M•2600
OWNER’S MANUAL
™
HIGH-CURRENT POWER AMPLIFIER
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Lend Me Your Ears
Exposure to extremely high
noise levels may cause per-
manent hearing loss.
According to OSHA, any exposure in excess of
these permissible limits could result in some hear-
ing loss. To ensure against potentially dangerous
exposure to high sound pressure levels, it is recom-
Individuals vary considerably mended that all persons exposed to equipment
in susceptibility to noise-
induced hearing loss, but nearly everyone will
capable of producing these levels (such as the
M•2600) use hearing protectors while this unit is in
lose some hearing if exposed to sufficiently intense operation. Ear plugs or protectors in the ear canals
noise for a period of
time. The U.S.
or over the ears
Duration in
hours per day (slow response)
Sound level dBA Typical example
must be worn when
operating this am-
plification system
in order to prevent
a permanent hear-
ing loss if exposure
is in excess of the
limits set forth here.
Government’s Occu-
pational Safety and
Health Administra-
tion (OSHA) has
specified the per-
missible noise level
exposures shown in
this chart.
8
90
92
Duo in small club
6
4
95
Subway Train
3
97
2
100
102
105
110
115
Very loud classical music
Lori screaming at Ron
Loudest parts at a rock concert
1.5
1
0.5
0.25 or less
INTRODUCTION
Our Fast Recovery (FR) amplifiers perform
better than conventional designs when presented
with adverse conditions such as clipping. Con-
ventional designs use lots of negative feedback
to provide stability and lower distortion. When
clipping occurs, this “feedback” causes high-
frequency sticking, keeping the amplifier
“latched” in the clipping state longer than
necessary. This results in painfully audible
distortion. The Fast Recovery design eliminates
this high-frequency sticking and allows the
amplifier to remain stable when powering
highly reactive loads at high volume levels.
Carefully read and follow all the safety in-
structions explained on page 2 and throughout
the manual. The Quick Start guide on page 4
gives an overview of the amplifier, and the rest
of the manual explains the wealth of features
and operating instructions in loving detail.
Thank you for choosing a Mackie Designs
power amplifier! The M•2600 is designed to
fulfill the amplification needs of almost any type
of application, with solid design features such as:
• 2600 watts into 4 ohms, bridged
• 1700 watts into 8 ohms, bridged
• 1300 watts x 2 into 2 ohms, stereo
• 850 watts x 2 into 4 ohms, stereo
• 500 watts x 2 into 8 ohms, stereo
• Easily handles 2 ohm loads all night long
• Two low-cut filters, 2nd-order Bessel,
12dB/octave, variable from Off to 170Hz
• Two superior design active crossovers,
4th-order Linkwitz-Riley, 24dB/octave,
selectable crossover point at 60, 90 or 120Hz
• Switchable limiter
• Automatic soft turn-on and multiple
protection circuits
• Balanced/unbalanced 1/4" and XLR inputs
• XLR thru outputs, selectable to full-range,
high pass or low pass
®
• Speakon or binding post outputs
• Superior T-Design fan cooling
• Ultra low noise and distortion
• Fast Recovery design
Please write your serial number here for
future reference (i.e., insurance claims, tech
support, return authorization, etc.):
• Five year warranty
At Mackie, we know what it takes to be
roadworthy. After all, our mixers have traveled
all over the world under the worst of conditions,
and we’ve applied what we’ve learned to the
mechanical design of our amplifiers.
Purchased at:
Reliability is paramount to sound reinforce-
ment. That’s why we use double-sided thru-hole-
plated fiberglass printed circuit boards. That’s
why our engineers have subjected the amplifier
to the most rigorous and fiendish tests imag-
inable to fine-tune the design and extend its
limits beyond those of ordinary amplifiers.
Date of purchase:
Part No. 0003364 Rev. A 05/02
3
®
©2002 Mackie Designs Inc. All Rights Reserved.
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READ THIS PAGE!
QUICK START
I got ants in my pants and I got to dance!
5. Determine which AMP MODE
is best
for your application:
•
STEREO mode (separate left and right
INSTALLATION
inputs, separate left and right outputs) is
the typical setup for amplifying stereo
signals.
The M•2600 amplifier
must only be installed in a
•
MONO mode (sometimes called Dual-
rack. See page 29 for spe-
Mono mode — one or two inputs, two mono
outputs) is for sending a mono signal to
two different speaker sets, with separately-
adjustable level controls.
cial details regarding rack
mounting and thermal
considerations.
DO NOT BLOCK THE VENTILATION PORTS
The M•2600 draws its ventilation air in from
the front and out through the side panels. It
needs plenty of fresh air to stay cool.
•
BRIDGED mode (sometimes called
Bridged-Mono — one or two inputs, one
mono output) uses both sides of the amp to
triple the power going to one speaker. An
M•2600 in BRIDGED mode, delivers 2600
watts (into 4 ohms). Garsh!
CONNECTIONS AND SETTINGS
1. The output terminals
are capable of high voltage
output, so for your safety,
Note: In BRIDGED mode, 4 ohms is the mini-
mum speaker impedance you should connect to
the amplifier. If you connect a lower impedance
load, the amplifier may go into PROTECT
mode and the SHORT LEDs will turn on.
Then the audience will turn on you.
the POWER
switch
must be off before making
any connections.
2. Turn the GAIN controls fully down
6. In STEREO mode, connect line-level cables
from your signal source to the M•2600’s
(counterclockwise) for now.
INPUT
jacks, either XLR or TRS:
3. Set both LOW CUT FILTER
controls to
their TYPICAL marks (35Hz).
• The XLR and TRS inputs for each
channel are wired in parallel.
4. Set the LIMITER
switch on.
• The balanced XLR inputs are wired
pin 2 = hot (+), pin 3 = cold (–), and
pin 1 = shield (ground).
Note: If you’re using the M•2600 to power a
subwoofer, you probably do not need an external
crossover. Please see page 28 for details.
• The 1/4" TRS inputs are wired
tip = hot (+), ring = cold (–), and
sleeve = shield (ground), and can accept
either balanced (TRS) or unbalanced (TS)
cables.
FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN
PROFESSIONAL POWER AMPLIFIER
CH
1
CH
2
CH
GAIN/dB
GAIN/dB
CH
OL
–3
OL
–3
3v
23
3v
23
1
2
INTERNAL STATUS
21
25
21
25
2v
2v
19
17
11
27
29
31
–6
–9
–6
–9
19
17
11
27
29
31
PROTECT
SHORT
–20
–20
TEMP STATUS
CH
33
1v
33
1v
1& 2
COLD
HOT
1.23v (+4dBu)
1.23v (+4dBu)
SENSITIVITY
SENSITIVITY
SIG
SIG
POWER
4
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7. In BRIDGED mode, connect an input cable 14. Slowly turn both GAIN controls up:
to CHANNEL 1’s INPUT or CHANNEL 2. If
you want to use both inputs, the two input
signals are summed internally to produce a
mono signal.
You should hear the music and see the SIG
and meter LEDs flashing.
If the topmost LEDs (named OL, for
overload) are flashing, turn down either
the GAIN controls on the amp or the
source signal’s output level controls (i.e.,
master faders). The point is: The OL LEDs
should not light up.
8. In STEREO and MONO modes, connect
speaker cables to the SPEAKER OUTPUTS
, using either the binding post or
Speakon® connectors.
15. For quieter listening, it is preferable to
adjust the amp’s GAIN controls rather
than the source signal’s output level
(unless you have the source’s control all
the way up!).
• The binding post connectors are wired
red = hot (+) and black = cold (–).
• See page 35 for Speakon wiring details.
9. In BRIDGED mode, connect the speaker
cable like this: the positive (+) wire goes in
the CHANNEL 1 SPEAKER OUTPUT’s red
post and the negative (–) wire goes in
CHANNEL 2’s red post. Plug nothing into
the black posts. There is also a single
Speakon connector for BRIDGED mode
(see page 35).
16. Start dancing, but don’t let the ants out of
your pants.
Things You Must Remember:
• Never plug amplifier
outputs into anything
except speakers (unless
you have an outboard box
specifically designed to
handle high-power
10. Connect the other ends of the speaker
cables to your loudspeakers.
11. Plug the amp’s power cord into a
3-prong AC outlet properly configured for
the type of plug supplied with your amplifier,
and capable of delivering at least 20 amps
(for the 120V model). See page 29.
speaker-level signals).
•
Before making connections to an amp or
reconfiguring an amp’s routing, turn the
amp’s level (GAIN) controls down, turn
the power off, make the changes, turn
the power back on, and then turn the
level controls back up.
G
G
NEMA 5-20P
(Plug supplied with
120 VAC models)
NEMA 5-20R
(120 VAC, 20Amp
Receptacle)
•
•
If you shut down your equipment, turn
off the amplifiers first. When powering
up, turn on the amplifiers last.
Save the shipping boxes! You may need
them someday, and you probably don’t
want to have to pay for them again.
12. Make sure your signal source (feeding the
M•2600’s inputs) is powered up and
delivering signal to the amp.
13. Turn the M•2600’s POWER
switch on
and verify that the SIG LEDs are
showing an input signal is present.
CHANNEL
CHANNEL
INPUT
CAUTION
WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT
EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. DO NOT REMOVE COVER.
NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.
SERIAL NUMBER
MANUFACTURING DATE
1
2
RISK OF ELECTRIC SHOCK
DO NOT OPEN
AVIS: RISQUE DE CHOC ELECTRIQUE
—
NE PAS OUVRIR
CONCEIVED AND DESIGNED BY MACKIE DESIGNS INC WOODINVILLE
COPYRIGHT ©1998
INPUT
CROSSOVER
90Hz
CROSSOVER
90Hz
AMP MODE
•
WA
•
98072
•
USA
•
PATENTS PENDING
•
BALANCED
OR
LOW CUT FILTER
LOW CUT FILTER
BALANCED
OR
STEREO
TYPICAL
•
THE FOLLOWING ARE REGISTERED TRADEMARKS OF MACKIE DESIGN INC.: "MACKIE", "FR SERIES", AND THE "RUNNING MAN" FIGURE
•
TYPICAL
TYPICAL
UNBALANCED
60Hz
120Hz
60Hz
120Hz
UNBALANCED
MONO BRIDGED
35 Hz
35 Hz
STAGE
STAGE
MONITOR
MONITOR
1300 WATTS
/
CH
2600 WATTS
120 VAC 60 Hz
2000 WATTS
2
OHM LOAD MIN.
4
OHM LOAD MIN.
100 Hz
100 Hz
MONO
BRIDGE
CH's
SUMMED
CH
CH
MONO
BRIDGE
OFF
170 Hz
OFF
170 Hz
+
–
1
2
OUTPUT APPLICATION
FULL
LOW OUT
(SUB WOOFER)
RANGE
+
–
+
–
THRU
THRU
THRU
LOW HIGH
OUT OUT
OFF
HIGH LOW
OUT OUT
THRU
ON
PIN 1+ CH1+
PIN1 CH1
PIN 1+ CH2+
PIN1 CH2
PIN 1+ BRIDGE+
TYPICAL
–
–
–
–
–
–
PIN1 BRIDGE
IN
IN
–
–
–
PIN 2+
&
2
NOT USED
PIN 2+
&
2
NOT USED
PIN 2+
&
2
NOT USED
LIMITER
SPEAKER OUTPUTS
CAUTION
SWITCHED OUTPUT
(CH1
&
CH2)
SWITCHED OUTPUT
LETHAL VOLTAGES MAY APPEAR AT OUTPUT
TERMINALS. CLASS
1
WIRING IS REQUIRED
5
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HOW TO USE THIS MANUAL
APPLICATION DIAGRAMS
A PLUG FOR THE CONNECTORS SECTION
Also at the back of this manual is a section on
Mackie’s chain gang of illustrators have
created easy-to-understand diagrams of popular connectors: XLR, TRS, binding post connectors,
studio and live-sound setups. Your setup will
probably be different in some way, but these
diagrams will help you see the big picture so
you can add your own finishing touches.
balanced connectors, unbalanced connectors,
and Speakon connectors. If you plan on wir-
ing your own cables, please visit this section
before you start.
®
FEATURE DESCRIPTIONS:
MIND-BOGGLING DETAILS
ARCANE MYSTERIES ILLUMINATED
Almost last but not least, we’ve included
Each and every knob, switch, and connector an appendix entitled Arcane Mysteries Illumi-
on the M•2600 power amplifier is explained in nated. This section discusses some of the down
depth here. Throughout this section you’ll find ’n’ dirty practical realities of signal transmission,
illustrations, with each feature numbered like
this . If you’re curious about a feature, sim-
ply locate it on the appropriate illustration,
note the number attached to it, and find that
number in the nearby paragraphs.
balancing a sound system, grounding, and bal-
anced versus unbalanced lines. It’s a gold mine
for the neophyte, and even the seasoned pro
might learn a thing or two.
TECHNICAL INFO
This section is for you tech-heads who like
to use a calculator and read specifications.
You’ll find it all here.
This icon marks information that is critically
important or unique to the M•2600. For your
own good, read the information carefully and
remember it. We may call you someday and
quiz you.
This icon leads you to in-depth explanations
of features and practical tips. While not man-
datory, these explanations contain some
valuable information.
GENERAL PRECAUTIONS AND
CONSIDERATIONS
This section discusses important things to
keep in mind when installing and using the
M•2600, including rack mounting, AC power,
and wiring.
6
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CONTENTS
SAFETY INSTRUCTIONS.................................................. 2
INTRODUCTION ............................................................ 3
QUICK START ......................................................... 4
HOW TO USE THIS MANUAL .......................................... 6
APPLICATION DIAGRAMS .............................................. 8
FEATURE DESCRIPTIONS .............................................. 17
GAIN ............................................................. 17
METERS ......................................................... 18
SIG ............................................................... 19
PROTECT ........................................................ 19
SHORT........................................................... 19
POWER ......................................................... 21
LOW CUT FILTER ............................................. 24
AMP MODE SWITCH ....................................... 25
STEREO ......................................................... 26
BRIDGED ....................................................... 26
GENERAL PRECAUTIONS AND CONSIDERATIONS............. 29
AC POWER CONSIDERATIONS ................................ 29
APPENDIX A: Service Info ............................................ 32
TROUBLESHOOTING ............................................. 32
APPENDIX B: Connectors .............................................. 34
“XLR” CONNECTORS ............................................ 34
1⁄4" TS PHONE PLUGS AND JACKS ......................... 34
UNBALANCING A LINE........................................... 34
BINDING POSTS ................................................... 35
APPENDIX C: Arcane Mysteries Illuminated ..................... 36
FIXED INSTALLATIONS ........................................... 36
®
7
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APPLICATION DIAGRAMS
The following pages show some of the more
common uses for the M•2600, including
stereo, mono, and bridged operation.
USING THE LOW CUT FILTER
AMP MODE
LOW CUT FILTER
CROSSOVER
120Hz
The application diagrams include some
small graphs of the frequency range going into
and coming out of the amplifier. These graphs
show the effect of the LOW CUT FILTER to roll
off the lower frequencies going to the speakers.
STEREO
TYPICAL
TYPICAL
35 Hz
60Hz
90Hz
MONO BRIDGED
STAGE
MONITOR
B
100 Hz
CH's
SUMMED
OFF
170 Hz
OUTPUT APPLICATION
FULL
LOW OUT
(SUBWOOFER)
RANGE
THRU
THRU
LOW HIGH
OUT OUT
OFF
ON
TYPICAL
LIMITER
SWITCHED OUTPUT
(CH1 & CH2)
5dB
0dB
–5dB
HIGH PASS
The LOW CUT FILTER rolls off the lows be-
low the frequency setting of the rotary control.
It affects the Speaker output and the THRU
output (if the THRU switch is set to HIGH OUT
or LOW OUT).
Using the LOW CUT FILTER allows you to
tailor the output to the speakers so they re-
ceive only the frequency range they can
handle. For example, if your speakers can
reproduce the frequency range down to
35Hz, set the LOW CUT FILTER to 35Hz. If
your main speakers can reproduce the full
–10dB
–15dB
1Hz
10Hz
100Hz
1kHz
10kHz 20kHz
Frequency, Hz
Low Cut Filter
range, then set it to OFF
.
In the hookup diagrams on pages 9–12 and
page 15, this small icon is used to indicate that
the lows have been rolled off by using the LOW
CUT FILTER
.
Note: Page 14 and 16 show the use of the in-
ternal CROSSOVER.
FULL PASS
This icon indicates that the full frequency
range is passed, either to the speakers or to the
THRU outputs. In the pages that follow, this
also indicates a full-range signal coming from
your mixer or preamp.
LOW PASS
This icon indicates that the highs have been
rolled off. The low-pass range is available if you
use the internal CROSSOVER, discussed in
more detail on page 13, with some application
diagrams on pages 14, 15, and 16.
8
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TWO M•2600S: MAIN SPEAKERS AND STAGE MONITORS
9
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M•2600: MAIN SPEAKERS AND STAGE MONITORS WITH ONE AMPLIFIER
10
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M•2600: EIGHT MONITOR SPEAKERS-MONO MODE
11
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M•2600: STEREO SYSTEM WITH TWO AMPLIFIERS IN BRIDGED MODE
12
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USING THE CROSSOVER
The following three pages show how the
internal crossover can be used to biamp your
system. One amplifer plays the lower frequen-
cies, while another plays the highs.
AMP MODE
LOW CUT FILTER
CROSSOVER
120Hz
STEREO
TYPICAL
TYPICAL
35 Hz
60Hz
90Hz
MONO BRIDGED
STAGE
MONITOR
The electronic crossover inside the M•2600
splits the frequency band into two ranges, one
below the crossover point (LOW OUT) and
one above (HIGH OUT). The LOW OUT is
available to the amplifier section for powering
subwoofers. Both the LOW OUT and the HIGH
OUT are switchable to the THRU outputs, for
sending line-level signals to the inputs of other
amplifiers.
B
100 Hz
CH's
OFF
170 Hz
SUMMED
OUTPUT APPLICATION
FULL
LOW OUT
(SUBWOOFER)
RANGE
THRU
THRU
LOW HIGH
OUT OUT
OFF
ON
TYPICAL
LIMITER
SWITCHED OUTPUT
(CH1 & CH2)
IT’S FREE!
The crossover has been carefully designed to
give high quality, no-compromise performance,
equal to external crossovers (without the extra
cost). It uses a 4th-order Linkwitz-Riley design,
with a slope of 24 dB/octave.
LOW OUT
LOUDER
The output level rolls off above the crossover
point. By setting the OUTPUT APPLICATION
switch to LOW OUT (SUBWOOFER), any
speakers attached to the M•2600 will play only
the lower frequency range.
By setting the THRU Switch to LOW OUT
this range can be sent to another amplifier via
,
QUIETER
the THRU output jacks.
FREQUENCY IN Hz
HIGH OUT
LOUDER
The output level rolls off below the crossover
point. The high range is not available to the speaker
outputs; it can be sent to another amplifier via
the THRU output jacks if you set the THRU
switch to HIGH OUT
.
The LOW CUT FILTER can be used to reduce
the bass level of the speakers attached to the
host amplifer.
QUIETER
FREQUENCY IN Hz
13
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M•2600: STEREO SYSTEM BIAMPED WITH SUBWOOFERS, OPTION 1
14
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M•2600: STEREO SYSTEM BIAMPED WITH SUBWOOFERS, OPTION 2
15
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M•2600: STEREO SYSTEM BIAMPED WITH BRIDGED SUBWOOFER
16
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FEATURE DESCRIPTIONS
GAIN/dB
3v
23
21
25
2v
19
17
11
27
29
31
33
1v
GAIN
1.23v (+4dBu)
SENSITIVITY
Constant Gain vs. Constant Sensitivity
There are two viewpoints, or philosophies,
regarding the gain structure of power amplifiers
— constant gain and constant sensitivity.
Constant Gain means that regardless of the
output power of the amplifier, the gain from input
to output remains the same. (By the way, this
refers to the full gain of the amplifier, with the
gain or level controls all the way up.) Within a
product line of constant gain power amplifiers,
as the output power rating of an amplifier
increases, the level of the input voltage must
also increase.
For example, if an amplifier is rated at 100W
into an 8-ohm load, and it has 26 dB of gain, it
requires an input signal of 1.4V rms to drive it to
full power. This is about +5 dBu, a reasonable
operating point for professional gear.
Now take an amplifier rated at 200W into an
8-ohm load. If it also has a gain of 26 dB, it re-
quires an input signal of 2.0V rms to drive it to
full power, or +8 dBu.
This can become problematic as the power
of the amplifier increases. What if you have a
power amp rated at 800W into 8 ohms? This
will require an input signal of 4.0V rms to drive
it to full power. This equates to a whopping
+14.3 dBu! You’ve just robbed your mixer of
10 dB of headroom. You’ll either have to have a
good limiter to keep the transient peaks down,
or turn down the level from the mixer and not
use all the power available from the amplifier.
Constant Sensitivity means that regardless
of the output power of the amplifier, the input
sensitivity of the amplifier (the input voltage
required to attain full output power) remains
the same. As the output power of an amplifier
increases, the gain of the amplifier must also
increase.
These front panel knobs allow you to control
the levels going into the output section of the
M•2600 amplifier. Their travel is detented,
meaning there are 20 built-in “resting points” so
you can easily set both controls to the same level.
Usually, these controls are set to maximum.
The gain structure of the amplifier is designed
so that a +4 dBu (1.23V rms) input signal drives
the amplifier to 700 watts into 4 ohms. This is
how the sensitivity of an amplifier is defined.
In this case, it equates to a voltage gain of 32.7
dB. The graphics around the knob depict two
different methods for setting the gain. The in-
ner circle is marked in dB, calibrated from off
(∞) to 33. This represents the amount of voltage
gain from input to output. When using profes-
sional equipment with +4 dBu output levels,
set the GAIN control all the way up to 33.
The outer circle is labeled in volts, with in-
dications of 1V, 2V, and 3V. These correspond to
the input sensitivity of the amplifier. With the
GAIN control all the way up (fully clockwise),
the input sensitivity is 1.23V, which works well
with professional equipment operating at a
nominal +4 dBu level.
On the other hand, you may want your listen-
ing level to be quieter than the M•2600’s
maximum level. For instance, if you’re using
the M•2600 as a control room amp and your
control room is the size of a telephone booth,
you’ll probably never want to hear the amp at
its maximum level.
You can set the GAIN
controls as low as you like.
However, reducing the
GAIN controls requires an
increased input level to
reach full power at the amplifier’s output. See
the sidebar “Constant Gain vs. Constant Sensi-
tivity” for a better understanding of how this
works.
Like all amplifier controls, you’ll typically
determine the optimal settings during installa-
tion or sound check, then leave them alone,
using your signal source (usually a mixer) to
control listening levels as you work. Or play.
Referring back to the previous example, an
amplifier rated at 100W into 8 ohms with a
gain of 26 dB requires an input signal of 1.4V
rms to drive it to full power. It has an input
sensitivity of 1.4V rms. In order for the 200W
amplifier to reach full power into 8 ohms with
a 1.4V rms input signal, it must have a gain of
29 dB. And the 800W amplifier will require a
gain of 35 dB to reach full power with a 1.4V
input signal.
Continued on page 18
17
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You may wonder why we
didn’t use just one stereo
control to control both sides.
That’s in case your applica-
tion requires a left/right
So what are the pros and cons of these two
approaches? The reason some amplifier
manufacturers use the constant gain approach
is because the noise specification looks better.
It’s a fact of physics that as the gain of the
amplifier increases, the circuit noise is amplified
and increases too. By maintaining a constant
gain, the noise spec for an 800W amplifier can
look as good as the noise spec for a 100W am-
plifier. The downside to this is that you have
to crank up the mixer level feeding the input
of the amplifier, losing headroom and possibly
increasing the noise level from the mixer
(unless you have a Mackie mixer with low-
noise VLZ circuitry!).
imbalance (due to an irregu-
larly shaped room) or if you’re using the two
sides for completely different purposes (moni-
tor in channel 1 and side-fill in channel 2, for
instance). Besides, they look cool.
METERS
The M•2600’s meters indicate the relative
output level of the amplifier referenced to full
power. The numbers next to the meter’s LEDs
are in dB below full power.
Conversely, constant sensitivity demands
that as the power increases, so must the gain.
Yes, the output noise of the amplifier will
increase, but you maintain the critical head-
room available from your mixer. The noise is
generally not a problem in live sound reinforce-
ment situations. If it is, you can turn down the
GAIN control a few clicks to find a happy
compromise between noise floor and the
available headroom . As an added benefit, you
can drive multiple amplifiers with the same
signal and get the maximum power available
from all of them.
Ideally, the M•2600’s –20 –9, –6, and –3
,
LEDs will flicker at normal signal levels, while
the OL LED may flicker occasionally during
peak moments.
OL is short for overload. Overloading, or
clipping, occurs when the output voltage no
longer linearly follows the input voltage and
simply stops. This causes a sine wave to “square
off,” or get “clipped off.” Thus, the term clipping.
Fear not — this scenario is quite unlikely.
Even with the GAIN controls fully up, the
M•2600 amplifier easily accepts professional
“+4 dBu” operating levels.
Mackie subscribes to the philosophy of
constant sensitivity. Our amplifiers can be
driven to full power with an input level of
+4 dBu (1.23V rms).
If the OL (Overload) LED
is blinking frequently or
continuously, turn down
the source signal (i.e., the
mixer’s master faders).
FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN
CH
1
CH
2
CH
GAIN/dB
GAIN/dB
CH
OL
–3
OL
–3
3v
23
3v
23
1
2
INTERNAL STATUS
21
25
21
25
2v
2v
19
17
11
27
29
31
–6
–9
–6
–9
19
17
11
27
29
31
PROTECT
SHORT
–20
–20
TEMP STATUS
CH
33
1v
33
1v
1& 2
COLD
HOT
1.23v (+4dBu)
1.23v (+4dBu)
SENSITIVITY
SENSITIVITY
SIG
SIG
18
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SIG
SHORT
SIG (short for “signal present”) is the lowest
step in the meter ladder. It senses the signal
prior to the GAIN control, so when SIG is lit,
If this LED comes on, the M•2600 has de-
tected a short circuit in either of the outputs,
meaning that the positive (+) and negative (–)
you know the M•2600 is receiving signal. If it’s speaker wires are touching, or a speaker itself
the only meter LED lit (meaning the other meter is shorted out. Such a condition causes the
LEDs are not lit), the M•2600 is receiving a
very weak signal (below –20 dB).
M•2600 to engage its PROTECT mode
(when a signal is present), muting all signals
at the amp’s outputs.
PROTECT
This short-circuit LED is a Mackie exclusive
If the PROTECT LEDs are on, the M•2600’s (until the other guys “borrow” the idea) and
output section has shut down. That, of course, can save precious minutes of your trouble-
means you won’t hear anything until you rectify shooting time. Without it, you’d still have
the situation. Three things can cause the
PROTECT circuit to engage:
speaker and amp protection (via the PROTECT
circuit), but you wouldn’t be able to determine
the source of the problem. But with the SHORT
LED, the M•2600 comes right out and tells you!
•
Powering up the M•2600. A built-in delay
circuit saves your speakers (and ears)
from the thumps or pops that can some-
times occur when powering up a system.
During this 4-second delay, the PROTECT
LEDs light up.
WARNING: The SHORT
LEDs indicate an unsafe
condition for the power
amplifier. When the short-
circuit protection is acti-
vated, the SHORT LED
•
•
A short circuit (or near short) in either of
the outputs. Both the PROTECT and the
SHORT
LEDs light up.
lights, then the PROTECT LED lights. After
about four seconds, the protection circuit turns
off and the amplifier resumes normal operation.
If it senses the shorted condition again, the
cycle repeats until you fix the problem.
Typical causes for a “short” indication would
be either a shorted speaker cable or too many
speakers connected to the amplifier (i.e., the
load impedance is too low). If a “short” is indi-
cated, please check your cables. If the cabling
is OK, then reduce the number of speakers
driven by the amplifier.
The temperature in the M•2600 has risen to
an unsafe level. The PROTECT and the
TEMP STATUS HOT LEDs
light up.
The M•2600 amp draws its
ventilation air in from the
front and out through the
side panels. The amp
needs plenty of fresh air to
stay cool. DO NOT BLOCK
THE VENTILATION PORTS. See “Thermal
Considerations,” on page 29.
PROFESSIONAL POWER AMPLIFIER
POWER
19
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Note: When using the amplifier in
BRIDGED mode, both SHORT LEDs will light
under shorted or low impedance conditions.
This is an indication of a problem that requires
further investigation.
Please see “Do The Math: Ohms, Loads and
Such” in Appendix D to learn about speaker
loads.
As the internal temperature of the amplifier
rises, the fan speed gradually increases. More
air moves through the constant temperature
gradient cooling tunnel to remove additional
heat from the output transistors. However, if
the internal temperature of one of the ampli-
fier channels should exceed 90°C (194°F), the
TEMP STATUS
TEMP (short for temperature) is another
feature designed to keep your mind at ease.
Normally the COLD LED is lit, indicating that
the M•2600 is working normally. Under extreme COLD LED turns off, the HOT LED turns on,
conditions the amplifier may overheat. You
may ask, “What kind of extreme conditions?”
and its PROTECT LED shines. The output of
the amplifier is muted — at this point the am-
Overheating problems are usually caused by plifier is in Standby mode and remains there
one of the following situations: improper venti- until the internal temperature cools off to a
lation, high ambient temperatures, overdriving safe level (52°C or 125°F). When this occurs,
the amplifier into clipping, driving the amplifier the HOT LED and PROTECT LEDs turn off,
hard into low impedance loads, frayed or par-
tially shorted speaker cables, or defective or
internally shorted speakers.
The heaviest load the M•2600 can tolerate
is 2 ohms per channel (4 ohms in bridged
mode). If you’ve got a set of speakers wired in
parallel, be sure the load isn’t adding up to less
than 2 ohms. Anything below 2 ohms can cause
the COLD LED turns on and normal operation
resumes.
In the rare event that the transformer gets
too hot, the amplifier will shut down. It will not
come back on until the transformer has cooled
sufficiently, which can take an hour or so.
Be Aware: If the HOT LED
comes on frequently or the
the SHORT
LED to light and trigger the
PROTECT mode.
transformer ever thermals
out, something is over-
Remember: As the load gets
“heavier,” its value in ohms
goes down. For instance, a
2-ohm speaker load is twice
as “heavy” as a 4-ohm load.
working the M•2600 or it’s
not properly ventilated.
Look at each of the “extreme conditions” de-
scribed on this page and try to determine what
is causing the amplifier to overheat. Refer to
“Thermal Considerations” on page 29 and
“Troubleshooting” on page 32.
SERIAL NUMBER
MANUFACTURING DATE
CAUTION
WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT
EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. DO NOT REMOVE COVER.
NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.
RISK OF ELECTRIC SHOCK
DO NOT OPEN
AVIS: RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR
CONCEIVED AND DESIGNED BY MACKIE DESIGNS INC • WOODINVILLE
WA • 98072 • USA • PATENTS PENDING • COPYRIGHT ©1998
• THE FOLLOWING ARE REGISTERED TRADEMARKS OF MACKIE DESIGN INC.: "MACKIE", "FR SERIES", AND THE "RUNNING MAN" FIGURE •
1300 WATTS / CH
2 OHM LOAD MIN.
2600 WATTS
120 VAC 60 Hz
2000 WATTS
4 OHM LOAD MIN.
MONO
BRIDGE
CH
CH
MONO
BRIDGE
+
–
1
2
+
+
–
–
PIN 1+ CH1+
PIN 1+ CH2+
PIN 1+ BRIDGE+
–
–
–
–
–
–
PIN1 CH1
PIN1 CH2
PIN1 BRIDGE
–
–
–
PIN 2+ & 2 NOT USED
PIN 2+ & 2 NOT USED
PIN 2+ & 2 NOT USED
SPEAKER OUTPUTS
CAUTION
LETHAL VOLTAGES MAY APPEAR AT OUTPUT
TERMINALS. CLASS 1 WIRING IS REQUIRED
20
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What’s that? Why doesn’t the
fan just go fast all the time?
When you shut down your
system, turn off your ampli-
Well, if it did, you might actu-
fiers first. When powering
ally hear it whirring during
up, turn on your amplifiers
your quiet moments (there
last. This way, equipment
are quiet moments in your
feeding the amp won’t
life, aren’t there?). While this whirring would
“pop” or “thud” the speakers during power up
be of no concern in most live-sound situations, or power down.
it could become annoying in a control room
POWER CORD
environment. So, when the M•2600 is not work-
ing hard, the fan goes slow; when the music
gets loud and puts the amp to work, the fan
goes faster, and faster still if the heatsink
temperature keeps rising.
We all know what a power cord is. The
M•2600 has a detachable cord. Attach it to the
amplifier first, then plug it into an AC outlet
properly configured for the type of plug on the
power cord and for the voltage rating of your
amplifier.
POWER
To turn on the amplifier, push the top half of
the POWER switch. It clicks into place and a
soothing green light adjacent to it glows. To
turn the amp off, push the lower half. It’ll click
again and the green light will extinguish.
When you power up the M•2600, an in-rush
limiting circuit limits the turn-on current and
prevents you from popping the house circuit
breakers. After about a second, a relay clicks,
The M•2600’s voltage
source must be capable of
continuously delivering 20
amps at 120 VAC (9 amps
for 240 VAC models and 14
amps for 100 VAC models).
For safety reasons, the source must be a 3-prong
outlet with hot, neutral, and ground terminals.
defeating this in-rush circuit, meanwhile built- We’re dealing with some big-time electricity
in output muting relays prevent any pops or here — don’t mess with it. See “AC Power Con-
thumps from being transmitted to the speakers. siderations” on page 29, and carefully read and
Be sure the signal driving the amplifier is turned follow all the safety instructions at the start of
down when you first power up the system.
There are few things as rude as four seconds
of silence followed by full-blast stereo sound,
especially when the baby is sleeping.
this manual.
CHANNEL
CHANNEL
1
2
INPUT
CROSSOVER
90Hz
CROSSOVER
INPUT
AMP MODE
BALANCED
OR
LOW CUT FILTER
LOW CUT FILTER
BALANCED
OR
STEREO
TYPICAL
TYPICAL
TYPICAL
60Hz
120Hz
60Hz
90Hz
120Hz
UNBALANCED
UNBALANCED
MONO BRIDGED
35 Hz
35 Hz
STAGE
STAGE
MONITOR
MONITOR
100 Hz
100 Hz
CH's
SUMMED
OFF
170 Hz
OFF
170 Hz
OUTPUT APPLICATION
FULL
LOW OUT
(SUB WOOFER)
RANGE
THRU
THRU
LOW
OUT
OFF
HIGH LOW
OUT OUT
THRU
THRU
HIGH
OUT
ON
TYPICAL
IN
IN
LIMITER
SWITCHED OUTPUT
SWITCHED OUTPUT
(CH1 & CH2)
21
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SPEAKER OUTPUTS
The binding posts provide a secure and safe
connection for bare speaker wire.
In addition to binding posts, the M•2600 also
has Speakon® SPEAKER OUTPUTS, so you can
use speaker cables with Speakon connectors.
These locking connectors are easy to attach
and are capable of handling high currents and
low impedance loads. Pin 1+ is positive (+)
and pin 1– is negative (–). They’re wired in
parallel with the binding posts and behave
exactly the same (there is a separate Speakon
To use the binding post outputs, unscrew
them enough to reveal the holes on their sides,
then insert your stripped wires (stripped about
3/8" back) into the holes and retighten the posts
(finger tight is fine — please don’t reef on them
with a wrench!). Be careful that no runaway
strands touch the chassis or other terminals.
The red posts are labeled “+,” which means
positive. The black posts are labeled “–” for
negative. You probably know the importance of
getting these terms correct — if one side is
hooked up “in phase” and the other side is “out
of phase,” you’ll be “out of work.” (By the way,
although everyone says “phase” in this situa-
tion, the correct word is “polarity”... but it’s not
as much fun to say.)
output if you are using BRIDGED
mode).
You can use Speakons and
the binding posts simulta-
neously. Just remember
that doing so creates two
parallel loads. Please see
“Do The Math: Ohms, Loads
and Such” in Appendix D to learn about
speaker loads.
Using high-quality stranded speaker cable
(14 gauge or thicker), connect the positive
outputs of the M•2600 to the positive inputs of
your speakers, and the negative outputs to the
negative inputs. The exception: If you’re using
The M•2600 is capable of
high voltage output at the
binding post and Speakon
connectors. Great care
should be taken to avoid
this potential shock hazard:
the M•2600 in BRIDGED
mode, this does
not apply (see page 26).
• Treat the speaker wires with respect, as
you would any live power cord.
• Before you make any connections or
reconfigure any signal routing, turn the GAIN
If you are using stripped
speaker wire, make sure its
insulation is not stripped
any further back than 3/8”
(9.5mm), to avoid the
controls down, turn the POWER
off,
make the changes, turn the POWER back on,
and then turn the GAIN controls back up.
chance of a shock hazard.
SERIAL NUMBER
MANUFACTURING DATE
CAUTION
WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT
EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. DO NOT REMOVE COVER.
NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.
RISK OF ELECTRIC SHOCK
DO NOT OPEN
AVIS: RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR
CONCEIVED AND DESIGNED BY MACKIE DESIGNS INC • WOODINVILLE
WA • 98072 • USA • PATENTS PENDING • COPYRIGHT ©1998
• THE FOLLOWING ARE REGISTERED TRADEMARKS OF MACKIE DESIGN INC.: "MACKIE", "FR SERIES", AND THE "RUNNING MAN" FIGURE •
1300 WATTS / CH
2 OHM LOAD MIN.
2600 WATTS
120 VAC 60 Hz
2000 WATTS
4 OHM LOAD MIN.
MONO
BRIDGE
CH
CH
MONO
BRIDGE
+
–
1
2
+
+
–
–
PIN 1+ CH1+
PIN 1+ CH2+
PIN 1+ BRIDGE+
–
–
–
–
–
–
PIN1 CH1
PIN1 CH2
PIN1 BRIDGE
–
–
–
PIN 2+ & 2 NOT USED
PIN 2+ & 2 NOT USED
PIN 2+ & 2 NOT USED
EAKER OUTPUTS
CAUTION
LETVOLTAGES MAY APPEAR AT OUTPUT
TERMINALS. CLASS 1 WIRING IS REQUIRED
22
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Ordinarily, applying a positive
When connecting a balanced signal using the
voltage to a speaker’s positive XLR or 1/4" jacks, they’re wired as shown, per
input and negative voltage to AES (Audio Engineering Society) standards:
the negative input results in
an outward excursion of the
woofer. But some woofers are Hot (+)
built with reverse polarity, meaning that the
above conditions result in an inward excursion. Shield (Ground) Pin 1
If you’re not sure which type of speakers you
XLR
Pin 2
Pin 3
TRS
Tip
Ring
Shield
Cold (–)
have, take a look at their literature. If you’re
RING SLEEVE
SLEEVE RING TIP
still not sure, here is a simple test: remove the
speaker wires from the back of the speakers,
TIP
then take a 1.5V flashlight battery and connect
the positive terminal of the battery to the posi-
tive (+) input of the speaker, and connect the
negative terminal of the battery to the negative
RING (COLD)
TIP (HOT)
SLEEVE (SHIELD)
Balanced 1/4" TRS Plug
(–) input of the speaker. Observe the motion of
the speaker cone. It should move out when volt-
age is applied, and return to rest when voltage
is removed. Make sure all the speakers in the
system move in the same direction (there are
a few exceptions — some speakers are deliber-
ately designed with reverse-polarity woofers).
Unbalanced TS (tip-sleeve) lines can be
accommodated via the TRS jack. Make sure the
cord terminates with a TS plug (like a guitar
plug), or if it’s a TRS plug (like a headphone
plug), make sure the ring is tied to the shield,
preferably at the source.
INPUT
The M•2600 amplifier gives you a choice —
it has the traditional XLR inputs, as well as 1/4"
TRS (tip-ring-sleeve) input jacks. Sonically
(and electrically) they’re identical, so choose
either one, but do not use both at the same
time to send signals into the M•2600.
Each can be used with either balanced or
unbalanced signals.
SLEEVE
SLEEVE
TIP
TIP
RING (COLD)
TIP (HOT)
SLEEVE (SHIELD)
Unbalanced 1/4" TS Plug
CHANNEL
CHANNEL
1
2
INPUT
CROSSOVER
90Hz
CROSSOVER
120Hz
90Hz
INPUT
AMP MODE
BALANCED
OR
LOW CUT FILTER
LOW CUT FILTER
BALANCED
OR
STEREO
TYPICAL
TYPICAL
TYPICAL
60Hz
120Hz
60Hz
UNBALANCED
UNBALANCED
MONO BRIDGED
35 Hz
35 Hz
STAGE
STAGE
MONITOR
MONITOR
100 Hz
100 Hz
CH's
SUMMED
OFF
170 Hz
OFF
170 Hz
OUTPUT APPLICATION
FULL
LOW OUT
(SUB WOOFER)
RANGE
THRU
THRU
LOW
OUT
OFF
HIGH LOW
OUT OUT
THRU
THRU
HIGH
OUT
ON
TYPICAL
IN
IN
LIMITER
SWITCHED OUTPUT
SWITCHED OUTPUT
(CH1 & CH2)
23
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You can connect an unbalanced XLR cable
To use the THRU outputs, connect your
to the M•2600, although this would be unusual source equipment into the first amp’s INPUTs
— as unusual as an unbalanced XLR output.
However, if you have an unbalanced XLR
as usual, then patch from that amp’s THRU
jacks to the next amp’s INPUTs, and so on,
connection to make, refer to the “Connectors” daisy-chaining as many amps as you want for
section (Appendix B) at the back of this
your application.
manual for more information.
2
A general rule of thumb is to
maintain a load impedance
10 times or more than the
source impedance to prevent
excessive loading. If your
console has an output im-
SHIELD
HOT
1
3
COLD
SHIELD
1
pedance of 100 ohms, then you can daisy-chain
up to twenty M•2600 amplifiers, which presents
a load of 1200 ohms to the console (input
impedance of 24 kohms divided by 20 amplifiers
= 1200 ohms).
The THRU jacks can also be used to relay
the signal on to other devices such as a DAT or
cassette recorder, enabling you to record exactly
what the audience is hearing. In the THRU
position of switch , the THRU jacks are
wired straight from the XLR and TRS INPUTs
— so the signal coming out of the THRU jacks
3
COLD
2
HOT
SHIELD
COLD
HOT
1
3
2
Balanced XLR Connectors: Apollo/Soyuz Rendezvous
The M•2600 amp expects to see a nominal
signal level anywhere between the –10 dBV
“semipro” and +4 dBu “pro” standards, mean-
ing almost any line-level mixer or other device is exactly the same as the signal going into the
can be plugged into the amp’s INPUTs. Use amplifier.
the GAIN controls to adjust the gain of the
amplifier to match the signal level you’re using.
You can also use the 1/4"
TRS INPUT jacks as THRU
jacks, (not affected by
THRU and
THRU SWITCH
Someday you’ll do a show at NudeStock and
realize that one M•2600 amplifier is just not
going to do the job — you’ll need a six-foot-
high rack full of ’em to hide behind. That’s
what the THRU jack is for. It has three modes
of operation, depending on the setting of the
switch or by the LOW
CUT FILTER ). Connect
the 1/4" TRS INPUT jacks
on the first amplifier to the TRS 1/4" INPUT
jacks on the second amplifier using 3-conductor
shielded cables with TRS plugs on both ends.
Warning: If you use a regular guitar cord with
THRU switch
:
•
•
•
THRU, a straight copy of what’s going into 2-conductor TS plugs, you’ll unbalance the sig-
the amplifier, nothing added or taken
away from your big finish on spoons.
LOW OUT, the lower frequencies only,
below the frequency set by the
nal at the XLR input by grounding the low side
(–) of the signal (pin 3).
LOW CUT FILTER
CROSSOVER switch
HIGH OUT, the higher frequencies only,
above the frequency set by the
CROSSOVER switch
.
Every woofer has frequency response specifi-
cations. It’s usually expressed in Hertz (or cycles
per second), like “40Hz–300Hz.” The “40Hz”
refers to the low-frequency point (usually, but
not always) where the speaker’s output drops
by 3 dB, and will “roll off” completely as the fre-
.
Note that the LOW OUT
and HIGH OUT are also af- quency goes down. There is no point in sending
fected by the setting of the a woofer any frequencies it can’t reproduce —
LOW CUT FILTER
.
you can’t hear it, and worse yet, it’s a waste
of amplifier power that can be better used
reproducing frequencies you can hear.
24
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CROSSOVER SWITCH
This three-way switch allows you to set the
crossover point of the internal CROSSOVER
5dB
0dB
–5dB
to either 60Hz
two things:
• The THRU output , if the THRU
switch is set to LOW OUT or
,
90Hz or 120Hz. This affects
–10dB
–15dB
1Hz
10Hz
100Hz
1kHz
10kHz 20k
Frequency, Hz
Low Cut Filter Frequency Response
HIGH OUT.
• The SPEAKER OUTPUTS , if the
OUTPUT APPLICATION switch
In order to match the output bandwidth
with your particular speaker system, the
M•2600 amplifier has a tunable LOW CUT
FILTER. The frequencies are marked along the
is
set to LOW OUT. The amplifier then
plays the frequency range below the
crossover point.
knob’s travel
:
•
Fully counterclockwise, the frequency is
below 10Hz, effectively bypassing the filter.
Note: The LOW CUT FILTER
both the THRU outputs and the SPEAKER
in the cases above.
affects
•
Center detent is 35Hz and labeled TYPICAL
since precious few woofers actually go
below that.
,
OUTPUTS
AMP MODE SWITCH
This three-way switch, along with the
OUTPUT APPLICATION switch , determines
what kind of amplifier you want the M•2600 to
be (or not to be — what was the question?).
The AMP MODE switch determines the in-
put signal routing within the M•2600 amplifier.
Shipped from the factory, the switch is set to
STEREO. This is correct for about 90% of the
applications using an amp like this (hence the
TYPICAL indicator near it). But you may be in
the 10% bracket, requiring special input routing
within the amp.
•
•
3/4 of the way up is labeled STAGE MONI-
TOR, 100Hz, perfect for stage monitors
(they seldom reproduce below 100Hz;
besides, it prevents low-frequency “leakage”
into the house).
Fully clockwise is labeled 170Hz
So, grab your woofer’s spec sheet and find
the low roll-off spec. Then set the M•2600’s
at the same frequency.
If you do this correctly (and make sure the
meters are happy), you’ll never again see
.
LOW CUT FILTER
your woofer moving sporadically without au-
dible signal. Your system will play louder and
cleaner, and you may never blow another
woofer again!
AMP MODE should always be configured
before operation, with the amplifier turned off.
CHANNEL
CHANNEL
1
2
INPUT
CROSSOVER
90Hz
CROSSOVER
120Hz
90Hz
INPUT
AMP MODE
BALANCED
OR
LOW CUT FILTER
LOW CUT FILTER
BALANCED
OR
STEREO
TYPICAL
TYPICAL
TYPICAL
60Hz
120Hz
60Hz
UNBALANCED
UNBALANCED
MONO BRIDGED
35 Hz
35 Hz
STAGE
STAGE
MONITOR
MONITOR
100 Hz
100 Hz
CH's
SUMMED
OFF
170 Hz
OFF
170 Hz
OUTPUT APPLICATION
FULL
LOW OUT
(SUB WOOFER)
RANGE
THRU
THRU
LOW
OUT
OFF
HIGH LOW
OUT OUT
THRU
THRU
HIGH
OUT
ON
TYPICAL
IN
IN
LIMITER
SWITCHED OUTPUT
SWITCHED OUTPUT
(CH1 & CH2)
25
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STEREO
mode (separate left and right
Connect the positive side of the speaker
cable to the Channel 1 red (+) binding post.
Connect the negative side of the speaker
cable to the Channel 2 red (+) binding post.
inputs, separate left and right outputs) is the
typical setup for amplifying stereo signals.
MONO
mode (sometimes called Dual-
Mono — one or two inputs, two mono outputs)
is for sending a mono signal to two different
speaker sets, with separately-adjustable GAIN
controls.
4. Instead of the binding posts, you could use
the MONO BRIDGE Speakon connector.
Pin 1+ connects to your speaker red post
(positive +).
Pin 1– connects to your speaker black post
(negative –).
5. In MONO or BRIDGED mode, you can use
either Channel 1 input, or Channel 2, or
both. If both inputs are used, the inputs are
summed.
BRIDGED
mode (sometimes called
Bridged-Mono — one or two inputs, one mono
output) uses both sides of the amp to send
great power to one speaker.
BRIDGED
In STEREO mode, the M•2600 Power
Amplifier can deliver 1300 watts per side into
2 ohms. If that’s not enough, you can use two
M•2600’s, each in BRIDGED mode, and deliver
2600 watts per amplifier into 4 ohms. Or, you
can use one amp in BRIDGED mode to power a
monaural system. Finally, BRIDGED mode is
also popular for subwoofer applications — but
please see LOW OUT (SUBWOOFER) on page
28 for a special subwoofer surprise.
To use all the M•2600’s power to drive one
speaker using BRIDGED mode:
1. Turn off the power to the M•2600.
2. Set the AMP MODE switch to BRIDGED.
3. The BRIDGED mode requires the speaker
Once again: Before making connections to
an amp or reconfiguring an amp’s routing, turn
the power off, make the changes, then turn the
power back on.
In BRIDGED mode, both
connections to your
speaker are live; that is,
neither is grounded
through the chassis. Take
great care to read and fol-
low all of the safety instructions. The amplifier
is capable of up to 116 VAC across the speaker
terminals, potentially LETHAL!
to be wired as follows :
SERIAL NUMBER
MANUFACTURING DATE
CAUTION
WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT
EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. DO NOT REMOVE COVER.
NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.
RISK OF ELECTRIC SHOCK
DO NOT OPEN
AVIS: RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR
CONCEIVED AND DESIGNED BY MACKIE DESIGNS INC • WOODINVILLE
WA • 98072 • USA • PATENTS PENDING • COPYRIGHT ©1998
• THE FOLLOWING ARE REGISTERED TRADEMARKS OF MACKIE DESIGN INC.: "MACKIE", "FR SERIES", AND THE "RUNNING MAN" FIGURE •
1300 WATTS / CH
2 OHM LOAD MIN.
2600 WATTS
120 VAC 60 Hz
2000 WATTS
4 OHM LOAD MIN.
MONO
BRIDGE
CH
CH
MONO
BRIDGE
+
–
1
2
+
+
–
–
PIN 1+ CH1+
PIN 1+ CH2+
PIN 1+ BRIDGE+
–
–
–
–
–
–
PIN1 CH1
PIN1 CH2
PIN1 BRIDGE
–
–
–
PIN 2+ & 2 NOT USED
PIN 2+ & 2 NOT USED
PIN 2+ & 2 NOT USED
SPEAKER OUTPUTS
CAUTION
LLTAGES MAY APPEAR AT OUTPUT
TALS. CLASS 1 WIRING IS REQUIRED
26
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OUTPUT APPLICATION SWITCH
The LIMITER works independently on each
channel. It senses when the amplifier channel
is about to be overdriven and attenuates the
overall level just enough to keep the signal
from clipping. Clipping occurs when the output
voltage no longer linearly follows the input
voltage and simply stops. This causes a sine
wave to “square off,” and the average power
going into the speaker is roughly double that
of a sine wave. Square waves sound awful, and
could possibly damage your tweeters and your
reputation.
The OUTPUT APPLICATION switch should
be configured before you turn on the amplifier.
This switch allows you to choose between three
different configurations:
LIMITER ON (TYPICAL). This is the
normal configuration: full-bandwidth audio
with protective limiting.
LIMITER OFF is also full bandwidth
audio, but without protective limiting.
LOW OUT (SUBWOOFER) mode, with
built-in low-pass filter, but no protective
limiting.
The LIMITER is especially handy when
you’re working with loud output levels. Having
the signal spikes (kick drum, for instance)
attenuated a bit can actually increase the
apparent loudness of the overall mix without
diminishing the “power” behind the spikes.
Be Forewarned: With the LIMITER engaged,
you can still overdrive the amplifier into clipping
and cause distortion. It just takes a stronger
signal to do it. So even with the LIMITER
turned on, you should still pay close attention
to the front panel OL LEDs , especially if
you are hearing distortion or your speakers
start smoking (which is bad for their health).
LIMITER ON, LIMITER OFF
The LIMITER is not designed
to alter your sound — it’s
just there to protect your
speakers from the effects of
clipping. Its effect is virtually
transparent, meaning you
probably won’t even notice any audible difference.
We recommend that you leave it engaged, hence
the TYPICAL label below the ON setting.
If you’re working at quiet levels all the time,
or you’ve already placed a compressor/limiter
in the signal path, or if you just hate compression,
you can leave the LIMITER off.
CHANNEL
CHANNEL
1
2
INPUT
CROSSOVER
90Hz
CROSSOVER
120Hz
90Hz
INPUT
AMP MODE
BALANCED
OR
LOW CUT FILTER
LOW CUT FILTER
BALANCED
OR
STEREO
TYPICAL
TYPICAL
TYPICAL
60Hz
120Hz
60Hz
UNBALANCED
UNBALANCED
MONO BRIDGED
35 Hz
35 Hz
STAGE
STAGE
MONITOR
MONITOR
100 Hz
100 Hz
CH's
SUMMED
OFF
170 Hz
OFF
170 Hz
OUTPUT APPLICATION
FULL
LOW OUT
(SUB WOOFER)
RANGE
THRU
THRU
LOW
OUT
OFF
HIGH LOW
OUT OUT
THRU
THRU
HIGH
OUT
ON
TYPICAL
IN
IN
LIMITER
SWITCHED OUTPUT
SWITCHED OUTPUT
(CH1 & CH2)
27
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5. Set the AMP MODE
to either STEREO,
LOW OUT (SUBWOOFER)
MONO, or BRIDGED, depending on your
application. These three modes operate as
usual with LOW OUT (SUBWOOFER)
activated, except the speakers just get the
lower frequencies.
Here’s a special surprise: If you bought the
M•2600 amplifier to power a subwoofer system,
you just saved yourself the cost of a crossover!
The M•2600 amp has an active crossover built
in. The amplifier can play the frequencies
below the crossover point set with the CROSS-
6. Connect your cords and speaker cables as
required (see the examples on pages 13-16).
7. Turn the M•2600’s POWER on. Woof!
If you want to use a second M•2600 or an
M•1400i to reproduce the rest of the audio
range, follow this procedure:
OVER switch
.
5dB
0dB
–5dB
1. Connect the THRU
jacks on the first
–10dB
subwoofer amplifier to the INPUT
jacks
on the second amplifier.
–15dB
20Hz
100Hz
1kHz
10kHz 20kHz
2. Set the THRU switch on the first
Crossover settings.
subwoofer amplifier to the HIGH OUT
position.
Here’s how to configure it:
1. Turn the M•2600’s POWER off.
2. Set the OUTPUT APPLICATION switch
3. With POWER off, set the OUTPUT APPLICA-
TION switch on the second amplifier to
FULL RANGE (LIMITER either ON or OFF).
to LOW OUT (SUBWOOFER).
The first amplifier will play the frequency
range below the crossover point, and the second
amplifier will play the frequency range above it.
See the diagrams and further information on
pages 13–16. As a general rule, use your biggest
amplifier to power the subs.
3. Select a crossover point, via the CROSS-
OVER switch : At 120Hz, you’ll get the
low sub-harmonics on up to the audible
bass range. At 90Hz, you’ll get the standard
subwoofer range. At 60Hz you’ll get the
lowest frequencies, more to be felt than
heard. You’ll probably want to try this
switch each way.
4. Make sure the LOW CUT FILTER
is set to
OFF or nearly OFF. If it is turned up above
the crossover frequency, the output from the
amplifier will be greatly diminished.
CHANNEL
CHANNEL
1
2
INPUT
CROSSOVER
90Hz
CROSSOVER
120Hz
90Hz
INPUT
AMP MODE
BALANCED
OR
LOW CUT FILTER
LOW CUT FILTER
BALANCED
OR
STEREO
TYPICAL
TYPICAL
TYPICAL
60Hz
120Hz
60Hz
UNBALANCED
UNBALANCED
MONO BRIDGED
35 Hz
35 Hz
STAGE
STAGE
MONITOR
MONITOR
100 Hz
100 Hz
CH's
SUMMED
OFF
170 Hz
OFF
170 Hz
OUTPUT APPLICATION
FULL
LOW OUT
(SUB WOOFER)
RANGE
THRU
THRU
LOW
OUT
OFF
HIGH LOW
OUT OUT
THRU
THRU
HIGH
OUT
ON
TYPICAL
IN
IN
LIMITER
SWITCHED OUTPUT
SWITCHED OUTPUT
(CH1 & CH2)
28
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GENERAL PRECAUTIONS AND CONSIDERATIONS
RACK MOUNTING and THERMAL
CONSIDERATIONS
The M•2600 is a high-power amplifier, and
special consideration to ventilation cannot be
ignored:
AC POWER CONSIDERATIONS
Be sure the M•2600 is plugged into an outlet
that is able to supply the correct voltage speci-
fied for your model. If the voltage should drop
below 97% of the line voltage, the M•2600 will
•
The amplifier must only be installed in a no longer be able to supply rated power. (It will
rack. It requires three rack space units continue to operate down to 63% of the rated
(3 U = 5.2"). It also requires 16.7" depth voltage, but won’t reach full power.)
inside the rack, including the rear
supports.
There must be a minimum of 1 empty
rack space (1-3/4”, 35mm) above and
below.
The rear of the rack should be unob-
structed and placed no closer than 10”
(254mm) from walls or other large
obstructions or roadies.
Under typical conditions, reproducing music
where musical peaks are just below clipping, the
M•2600 draws the following average currents:
•
•
Amplifier Loading
Average current
2Ω per side or 4Ω bridged
4Ω per side or 8Ω bridged
8Ω per side or 16Ω bridged
18A
12A
7A
(Based on use of amplifier on 120 VAC line)
•
•
Air is pulled into the amplifier from the
front, so there should be no obstruction
within 24” (610mm) of the rack’s front.
Hot air from the main heatsink is
exhausted from the ventilation holes on
each side of the amplifier. A spacing of
2” (51mm) or greater between the sides
When heavily loaded, the
M•2600 can pull a consid-
erable amount of current
from the AC power line.
Because of the high cur-
G
NEMA 5-20P
(Plug supplied with
120 VAC models)
rent demand, the power
cord of the USA model is terminated into a 20A
of the amplifier and the sides of the rack plug (NEMA 5-20P). A similar 20A rated re-
G
is recommended. This spacing is com-
mon in most racks designed for perma-
nent installation, and in most shock
mounted road cases.
We recommend a shock mounted road
case for extensive touring with this
amplifier, for thermal as well as me-
chanical considerations.
ceptacle is required to power the amplifier
(NEMA 5-20R).
The following table shows how many ampli-
fiers can be plugged into the same 20 or 30
amp service. This is for typical conditions,
reproducing rock music where musical
peaks are just below clipping.
NEMA 5-20R
(120 VAC, 20Amp
Receptacle)
•
Amplifier Loading
(120 V model)
Max. # amps
Max. # amps
When designing your rack, put the heavier
on 20A service
on 30A service
items at the bottom and the lighter items to-
ward the top.
Secure the front panel of the amplifier to
the front of the rack using eight screws with
soft washers to prevent scratching the panel.
2Ω per side or 4Ω bridged
4Ω per side or 8Ω bridged
8Ω per side or 16Ω bridged
1*
1
1
2
3
2
(*May cause nuisance tripping of breakers
In addition, because of the weight of the ampli- under very high output / heavy loading condi-
fier, you must secure the rear support brackets tions. This table refers to 120V AC line. Other
of the amplifier to the back of the rack. You
could use a support rail or shelf across the
back of the rack, or angle brackets attached
between the rear support brackets and the rear
rails of the rack. This is recommended for all
components mounted in a rack that is going to
be moved frequently.
models are equipped with a power cord and
plug appropriate for the local voltage).
NEVER bypass the plug’s
ground pin. This is
dangerous !
In the unlikely event of the amplifier over-
heating, you might consider leaving 2 rack
spaces between amplifiers, or using extra cool-
ing fans in the rack.
29
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It is recommended that a
stiff supply of AC power be
used because the amplifier
places high current demands
on the AC line. The more
INPUT WIRING
Use a high-quality 3-conductor shielded
cable to connect the signal between the signal
source (mixing console, equalizer, etc.) and
the balanced inputs to the amplifier. If you’re
using the unbalanced inputs, use a high-quality
2-conductor shielded cable. Your Mackie
Dealer can recommend a suitable cable for
your application.
power that is available on the line, the louder
the amplifier will play and the more peak output
power will be available for cleaner, punchier
bass. A suspected problem of “poor bass perfor-
mance” is often caused by a weak AC supply to
the amplifier.
The M•2600 has an in-rush limiting circuit
and relay that will prevent popping the house
circuit breakers during turn-on. You should still
avoid turning on all of your amplifiers at the
same time. Rather, turn them on one at a time.
If you want to roll your own, refer to the
“Connectors” section in Appendix B.
OUTPUT WIRING
Use heavy gauge, CLASS 1, stranded wire for
connecting speakers to the M•2600
amplifier’s SPEAKER OUTPUT terminals. As
the distance between the amplifier and the
speakers increases, the thickness of the wire
should also increase. Speaker wire has resis-
tance, and when electricity passes through a
resistor, power is lost. The thicker the wire,
the less resistance it offers and the more power
actually gets to the speakers.
The wire thickness is rated in gauges. Use
the chart below to determine the correct gauge
of wire to use according to the distance between
the speakers and the amplifier, and the imped-
ance of the load the amplifier is driving. This
ensures that the power lost across the speaker
wire is less than 0.5 dB.
AC Power Distribution
The majority of AC outlets encountered in
homes and clubs (in the U.S.) are served by a
240VAC center-tapped service entrance trans-
former. This provides two phases of AC power
on either side of the center tap, at 120V each.
In order to minimize ground loops, the safety
grounds for all the outlets should be connected
to a common (“star”) grounding point, and the
distance between the outlets and the common
grounding point should be as short as possible.
If lighting is used in a show, it is preferable
to power the lights from one leg of the service,
and power the audio equipment from the other
leg. This will help minimize noise from the
lights coupling into the audio (particularly if
SCRs are used).
When setting up for a show, oftentimes you
are plugging into an AC power distribution sys-
tem you know nothing about. You may even be
faced with 2-wire outlets that are missing the
third safety ground pin. It’s a good idea to have
a three-wire AC outlet tester in your toolbox so
you can check the outlets yourself to make
sure they are wired correctly. These testers will
tell you if the polarity of the hot and neutral
wires is reversed and if the safety ground is
disconnected. Don’t use an outlet if it is wired
improperly! This is to protect yourself as well
as your equipment.
Load
Impedance
2Ω
Gauge of
Wire
Wire Length
Up to 25 ft.
14 gauge
14 gauge
14 gauge
12 gauge
12 gauge
14 gauge
10 gauge
12 gauge
14 gauge
8 gauge
10 gauge
14 gauge
6 gauge
8 gauge
12 gauge
4 gauge
6 gauge
10 gauge
4Ω
8Ω
Up to 40 ft.
Up to 60 ft.
Up to 100 ft.
Up to 150 ft.
Up to 250 ft.
2Ω
4Ω
8Ω
2Ω
4Ω
8Ω
2Ω
4Ω
8Ω
2Ω
4Ω
HIGH VOLTAGE POWER LINE
8Ω
2Ω
4Ω
120V
8Ω
PRIMARY
WINDING
SECONDARY
WINDING
240V
120V
EARTH
GROUND
(NEUTRAL)
TRANSFORMER
240V Center-Tapped Secondary
30
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70V DISTRIBUTION SYSTEMS
A distributed sound system uses a constant-
voltage, high-impedance network that feeds a
number of tapped transformers which, in turn,
deliver power to individual speakers. Each tap
is rated in watts, so you can select the amount
of power delivered to the speaker. Developed
for distributed paging and public address systems,
one benefit of such a system is that it eliminates
complicated impedance calculations when set-
ting up a multi-speaker system. You just add
up the total wattages of all the speakers in the
system and make sure that it doesn’t exceed the
total power rating of the amplifier (allowing at
least 10% for insertion losses). Another benefit
is that by using high voltage and low current,
losses in the speaker distribution wiring are kept
to a minimum. Standard voltage levels include
25V, 70V, and 100V, but 70V systems (actually
70.7V) are most commonly used in commercial
sound distribution systems in the U.S.
In STEREO, into a nominal 70V system, the
M•2600 output can produce a maximum of 500
watts into 8 ohms (equal to 63V). Since this is
less than 70.7V, you can recalculate the actual
power delivered to each tap by multiplying the
tap’s rated wattage by a correction factor (K).
The correction factor is P1/P2, where P1 is the
power delivered by the amplifier into 8 ohms,
and P2 is the power delivered by 70.7V into 8
ohms (625W).
M•2600: K = 500W/625W = 0.8. Thus, a
2.5W tap becomes 2W, a 5W tap becomes 4W
and a 10 W tap becomes 8W.
CAUTION: A characteristic of many tapped
transformers is that they saturate at very low
frequencies, which causes their impedance to
decrease, approaching the DC resistance of the
copper wire. This can result in overloading the
amplifier if the signal contains lots of low frequen-
cies. When using an M•2600 amplifier in a 70V
distribution system, set the LOW CUT FILTER
to 100Hz or higher. In addition, install an RC
network at the SPEAKER OUTPUT of the am-
plifier, as shown in the figure below.
Because of the high power capability of the
M•2600 amplifier, it can be used to directly
drive 70V constant-voltage distribution systems
without the use of a step-up transformer.
We recommend that you
do not use the M•2600 in
BRIDGED mode with a 70V
system, as it can produce
up to 1700 watts into 8
ohms, or 116V. This may
saturate the small 70V transformers. Use the
STEREO or MONO mode instead, and you can
run one or two separate 70V lines.
M•2600
POWER AMPLIFIER
IN STEREO MODE
RC NETWORK
C1 C2
+
+
+
CH 1
R1
70V LINE
–
CONSTANT
VOLTAGE
TRANSFORMER
RC NETWORK VALUES
C1 = C2 = 680µF @ 250V
R1 = 4Ω @ 100W
ALTERNATE RC NETWORK
C3
Note: You can substitute
a single capacitor for C1/C2.
C3 = 330µF @ 250VDC,
NON-POLARIZED.
POWER TAP
SWITCH
R1
+
–
+
–
+
–
70V Constant Voltage
Distribution System
31
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APPENDIX A: Service Info
WARRANTY SERVICE
•
If the OUTPUT APPLICATION switch is set
to LOW OUT (SUBWOOFER), make sure the
LOW CUT FILTER frequency control is set
to OFF or nearly OFF. If it is turned up above
the subwoofer cutoff frequency, the output
from the amplifier will be diminished.
If you think your amplifier has a problem,
please do everything you can to confirm it before
calling for service, including reading through
the following Troubleshooting section. Doing so
might save you from being deprived of your
Mackie amplifier.
Of all Mackie products returned for service
(which is hardly any at all), many are coded
“CND” — Could Not Duplicate, which usually
means the problem lay somewhere else in the
system. These may sound obvious to you, but
here are some things you can check:
•
•
Is the SHORT LED lit? Turn the POWER off,
check the speaker connections and make
sure that there are no strands of wire
shorting across the speaker terminals.
Is the HOT LED lit? Make sure there is
cool air available at the front of the
amplifier. Make sure there is room at the
sides of the amplifier for warm air to exit.
Allow the amplifier to cool off.
TROUBLESHOOTING
No power!
•
•
Are there fuses in the speaker or in-line
fuses in the speaker wire? Check ’em to see
if they’re blown.
•
Our favorite question: Is it plugged in?
Make sure the AC outlet is live (check with
a tester or lamp).
Make sure the speakers are working properly.
•
•
Our next favorite question: Is the POWER
switch on? If not, try turning it on.
One side is way louder than the other!
•
Do the M•2600’s meters read the same
on both sides? If not, your source may be
delivering an out-of-balance stereo signal.
Are both GAIN knobs set to the same
position?
Is the green light next to the power switch
illuminated? If not, make sure the AC outlet
is live. If so, refer to “No sound” below.
The AC line fuse inside the chassis is
blown. This is not a user-serviceable part.
Refer to “Repair” on the next page to find
out how to proceed.
•
•
•
Are the speaker(s) impedances
matched? (See Appendix D— “ do The
Math: Ohms, Loads, and Such.”)
•
Try swapping sides: Turn off the amp,
swap the speaker cables at the amp, turn
the amp back on. If the same side is still
louder, the problem is with your speakers
or speaker cabling. If the other side is
louder now, the problem is with the
mixer, the amp, or the line-level cabling.
No sound!
•
Are the GAIN controls turned all the way
down? Slowly turn them up and see if you
hear anything.
•
Is the signal source turned up? Make sure
the signal level from the mixing console (or
whatever device immediately precedes the
amplifier) is high enough to produce sound
in the amplifier. The SIG LEDs should be
blinking to indicate that signal is present.
The stereo music sounds kind of sideways,
and the bass frequencies diminish when
standing center, but get louder as you
approach one side!
•
If the speakers are wired for BRIDGED
•
Check the polarity of the speaker cable
connections. You may have your positive
and negative connections reversed at
one end of one speaker cable.
mode, make sure the AMP MODE switch is
set to BRIDGED
.
32
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As soon as the music gets loud, the amp
shuts down!
REPAIR
Service for the M•2600 amplifier is available
•
Check the M•2600’s meters. Be sure that OL only from one of our authorized domestic service
is not lighting up frequently or continuously. stations or at the factory, located in sunny
Woodinville, Washington. Service for Mackie
amplifiers living outside the United States can
be obtained through local dealers or distributors.
If your amplifier needs service, follow these
instructions:
1. Review the preceding troubleshooting
suggestions. Please.
2. Call Tech Support at 1-800-258-6883, 8am
to 5pm PST, to explain the problem and
request an RA (Return Authorization)
number. Have your amplifier’s serial
•
Can the amp breathe? The M•2600 amps
draw their ventilation air in from the front
and out through the side panels. They
need plenty of fresh air to stay cool.
Do not block the ventilation ports.
Is the SHORT LED lit? If so, you’ve got a
dead short somewhere in your speaker
setup, or the total impedance of the load is
too low. Turn the amp off and rectify that
right away.
•
No mid or high frequencies!
number ready. You must have an RA
number before you can obtain service at
the factory or an authorized service center.
•
Make sure the OUTPUT APPLICATION switch
is not set to LOW OUT (SUBWOOFER)
.
3. Keep this owner’s manual. We don’t need it
to repair the amplifier.
It hurts when I touch my arm, or my leg, or
even my head!
4. Pack the amplifier 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.
5. 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.
•
You have a broken finger.
Bad sound!
•
•
Is it loud and distorted? Turn down the
signal coming from the mixer or signal source.
Is the input connector plugged completely
into the jack? Check the speaker connec-
tions and verify that all connections are
tight and that there are no stray strands of
wire shorting across the speaker terminals.
•
•
If possible, listen to the signal source with
headphones plugged into the console. If it
sounds bad there, the problem’s not in the
amplifier.
6. Write the RA number in BIG PRINT on
top of the box.
7. Ship the amplifier to us. We suggest
insurance for all forms of cartage. Ship to
this address:
Keep practicing.
Noise/Hum
Mackie Designs
•
•
•
Check the signal cable between the mixer
and the amplifier. Make sure all connections
are good and sound.
Make sure the signal cable is not routed
near AC cables, power transformers, or
other EMI-inducing device.
Is there a light dimmer or other SCR-based
device on the same AC circuit as the
monitor? Use an AC line filter or plug the
amplifier into a different AC circuit.
SERVICE DEPARTMENT
16140 Wood-Red Rd. NE, Ste 5
Woodinville, WA 98072
8. We’ll try to fix the amplifier within three
business days. Ask Tech Support for current
turn-around times when you call for your RA
number. We normally send everything back
prepaid using UPS Orange (three-day air).
However, if you rush your amplifier to us by
next-day air, we’ll treat it in kind by shipping
it back the same way in which it was
•
•
If possible, listen to the signal source with
headphones plugged into the console. If it
sounds noisy there, the problem’s not in the
amplifier.
received . This paragraph does not necessar-
ily apply to non-warranty service.
See “Grounding” in Appendix C, page 37.
33
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APPENDIX B: Connectors
“XLR” CONNECTORS
Mackie amplifiers use 3-pin female “XLR”
connectors on each input, with pin 1 wired to
the grounded (earthed) shield, pin 2 wired to
the “high” (“hot” or positive polarity) side of
the audio signal, and pin 3 wired to the “low”
(output from mixer), ring to signal return
(input back into mixer), and sleeve to ground
(earth).
• Balanced mono circuits. When wired as a
balanced connector, a 1⁄4" TRS jack or plug is
connected tip to signal high (hot), ring to sig-
nal low (cold), and sleeve to ground (earth).
This is the application used for the inputs to
Mackie amplifiers.
2
SHIELD
HOT
1
3
COLD
SHIELD
1
1⁄4" TS PHONE PLUGS AND JACKS
“TS” stands for Tip-Sleeve, the two connec-
tions available on a “mono” 1⁄4" phone jack or
plug (Figure C). TS jacks and plugs are used
in many different applications, always unbal-
anced. The tip is connected to the audio signal
and the sleeve to ground (earth). Some
examples:
• Unbalanced microphones
• Electric guitars and electronic
instruments
3
COLD
2
HOT
SHIELD
COLD
HOT
1
3
2
Figure A: XLR Connectors
(“cold” or negative polarity) side of the signal
(Figure A). All totally above-board and in full
accord with the hallowed standards dictated
by the AES (Audio Engineering Society).
Use a male “XLR”-type connector, usually
found on the nether end of what is called a
“mic cable,” to connect to a female XLR jack.
• Unbalanced line-level or speaker-level
connections
SLEEVE
SLEEVE
TIP
1⁄4" TRS PHONE PLUGS AND JACKS
TIP
TIP (HOT)
Figure C: TS Plug
“TRS” stands for Tip-Ring-Sleeve, the three
connections available on a “stereo” 1⁄4" or “bal-
anced” phone jack or plug (Figure B). TRS
jacks and plugs are used in several different
applications:
SLEEVE (SHIELD)
UNBALANCING A LINE
RING SLEEVE
SLEEVE RING TIP
In most studio, stage, and sound reinforce-
ment situations, there is a combination of
balanced and unbalanced inputs and outputs
on the various pieces of equipment. This
usually will not be a problem in making
connections.
TIP
RING (COLD)
TIP (HOT)
SLEEVE (SHIELD)
Figure B: 1⁄4" TRS Plugs
• When connecting a balanced output to
an unbalanced input, be sure the signal high
• Stereo Headphones, stereo microphones
and stereo line connections. When wired for
stereo, a 1⁄4" TRS jack or plug is connected tip
to left, ring to right and sleeve to ground
(earth).
• Unbalanced Send/Return circuits. When
wired as a send/return “Y” connector, a 1⁄4" TRS
jack or plug is connected tip to signal send
(hot) connections are wired to each other, and
that the balanced signal low (cold) goes to the
ground (earth) connection at the unbalanced
input. In most cases, the balanced ground will
also be connected to the ground at the unbal-
anced input. If there are ground-loop problems,
this connection may be left disconnected at the
balanced end.
34
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• When connecting an unbalanced output SPEAKONS
to a balanced input, be sure that the signal
high (hot) connections are wired to each
other. The unbalanced ground (earth) connec-
tion should be wired to the low and the ground
connections of the balanced input. If there are
ground-loop problems, try connecting the un-
balanced ground connection only to the input
low connection, and leaving the input ground
connection disconnected.
®
Speakon connectors have become popular
with many loudspeaker manufacturers be-
cause they provide a quick, yet safe and secure
method of connecting speaker cables. The con-
nectors have a twist-locking mechanism that
prevents them from being pulled out acciden-
tally. Plus, they are capable of handling high
currents and meet IEC 65 and IEC 348 safety
requirements.
• In some cases, you will have to make up
special adapters to interconnect your equip-
ment. For example, you may need a balanced
XLR female connected to an unbalanced 1⁄4"
TS phone plug. The balanced-to-unbalanced
connection has been anticipated in the wiring
of Mackie jacks. A 1⁄4" TS plug inserted into a
1⁄4" TRS balanced input, for example, auto-
matically unbalances the input and makes all
the right connections. Conversely, a 1⁄4" TRS
plug inserted into a 1⁄4" unbalanced input
automatically ties the ring (low or cold) to
ground (earth).
Pin 1+ is speaker positive(+) and Pin 1– is
the speaker negative (–).
The amplifier is fitted with three Speakon
connectors, one for the left, one for the right
and one for the bridged mono operation. The
bridged mono connector must not be used with
any other connection, no speaker wire at-
tached to the binding posts, and no other
Speakons used.
Internally, the bridged mono Speakon is
wired directly to the binding posts. Pin 1+ is
connected to the Channel 1 positive and Pin 1–
is connected to Channel 2 positive. If you find
that your speaker (in bridged mono) sounds
strange, check that the AMP MODE switch is
correctly set to BRIDGED. Otherwise, your
speaker will be playing the difference between
Channel 1 and Channel 2, like an earlier
method of home theater center fill.
BINDING POSTS
The binding posts provide a safe and secure
connection for speaker wire.
Prepare your wire by stripping back the in-
sulation to reveal clean, shiny wire. Make sure
it is not stripped back any further than 3/8”
(9.5mm), to avoid the chance of a shock haz-
ard. Carefully twist the wire so that any fine
wire strands are together.
Make sure the amplifier is
turned off before connect-
ing the speaker wire, as
there may be high AC volt-
ages present at the outputs
•
•
Untighten the posts and insert the
bare wire as shown below.
Check there are no strands of wire
sticking out which may touch the
other terminal.
1+
1–
2–
1–
1+
2+
HOT
COLD
•
Tighten the posts by hand, do not use
a wrench!
Figure E: Speakon
Connectors
Figure D: Binding Posts with Bare Wire
35
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APPENDIX C: Arcane Mysteries Illuminated
BALANCED LINES
Balanced lines offer increased immunity
to external noise (specifically, hum and buzz).
Because a balanced system is able to minimize
noise, 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 a system — having balanced inputs means
very little noise will enter the system via snakes
and other cables that typically must run a long
length.
connects to pin 1) to prevent it from
contacting the connector shell.
2. Don’t connect the XLR connector shell to
pin 1 of the XLR connector unless necessary
for RFI shielding. Doing so is an invitation
for a ground loop to come a-courting.
3. Do ensure that your speaker lines and AC
power lines are physically separated from
your microphone lines.
4. If you use floor pockets, use separate
pockets for inputs and speakers, or put the
connectors on opposite sides of the box so
that they may be shielded separately.
A balanced line is a three-
wire system where two wires
5. If your speaker lines run in the open, they
should be twisted pairs, at least 6 twists per
foot. Otherwise, run the speaker lines in
their own conduit. (Of course, conduit is not
too practical for portable systems, heh-heh.)
carry the signal and the third
is a ground wire that shields
the inner conductors from
EMI. The two inner conduc-
tors carry the same signal, but with opposite
polarity. The balanced input amplifies only the
difference between the two conductors. But a
signal that is common to both conductors, and
in phase, is rejected (canceled out) at the bal-
anced input. This includes hum from AC lines
or other EMI induced noise.
An unbalanced line does not have this
noise-rejecting capability because it has only
two conductors. One conductor carries the sig-
nal and the other is a ground wire that shields
the inner conductor. Any hum or EMI noise
that gets through the shield is added to the sig-
nal and amplified at the unbalanced input.
Often the hum can be louder than the signal itself!
6. Minimize the distance between the power
amplifiers and the speakers.
7. Use heavy gauge, stranded wire for speaker
lines. Ideally, the wire resistance should be
less than 6% (0.5 dB power loss) of the load
impedance. Remember that the actual run
is twice as long as the physical length of
the run. See below.
Maximum wire run for 0.5dB power loss in feet
wire
res. per
2
Ω
4
Ω
8
Ω
gauge 1000 ft.
10
12
14
16
1.00
1.59
2.5
60 120 240
40
24
15
75 150
48
30
95
60
FIXED INSTALLATIONS
4.02
If you install sound systems into fixed instal-
lations, there are a number of things that you
can do to make your life easier and increase
the likelihood of the sound system operating
in a predictable manner. Even if you don’t do
fixed installations, these are good practices for
any sound system.
1. Do use foil-shielded snake cable for long
cable runs. Carefully terminate each end,
minimizing the amount of shielding
8. Ensure that the electrician uses the star-
ground system for the safety grounds in
your electrical system. All of the audio
system grounds should terminate at the
same physical point. No other grounds may
come in contact with this ground system.
9. Ensure that the AC power feeds are
connected to the same transformer, and
ideally, the same circuit breaker.
removed. Protect the exposed foil shield
with shrink sleeving or PVC sleeving.
Prevent adjacent shields from contacting
each other (electrically). Use insulating
sleeving on the drain wire (the one that
36
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10. Walk outside — look at the horizon. See
Here are some guidelines:
any radio towers? Locate potential sources 1. Use balanced lines if at all possible. They
of RF interference and plan for them
before you begin construction. Know the
frequency, transmitter power, etc. You can
get this information by calling the station.
Remember that many broadcast stations
change the antenna coverage pattern and
transmitter power at night.
provide better immunity to induced noise
and ground loops. Remember that you can
balance a line by inserting in-line a piece of
equipment that has a balanced output.
2. Avoid using three-phase power lines since
they are usually used for air conditioning
and other heavy power equipment. If using
240VAC single phase with center-ground
power, connect all audio equipment to one
side of the AC power, and all lighting and
other equipment to the other side.
3. Be sure all AC outlet safety grounds are
connected to one common point in a star
ground arrangement. This common ground
point should then tie back to earth ground
at the service entrance by one heavy
stranded wire, #2 gauge or larger.
11. Don’t use hardware-store light dimmers.
12. Don’t allow for anything other than micro-
phone inputs at stage/altar locations.
Supplying line inputs at these locations is
an invitation for misuse. Make all sources
look like microphones to the console.
13. Balance (or at least impedance balance)
all connections that are remote from the
console’s immediate location.
4. Don’t cut the third pin off the power cord.
Carry some ground-lifter adapters and use
them only if you have to plug into an
ancient two-wire outlet.
5. Cables that are too long are less likely to
pick up hum if you uncoil them in their
entirety, and then find a place to stow the
excess. Leaving the excess coiled only helps
the cable pick up hum more efficiently.
6. If you bundle your cables together, don’t
bundle AC wiring and audio wiring to-
gether. Bundle them separately.
7. If your sound system insists on humming,
you may want to teach it the words.
GROUNDING
Grounding exists in your audio system for
two reasons: product safety and noise reduc-
tion. The third wire on the power cord exists
for product safety. It provides a low-resistance
path back to the electrical service to protect
the users of the product from electrical shock.
Hopefully, the resistance to ground through the
safety ground (third wire) is lower than that
through the user/operator to ground. If you re-
move this connection (by breaking or cutting
the pin off, or by using a ‘ground cheater’), this
alternate ground path ceases to exist, which is
a safety hazard.
The metal chassis of the product, the
ground connections provided by the various
connectors, and the shields within your con-
necting cables provide a low-potential point for
noise signals. The goal is to provide a lower im-
pedance path to ground for noise signals than
through the signal wiring. Doing so helps
minimize hum, buzz, and other extraneous
non-audio signals.
Many “authorities” tell you that shields
should be connected only at one end. Some-
times this can be true, but for most (99%)
audio systems, it is unnecessary. If you do ev-
erything else correctly, you should be able to
connect every component of your audio system
using standard, off-the-shelf connecting cables
that are available at any music store.
37
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BI-AMPLIFIED AND TRI-AMPLIFIED
SYSTEMS
Biamplified and triamplified systems use
separate power amplifiers to power each indi-
vidual low-frequency and high-frequency
driver. An electronic crossover (a.k.a. active
crossover) is located between the signal source
and the power amplifier. The advantages of
this method include:
Most speaker systems in use today are of
the two-way or three-way variety. Cone speak-
ers are good at reproducing low and mid-range
frequencies, but not high frequencies. Likewise,
compression drivers are good at reproducing
high frequencies, but definitely not low frequen-
cies. This is why two-way, three-way and even
four-way speaker systems were developed —
to improve the efficiency of each individual
driver by requiring it to reproduce only the
frequencies that it reproduces best.
• Increased headroom available from each
amplifier, since they’re amplifying only a
portion of the entire audio spectrum.
• Improved damping factor because the
amplifier output is connected directly to
the driver.
• Improved efficiency because there are no
passive resistors to dissipate heat; and
• Flexibility to choose the optimum cross
over frequency and crossover slope for
the individual drivers in the system.
One method of accomplishing this is
through the use of a passive crossover network
between the amplifier and the speaker(s).
Often the passive crossover is built into the
cabinet along with the various drivers. The
crossover divides the high-level speaker signal
into frequency bands, which are then directed
to the appropriate driver. There are some draw-
backs to this method, however. The passive
crossover adds reactance to the load that the
amplifier sees, which can affect the damping.
Power is wasted as heat across the resistors in
the crossover, reducing the amount of amplifier
power available to the drivers themselves.
The M•2600’s internal crossovers are
electronic (active) and allow biamplification
above and below a user-selectable crossover
point of 60Hz, 90Hz, or 120Hz. See the
application diagrams on pages 13-16.
TWO-WAY SPEAKER CABINET
HIGH-LEVEL
HIGH FREQUENCIES
PASSIVE
FR SERIES
POWER AMPLIFIER
(STEREO MODE)
TO TWEETER
CROSSOVER
LOW FREQUENCIES
TO WOOFER
+
CH 1
IN
CH 1
OUT
FROM SIGNAL SOURCE
(MACKIE MIXING CONSOLE)
–
–
+
TWO-WAY SPEAKER CABINET
CH 2
IN
CH 2
OUT
FROM SIGNAL SOURCE
(MACKIE MIXING CONSOLE)
HIGH-LEVEL
HIGH FREQUENCIES
PASSIVE
TO TWEETER
CROSSOVER
Passive Crossover System
LOW FREQUENCIES
TO WOOFER
FR SERIES
POWER AMPLIFIER
(STEREO MODE)
FROM SIGNAL SOURCE
(MACKIE MIXING CONSOLE)
CH 1
INPUT
TWEET
TO HIGH-FREQUENCY
+
CH 1
OUT
AMPLIFIER
LOW-LEVEL
3-WAY ACTIVE
CROSSOVER
–
–
+
CH 2
INPUT
TO MID-FREQUENCY
AMPLIFIER
CH 2
OUT
MID
FR SERIES
POWER AMPLIFIER
(BRIDGE MODE)
FR SERIES
POWER AMPLIFIER
(STEREO MODE)
FROM SIGNAL SOURCE
(MACKIE MIXING CONSOLE)
CH 1
INPUT
TO LOW-FREQUENCY
AMPLIFIER
+
CH 1
CH 1
INPUT
TWEET
WOOF
TO HIGH-FREQUENCY
+
OUT
CH 1
LOW-LEVEL
2-WAY ACTIVE
CROSSOVER
AMPLIFIER
–
OUT
WOOF
–
–
CH 2
INPUT
CH 2
TO LOW-FREQUENCY
AMPLIFIER
–
OUT
CH 2
+
OUT
+
Biamplified System with External Active Crossover
Triamplified System with External Active Crossover
38
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APPENDIX D: Technical Info
DO THE MATH: OHMS, LOADS, AND SUCH
Remember: As the load gets “heavier,” its
“Parallel” means that the positive amp out-
value in ohms goes down. For instance, a
2-ohm speaker load is twice as “heavy” as a
4-ohm load. An ohm is a unit of resistance —
the more ohms, the more resistance (imped-
ance). The more the resistance, the less the
power. It can all seem backwards at first. Just
remember that a dead short means no resis-
tance at all, or zero ohms.
put connects to the positive terminals of all the
speakers, and the negative amp output con-
nects to the negative terminals of all the
speakers. If one speaker fails in a parallel con-
figuration, the others will still work, but the
load will change. That lets you breathe a little
easier (the show will go on), except that you
may have a dead speaker and not even know it.
Calculating parallel loads is also easy, as
Since you’re in the biz (or you are now,
since you just bought an amp), you probably
long as each speaker has the same value —
own a volt/ohm meter (or DVM, for Digital Volt just divide the value by the number of speak-
Meter). It’s an indispensable tool for anyone
working with speakers and such. If you don’t
own a meter, go out and get one right now —
we’ll wait.
ers. For instance, four 8-ohm speakers,
connected in parallel, will equal 2 ohms
(8 / 4 = 2). If the loads aren’t all the same, the
formula gets a little more complicated, but
nothing that you can’t do with a simple calculator.
If you’re just dealing with one speaker (or
cabinet) per output, the load in ohms will be
printed on it somewhere. That’s your load. You
can confirm this with the volt/ohm meter you
just bought — set it for ohms, set it for the
lowest range (unless it’s an autoranging
meter) and measure across the speaker termi-
nals. It may not agree exactly; a speaker rated
at eight ohms may read between 5 and 7 ohms.
(If it’s a multiple-driver speaker with a built-in
passive crossover, this method won’t work.)
If you’re driving an assortment of speakers
(or cabinets), things can get complicated.
There are two basic ways of linking multiple
loads (speakers in this case): series and parallel.
“Series” means that the positive amp output
connects to the first speaker’s positive termi-
nal, the first speaker’s negative terminal
connects to the second speaker’s positive ter-
minal, the second speaker’s negative terminal
goes to the third, and so on, until the chain
ends at the amp’s negative output. Series con-
nections are not normally used in PA
1
Z
=
T
1
Z
1
Z
1
Z
+
+
+
. . .
1
2
3
There are other, more complicated configu-
rations, like series-parallel (using a combination
of series and parallel links to arrive at a de-
sired load) and parallel configurations of
unmatched loads (usually not recommended).
But rather than get too deep into this, let’s just
summarize the basics, as they apply to you and
your M•2600 power amplifier:
• As a load gets “heavier,” its impedance in
ohms decreases.
• The lower the impedance (ohms), the
higher the power: The M•2600 has 1300 watts
(per side) with a 2-ohm load, 850 watts with
4 ohms, and 500 watts with 8 ohms.
• Do not connect a load of under 2 ohms
(in STEREO and MONO mode) or 4 ohms
(in BRIDGED mode).
• Never plug amplifier outputs into any-
thing except speakers (unless you have an
outboard box designed to accept speaker levels).
• Never play good music through bad speak-
ers. You may, however, play bad music through
good speakers (but only on odd-numbered
Fridays).
applications because it ruins the amplifier’s
ability to damp (control) the speakers.
Doing load calculations with series configu-
rations is easy — just add the loads. For
instance, four 8-ohm speakers, connected in
series, will equal 32 ohms (8 + 8 + 8 + 8 = 32).
39
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SPECIFICATIONS M•2600
Maximum Power at 1% THD, midband:
Rise Time:
500 watts per channel into 8Ω
850watts per channel into 4Ω
1300 watts per channel into 2Ω
1700 watts into 8Ω bridged
2600 watts into 4Ω bridged
< 5µs
Slew Rate:
Voltage Slew Rate > 60V/µs
Current Slew Rate> 30A/µs at 2Ω
Continuous Sine Wave Average Output Power,
both channels driven:
CMRR:
> 40 dB, 20Hz to 20kHz
425 watts per channel into 8Ω from 20Hz to 20kHz,
with no more than 0.025% THD
700 watts per channel into 4Ω from 20Hz to 20kHz,
with no more than 0.05% THD
1000 watts per channel into 2Ω from 20Hz to 20kHz,
with no more than 0.1% THD
Bridged mono operation:
Load Angle:
8( jx) time independent at 8Ω
4( jx) time dependent, T > 6 min. at 4Ω
2(1 jx) time dependent, T > 2 min. at 2Ω
Transient Recovery:
< 1µs for 20 dB overdrive @ 1kHz
1,400 watts into 8Ω from 20Hz to 20kHz, with no more
than 0.05% THD
High Frequency Overload and Latching:
2000 watts into 4Ω from 20Hz to 20kHz, with no more
than 0.1% THD
Note: Power ratings are specified at 120VAC line voltages.
No latch up at any frequency or level.
High Frequency Stability:
Unconditionally stable, driving any reactive or
capacitive load.
The M•2600 power amplifier draws large amounts of
current from the AC line with continuous sine wave test-
ing. Accurate measurement of power requires a steady
and stable AC supply. This means the line impedance
must be very low to insure that the peak AC line voltage
does not sag to less than 97% of its value.
Turn On Delay:
3-5 seconds
Variable Low-Cut Filter:
10Hz (Off) to 170Hz, 2nd-Order Bessel
If driving highly reactive loads, we recommend that the
limiter circuit be engaged.
Internal Crossover:
Switched: 60Hz/90Hz/120Hz, 4th-Order Linkwitz-Riley
Lowpass outputs switchable to internal Subwoofer
mode.
Power Bandwidth:
20Hz to 70kHz (+0, –3 dB) @ 700W into 4Ω
Lowpass and Highpass outputs switchable to Thru
output jacks.
Frequency Response:
20Hz to 40kHz (+0, –1 dB)
10Hz to 70kHz (+0, –3 dB)
Limiter Section:
Complementary Positive and Negative Peak Detecting
Distortion:
THD, SMPTE IMD, TIM
< 0.025% @ 8Ω
< 0.050% @ 4Ω
< 0.150% @ 2Ω
Indicators:
6 meter LEDs per channel
SIG (Signal Present), –20, –9, –6, –3, OL (Overload)
Signal-to-Noise Ratio:
CH 1 & 2
> 107 dB below rated power into 4Ω
PROTECT LEDs
SHORT LEDs
Channel Separation:
> 80 dB @ 1kHz
TEMP STATUS
COLD/HOT LEDs
Damping Factor:
> 350 @ 400Hz
Physical: (lets get)
(three rack spaces high, standard rack width)
Input Impedance:
24kΩ balanced
Height
5.20 inches
(132mm)
(483mm)
(438mm)
(398mm)
(423mm)
(25 kg)
Front panel Width 19.00 inches
Chassis Width
Depth
Overall Depth
Weight
17.24 inches
15.65 inches
16.67 inches
55 pounds
Input Sensitivity:
1.23 volts (+4 dBu) for rated power into 4 ohms
Gain:
32.7 dB (43V/V)
AC Drop-out Voltage:
Maximum Input Level:
At approximately 63% of rated line voltage
9.75 volts (+22 dBu)
40
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Power Consumption
Country
AC input
requirements
Line Range
Power Consumption
(1/8 of 2Ω resistive
power/ nominal)
1650 W, 18.2 A
1650 W, 9.1 A
1650 W, 9.1 A
1650 W, 9.1 A
1000 W, 13.8 A (4Ω)
1650 W, 10.9 A
North America 120 V, 60 Hz
240 V, 60 Hz
76 V - 132 V
152 V - 264 V
152 V - 264 V
152 V - 264 V
63 V - 110 V
126 V - 220 V
Europe
Korea
Japan
240 V, 50/60 Hz
240 V, 60 Hz
100 V, 50/60 Hz
200 V, 50/60 Hz
*
The 100 V version of the Japanese model is not rated into 2Ω. It is only rated at 4Ω stereo or 8Ω bridged.
*
Disclaimer:
Since we are always striving to make our products
better by incorporating new and improved materials,
components, and manufacturing methods, we reserve the
right to change these specifications at any time without
notice.
“Mackie,” “The Running Man,” and “FR Series” are trade-
marks or registered trademarks of Mackie Designs Inc.
All other brand names mentioned are trademarks or
registered trademarks of their respective holders, and are
hereby acknowledged.
©2002 Mackie Designs Inc.
All Rights Reserved.
17.24" (438mm)
M•2600
WEIGHT
55 lbs.
(25 kg)
ventilation slots
(do not cover)
FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN
PROFESSIONAL POWER AMPLIFIER
ON
CH
1
CH
2
CH
GAIN/dB
GAIN/dB
CH
1
2
POWER
OFF
19.00" (483mm)
41
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NOTES
43
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Some of the
people at our
®
factory who helped
design, build, sell,
and support your
product.
®
™
®
Mackie Designs Inc.
16220 Wood-Red Rd. NE • Woodinville, WA 98072 • USA
US & Canada: 800/898-3211
Europe, Asia, Central & South America: 425/487-4333
Middle East & Africa: 31-20-654-4000
E-mail: [email protected]
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