Mono
Stereo
channels channels
35. THIS OL’ LED
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.
U
TRIM
TRIM
21
U
20
This LED represents a bad thing: If a
channel’s OL LED lights up, its signal is too
hot, and subsequent circuitry may overload
(clip). To correct this, perform the SET THE
LEVELS procedure on page 8.
22
+15dB -6405dB
0
-
20
+20
AUX
AUX
U
U
1
1
PRE
PRE
O O +15
U
O O +15
U
Note: A muted channel can be
soloed (set MODE (63) to PFL).
2
2
PRE
PRE
36. -20 LED
O O +15
U
O O +15
U
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.
40. 1-2 & 3-4
3
4
3
4
O O +15
U
O O +15
U
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
O O +15
U
O O +15
U
37. PAN
PRE
PRE
5
5
PAN adjusts the amount of channel signal
sent, left versus right, to the MAIN OUTS (12) to the main mix via the L-R (41)
POST
POST
O O +15
U
O O +15
U
(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.
switch.
6
6
POST
POST
For live sound, subgroups allow a
O O +15
U
O O +15
U
group of channels to be controlled by
one or two subgroup faders. For multi-
track recording, subgroups can be used
EQ
EQ
HI
HI
12k
12k
-15
-15
+15
+15
-15
-15
-15
-15
+15
+15
+15
+15
With the PAN knob hard left, the signal will to route groups of channels to specific
U
U
U
U
HI
MID
3k
feed LEFT MAIN, SUB 1 or SUB 3, depending
on the channel’s L-R (41) and 1-2 & 3-4 (40)
assignment settings.
tracks of a multi-track recorder.
MID
See PAN (37), L/R ASSIGN (59) and
SUBGROUP FADER (60) for more in-
formation.
600
LOW
MID
FREQ
1.5k
150
800Hz
With the PAN knob hard right, the signal
will feed RIGHT MAIN, SUB 2 or SUB 4, also
depending on the channel assignment settings.
100
8k
U
41. L-R
LOW
80Hz
LOW
80Hz
-15
+15
With the PAN knob set somewhere in be-
tween, the signal will be shared across both
sides of the mix(es).
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 is being sent to a sub-
group, via the 1-2 and 3-4 (40)
switches.
LOW CUT
75 Hz
18dB/OCT
OL
-20
OL
-20
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.
L
R
L
R
PAN
PAN
20
21 22
MUTE
MUTE
MUTE/
SOLO
MUTE/
SOLO
See PAN (37) and MAIN MIX
FADER (72) for more information.
dB
10
dB
10
SOLO
SOLO
38. MUTE
42. CHANNEL FADER
5
U
5
5
U
5
-
-
1 2
1 2
Engaging a channel’s mute switch severs its
signal from subsequent outputs. Additionally,
the adjacent MUTE/SOLO LED will glow.
The fader is the master level control
for the channel’s signal output. If the
TRIM (25) is set correctly, the fader
position will be best positioned some-
where between -20dB and 0dB (U).
-
-
3 4
3 4
10
10
Note: A muted channel can still be soloed
(set MODE (63) to PFL).
-
-
L R
L R
20
30
20
30
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.
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.
40
50
60
40
50
60
O
O
21
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MASTER SECTION FEATURES
In the master section, signals leaving the
LAMP
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.
U
U
U
CLIP
28
1
2
3
4
5
6
1
2
3
4
1
2
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
10
7
O O +15
U
O O +20
U
O O +15
U
4
2
45. LAMP
This female BNC connector provides 12
volts on its center pin. Connect any quality
gooseneck lamp here.
O O +15
U
O O +20
U
O O +15
0
TO AUX
SEND
2
-
1 2
4
(EFX TO MONITOR)
O O +15
U
O O +20
U
7
U
10
20
30
40
O O +15
U
O O +20
O O +20
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.
TAPE
RETURN
LEVEL SET
LEFT
RIGHT
ASSIGN
TO SUB
OPERATING LEVEL
0dB = 0dBu
O O +15
U
GLOBAL
AUX RETURN
-
1 2
-
3 4
SUB
SOLO
O O +15
RUDE
SOLO
LIGHT
POWER
AUX SEND
MASTERS
STEREO
AUX RETURNS
U
MODE
TRACK
TRACK
TRACK
TRACK
1
•
5
2
•
6
3
•
7
4
•
8
O O +15
LEVEL
PRE FADER
IN PLACE AFL
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.
SOLO
AUX SUB
MAIN MIX
5
5
5
5
O O MAX
LEVEL
0
+10
AIR
0
+10
AIR
0
+10
AIR
0
+10
AIR
16kHz
16kHz
SOLO
16kHz
SOLO
16kHz
SOLO
SOLO
-
47. SOLO
AUX 1 2
TALKBACK
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 (63) for more informa-
tion.
TAPE RETURN
O O MAX
L
R
L
R
L
R
L
R
TO PHONES / C R
-
PHONES / C R
PAN
PAN
PAN
PAN
LEVEL
L/R ASSIGN
L/R ASSIGN
L/R ASSIGN
L/R ASSIGN
MAIN MIX
SUB
SUB
SUB
SUB
TAPE RETURN
TO MAIN MIX
LEFT/RIGHT
1
2
3
4
dB
10
dB
10
dB
10
dB
10
dB
10
5
U
5
5
U
5
5
5
U
5
5
U
5
U
5
10
10
10
10
10
20
30
20
30
20
30
20
30
20
30
40
50
40
50
40
50
60
40
50
40
50
60
60
60
60
O
O
O
O
22
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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.
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.
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.
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)).
49. TO AUX SEND 1-2
These knobs work just like the channel
strip’s 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.
The meters display the main mix, post
MAIN MIX FADER (72). However, when a
SOLO (39) (47) (52) (57) switch is engaged,
the meters will instead display the solo infor-
mation.
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.
A good mix will show the meter’s peaks
flashing anywhere between -10 and +10dB. Re-
member that most amplifiers clip at about
+10dB, and some recorders aren’t so forgiving
either. For best real-world results, try to keep
your peaks between “0” and “+7.”
50. ASSIGN TO SUB and 51. SUB
ZERO EQUALS ZERO
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).
You may already be fa-
miliar with “+4” and “-10”
operating levels. Basically,
what determines an operat-
ing level, besides available
For live sound, subgroups allow a group of
channel levels (and aux return 4) to be con-
trolled by one or two subgroup faders. For
multi-track recording, subgroups can be used
headroom, is the relative
0dB VU chosen for the meters. A “+4” mixer,
with a +4dBu output signal, will actually dis-
play 0dB on its meters. A “-10” mixer, with a
to route groups of channels (and aux return 4) -10dBV output signal, will also display 0dB.
to specific tracks of a multi-track recorder.
To eliminate that confusion, Mackie’s com-
See L/R ASSIGN (59) and SUBGROUP
FADER (60) for more information.
pact mixers use a simpler method, where zero
equals zero: 0dBu (0.775V) at the output
shows as 0dB VU on the meters. If a “+4” out-
put is desired, set the mix levels so the meters
“average” at +4dB. If a “-10” output is desired,
set the mix levels so the meters “average” at -
10dB.
52. SOLO
Engaging this switch isolates the associated
signal and sends it to the control room, phones
and meters. See RUDE SOLO LIGHT (61) and
MODE (63) for more information.
55. POWER LED
This LED glows when the POWER (20)
switch is turned on.
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.
23
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SUBGROUPS: (56 through 60)
56. AIR
LAMP
U
U
U
AIR is a high frequency peaking EQ cen-
tered at 16kHz. Turned fully up, these controls
provide 10dB of boost and fully down effec-
tively bypasses the circuit. Use AIR to provide a
crystalline effect to subgroups, helping them
stand out in the overall mix.
CLIP
28
1
2
3
4
5
6
1
2
3
4
1
2
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
10
7
O O +15
U
O O +20
U
O O +15
U
4
2
O O +15
U
O O +20
U
O O +15
0
TO AUX
SEND
2
-
1 2
4
(EFX TO MONITOR)
+15
+10
O O +15
U
O O +20
U
7
U
10
20
30
40
+5
AIR
0
O O +15
U
O O +20
O O +20
–5
TAPE
–10
–15
RETURN
LEVEL SET
LEFT
RIGHT
20Hz
100Hz
1kHz
10kHz
100kHz
ASSIGN
TO SUB
OPERATING LEVEL
0dB = 0dBu
O O +15
U
GLOBAL
AUX RETURN
-
1 2
-
3 4
57. SOLO
SUB
SOLO
O O +15
RUDE
SOLO
LIGHT
POWER
Engaging this switch isolates the associated
signal and sends it to the control room, phones
and meters. See RUDE SOLO LIGHT (61) and
MODE (63) for more information.
AUX SEND
MASTERS
STEREO
AUX RETURNS
U
MODE
TRACK
TRACK
TRACK
TRACK
1
•
5
2
•
6
3
•
7
4
•
8
O O +15
LEVEL
PRE FADER
IN PLACE AFL
Note: To solo a subgroup in AFL mode, L/R
ASSIGN (59) must be engaged.
SOLO
AUX SUB
MAIN MIX
5
5
5
5
58. PAN
When a mono subgroup signal is assigned to
the main mix via L/R ASSIGN (59), it effec-
tively becomes another channel signal and can
be panned from left to right. This knob then
adjusts the amount of signal sent, left versus
right, to the MAIN OUTS (12) (16).
O O MAX
LEVEL
0
+10
AIR
0
+10
AIR
0
+10
AIR
0
+10
AIR
16kHz
16kHz
SOLO
16kHz
SOLO
16kHz
SOLO
SOLO
-
AUX 1 2
TALKBACK
The mixer’s pan circuits employ a design
called “constant loudness.” As the knob is ro-
tated from left to center to right, the sound will
remain 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.
TAPE RETURN
O O MAX
L
R
L
R
L
R
L
R
TO PHONES / C R
-
PHONES / C R
PAN
PAN
PAN
PAN
LEVEL
L/R ASSIGN
L/R ASSIGN
L/R ASSIGN
L/R ASSIGN
MAIN MIX
SUB
SUB
SUB
SUB
TAPE RETURN
TO MAIN MIX
LEFT/RIGHT
1
2
3
4
dB
10
dB
10
dB
10
dB
10
dB
10
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.
5
U
5
5
U
5
5
5
U
5
5
U
5
U
5
10
10
10
10
10
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.
20
30
20
30
20
30
20
30
20
30
40
50
40
50
40
50
60
40
50
40
50
60
60
60
60
O
O
O
O
For multi-track recording, subgroups can be
used to route groups of channels to specific
tracks of a multi-track recorder via the SUB
OUTS (8). In this case, L/R ASSIGN should not
be used.
24
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60. SUBGROUP FADERS
64. AUX LED
These faders provide 10dB 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 subgroup’s signal, affecting
both the SUB OUTS (8) and the main mix, via
L/R ASSIGN (59).
Along with the RUDE SOLO LIGHT (61),
this LED blinks when any aux send master
SOLO (47) or the global aux return SOLO (52)
is engaged.
65. SUB LED
Along with the RUDE SOLO LIGHT (61),
this LED blinks when any subgroup SOLO (57)
is engaged.
SOLO: (61 through 65)
61. RUDE SOLO LIGHT
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.
Engaging any SOLO switch (39),(47),(52)
or (57) has this result: The CONTROL ROOM
OUT (11), PHONES (18) and METERS (54),
which ordinarily receive the main mix signals,
will instead receive the solo signal. The MAIN
OUTS (12) (16) and MONO MAIN OUT (14)
are not affected by a solo condition.
Additionally, an LED associated with the
solo switch and the RUDE SOLO LIGHT will
blink obnoxiously.
67. MAIN MIX
The solo signal will be mono in PFL or ste-
reo in AFL, as determined via the MODE (63)
Engaging this switch sends the talkback sig-
nal to the main mix, allowing the user to speak
switch. Any number of solo switches may be si- to the audience (live sound), or to slate a
multaneously engaged.
song’s start (studio recording).
To prevent the possibility of feedback, en-
gaging this switch will attenuate control room
output levels by 20dB.
62. LEVEL
This is the master level control for all solo
signals, regardless of MODE (63). 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).
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.
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).
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
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.
Ordinarily, the main mix (or solo) stereo
signal is sent to the control room and phones.
Engaging this switch will replace that with ste-
reo signal from the TAPE IN (6) jacks, via the
TAPE RETURN (53) level control.
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.
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
In AFL mode, the solo signal is tapped after playback or input mode.
a circuit’s associated controls (trim, EQ, pan,
fader, mute, etc.). It’s the equivalent of muting
all the other channels. AFL is popular for stu-
dio recording applications; providing the actual
outputs of individual or multiple channels.
25
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70. PHONES/C-R LEVEL
LAMP
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).
U
U
U
CLIP
28
1
2
3
4
5
6
1
2
3
4
1
2
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
10
7
O O +15
U
O O +20
U
O O +15
U
4
This knob allows engineer’s listening levels
to be set as desired without disturbing the
main mix outputs. Engaging TAPE RETURN
TO PHONES/C-R (69) or TAPE RETURN TO
MAIN MIX (71) will replace the main mix sig-
nal at the control room and phones outputs
with the TAPE IN (6) signal.
2
O O +15
U
O O +20
U
O O +15
0
TO AUX
SEND
2
-
1 2
4
(EFX TO MONITOR)
O O +15
U
O O +20
U
7
U
10
20
30
40
O O +15
U
O O +20
O O +20
TAPE
RETURN
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.
LEVEL SET
LEFT
RIGHT
ASSIGN
TO SUB
OPERATING LEVEL
0dB = 0dBu
O O +15
U
GLOBAL
AUX RETURN
-
1 2
-
3 4
SUB
SOLO
O O +15
RUDE
SOLO
LIGHT
POWER
To prevent the possibility of feedback, en-
gaging either talkback switch (67) (68) will
attenuate control room output levels by 20dB.
AUX SEND
MASTERS
STEREO
AUX RETURNS
U
MODE
TRACK
TRACK
TRACK
TRACK
71. TAPE RETURN TO MAIN MIX
1
•
2
•
3
•
4
•
O O +15
LEVEL
PRE FADER
IN PLACE AFL
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.
5
6
7
8
SOLO
AUX SUB
MAIN MIX
5
5
5
5
O O MAX
LEVEL
0
+10
AIR
0
+10
AIR
0
+10
AIR
0
+10
AIR
16kHz
16kHz
SOLO
16kHz
SOLO
16kHz
SOLO
SOLO
-
AUX 1 2
Also known as a “break switch,” this switch
is useful for live sound, to play recorded enter-
tainment between sets. It can also serve as a
global mute switch simply by patching nothing
into the TAPE IN (6) jacks.
TALKBACK
TAPE RETURN
O O MAX
L
R
L
R
L
R
L
R
TO PHONES / C R
-
PHONES / C R
PAN
PAN
PAN
PAN
LEVEL
L/R ASSIGN
L/R ASSIGN
L/R ASSIGN
L/R ASSIGN
72. MAIN MIX FADER
MAIN MIX
SUB
SUB
SUB
SUB
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).
TAPE RETURN
TO MAIN MIX
LEFT/RIGHT
1
2
3
4
dB
10
dB
10
dB
10
dB
10
dB
10
5
U
5
5
U
5
5
5
U
5
5
U
5
U
5
10
10
10
10
10
The fader turned fully up provides 10 dB of
additional gain, the “U” label is unity gain and
fully down is effectively muted. Typically, this
fader is set near the “U” label and left alone,
but it can be used for song fade-outs or quick
system-wide mutes.
20
30
20
30
20
30
20
30
20
30
40
50
40
50
40
50
60
40
50
40
50
60
60
60
60
O
O
O
O
26
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SPECIFICATIONS
24•4-VLZ PRO and 32•4-VLZ 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
Master fader @ unity, Ch. gains down
Master fader @ unity, Ch. gains @ unity
Impedances
Mic preamp input
All other inputs
All outputs
1.5kΩ
>10kΩ
120Ω
–94.7dBu
–87.4dBu
–83.5dBu
Equalization
Lo EQ Shelving 80Hz
Mid EQ(mono ch)Peak 100–8kHz
Hi EQ Shelving 12kHz
±15dB
±15dB
±15dB
Total Harmonic Distortion
(1KHz @ +14dBu 20Hz–20kHz):
Mic input to insert output
Other outputs
<0.0007%
< 0.004%
Microphone Preamp
E.I.N. (150Ω terminated, max gain):
–129.5dBm
Crosstalk (1kHz @ 0dBu, 20Hz to 20Khz bandwidth,
channel in to Main Left outputs):
Power Requirements
60 watts
Channel fader down, channels at Unity
–89.5dB
–88.7dB
Channel muted, channels 2–16 at Unity
Weight
Frequency Response (any input to any output):
24•4-VLZ PRO
32•4-VLZ PRO
31 lbs. (14 kg.)
40.7 lbs. (18.8 kg.)
20Hz to 50KHz
+0/–1dB
20Hz to 100KHz
+0/–3dB
Since we are always striving to make our
products better by incorporating new and im-
proved materials, components, and
manufacturing methods, we reserve the right
to change these and other specifications at
any time without notice.
Maximum Levels
Mic preamp input
All other inputs
Balanced XLR outputs
All other outputs
+22dBu
+22dBu
+28dBu
+22dBu
18.90"
2.80"
5.60"
2.80"
1.30"
1.80"
0.50"
19.20"
31.00"
24•4
WEIGHT
31 lbs.
39.25"
32•4
WEIGHT
41 lbs.
27
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BLOCK DIAGRAM
L O G I C
P F L
S O L O R
S O L O L
A U X 6
A U X 5
A U X 4
A U X 3
A U X 2
A U X 1
R M I X
L M I X
S U B 4
S U B 3
S U B 2
S U B 1
28
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GAIN PATH DIAGRAM
— (all levels in dBu)
0
0
0
0
0
0
0
– 6
0
– 6
0
0
– 6
0
( B )
0
0
0
0
( C )
( A )
0
0
0
0
0
0
0
29
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SERVICE INFORMATION
TROUBLESHOOTING
Power
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:
•
Our favorite question: Is the POWER (20)
switch on?
•
Turn off the power from the wall, unplug
the power cord and check the fuse (22).
No channel signal
•
Is the 1-2 & 3-4 (40) or L-R (41) switch set
correctly?
•
•
Is the CHANNEL FADER (42) turned up?
Try soloing that channel. Does it appear on
the METERS (54)?
•
•
On mono channels, try unplugging any
INSERT (3) effects devices.
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?
Are the MAIN MIX FADER (72) or SUB-
GROUP FADERs (60) turned up?
Try unplugging any insert (7) (13) effects
devices.
If it’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.
•
If it’s one bad side of a stereo pair, try
switching them around. For example, if a
left output is presumed dead, switch the
left and right cords, at the mixer end. If the
problem stays on the left side, it’s not the
mixer.
Noise
•
Turn the CHANNEL FADERs (42) and
STEREO AUX RETURNS (48) down, one
by one. If the sound disappears, it’s either
that channel or whatever is plugged into it,
so unplug whatever that is. If the noise
disappears, it’s from your whatever.
30
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REPAIR
Service for the 24•4-VLZ PRO and the
9. Ask Tech Support for the latest turn-
around times when you call for your RA
number. We normally send everything back
prepaid using UPS Orange (Three Day).
However, if you rush your mixer to us by
Next Day Air, we’ll treat it in kind by
shipping it back to you UPS RED (Next Day
Air). This paragraph does not necessarily
apply to non-warranty service.
32•4-VLZ PRO is available at our factory, lo-
cated in sunny Woodinville, Washington.
Service for Mackie mixers living outside the
United States can be obtained through local
dealers or distributors.
If your mixer needs service, follow these in-
structions:
1. Review the preceding troubleshooting
suggestions. Please.
COLOPHON
2. Call Tech Support at 1-800-258-6883, 8am
to 5pm PST, to explain the problem and
request an RA (Return Authorization)
number. Have your mixer’s serial number
ready.
Manual composed, for the most part, by Jeff
Gilbert. It was created in complete darkness,
which gave him a whopping headache. He
then read it over the telephone to Mackie’s
manual layout droid, the Steve Eborall 3000
Mk IIa, Rev B.
You must have an RA
number before you can
obtain service at the
factory.
“Mackie,” the “Running Man” figure, “XDR,”
“24•4-VLZ PRO” and “32•4-VLZ PRO” are
trademarks or registered trademarks of
Mackie Designs Inc. All other brand names
mentioned are trademarks or registered trade-
marks of their respective holders, and are
hereby acknowledged.
3. Keep this owner’s manual. We don’t need it
to repair the mixer.
4. Very Important: Move all Faders to their
UP position as this will help prevent
damage to the faders during shipping.
© 2000 Mackie Designs Inc.
All Rights Reserved.
Printed in the U.S.A.
5. Pack the 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 is not
responsible for any damage that occurs
due to non-factory packaging.
6. Include a 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.
8. Ship the mixer to us. We recommend
United Parcel Service (UPS). We suggest
insurance for all forms of cartage. Ship to
this address:
Mackie Designs
SERVICE DEPARTMENT
16140 Wood-Red Rd. NE Ste 5
Woodinville, WA 98072
31
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