4-Channel DJ Production Console with FireWire
O W N E R ’ S M A N U A L
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Contents
HOOKUP DIAGRAMS............................................... 6
Need help with your new d.4 Pro DJ Mixer?
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Part No. SW0503 Rev. B 08/07
©2007 LOUD Technologies Inc. All Rights Reserved.
No electrons were harmed during the manufacture of this PDF document.
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•
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Mackie phono preamplifiers on each channel.
Introduction
XLR main outputs with mic/line switch. (The
mic position allows stage connections to snakes
with no D.I. boxes required.)
Thank you for choosing a Mackie d.4 Pro mixer. It
contains all of your favorite features in a DJ mixer, along
with an internal FireWire interface, and other signifi-
cant extras that you will come to appreciate.
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RCA main outs with live/record switch. (The
record position delivers a pre-fader main out.)
User-replaceable optical crossfader from
Infinium, with adjustable tension and contour.
The d.4 Pro is a four-program channel, dual mic
channel, DJ mixer with effects filters and an internal
FireWire interface. It is designed for house/club use, as
well as remix applications. By offering Mackie sound
quality, durability, and wonderful features, the d.4 Pro
is perfect for DJs who run complicated, high-end setups
and want the best.
Ultra bright main meters plus individual pro-
gram meters for cueing and beat matching.
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Advanced cueing with split cue function.
Booth output with level control, mono/stereo
switch, and balanced TRS connectors.
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Zone output with level control and balanced
TRS connectors.
FEATURES
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4 stereo program channels, each with a choice
of CD, line/phono, and FireWire inputs.
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Stereo aux loop with wet/dry control on each
channel for maximum flexibility.
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Built-in FireWire 14x8 interface provides easy
input from your computer to the program chan-
nels, and easy outputs to the computer from:
program channels (direct and post-EQ), mic,
aux bus and the main mix. It has 24-bit resolu-
tion, and 44.1, 48, 88.2, or 96 kHz sample rates.
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Mighty strong construction to withstand the
rigors of DJ work.
“Planet Earth” power-supply operates on volt-
ages between 100 and 240 VAC.
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Standard IEC power receptacle and power cord.
Optional rack mounting kit available.
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Sends MIDI continuous controller and note-on
messages to your computer from the crossfader.
Includes Tracktion, our professional, easy-to-
use, totally-amazing music production software.
Certified for use with Tracktor® Scratch
DJ production software for live scratching.
Two built-in effects filters are provided with
variable frequency, variable resonance and a
selection of HPF, LPF or BPF types.
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3-Band EQ on each channel, with kill position
and backlit blue knobs.
HOW TO USE THIS MANUAL
Premium VCA-based design offers extremely
smooth fades and crossfades with very low
distortion characteristics.
Read the safety instructions on page 2 first. Page 5
will help you get the mixer set up fast so you can start
using it right away. After that are some diagrams show-
ing some typical hookup goodness.
•
Two Mackie Onyx mic preamps, each with low-
noise, high-headroom, a 3-band EQ, main and
aux level controls, signal, and overload LEDs.
Each has a 3-position activation switch with
latching on and off, and a momentary talkover
with 14 dB of ducking for announcements.
The features section describes every knob, button,
and connection point on the d.4 Pro, roughly following
the signal flow through the mixer from top to bottom.
For more information about a feature, locate its number
in the appropriate illustration, and find it in the nearby
paragraphs.
Please write your serial number here for future
reference (i.e., insurance claims, tech support,
return authorization, etc.)
This icon marks information that is critically
important or unique to the d.4 Pro. For your
own good, read them and remember them.
This icon leads you to in-depth explanations
of features and practical tips. They usually
have some valuable nuggets of information.
Purchased at:
Appendix A shows service and repair information.
Appendix B is a section on audio connectors.
Appendix C shows the specs and a block diagram.
Appendix D shows how to replace the crossfader.
Appendix E shows FireWire details.
Date of purchase:
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Set the Levels
Getting Started
To set the level controls, it’s not even necessary to
hear what you’re doing at the outputs of the mixer. To
listen while you work, plug headphones into the front
panel headphone jack, press the program’s cue button,
and set the phones level knob up just a little.
READ THIS PAGE!!
Please read and digest the safety
instructions on page 2, and this page
before you begin using the d.4 Pro
mixer.
1. Select the input using the program source switch.
2. Play something into the selected input, at the nor-
mal source volume.
Zero the Controls
3. With the program fader down, there will be no
output, but the program meter will still work.
1. Turn the rear panel power switch off.
4. Adjust the channel’s rotary level control so that the
LEDs on the program meter stay around “0” and +6,
and never go higher.
2. Turn down the level and aux controls for mic, pro-
gram 1, 2, 3 and 4, and center all EQ controls.
3. Set all push button switches to their “out” positions.
5. Apply some EQ if needed, (return to step 4 if you
do, just to check the levels are still OK).
4. Set the mic assign switches to off, and program as-
sign knobs to off.
6. Repeat for the other channels.
5. Turn down the level rotary knobs for main, booth,
zone, and phones.
Set the Mic Levels
6. Set the program faders fully down.
7. Center the crossfader.
1. To level the microphone input, keep the mic assign
switch off, and sing at your highest expected level.
2. Adjust the mic level until the OL LED above it only
comes on occasionally.
Connections
If you already know how you want to connect the d.4
Pro, go ahead and connect the inputs and outputs up. If
you just want to quickly get sound through the d.4 Pro
mixer and try it out, follow these steps:
Instant Mixing
1. To get sound out of the speakers, set the program
assign knob to main, turn up the program fader, and
slowly rotate the main level control to a comfortable
listening level.
1. Plug a signal source to the d.4 Pro. This could be a:
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Microphone into a mic input
Turntable with phono-level output into a phono
input (rear line/phono switch in)
2. Sing and play. You’re a star!
3. With other channels in use, you can assign one to A,
one to B, and play with the crossfader.
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Line-level source such as a CD player into the
phono input (rear line/phono switch out)
4. You can also add filter X or Y to each program chan-
nel, and adjust the filter parameters.
Line-level source such as a CD player into a CD
input.
2. Connect cords from the d.4 Pro’s main outs (XLR or
RCA connectors on the rear panel) to your powered
speakers or amplifier.
FireWire
1. See Appendix E, page 26 for exciting details of get-
ting started with FireWire.
3. Plug in the detachable linecord, connect it to a live
AC outlet, and turn on the d.4 Pro’s power switch.
4. If you have powered speakers, turn them on. Other-
wise, hook up your speakers to the amp and turn it
on. Adjust your powered speaker or amplifier level
controls to however the manufacturer recommends.
(This is usually all the way up.)
Other Nuggets of Wisdom
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Always turn down the main, booth, zone, and phone
level knobs before making connections.
•
When you shut down your equipment, turn off the
amplifiers first. When powering up, turn on the
amplifiers last.
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Hookup Diagrams
SRM450
SRM450
Powered Speaker
Main Right
Powered Speaker
Main Left
SWA1501
SWA1501
Powered Subwoofer
Powered Subwoofer
Microphones
Pro CD Player
Plug into
front panel
headphone jack
Headphones
Effects Processor
Laptop Computer
This diagram shows a CD player and microphones connected, with an effects device in the aux loop,
and a laptop attached. Various popular DJ software such as Traktor™, PCDJ™, and MixVibes™, can be
used with the d.4 Pro via the FireWire connection. The main mix can also be recorded with software such
as Tracktion.
Mobile DJ System: Rental, or Wedding
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Turntable with phono-level output
Using the program source switch, each
program can quickly select from three
different inputs without repatching:
• FireWire
• Line or Phono (set Line/Phono switch)
• CD Player (or other line-level)
Plug into
ground wire
front panel
headphone jack
Headphones
CD/DVD Player
Laptop Computer
Example of connecting more than one source to each program channel
Plug into
front panel
headphone jack
Studio
Mic
Headphones
ground wires
Laptop Computer
Turntables with phono-level outputs
The output from various software, such as Reason™, Live™, Tracktion™, and Logic™ can be sent to
the program channels for mixing, and the final mix recorded for broadcast/podcasting. This is also a
nice setup for recording your record collection for posterity. You could also play timecode vinyl and set
up a virtual turntable on the laptop. In this way, you can use the physical turntable to control any musical
tracks added to the virtual turntable.
Radio Show Recording/Podcasting
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HR824 Powered
Studio Monitors
Turntable (PGM4)
with phono-level
output
CD Recorder
CD Turntable
(PGM 3)
Microphones
to headphone jack
HM-54
Headphone amp
USB Keyboard
Controller
Effects Processor
Laptop
Keyboard (PGM1)
Drum
Machine
(PGM2)
This diagram shows a keyboard, drum machine, turntable and CD turntable, with two microphones.
A USB keyboard controller is also attached directly to the computer. The FireWire output from various
software, such as Reason™, Abelton Live™, Tracktor™, Tracktion™, and Logic™ can be sent to the four
program channels for mixing. An effects processor is also shown in the aux loop.
Producer’s Dream System
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SA1532z
SA1532z
Powered Speaker
Main Right
Powered Speaker
Main Left
SWA1801z
SWA1801z
Powered
Powered
Subwoofers
Subwoofers
CD Turntable (PGM 4) CD Turntable (PGM 3)
Microphones
Plug into
front panel
headphone jack
Headphones
in
out
Effects Processor
Laptop Computer
SRM450
Powered Speakers
Turntables with phono-level outputs
This diagram shows 4 sources hooked up to 4 channels, with an effects device in the aux loop, and a
laptop attached. Separate tracks can be recorded into Tracktion, of each stereo program channel and
the microphones, and even the effects channel. This gives multitrack recording of all the elements of the
performance, for remixing at a later time.
Ultimate Performance Rig
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Rear Panel Features
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9
5
1
1
4
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4. LINE/PHONO Inputs
1. MIC Inputs
These RCA jacks accept a stereo phono-level signal
from a turntable (line/phono [5] switch pushed in), or
from a line-level playback device such as a CD player or
MP3 player (line/phono switch out). Check that your
turntable has a phono-level output and a moving magnet
cartridge.
These Neutrik “combo” input connectors accept either
balanced male XLR connectors, or 1/4" TRS balanced
or TS unbalanced connectors. Use XLR connectors for
low-impedance microphones, and 1/4" connectors for
high-impedance microphones.
The microphone signals entering the d.4 Pro are in
for a special treat: the microphone preamplifiers are the
Mackie Onyx design, as used in our Onyx line of mixers.
5. LINE/PHONO
The microphone signals are routed through the mic
preamp, EQ section, level control, on/off/talk assign, and
then to the main mix bus. Mic signals can also be sent to
the aux bus for external processing, before returning to
the main mix bus.
If you connect a turntable with phono-level outputs
to the line/phono inputs [4], push this switch in to
select the phono-level input stage. It includes a nice
RIAA preamp for proper re-equalization of the incoming
phono signal.
If you connect a line-level playback device like a CD
or MP3 player, leave this switch out to select the line-
level preamp.
ꢀ. 48V PHANTOM POWER
If your microphone is a condenser design, it probably
requires phantom power to operate. Push in this switch
to supply 48 VDC to pins 2 and 3 of the XLR microphone
connectors (the 1/4" connectors are not affected).
Do not press this switch in if you have a line-
level signal connected.
ꢂ. PHONO GROUND TERMINAL
Dynamic microphones, like Shure’s SM57 and SM58,
do not require phantom power. However, phantom
power will not harm most dynamic microphones should
you accidentally plug one in while the phantom power
is turned on. Check your microphone’s user’s manual if
you are not sure whether your microphone needs phan-
tom power or not.
These terminals are provided to connect a ground
wire from your turntable(s) to the d.4 Pro.
Most turntables provide a ground wire to connect to
the preamp for the purpose of eliminating “hum” in the
audio signal. Simply turn the ground terminal on the
d.4 Pro counter-clockwise to loosen it, wrap the end of
the ground wire clockwise around the terminal, and
hand-tighten the ground terminal for a secure ground
connection.
ꢁ. CD Inputs
The bottom pair of RCA jacks accept a stereo line-lev-
el signal from a CD player or other line-level playback
device (such as an MP3 player).
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Use these to connect to a pair of powered monitors in
the booth (or to the inputs of an amplifier powering pas-
sive monitors). Use the booth level [52] control on the
top panel to adjust the level.
7. FW OUT
These switches affect how the program channels send
their discrete signals to the internal FireWire interface.
If you only have one monitor, just use one of the out-
puts and push in the booth stereo/mono [53] switch.
In the post-EQ position (out), the channel sends its
signal to the internal FireWire interface after it has
passed through the EQ section. Its level will be affected
by the settings of the channel source [30] selector,
input level [29], and EQ controls. Use this position to
record via FireWire from a channel, as you can adjust
the level and EQ for optimum recording.
11. ZONE Outputs
These 1/4" TRS jacks provide a balanced line-level
signal from the main mix bus, prior to the rotary main
level [55] control or pan [56]. Use these to connect to a
pair of powered monitors in a second zone. Use the zone
level [54] control to adjust the level.
In the line/phono position (in), the channel signal
to the FireWire card comes directly from the phono or
line input, whichever is selected by the line/phono [5]
switch. The FireWire signals are taken after the phono
preamplifier, but before the channel’s source selector,
input level controls, EQ, or channel fader [38]. FireWire
sends audio to your computer, independent of the posi-
tion of the program source switch. In this way, you are
not tying up extra channels; you can send a signal out to
your computer, process it with your software, and have it
come back in on the same channel as an ordinary input.
The zone and booth outputs are the same, except the
zone does not have a stereo/mono switch, and its level is
set by the zone level control.
1ꢀ. XLR MAIN OUTs
These male XLR connectors are the outputs of the
main mix. They provide a balanced microphone-level or
line-level signal from the main level [55] control. The
line/mic [13] switch determines if it is a mic-level or
line-level output. If they are set to line-level, connect
these to the balanced inputs of your active speakers, or
power amplifier(s) powering your main speakers. If they
are set to microphone-level, you can connect them to a
mixer’s microphone inputs.
Use the line/phono position if you are using
timecode vinyl (see page 27). You can then
set up a virtual turntable on your computer,
that is controlled by the actual turntable.
Drop any music tracks onto the virtual turntable and
scratch away like it was a record. The output can then
come back into the same program channel, and play in
the main mix.
If you are connecting the d.4 Pro main output to an
unbalanced input, use the RCA main outs [14] instead.
8. AUX SEND
Balanced connections offer better immunity
to external noise (specifically, hum and buzz)
than unbalanced connections. Because of
These 1/4" TRS jacks provide a balanced line-level
output signal from the stereo aux send bus. Typically,
you would use these outputs to connect to the inputs of
an external effects processor. You can also use an unbal-
anced 1/4" TS cable to make this connection.
this, it is the preferred interconnect method,
especially in cases where very long lengths of cable are
being used. A long unbalanced cable carries with it more
opportunity for noise to get into the system — having
balanced cables means very little noise will enter the
system. If you must use an unbalanced connection, keep
the cable length to 10 feet or less (3 meters).
9. AUX RETURN
These 1/4" TRS jacks accept a balanced line-level
signal from an external effects processor. They will also
accept an unbalanced 1/4" TS connector.
1ꢁ. LINE/MIC
If you are using a stereo effects processor, connect its
left and right outputs to the corresponding left and right
Aux return jacks. If it is a mono effects processor, con-
nect its output signal to the left aux return jack, and it
will appear on both the left and right main mix bus.
If you are connecting the XLR main outs [12] to line-
level inputs like a power amplifier’s inputs, leave this
switch out, in the line position.
If you are using the d.4 Pro as a submixer and con-
necting the XLR main outs to the mic inputs of another
mixer, push this switch in to the Mic position. This
reduces the output signal to a microphone level, and
allows you to connect the d.4 Pro output directly to a
snake and mixer without the need for direct boxes.
10. BOOTH Outputs
These 1/4" TRS jacks provide a balanced line-level
signal from the main mix bus, prior to the rotary main
level control [55] or pan [56].
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6
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14
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8
9
5
1
1
4
3
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The d.4 Pro has a universal power supply that accepts
any AC voltage from 100 VAC to 240 VAC. It will work vir-
tually anywhere in the world. It is less susceptible than
conventional power supplies to voltage sags or spikes,
providing greater electromagnetic isolation and better
protection against AC line noise.
14. RCA MAIN OUTS
These RCA connectors provide an unbalanced line-
level signal from the main mix, either pre- or post-main
level [55] control, depending on the setting of the
live/record [15] switch. You can connect these outputs
to a tape deck with RCA inputs, such as a standard con-
sumer deck, or to computer audio line-level inputs (if
you do not have a FireWire port on your computer).
18. FIREWIRE Connections
These identical FireWire connectors are used for
transferring digital audio to and from your laptop
computer or digital audio workstation. Use either one to
connect to your computer. The other one can be used to
connect other FireWire devices.
15. LIVE/RECORD
When this switch is out (live position), the RCA main
outs [14] provide the signal just after the main level
[55] control, so it essentially provides the same signal
as the XLR main outs [12], except it is an unbalanced
signal rather than a balanced one.
The internal FireWire interface provides a total of 14
audio outputs to your computer, including:
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Main mix outputs L/R
Aux sends L/R
Microphone output 1 and 2
Post-EQ (or line/phono) program 1 output L/R
Post-EQ (or line/phono) program 2 output L/R
Post-EQ (or line/phono) program 3 output L/R
Post-EQ (or line/phono) program 4 output L/R
When this switch is pushed in (record position), the
RCA main outs provide the signal just prior to the main
level control. This allows you to make a stereo record-
ing that is not affected by main level changes during a
performance.
1ꢂ. POWER
The block diagram on page 24 shows the points where
FireWire signals enter and leave the mixer.
When the power switch is turned on, power is sup-
plied to the d.4 Pro, and the EQ knobs will light up.
The main mix output signals are pre-main level [55],
so they are independent of any adjustments made to
the main level. This allows you to easily record your live
performance directly to your laptop.
As a general rule, turn on the d.4 Pro first (before
your amps), and turn it off last. This will reduce any
turn-on, or turn-off thumps.
The FireWire interface also lets you use your com-
puter to playback music through the d.4 Pro. It provides
a return for four stereo pairs:
17. POWER RECEPTACLE
This is a standard 3-prong IEC power connector.
Connect the detachable linecord (included in the box
with your d.4 Pro) to the power receptacle, and plug the
other end of the linecord into an AC outlet.
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•
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Program 1 input L/R
Program 2 input L/R
Program 3 input L/R
Program 4 input L/R
These program inputs can be selected using the
source select [30] switch on each program channel. See
page 26 for more FireWire details.
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ꢀꢀ. 48V LED
Top Panel Features
This LED illuminates when the rear panel 48V phan-
tom power [2] button is pressed in, and 48V phantom
power is applied to the mic XLR inputs.
21
22
20
19
ꢀꢁ. HIGH EQ
These knobs give your mic signals up to 15 dB of boost
and cut, at 12 kHz and above. At the center position
U (unity gain), there is no effect on the signal. (If all
three EQ controls are set to minimum, the mic signals
are attenuated –15 dB across the audio range.)
23
24
25
ꢀ4. MID EQ
These knobs give your mic signals up to 15 dB of boost
and cut, at 2.5 kHz, with no effect at position U.
26
27
28
ꢀ5. LOW EQ
These knobs give your mic signals up to 15 dB of boost
and cut, at 80 Hz and below, with no effect at position U.
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ꢀꢂ. AUX
These knobs allow you to adjust how much of the mi-
crophone signal goes onto the aux bus (wet), and how
much goes to the main mix (dry).
MIC Input Section
There are two completely independent microphone
preamplifiers, arranged in vertical columns. The left col-
umn controls mic input 1, and the right column controls
mic input 2. Each section contains a most wonderful
Mackie Onyx premium-quality microphone preamplifier.
Wet: Mic signals only go onto the aux bus.
Dry: Mic signals only go onto the main mix bus.
Middle position: Mic signals are split evenly between
the aux and main mix.
19. LEVEL
“Wet” is a term used for signals that have passed
through an audio processor, such as an external
valvezilla-warmulator 2000. “Dry” is a term used for
signals thankfully not passed through such a processor.
So this control lets you finely adjust the amount of vocal
loveliness available for external processing, and how
much is available unprocessed for the main mix.
These knobs adjust the gain of the mic preamps for
any mics plugged into the mic [1] input jacks. The gain
is adjustable from 0 (unity gain) up to +60 dB of gain.
Adjust the knobs so that the loudest speaking or shout-
ing into the microphone just barely lights the OL LEDs
[21]. This gives the best signal-to-noise ratio for the
microphone preamp.
Note: Always set these controls to dry if you
do not want to add mics to the aux loop for ex-
ternal processing. Otherwise your mic signals
to the main mix will be attenuated.
ꢀ0. SIG LEDs
These LEDs act as signal present indicators. They
light when the microphone signals reach –20 dBu, to
give you a clue that the microphones are working.
This control does not affect the mic direct FireWire
outputs to your computer.
ꢀ7. MAIN
ꢀ1. OL LEDs
These knobs allow you to adjust how much of the mi-
crophone signal goes onto the main mix bus. It also af-
fects the mic signals reaching the aux bus and FireWire.
These light when the microphone signals reach 3 dB
below clipping. It’s okay if they blink occasionally, but
if they are blinking frequently or are lit continuously,
turn down the level [19] controls until they just blink
occasionally.
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Program Channel Section
ꢀ9. LEVEL
30
29
This knob adjusts the gain of the input signals
selected by the position of the source [30] switch. The
knob ranges from off, to +12 dB of gain at maximum.
Adjust this with your good eye on the program meter
[39], so the level is typically bouncing between the 0
and +6 LEDs.
31
ꢁ0. SOURCE
32
33
This switch selects one of three possible input sources
for each program channel:
•
FireWire: The signal coming in from your com-
puter via the internal FireWire interface.
34
35
•
Line/phono: The signal from a turntable or a
line-level playback device coming from phono
input [4]. (Depending on the setting of the
rear-panel line/phono [5] switch.)
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28
36
37
•
CD: The signal from a CD or any other line-level
device connected to the CD input [3].
You can have signals coming in on all three in-
puts, and quickly change between them using
this heavy duty switch. Although the d.4 Pro
is a four channel mixer, this three-position
source selector for each channel allows you to select up
to 12 different sources without repatching!
ꢁ1. HIGH EQ
This knob gives you up to 10 dB of boost at 4 kHz and
above, and turns off the signal at 4 kHz and above when
the knob is turned to the kill position. At the center
position U, there is no effect on the signal.
Note: When all three EQ knobs are turned to the kill
position, the signal is effectively muted and no signal
passes through to the output.
ꢀ8. MIC ASSIGN
ꢁꢀ. MID EQ
In the on position, the microphone signals are sent
to the main mix bus (equally left and right), without
affecting the level of your other program sources.
This knob gives you up to 10 dB of boost at 1 kHz, and
turns off the signal at 1 kHz when the knob is turned
to the kill position. At the center position, there is no
effect on the signal.
In the off position, the mic will not be heard.
In the spring-loaded, momentary talk position, each
program channel is reduced by 14 dB, so you can eas-
ily make your exciting mellow-toned announcements.
When released, the program channels return to their
original volume after a short delay..
ꢁꢁ. LOW EQ
This knob gives you up to 10 dB of boost at 300 Hz
and below, and turns off the signal at 300 Hz and below,
when the knob is turned to the kill position. At the cen-
ter position, there is no effect on the signal.
The mic output to FireWire is not affected by the posi-
tion of this switch.
14
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If you want the aux signals to be affected by
filters X and Y, as well as the external proces-
sor, then you could do the following:
ꢁ4. FILTER SELECT
This three-position switch allows you to pass the
program material through either of two filters before
reaching the main mix bus (not the aux bus.)
If a program is playing in program channel 1, you
could set its aux level to wet. The aux send [8] output
would feed your external processor. The output from
your processor could then return to the input jacks of
another program channel, such as program 2’s CD input
[3], set its aux to dry and assign filter X or Y to it. In
this way, your program 1 is then externally processed
and reappears into program 2 for the filtering and then
onto the main mix.
•
•
•
In the top position, the program passes through
filter X, whose parameters are adjustable using
the controls in the bottom left of the mixer.
In the middle position, the program is not sent
through a filter, just straight through the pro-
gram channel.
In the bottom position, the program passes
through filter Y, whose parameters are adjust-
able using the controls in the bottom right of
the mixer.
ꢁꢂ. CUE
Press this button in to route a copy of the program
channel (pre fader) to the cue bus, also known as the
PFL (pre-fader-listen) bus. You can then listen to the
program in your headphones, getting it ready before
increasing the program fader and assigning it to the
main mix.
As the filter X controls are located in the bottom left,
you could use it on programs assigned to the left (A)
side of the crossfader [43]. Similarly, you could use
filter Y on those assigned to the right (B) side. This is
just an idea, so try whatever works for you.
Filters X and Y wish to remain anonymous, and their
real names have been changed as part of the filter pro-
tection program.
The cue signals are post-EQ, but pre-fader [38], and
the program meter [39] shows the levels dancing along
happily.
Turn down the phones level [50] control
every time before cueing, or you may be in for
a loud and painful surprise. Check the pro-
gram meters, as these show the program level coming
your way.
ꢁ5. AUX
These knobs allow you to adjust how much of the
stereo program signal goes onto the aux bus (wet), and
how much goes to the main mix (dry).
In the wet position, the stereo program signals only go
onto the aux bus.
ꢁ7. ASSIGN
This four-position stereo rotary switch affects the
program in four popular ways:
In the dry position, the program signals only go onto
the main mix bus.
• A
In the middle position, the program signals are split
evenly between the aux and main mix.
Moving the crossfader [43] towards the left
will increase the level of any programs set to A.
(At the same time, decreasing the level of any
programs set to B.)
“Wet” is a term used for signals that have passed
through an external audio processor. “Dry” is a term
used for signals not passed through such a processor. So
this control lets you adjust the amount of program avail-
able for external processing, and how much is available
unprocessed for the main mix.
• B
Moving the crossfader towards the right will
increase the level of any programs set to B.
(At the same time, decreasing the level of any
programs set to A.)
The aux bus contains a mix of the aux signals of all
program and mic channels that have their aux controls
set to more than dry.
• Main
The program level is not affected by the cross-
fader.
The aux bus is then adjusted using the aux send [40]
control, and sent out to FireWire and the aux send [8]
TRS outputs, typically to an external effects processor.
• Off
The program channel is effectively muted, and
does not appear on the main mix.
The aux signals are affected by the settings of the
program source [30] switch, level [29], EQ [31, 32, 33],
program fader [38], and crossfader [43]. They are not
affected by filter X or Y.
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40
42
41
38
39
44
47
45
45
44
47
46
46
43
The program faders [38] and the crossfader
[43] control the signal levels as follows:
ꢁ9. PROGRAM LEVEL METERS
These meters have 12 LEDs, calibrated in dBu, rang-
ing from top to bottom: OL, 15, 10, 6, 3, 0, -2, -4, -7, -10,
-20, and -30
After the audio signals pass through the EQ
section they enter a pair of VCAs (voltage controlled
amplifiers). These control how much of the audio signal
is sent out into the filters (if selected) and then to the
main mix bus. The audio output level from the VCAs is
adjustable by a control voltage, and the assign switch
selects what will affect the control voltage:
They indicate the summed-mono signal strength of
the program signals, after the program input level [29]
control, and EQ, but not affected by the program fader
[38] or the crossfader [43].
•
If it is set to A or B, then the VCA control
voltage is set by the position of the crossfader
and the program fader.
Typically, you want to see these meters bouncing
between the “0” and the “+6” LEDs. It is okay if the OL
LED lights occasionally, but if it lights frequently or con-
tinuously, turn down the program level controls (or the
EQ) until the OL LED blinks occasionally or not at all.
•
If it is set to main, then only the program fader
has an effect.
•
•
If it is set to off, then the VCA output is muted.
Occasionally, the meters will start decoding
vinyl timecode messages from a small blue
methane DJ planet in Ursa Minor. This is
perfectly normal, do not be alarmed.
In addition, all program levels are attenuated
by 14 dB when a mic assign [28] switch is set to
“talk” to make a brief announcement.
ꢁ8. PROGRAM FADER
Aux, Crossfader, and Filter
Controls
This controls the volume of the program signal being
sent to the main mix bus.
These faders are designed to last the lifetime of the
d.4 Pro. No audio passes through these faders, rather,
they send a control voltage to a pair of VCAs that deter-
mine the gain of the signal. This is a very good thing, by
the way, as the audio will not be affected by any scratchy
electrical contacts.
40. AUX SEND
This knob controls the amount of signal being sent
to the aux send [8] outputs from the aux bus. Adjust
this knob to provide an appropriate input signal level to
your external effects processor (or whatever you have
connected to the aux sends). It ranges from off, to unity
gain at maximum.
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screw. Rotate the
screw clockwise
to tighten the ten-
sion, or counter-
clockwise to loosen.
41. AUX RETURN
This adjusts the processed signal level coming in from
your external effects processor via the aux return [9]
jacks. Use it to adjust the returned signal level going
onto the main mix bus.
5. Replace the fader cap, and you’re all done.
44. FILTER TYPE
4ꢀ. CROSSFADER CONTOUR
Each program has a filter [34] switch that allows you
to choose if the program goes through a filter (X or Y)
before the program is added to the main mix.
Use this to adjust how fast or slow the crossfader [43]
responds to movement.
In the slow position, the crossfader responds in a
linear fashion, increasing from A to B at the same rate
across its length of travel.
This 4-position rotary switch allows you to choose the
filter type, or bypass it:
•
•
•
•
HP (high-pass): Frequencies below the filter
frequency setting are attenuated.
In the fast position, the crossfader responds logarith-
mically, increasing from A to B very quickly, and then
changing very little for the remainder of the fader’s
travel.
BP (band-pass): Frequencies either side of the
filter frequency setting are attenuated.
LP (low-pass): Frequencies above the filter
frequency setting are attenuated.
In the fast position, crossfading occurs within
the first 5 mm of luxurious fader travel. This
is useful for cutting, where you can mix a
BYP (bypass): No filter is inserted into the
signal
scratch over existing program material. In
this style, you can keep the fader either at the complete
edge of the fader’s travel, or only a very small amount
from that, and a very steep fade slope is desired. Then
you can quickly “crab” the fader to cut the scratch signal
into the program signal.
45. FILTER RESONANCE
This control will boost the filter’s resonance to provide
up to 15 dB of boost at the filter frequency. The filter has
a gradually narrowing Q as resonance increases.
Adjust the control between the two extremes to get
the crossfader response that works best for your style.
4ꢂ. FILTER FREQUENCY
4ꢁ. CROSSFADER
This allows you to adjust the filter’s frequency, with a
range between 40 Hz and 16 kHz.
The signal level of programs assigned to A or B by
their program assign [37] switches will be affected by
the position of the crossfader.
For example, if you want a filter that drops off the
lows below 80 Hz, select the filter type to be high-pass,
and adjust the frequency to 80 Hz.
This crossfader is a high-quality infinium™ contact-
free optical digital fader, designed to last the lifetime of
the d.4 Pro with no degradation in quality.
You might find it fun to set the resonance, then rotate
the frequency while using the bump switch (see below)
to cut the filter in and out. The filter controls are posi-
tioned closely to allow this easy kind of DJ play.
The sensitivity of the travel can be adjusted using the
crossfader contour [42] control.
You can also adjust the tension of the crossfader
movement to suit your delicate taste, by following these
steps:
47. FILTER TOGGLE
This switch selects one of three possible positions:
On: The filter is engaged.
1. Turn off the AC power, and remove the AC
power cord.
Bypass: The filter is bypassed and has no effect on
the audio.
2. Move the crossfader all the way to the left.
3. Remove the fader cap (knob) by grasping it
firmly and pulling it straight up.
Bump: This spring-loaded momentary position
allows you to quickly engage or disengage the
filter.
4. Use a small slot-head screwdriver to turn the
screw located through the hole on the left
side of the crossfader slot. You might need a
flashlight to make sure you are lined up on the
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Output Control Section
48. PHONES SOURCE
This control only works if the split cue [49] switch is
in the up (off) position.
57
55
It provides the cued source in stereo when panned
hard left, and the main mix in stereo when panned to
the right. It provides a smooth crossfade throughout the
rotation of the control.
49. PHONES SPLIT CUE
56
53
When this is pressed in, you will hear the cue bus (in
mono) in the left headphone, and the main mix bus (in
mono) in the right headphone. (The source [48] knob
will then have no effect.)
54
52
This useful feature lets you quickly and simultane-
ously monitor in different ears what is happening in
your main mix and in your cued-up programs.
UE
CUE
Without the split cue, you will hear a stereo mix of the
cued programs and the main mix, in both ears.
50. PHONES LEVEL
50
48
This controls the output level of the headphone am-
plifier. The range of the knob is off to +12 dB.
WARNING: The headphone amp has enough
gain to drive any standard headphones to
49
a very loud level. We’re not kidding! It can
cause permanent hearing damage. Even intermediate
levels may be painfully loud with some headphones. BE
CAREFUL! Turn this all the way down before connect-
ing headphones, and before you press cue [36] on any
program, or make any connections. Keep it down until
you’ve put on the headphones.
51. PHONES JACK
This front-panel 1/4" TRS stereo jack is where you
plug in your stereo headphones.
51
The main headphone volume is controlled by the
phones level [50] control. The level is not affected by
the main level [55] or pan [56] controls. As mentioned
above, pressing split cue [49] gives the cue mix in one
ear, and the main mix in the other. The phones source
control [48] adjusts the cued source, or main mix to
play in your headphones.
The quality of sound reaching your ears is really up to
you. We hope that you enjoy the sounds coming out, and
that your audiences will appreciate your fine sense of
musical style, beat and rhythm.
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5ꢀ. BOOTH LEVEL
DJ STAR
This knob adjusts the output level at the booth out-
puts [10].
Press this imaginary button to link up directly to tech
support telepathically through your headphones.
5ꢁ. BOOTH STEREO/MONO
TAKE A BREAK
With this switch up, the booth [10] outputs provide a
stereo left and right output of the main mix.
It’s time for a nice cup of tea and a cheese sandwich.
You deserve it, as not many people read owner’s manuals
past page 3.
If you only have one booth monitor, push the switch in
to combine the left and right signals to mono.
The next few pages contain the following Appendices:
Appendix A shows service and repair information.
Appendix B is a section on audio connectors.
Appendix C shows the specs and a block diagram.
Appendix D shows how to replace the crossfader.
Appendix E shows FireWire details.
54. ZONE LEVEL
This knob adjusts the output level at the zone [11]
outputs.
55. MAIN LEVEL
This knob adjusts the main mix output level at the
main out XLRs [12].
It also adjusts the RCA main outs [14] but only when
the live/record [15] switch is out.
This control does not affect the main meters [57], or
the phones [51], booth [10], or zone [11] outputs, or
the FireWire outputs.
5ꢂ. PAN
This knob adjusts the stereo balance of the main mix
at the main out XLRs [12].
It also adjusts the RCA main outs [14] but only when
the live/record [15] switch is out.
This control does not affect the main meters [57], or
the phones [51], booth [10], or zone [11] outputs, or
FireWire outputs.
57. MAIN LEVEL METERS
These meters indicate the signal strength of the main
mix outputs before the main level or pan controls.
You want to see the signals bouncing between the “0”
and the “+6” LEDs. It is okay if the OL LEDs at the top
light occasionally, but if they light frequently or continu-
ously, turn down the program faders [38] until they
blink occasionally, or not at all.
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Appendix A: Service Information
•
Is the correct input chosen with the source [30]
switch, and is its program level [29] turned up far
enough?
Warranty Service
Details concerning Warranty Service are spelled out in
the Warranty section on page 31.
•
•
Try the same source signal in another channel, set
up exactly like the suspect channel.
If you think your d.4 Pro has a problem, please check
out the following troubleshooting tips and do your best
to confirm the problem. Visit the support section of our
lots of useful information such as FAQs, documentation,
and user forums. You may find the answer to the prob-
lem without having to send your d.4 Pro away.
Make sure the aux knob [35] is turned to fully dry
if you are not using an external processor.
Bad Output
•
•
Is the associated level control (if any) turned up?
Here are some things you can check:
If it’s one of the main outputs, try unplugging the
others. For example, if it’s the left XLR main out
[12], unplug the left RCA main out [14]. If the
problem goes away, it’s not the mixer.
Troubleshooting
•
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.
No Power
•
•
Our favorite question: Is it plugged in?
Make sure the power cord is securely seated in the
IEC socket [17] and plugged all the way into the
AC outlet.
Bad Sound
•
Is the input connector plugged completely into the
jack?
•
•
•
•
•
Make sure the AC outlet is live (check with a tester
or lamp).
•
Is it loud and distorted? Make sure the input level
[29] control is set correctly. Reduce the signal level
on the input source if possible.
Make sure the rear panel power switch [16] is in
the on position (up).
•
•
If possible, listen to the signal with headphones
plugged into the input source device. If it sounds
bad there, it’s not the d.4 Pro causing the problem.
Are the EQ controls on the front panel illuminated?
If not, make sure the AC outlet is live.
Are all the lights out in your town? If so, contact
your local power company to get power restored.
If you are using a turntable with a phono-level
output, and the sound is low and distorted, check
that the line/phono [5] switch is set to phono. Note
that the phono section requires your cartridge to be
a moving magnet type. It may be too low to amplify
the low levels of a moving coil type.
If no LEDs are illuminated, and you are certain that
the AC outlet is live, it will be necessary to have
your d.4 Pro serviced. There are no user serviceable
parts inside. Refer to “Repair” on the next page to
find out how to proceed.
Noise/Hum
Bad Channel
•
Turn down the aux return [41] knob. If the noise
•
Check the assign switch [37] is not in the off posi-
disappears, it’s coming from whatever is plugged
into the aux returns [9].
tion.
•
Check the channel’s program fader [38] is not fully
down.
•
•
Check that your turntable’s audio ground wire is
connected to the phono ground [6] terminals.
•
•
Are that channel’s EQ controls all turned down?
Turn down each channel, one by one. If the noise
disappears, it’s coming from whatever is plugged
into that channel. Check your whatever.
Is the signal source turned up? Make sure the
signal level from the selected input source is high
enough to light up some of the program meter [39]
LEDs.
•
Check the signal cables between the input sources
and the d.4 Pro. Disconnect them one by one. When
the noise goes away, you’ll know which input source
is causing the problem.
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•
It often helps to plug all the audio equipment
into the same AC circuit so they share a common
ground.
Repair
Service for Mackie products is available at a factory-
authorized service center. Service for Mackie products
living outside the United States can be obtained through
local dealers or distributors.
Recording to FireWire
•
If you are recording vinyl music to your computer,
and the level seems low, set the FW out switch
[7] in the out position, so the FireWire outputs
come after the level and EQ sections. This will give
you the chance to boost the levels with the level
controls [29]. Set the source select switch [30] to
line/phono, and the line/phono switch [5] to phono.
If your d.4 Pro needs service, follow these instruc-
tions:
1. Review the preceding troubleshooting sugges-
tions. Please.
2. Call Tech Support at 1-800-898-3211, 7 am to
5 pm PST, to explain the problem and request
a Service Request Number. Have your serial
number ready. You must have a Service Request
Number before you can obtain warranty service.
•
If you are using timecode vinyl or timecode CD,
then press in the FW out switch, so the Firewire
outputs come directly after the phono section. In
this way, you can have the timecode flowing to your
computer, and use the source selector switch to
play the computer output in that same program
channel.
3. Keep this owner’s manual and the detachable
linecord. We don’t need them to repair the
mixer.
4. Pack the mixer in its original package, includ-
ing endcaps and box. This is VERY IMPORTANT.
Mackie is not responsible for any damage that
occurs due to non-factory packaging.
5. Include a legible note stating your name,
shipping address (no P.O. boxes), daytime
phone number, Service Request Number, and a
detailed description of the problem, including
how we can duplicate it.
6. Write the Service Request Number in BIG
PRINT on top of the box. Units sent without the
SR number will be refused.
7. Tech Support will tell you where to ship the
d.4 Pro for repair. We suggest insurance for all
forms of cartage.
8. You will need to contact the authorized service
center for their latest turn-around times. The
unit must be packaged in its original packing
box, and must have the Service Request Num-
ber on the box. Once it’s repaired, the autho-
rized service center will ship it back by ground
shipping, pre-paid (if it was a warranty repair).
Note: Under the terms of the warranty, you must
ship or drop-off the unit to an authorized
service center. The return ground shipment
is covered for those units deemed by us to be
under warranty.
Note: You must have a sales receipt from an autho-
rized Mackie dealer for your unit to be consid-
ered for warranty repair.
ꢀ1
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Appendix B: Connections
XLR Connectors
1/4" TS Phone Plugs and Jacks
The d.4 Pro mic combo input accepts 3-pin male XLR
“TS” stands for Tip-Sleeve, the two connection points
phone jack or plug. They are
used for unbalanced signals.
connectors; the main outs accept 3-pin female XLR con- available on a mono 1/4
nectors. These are wired as follows, according to stan-
dards specified by the AES (Audio Engineering Society).
"
SLEEVE
SLEEVE
TIP
2
SHIELD
HOT
TIP
TIP
1
3
COLD
SLEEVE
SHIELD
1
1/4 TS Unbalanced Wiring:
Sleeve = Shield
Tip = Hot (+)
"
3
COLD
2
HOT
SHIELD
COLD
HOT
1
3
2
XLR Balanced Wiring:
Pin 1 = Shield
Pin 2 = Hot (+)
Pin 3 = Cold (–)
RCA Plugs and Jacks
RCA-type plugs (also known as phono plugs) and jacks
are often used in home stereo and video equipment and
in many other applications. They are unbalanced and
electrically equivalent to a 1/4 TS phone plug.
"
1/4" TRS Phone Plugs and Jacks
TIP
SLEEVE TIP SLEEVE
“TRS” stands for Tip-Ring-Sleeve, the three connection
points available on a stereo 1/4 or balanced phone
"
jack or plug. TRS jacks and plugs are used for balanced
signals and stereo headphones:
RCA Unbalanced Wiring:
Sleeve = Shield
Tip = Hot (+)
Balanced Mono
RING SLEEVE
TIP
SLEEVE RING TIP
RING
TIP
SLEEVE
1/4 TRS Balanced Mono Wiring:
"
Sleeve = Shield
Tip = Hot (+)
Ring = Cold (–)
Stereo Headphones
RING SLEEVE
TIP
SLEEVE RING TIP
RING
TIP
SLEEVE
1/4 TRS Stereo Unbalanced Wiring:
"
Sleeve = Shield
Tip = Left
Ring = Right
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Appendix C: Technical Info
Specifications
Frequency Response (ꢀ0 Hz to ꢀ0 kHz) :
Maximum Output Levels:
Mic input to any output:
Line/CD input to any output:
Phono input to any output:
+0/–0.5 dB
+0/–0.5 dB
0.5 dB RIAA EQ curve
XLR main, RCA main, booth, aux:
Phones:
+22.5 dBu
2.94 Vrms into 32Ω
(270 mW)
FireWire output channel 1 or 2 to the FireWire
Output Impedance:
input of the opposite channel:
+0/–1 dB
Main XLR/RCA output:
Booth output:
Aux send:
150 Ω
150 Ω
150 Ω
25 Ω
Distortion (THD+N):
Main output, 20 Hz to 20 kHz
Mic Input, –20 dBu in, +30 dB gain, +10 dBu out:
Better than 0.007%
Better than 0.025%
Phones:
Equalization
Mic channel
Low:
Mid:
High:
PGM channel
Low:
Mid:
Line/CD input at unity gain:
Phono input, –30 dBu in, 0 dBu out: Better than 0.025%
FireWire direct out, looped back to same
channel’s FireWire input, unity gain: Better than 0.030%
Phones output, 20 Hz to 20 kHz, 0 dBu input signal
15 dB @ 80 Hz
15 dB @ 2.5 kHz
15 dB @ 12 kHz
Line input @ 0 dB Gain:
Better than 0.040%
+10/–inf dB @ 300 Hz
+10/–inf dB @ 1 kHz
+10/–inf dB @ 4 kHz
Common Mode Rejection Ratio (CMRR):
Mic input, maximum gain, 1 kHz:
Better than 60 dB
High:
Crosstalk (1 kHz, ꢀ0 Hz to ꢀ0 kHz):
FireWire:
Signal placed on any channel with channel fader at minimum,
any other channel measured at main outs, channels at unity
Sample rates available:
44.1 kHz, 48 kHz,
88.2 kHz, and 96 kHz
Adjustable from 2 ms to
20 mS in steps of 1 ms
24-bit
gain:
Better than –75 dBu
Buffer Size:
Signal placed on any channel, out and in over FireWire, channel
fader at minimum, any other channel measured at main outs,
Resolution:
channels at unity gain:
Better than –80 dBu
VU Meters
12-segment pre-fader PGM meters
Noise Characteristics:
Equivalent Input Noise (E.I.N.), 20 Hz to 20 kHz, max gain:
Mic input, 150 Ω source: Better than –129.5 dBu
Phono input, 500 Ω/500 mH source: Better than 0.3 μV
Signal to Noise Ratio:
12-segment pre-fader main mix meters
OL (+20), +15, +10, +6, +3, 0, –2, –4, –7, –10, –20, –30
Mic input signal present LED (sensitivity):
–20 dBu
Main out at unity, 20 Hz to 20 kHz, ref +4 dBu,
all channel gain knobs at minimum: Better than –90 dB
Main out at unity, 20 Hz to 20 kHz, ref +4 dBu,
Mic input overload LED:
+18 dBu
AC Power Requirements:
Power Consumption:
Universal AC Power Supply: 100 VAC – 240 VAC, 50-60 Hz
40 watts
all channel gain knobs at unity:
Better than –87 dB
Main out at unity, 20 Hz to 20 kHz, ref +4 dBu, FireWire
inputs selected at all channels and at unity:
Better than –82 dB
Physical Dimensions and Weight:
Height: 14.77 in/375 mm (including knobs and connectors)
Width: 12.36 in/314 mm
Maximum Input Levels (rated at 1% THD):
Depth: 4.62 in/117 mm (including knobs and connectors)
Weight: 13.5 lb/6.1 kg
Mic input, preamp gain at minimum: +22.0 dBu
Line/CD inputs, preamp gain 0 dB:
Aux input:
+22.5 dBu
+22.5 dBu
Options:
Rack mounting kit
Phono input:
185 mV @ 1kHz
Input/Output Characteristics:
Input gain control range:
Mic input:
PGM input:
0 to +60 dB,
Off to +12 dB
Off to +12 dB
LOUD Technologies Inc. is always striving to improve our prod-
ucts by incorporating new and improved materials, components,
and manufacturing methods. Therefore, we reserve the right to
change these specifications at any time without notice.
“Mackie,” and the “Running Man” are registered trademarks of
LOUD Technologies Inc. All other brand names mentioned are
trademarks or registered trademarks of their respective hold-
ers, and are hereby acknowledged.
Aux return:
Output gain control range:
Main output:
Aux output:
Off to +12 dB
Off to +12 dB
Off to 0 dB
Booth output:
Input Impedance:
Mic input:
2.4 kΩ balanced
©2007 LOUD Technologies Inc. All Rights Reserved.
Line/CD input:
FX return:
Phono input:
20 kΩ balanced
20 kΩ balanced
47.5 kΩ shunted with
200 pF
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U X R A
U X L A
X U R A
X U L A
S U B T H G I R X I M X U A
S U B T F E L X I M X U A
R C U E
C
C
S U B T H G I R E U C
S U B T F E L E U C
L C U E
S U B T H G I R X I M N I A M
S U B T F E L X I M N I A M
R M A I N
R
L
M
M
M A I N
L
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d.4 Pro DJ Production Console
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Dimensions
Appendix D:
Crossfader
4.62 in/
117 mm
4.09 in/
104 mm
Replacement
The crossfader is designed to give you many years
of use, but in the event of a problem (or many years of
use) we have made it very easy to replace.
Tools and qualifications
To replace the crossfader, you will need a small
phillips screwdriver, nerves of steel, grit, determination,
and a steady hand. (This is not a good day to give up
coffee.)
14.77 in/
375 mm
CUE
CUE
CUE
CUE
14.09 in/
358 mm
Procedure
1. Turn off the d.4 Pro, and remove the power
cord, and any other cords or cables connected
to the d.4 Pro.
2. Gently place the d.4 Pro face upwards on a
flat, clean and dry surface, such as the kitchen
table.
12.36 in/
314 mm
3. Remove the crossfader knob, by gently pulling
it upwards. Keep it safe.
4. Take care to only remove the two outer screws
of the crossfader.
WEIGHT
13.5 lb
6.1 kg
5. Gently lift up the crossfader assembly, just
enough to be able to pull the connector out of
the receptacle on the bottom of the assembly.
6. Insert the connector into the receptacle on the
new crossfader assembly. (It will only fit in one
way.)
7. Secure the crossfader assembly to the chassis
with the two screws you lost in step 4.
8. Check that the crossfader is working normally.
9. You might have to reset the tension, as shown
on page 17.
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FireWire stream to computer
Appendix E: FireWire
The following table shows the outputs to your com-
puter from the FireWire interface inside the d.4 Pro:
System Requirements
These are the minimum requirements for your com-
puter system to use the d.4 Pro FireWire interface.
To Computer From
Input 1
Input 2
Input 3
Input 4
Input 5
Input 6
Input 7
Input 8
Input 9
Input 10
Input 11
Input 12
Input 13
Input 14
PGM 1 L (Line/Phono, or Post-EQ)
PGM 1 R (Line/Phono, or Post-EQ)
PGM 2 L (Line/Phono, or Post-EQ)
PGM 2 R (Line/Phono, or Post-EQ)
PGM 3 L (Line/Phono, or Post-EQ)
PGM 3 R (Line/Phono, or Post-EQ)
PGM 4 L (Line/Phono, or Post-EQ)
PGM 4 R (Line/Phono, or Post-EQ)
MIC 1
For the PC:
•
•
•
Windows XP (service pack 2)
Pentium 4 or Athlon XP processor
256 MB RAM
For the Mac:
•
•
•
OS X (10.3.9 or higher)
G4 processor
256 MB RAM
MIC 2
The internal FireWire interface will:
AUX Send L
•
•
Allow multiple streams of digital audio to be
sent bi-directionally between the d.4 Pro and a
Mac or PC computer.
AUX Send R
MAIN Out L
MAIN Out R
With all of the streaming choices available, it
is possible to make a true multitrack record-
ing of ALL the different inputs coming into the
mixer’s channels, as well as any audio coming
into either of the mic inputs, and keep all of it
separate for a later mixdown. In addition, with
the aux and main outputs also going to their
own tracks, you can have a completed main or
alternate mix go to the computer, ready for CD
burning or conversion to MP3s.
Each channel of analog audio from the d.4 Pro is
converted to digital signals by the FireWire interface’s
splendid A/D converters. (The block diagram on page 24
shows the location of the FireWire inputs and outputs.)
Program channel outputs
For the program channels, the point where the
FireWire is tapped off, varies with the position of the FW
out switch [7]. Refer to figure 1 opposite.
•
Send MIDI continuous controller and note-on
messages to the host computer from the cross-
fader.
If an FW out switch is in the post-EQ position (out),
the computer receives the stereo program pair, post-
EQ, and pre-fader. This is a good position to record your
vinyl onto the computer, as the levels and EQ can be
adjusted for optimal recording levels. The source switch
[30] affects what is playing the program channel and
the FireWire output.
If an FW out switch is in the line/phono position (in),
the computer receives the stereo program pair, pre-EQ,
and pre-fader, independent of the position of the pro-
gram source switch [30].
5
4
Figure 1 on the next page shows a partial block
diagram of the signal flow when the switches are set like
this:
7
•
•
•
FW Out set to line/phono
Line/Phono switch set to phono
Source Switch set to FireWire
With the switches set this way, the RIAA phono
preamplifier stage re-equalizes and boosts the phono-
level signals to line-level, and the routing through the
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FireWire to computer
FW OUT
CD
L
FW OUT
SWITCH
CUE
LINE/PHONO
R
LINE/PHONO SWITCH
(SET TO PHONO)
PGM1
LEVEL
Wet = 100% to Aux, 0% to Main Mix
Dry = 0% to Aux, 100% to Main Mix
LINE/PHONO
L
wet
L
PHONO
PREAMP
LO
MID
HI
VCA
dry
wet
dry
ON
OFF
R
FILTER X
R
PHONO
PREAMP
BP LP FREQ
OFF
Q
BUMP
3-BAND EQ
HP
FILT X
PGRM
FILT Y
FireWire Inputs
1
TURNTABLE WITH
PHONO-LEVEL
OUTPUT
SOURCE
SWITCH
(SET TO
PGM1
METER
2
ON
OFF
FIREWIRE)
BP LP FREQ
Q
BUMP
HP
OFF
FILTER Y
Figure 1: FireWire output to your computer from a turntable
switches takes it out via FireWire to your computer. You
can use the source switch to select FireWire or a CD to
play into this program channel without upsetting the
phono FireWire output (see dashed lines in figure 1).
This would be the way to play a timecode record. While
on the subject, I feel a paragraph or two coming on...
Timecode tracks are carefully laid down by talented
timecode musicians. They like nothing better than to
get together for impromptu all-night timecode
jam sessions, and tell stories of the
good old days before 33 1/3.
Much-respected in this field are
“The Timecode Cowboys,” whose lat-
est record “Like a Timecode Cowboy,”
is getting rave reviews.
Timecode Vinyl/ CD
Timecode vinyl is a conventional vinyl record that
plays timecode information, as do timecode CDs.
FireWire stream from computer
The phono output from your turntable is converted to
line-level by the d.4 Pro phono stage (see figure 1). This
analog audio output is converted to a digital stream by
the FireWire interface and sent to your computer.
The following table shows the outputs from your com-
puter to the d.4 Pro’s FireWire interface:
From
To
If you are playing a timecode CD on a CD deck, then
connect it to the line/phono inputs [4] and set the line/
phono switch [5] to line. (If it was connected to the CD
inputs [3], then the computer will not receive the direct
signals, but only those after the source selector, level
and EQ.)
Computer output 1
Computer output 2
Computer output 3
Computer output 4
Computer output 5
Computer output 6
Computer output 7
Computer output 8
Input to PGM 1 L
Input to PGM 1 R
Input to PGM 2 L
Input to PGM 2 R
Input to PGM 3 L
Input to PGM 3 R
Input to PGM 4 L
Input to PGM 4 R
Software provided by your timecode vinyl people takes
the digital stream and creates a virtual turntable on
your desktop. You can add any audio track to the virtual
turntable, and affect its output by scratching your physi-
cal turntable to your heart’s content. The timing of your
audio track is replaced by the timecode of your turn-
table. If the physical turntable slows down or reverses,
so does your audio track. Now you have control over any
audio source you care to play.
Each 2-channel stream from the computer enters the
mixer through the FireWire connector and is converted
to analog. Select FireWire as a program choice using the
desired channel’s source switch [30], the same way you
select a phono/line level, or CD player input.
You do not want the timecode audio to actually play
in your system. In figure 1, out it goes to the computer
without a care in the world. With the source selector
set to FireWire, you can now bring in the affected audio
from your virtual turntable, and play it through the
same program channel and onto the main mix bus (see
dashed lines in figure 1).
Beware of a possible feedback loop if you are
feeding the d.4 Pro main mix back into an
input that is assigned to the main mix.
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MIDI notes
Software installation
The d.4 Pro will show up on a Mac or PC as a 1 input,
0 output MIDI interface named “D.Pro Mixer.” On a PC,
the 0x1 MIDI interface shows up in all MIDI compatible
applications. On a Mac, the 0x1 interface will show up
in all compatible applications, and be visible in the
Audio MIDI setup utility.
For the PC:
When using the d.4 Pro with a PC, it is necessary to
first install the drivers and the control panel. The con-
trol panel allows you to set the sample rate and adjust
the latency (delay) of the audio passing through the d.4
Pro FireWire interface.
The single MIDI input will present, to any MIDI com-
patible application, the following MIDI messages:
•
A controller message, tied to the crossfader,
with a value of 0 at hard left, 127 at hard right,
with in-between values equally spread out
across the crossfader’s travel. This allows you to
use the crossfader as a performance controller
with all sorts of audio software.
Do not connect the d.4 Pro FireWire con-
nector to your computer just yet. We’ll tell
you when it’s time to do that.
To install the software on a PC running
Windows XP (SPꢀ):
•
A separate, unique MIDI note-on message for
each program fader that is assigned to the
crossfader. The note-on message will be gener-
ated when the crossfader is moved even slightly
from the side to which the program channel is
assigned. This will allow you to trigger sound
effects or musical passages from audio software
that can respond to MIDI note-on messages.
Similarly, the note-off message is generated
when the crossfader reaches the end of its
travel at the side where it is assigned. Each pro-
gram channel is assigned a note number that
accompanies the note-on and note-off messag-
es. 0 is presented for channel 1, 1 for channel 2,
2 for channel 3, and 3 for channel 4.
1. Turn off any (non-essential) applications.
2. Insert the d.4 Pro CD-ROM into your PC’s CD-
ROM drive.
3. The CD begins automatically, bringing up the
d.Pro installer. If it doesn’t, click Start in the
task bar, then click Run and click Browse.
Browse to your CD drive and double-click
d.Pro_SETUP.EXE. Then click OK to start the
installation.
4. The d.Pro Installer opens. Click “Continue.”
Action
Status
Data 1
Data 2
Crossfader Value: 176
Value: 4
Value: 0 to 127
Crossfader
position
Control Change Foot
Channel 1
Controller position
Note on/
Note off
for PGM
channels
assigned
to the
Value: 144
Note on, Ch 1
Value: 0, 1, Value: 0 to 127
2, or 3
PGM Ch
Note on: 127
Note off: 0
number
5. Next you will see the License Agreement. Read
through the text and if you are all in favor, click
“I Agree.”
PGM ch 1: 0
PGM ch 2: 1
PGM ch 3: 2
PGM ch 4: 3
crossfader
(A or B)
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6. The next window reminds you to make sure the
d.4 Pro is NOT connected to your computer yet.
Read the instructions and click “Continue.”
9. Wait until the “Found New Hardware Wizard”
pops up. Do not select any options, just click
“Cancel” to continue. If the same screen comes
back up, click “Cancel” again.
7. You may get a warning about running the
installer because it hasn’t passed Windows
Logo testing. It’s okay. We’ve tested it and it is
compatible with Windows XP. Click “Continue
Anyway.”
10. You will get another impertinent warning, this
time about installing the hardware. It’s okay.
Click “Continue Anyway.”
11. The d.Pro drivers and control panel will be
installed on your computer.
8. Now it is time to connect your d.4 Pro FireWire
connection to your computer. Follow the in-
structions and then click “Next.”
12. When the installation is complete, a window
will pop up to let you know that the installation
was successful. Click “Finish” to er...well finish.
Now you are ready to use the
FireWire capabilities of your d.4 Pro.
The installer also places a shortcut
to the d.Pro Console on your desktop
(see next page).
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Console (PC only)
For the Mac:
You can use the Console to change the sample rate
and latency for your d.Pro.
Macintosh OS X Audio MIDI Setup (ver-
sion 10.ꢁ.9 or later):
The sample rate and latency value (also known as
buffer size) may also be set in your DJ performance
software application’s “Settings” window. Make sure the
same value appears in both places.
Macintosh OS X does not require FireWire drivers
to be installed. OS X provides a dedicated setup utility
for audio and MIDI. You can use the Audio MIDI Setup
utility to change the default audio input and output and
general system settings on your Macintosh.
1. Go to the Applications folder and open the
Utilities folder.
2. Double-click “Audio MIDI Setup.”
For timecode vinyl/CD work, the latency typi-
cally needs to be set between 4 mS and 15 mS.
3. Click the Audio Devices tab, and select Mackie
d.Pro in the “Properties For” drop-down box.
4. Here you can see the settings for the Mackie
d.Pro. You can also choose to use the d.Pro as
your default input or output, as well as desig-
nate it to be used for system sound output.
5. You’re ready to go with any Mac OS X Core
Audio host application (i.e., Tracktion, Logic,
Cubase, Nuendo, Live, Digital Performer, etc.).
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d.4 Pro Limited Warranty
Please keep your sales receipt in a safe place.
F. Any products returned to one of the LOUD Technologies
A. LOUD Technologies Inc. warrants all materials,
factory-authorized service centers, and deemed eligible for
repair or replacement under the terms of this warranty will
be repaired or replaced within thirty days of receipt.
LOUD Technologies and its authorized service centers
may use refurbished parts for repair or replacement of any
product. Products returned to LOUD Technologies that do
not meet the terms of this Warranty will not be repaired
unless payment is received for labor, materials, return
freight, and insurance. Products repaired under warranty
will be returned freight prepaid by LOUD Technologies to
any location within the boundaries of the USA.
workmanship and proper operation of this product for a
period of three years from the original date of purchase. If
any defects are found in the materials or workmanship or if
the product fails to function properly during the applicable
warranty period, LOUD Technologies, at its option, will repair
or replace the product. This warranty applies only to
equipment sold and delivered within the U.S. by
LOUD Technologies Inc. or its authorized dealers.
B. Failure to register online or return the product registration
card will not void the three-year warranty.
C. Service and repairs of Mackie products are to be
performed only at a factory-authorized facility (see D below).
Unauthorized service, repairs, or modification will void this
warranty. To obtain repairs under warranty, you must have a
copy of your sales receipt from the authorized Mackie dealer
where you purchased the product. It is necessary to establish
the purchase date and determine whether your Mackie
product is within the warranty period.
G. LOUD Technologies warrants all repairs performed
for 90 days or for the remainder of the warranty period.
This warranty does not extend to damage resulting from
improper installation, misuse, neglect or abuse, or to
exterior appearance. This warranty is recognized only if
the inspection seals and serial number on the unit have not
been defaced or removed.
H. LOUD Technologies assumes no responsibility for the
quality or timeliness of repairs performed by an authorized
service center.
D. To obtain service:
1. Call Mackie Technical Support at 800/898-3211,
7 AM to 5 PM Monday through Friday (Pacific Time) to get
authorization for repair or replacement. Alternately, go to the
Mackie website, click “Support” (www.mackie.com/support),
and follow the instructions for reporting a warranty issue
and submitting a request for an advance replacement.
I. This warranty is extended to the original purchaser and to
anyone who may subsequently purchase this product within
the applicable warranty period. A copy of the original sales
receipt is required to obtain warranty repairs.
J. This is your sole warranty. LOUD Technologies does not
authorize any third party, including any dealer or sales
representative, to assume any liability on behalf of LOUD
Technologies or to make any warranty for LOUD Technologies
Inc.
2. Advance Replacement: Mackie will ship a replacement
unit to you along with an invoice for the suggested
retail price of the replacement unit. You must return the
defective unit immediately to cancel the invoice. If you do
not return the defective unit within 30 days, you must pay
the full amount stated in the invoice to satisfy your debt.
K. THE WARRANTY GIVEN ON THIS PAGE IS THE SOLE
WARRANTY GIVEN BY LOUD TECHNOLOGIES INC.
AND IS IN LIEU OF ALL OTHER WARRANTIES, EXPRESS
AND IMPLIED, INCLUDING THE WARRANTIES OF
MERCHANTABILITY AND FITNESS FOR A PARTICULAR
PURPOSE. THE WARRANTY GIVEN ON THIS PAGE
SHALL BE STRICTLY LIMITED IN DURATION TO THREE
YEARS FROM THE DATE OF ORIGINAL PURCHASE
FROM AN AUTHORIZED MACKIE DEALER. UPON
EXPIRATION OF THE APPLICABLE WARRANTY PERIOD,
LOUD TECHNOLOGIES INC. SHALL HAVE NO FURTHER
WARRANTY OBLIGATION OF ANY KIND. LOUD
TECHNOLOGIES INC. SHALL NOT BE LIABLE FOR ANY
INCIDENTAL, SPECIAL, OR CONSEQUENTIAL DAMAGES
THAT MAY RESULT FROM ANY DEFECT IN THE MACKIE
PRODUCT OR ANY WARRANTY CLAIM. Some states do
not allow exclusion or limitation of incidental, special,
or consequential damages or a limitation on how long
warranties last, so some of the above limitations and
exclusions may not apply to you. This warranty provides
specific legal rights and you may have other rights which
vary from state to state.
3. Repair: Pack the product in its original shipping carton.
Also include a note explaining exactly how to duplicate the
problem, a copy of the sales receipt with price and date
showing, and your return street address (no P.O. boxes or
route numbers, please!). If we cannot duplicate the problem
or establish the starting date of your Limited Warranty, we
may, at our option, charge for service time.
Ship the product in its original shipping carton, freight
prepaid to the authorized service center. The address of
your closest authorized service center will be given to you
by Technical Support, or from our website.
IMPORTANT: Make sure that the Service Request
Number is plainly written on the shipping carton.
E. LOUD Technologies reserves the right to inspect any
products that may be the subject of any warranty claims before
repair or replacement is carried out. LOUD Technologies may,
at our option, require proof of the original date of purchase in
the form of a dated copy of the original dealer’s invoice or sales
receipt. Final determination of warranty coverage lies solely
with LOUD Technologies.
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16220 Wood-Red Road NE • Woodinville, WA 98072 • USA
United States and Canada: 800.898.3211
Europe, Asia, Central and South America: 425.487.4333
Middle East and Africa: 31.20.654.4000
E-mail: [email protected]
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