Mackie DJ Equipment U40d User Manual

4-Channel Mic/Line Mixer with FireWire and DJ Features  
O W N E R ’ S M A N U A L  
1
2
3
4
LEVEL  
SET  
LEVEL  
SET  
MIC  
MIC  
U
U
GAIN  
GAIN  
+3  
+50  
+3  
+50  
POWER  
48V  
-14  
+14  
-14  
+14  
-22  
+25  
-22  
+25  
U
U
U
U
U
U
U
U
EQ  
HIGH  
12kHz  
EQ  
HIGH  
L
R
-15  
-15  
100  
-15  
+15  
+15  
8k  
-15  
-15  
100  
-15  
+15  
+15  
8k  
KILL  
KILL  
KILL  
+10  
KILL  
KILL  
KILL  
+10  
U
U
OL  
10  
7
MID  
MID  
+10  
+10  
4
600  
600  
0
MID  
FREQ  
4
150  
1.5k  
150  
1.5k  
LOW  
10  
20  
+10  
+10  
U
U
AUX  
LOW  
80Hz  
O O  
O O  
+15  
+15  
MAX  
MAX  
MAX  
MAX  
U
U
AUX  
CUE  
LEVEL  
48V  
O O  
O O  
O O  
O O  
MAX  
MAX  
CUE  
CUE  
CUE  
CUE  
CURVE  
SLOW  
FAST  
O O  
O O  
PHONES  
MAX  
FW IN  
MAX  
+10  
5
0
-5  
LOOP  
OUT  
3
4
-10  
-20  
O O  
MAX  
O O  
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Table of Contents  
SOFTWARE INSTALLATION............................... 28  
IMPORTANT SAFETY INSTRUCTIONS ........................ 2  
INTRODUCTION ...................................................... 4  
GETTING STARTED................................................... 5  
HOOKUP DIAGRAMS............................................... 6  
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Part No. SW0557 Rev. D 02/08  
©2007-2008 LOUD Technologies Inc. All Rights Reserved.  
Owner’s Manual  
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Separate FireWire modes for live performance  
or overdubbing.  
Introduction  
Ultra-compact design, with functional and  
ergonomic controls.  
Thank you for choosing a Mackie U.420d mixer. It con-  
tains all your favorite features in a ultra-compact mixer,  
along with a built-in FireWire interface, easy controls  
and a crossfader.  
Stereo channels have a crossfader with a choice  
of contour curves.  
Faders on mono channels.  
The U.420d is equally at home in recording studio ap-  
plications or in live performances:  
3-Band EQ on each channel, with kill position  
on stereo channels, and sweepable Mid fre-  
quency on the mono channels.  
In the recording studio, the mixer offers Mackie-qual-  
ity sound to sub-mix outboard gear and bring it into the  
computer. It has 2 stereo channels that can accept any  
stereo device from synths, samplers, or turntables and  
bring it directly into the DAW. It can interface a DJ rig  
right to the DAW as well. Two mono channels allow mic  
or line connections, and channel one also accepts an  
instrument connection without the need for a DI box.  
Mic preamplifier on each mono channel, with  
phantom power selection.  
Phono preamplifiers on each stereo channel.  
Instrument-level input option on channel 1.  
Stereo aux bus allows a separate mix to be sent  
to stage monitors or external processors.  
TRS stereo main outputs.  
In live performances, the mixer will enable you to sub-  
mix synths, computers, samplers, pedal boards, turn-  
tables, CD-players, microphones, and effects on stage in  
your rig. Bands and solo artists from DJs, electronic art-  
ists and singer/songwriters can use the mixer to sub-mix  
their creative tools and deliver them to the sound board,  
and send an aux mix to stage monitors.  
TRS stereo headphone out.  
TRS stereo aux bus outputs.  
Stereo main meters with overload lights.  
Cue system for cueing each channel in the  
headphones.  
Large, easy to use, main level control.  
External universal power supply.  
Generally speaking, the U.420d mixer is way up there  
with sliced bread and Swiss army knives. (Swiss army  
bread?) We hope that you will just love it, as much as we  
did making it for you.  
Includes Tracktion, our professional, easy-to-  
use, totally-amazing music production software.  
FEATURES  
HOW TO USE THIS MANUAL  
2 stereo channels with line-level and phono-  
level inputs.  
Please read the safety instructions on page 2 first.  
The getting started guide on page 5 will help you get the  
mixer set up fast so you can start using it right away.  
Right after that are the ever-popular hook-up diagrams  
that show you some typical setups.  
2 mono channels with mic-level and line-level  
inputs.  
Built-in FireWire 2x2 interface provides easy  
input from computer to the main mix, and easy  
outputs to the computer from the main mix. It  
has 24-bit resolution, and 44.1, 48, 88.2, and  
96 kHz sample rates.  
The features section describes every knob, button,  
and connection point on the mixer, roughly following  
the signal flow through the mixer from top to bottom.  
For more information about a feature, locate its number  
in the appropriate illustration, and find it in the nearby  
paragraphs.  
Please write your serial number here for future  
reference (i.e., insurance claims, tech support,  
return authorization, etc.)  
This icon marks information that is critically  
important or unique to the mixer. For your  
own good, read them and remember them.  
This icon leads you to in-depth explanations  
of features and practical tips. They usually  
have some valuable nuggets of information.  
Purchased at:  
This icon marks information that was  
dreamed up while the technical writer was  
curled up asleep under his desk.  
Date of purchase:  
Appendix A shows service and repair information.  
Appendix B is a section on connectors.  
Appendix C shows the specs and a block diagram.  
Appendix D shows details of the FireWire interface.  
4
U.4ꢀ0d 4-Channel Mic/Line Mixer  
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Set the Levels  
Getting Started  
To set the gain controls, it’s not even necessary to  
hear what you’re doing at the outputs of the mixer. If  
you want to listen while you work, plug headphones into  
the phones jack on the front panel, press the cue switch  
on that channel, then set the phones knob up a little.  
READ THIS PAGE!!  
Even if you never read manuals, please  
read and digest the safety instructions  
on page 2, and this page before you  
begin using your mixer.  
1. Play something into the selected input. Be sure  
that the volume of the input source is the same as  
it would be during normal use. If it isn’t, you might  
have to readjust these levels during the middle of a  
set.  
Zero the Controls  
1. Unplug the mixer’s external power supply from the  
mixer.  
2. Adjust the channel’s rotary gain control so that the  
level set LED comes on while you are playing, and  
goes off when you stop. As a rough guide, adjust  
the gain until the LED is on for about half the time  
of your performance. (The LED indicates that the  
signal level is 0 dBu.)  
2. Turn down all the gain, aux, and level controls, and  
center all the EQ controls.  
3. Set all push button switches to their “out” positions.  
3. Repeat for the other channels (if you want to).  
4. In the center section, turn down the large level  
knob, FW in knob, and phones level knob.  
5. Set the program faders fully down, and center the  
crossfader.  
Instant Mixing  
1. To get sound out of the speakers, turn up the  
channel’s fader, or level, and slowly rotate the main  
control to a comfortable listening level.  
Connections  
2. Sing and play. You’re a star! Bring in the other  
channels, play with the crossfader, and generally  
have fun.  
If you already know how you want to connect the  
mixer, go ahead and connect the inputs and outputs  
the way you want them. If you just want to get sound  
through the mixer, follow these steps:  
1. Plug a signal source into the mixer. This could be a:  
FireWire  
Microphone into an XLR mic input.  
Turntable into a phono input.  
1. See Appendix D, page 25 for details of getting  
started with FireWire.  
Line-level source such as a CD player into a  
TRS line-level input.  
2. There is a nice section about recording with  
FireWire on page 26.  
A guitar connected to the input 1, with the  
instrument switch pressed in.  
Other Nuggets of Wisdom  
2
.
Connect cords from the main outputs to the line-  
level inputs of your powered speakers or amplifier.  
Always turn down the main level knob and phone  
knob before making any connections.  
3. Plug in the mixer’s external power supply, and con-  
nect it to a live AC outlet to turn on the mixer.  
When you shut down your equipment, turn off the  
amplifiers first. When powering up, turn on the  
amplifiers last.  
4. If you have powered speakers, turn them on. Other-  
wise, hook up your speakers to your amp and turn it  
on. Adjust your powered speaker or amplifier level  
controls to however the manufacturer recommends.  
(This is usually all the way up.)  
5
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Hookup Diagrams  
Acoustic Guitar  
and Mic  
HR824  
Powered  
Monitors  
Studio  
Vocal  
Mic  
Headphones  
MAIN  
L
4
PHONO  
L
LINE 3  
2
1
GND  
OUT  
T  
LINE  
MINE  
MIE  
ON
L
L
PHONO  
L
POWER  
18V,1.5A  
R
R
R
R
R
Laptop  
Electric  
Guitar  
Synth workstation  
USB Combo keys/pads  
Controller  
Amplifier  
modeller  
This diagram shows an acoustic guitar microphone attached to channel 1s XLR input, a vocal condens-  
er microphone connected to channel 2s XLR input, a guitar and amp modeler (like a Line 6 Pod™) con-  
nected to channel 3, and a synthesizer workstation connected to channel 4. A northbound train loaded  
with pig-iron is leaving Little Rock at 3:30.  
The main outputs are fed to a pair of Mackie HR studio monitors for control room listening, and the  
mixers Big Knob controls their volume. The headphone output has its own level control, and each chan-  
nel has a cue switch independent of the Big Knob.  
A laptop is connected via FireWire. The mixer provides stereo mains to the computer for recording with  
most DAW applications like Tracktion, Cubase™ or Logic™. This is independent of the Big Knob as well.  
The laptop is loaded with awesome virtual instruments like those in applications such as Logic, and a  
USB key/pads combo controller is connected for real-time performance and recording.  
The FireWire loop through switch on the top of the mixer makes overdubbing a breeze. In its normal  
“out” position, you can playback the mix from your DAW and it will not loop back through the FireWire.  
Only the analog inputs 1-4 will be available for recording. Track it!  
Music Production Studio 1  
U.4ꢀ0d 4-Channel Mic/Line Mixer  
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Acoustic Guitar  
and mic  
HR824  
Powered  
Monitors  
Synth workstation  
Studio  
Vocal  
Mic  
Headphones  
MAIN  
OUT  
AU
OU
L
4
PHONO  
L
LINE 3  
2
1
GN
LINE  
MINE  
MINE  
(MONO)  
L
L
PHONO  
L
POWER  
18V,1.5A  
R
R
R
Drum  
Machine  
ground wire  
USB  
Keyboard  
Controller  
Laptop  
Turntable with phono-level output  
Turntable with phono-level output  
This diagram shows an acoustic guitar microphone attached to channel 1s XLR input, a vocal condens-  
er microphone connected to channel 2s XLR input, two turntables are connected to channel 3 and 4s  
phono inputs, and a drum machine and keyboard workstation are attached to their line inputs.  
Note: Each turntable is disconnected whenever a 1/4” plug is inserted into a line input on the same  
channel, so physically pull out the 1/4” plug whenever you want to play a record.  
The main outputs are fed to a pair of Mackie HR studio monitors for control room listening, and the  
mixers Big Knob controls their volume. The headphone out has its own level control independent of the  
Big Knob.  
A laptop is connected via FireWire. The mixer provides stereo mains to the computer for recording with  
most DAW applications like Tracktion, Cubase, or Logic. This is independent of the Big Knob as well. The  
laptop is loaded with awesome virtual instruments like those in applications such as Logic, and a USB  
key/pads combo controller is connected for real-time performance and recording.  
The FireWire loop through switch on the top of the mixer makes overdubbing a breeze. In its normal  
out position, you can play back the mix from your DAW and it will not loop back through the FireWire.  
Only the analog inputs 1-4 will be available for recording. Track it!  
Music Production Studio 2  
7
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SRM450  
Powered  
Speakers  
pole  
pole  
Microphone  
mount  
mount  
SWA1501  
Powered  
Subwoofers  
MAIN  
OUT  
AUX  
OUT  
L
4
PHONO  
L
LINE 3  
2
G
LINE  
MNE  
MIC/LINE  
(MONO)  
L
L
PHONO  
L
POWER  
18V,1.5A  
R
R
R
R
R
Keyboards  
Laptop  
SRM350 Powered Stage Monitors  
Electronic Drum Kit  
This diagram shows an electric/acoustic guitar connected to input 1s 1/4” input, a vocal microphone  
connected to channel 2s XLR input, a keyboard connected to input 3, and an electronic drum kit con-  
nected to channel 4s line input.  
The main outputs are fed to a pair of Mackie SRM450s and subwoofers for the audiences listening  
pleasure. The mixers Big Knob controls their volume. Use the left aux send to connect to 4 SRM350s for  
stage monitoring. (The mixer automatically sums the stereo signal to mono if you use the left channel  
output only.)  
A laptop is connected via FireWire. The mixer provides stereo mains to the computer for recording with  
most DAW applications like Tracktion, Cubase or Sonar™. Perfect for recording your set. Any playback  
software applications like iTunes™, or Tracktor™ can be used for break music by utilizing the FireWire  
stereo return with its own mix level control into the mains.  
Music Performance System  
8
U.4ꢀ0d 4-Channel Mic/Line Mixer  
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Guest MC  
Mic  
DJ  
Mic  
SRM350  
Powered  
Speakers  
SRM450  
Powered  
Speakers  
Headphones  
MAIN  
OUT  
AUX  
OUT  
L
4
PHONO  
L
LINE 3  
2
1
GN
E  
MNE  
MINE  
(MONO)  
L
PHONO  
L
POWER  
18V,1.5A  
R
R
R
ground wire  
ground wire  
Laptop  
Turntable with phono-level output  
Turntable with phono-level output  
This diagram shows two microphones connected to channel 1 and 2, and two turntables connected to  
channel 3 and 4s phono inputs.  
The main outputs are fed to a pair of Mackie SRM450s for the audiences listening pleasure. The mix-  
ers mighty Big Knob controls their volume. Use the stereo aux send to connect 2-SRM350s for the booth.  
A laptop is connected via FireWire. The U.420d provides stereo mains to the computer for recording  
with most DAW applications like Tracktion, Cubase or Sonar. Perfect for recording your set. Any play-  
back software applications like Ableton Live™ or Tracktor can easily be part of your performance by  
utilizing the FireWire stereo return that has its own mix level control into the mains.  
The FireWire loop through switch on the top of the mixer allows you to send your FireWire return  
through the FireWire output for recording. So use Ableton Live and your analog inputs to perform, and  
record it all at the same time on Tracktion or your DAW of choice. The switch should be pressed in to al-  
low loop-through of the FireWire return to the FireWire record output.  
DJ Performance System  
9
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To on-air feed  
Broadcast  
Microphones  
SRM450  
Powered Speakers  
(Location PA)  
Headphones  
MAIN  
OUT  
AUX  
L
4
PHONO  
L
LINE 3  
2
1
G
OUT  
LINE  
MINE  
MIE  
(MONO)  
L
L
PHONO  
L
POWER  
18V,1.5A  
R
R
R
R
R
Laptop  
Telephone Patch  
Hybrid Interface  
Broadcast Playback Device  
Incoming dedication  
of the next song to your  
girlfriend Sharon  
This diagram shows two broadcast vocal microphones connected to channels 1 and 2, for two hosts  
(the on-air talent). A broadcast playback device (such as a 360 Systems™ Instant Replay™) is connected  
to channel 3. A telephone hybrid interface is connected to channel 4 inputs via a mono “Y” cable. The  
left aux output feeds the telephone hybrid input.  
The main outputs are sent to the on-air feed, and/or to a pair of Mackie SRM450 speakers for location  
PA. (Typically, by a left/right split, i.e. the right channel connects to the on-air feed and the left channel  
goes to the first SRM450, then loops through to another SRM450) – the mixers Big Knob controls their  
volume. The headphone out has its own level control, independent of the Big Knob.  
The Aux send provides audio to the telephone patch or “hybrid” for placing callers on the air. Chan-  
nels 1,2 & 3 are turned up (ideally to unity gain) so the caller can hear the on-air talent and any music  
playback, but not their own channels (ch 4) signal.  
The FireWire loop through switch on the top of the mixer is in its normal out position, so you can record  
the mix of the broadcast to a DAW program on the laptop. Only the analog inputs 1– 4 will be recorded.  
Best of all, you can still play back audio from the laptop for broadcast, without it looping back into the  
U.420d.  
Broadcast/Radio Remote  
10  
U.4ꢀ0d 4-Channel Mic/Line Mixer  
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Rear Panel Features  
MAIN  
OUT  
AUX  
OUT  
L
4
PHONO  
L
LINE 3  
2
1
GND  
LINE  
MIC/LINE  
MIC/LINE  
(MONO)  
L
L
PHONO  
L
POWER  
18V,1.5A  
R
R
R
R
R
These are stereo inputs; the left signals appear on the  
left main mix bus, and the right signals appear on the  
right main mix bus.  
1. MIC/LINE Input  
These Neutrik “combo” input connectors for channels  
1 and 2 accept either balanced male XLR connectors, or  
1/4" TRS balanced or TS unbalanced connectors.  
If you have a turntable with a phono-level output, use  
the phono RCA inputs [3] instead.  
If you are using a microphone, use the XLR  
input. (Professional mics usually have XLR con-  
nectors, while consumer or semi-pro mics often  
have 1/4" connectors.)  
ꢁ. PHONO Inputs  
These RCA jacks for channels 3 and 4 accept stereo  
phono-level signals from turntables. Check that your  
turntable has a phono-level output and a moving-mag-  
net cartridge. Turntables usually have a ground wire  
that needs to be connected to the ground terminal [4].  
If you are connecting line-level sources such as  
CD or MP3 players, use the 1/4" input.  
Input 1 can also accept direct instrument-level signals  
such as from guitars, without the need for a DI box. For  
this to work, use the 1/4" input, and press channel 1’s  
instrument switch [11].  
The turntable’s stereo phono-level signals are re-  
equalized and converted to line-level by the fine RIAA  
preamplifiers inside the mixer.  
Channel 1 and 2 are mono, and the signals are equally  
split to the left and right of the main mix bus.  
The phono inputs are internally disconnected  
if anything is plugged into the same channel’s  
line inputs.  
If your microphone is a condenser design, it probably  
requires phantom power to operate. Push in the 48V  
switch [32] to supply 48 VDC to pins 2 and 3 of both  
XLR microphone connectors. Do not use phantom power  
with ribbon microphones.  
Do not connect line-level sources to these  
inputs, because the phono preamplifiers will  
be overloaded. Use the line-level inputs [2]  
instead.  
ꢀ. LINE Inputs  
4. GND Terminal  
Channel 3 and 4 have stereo line-level inputs that  
accept either 1/4" TRS balanced or TS unbalanced con-  
nectors.  
This terminal is provided to connect a ground wire  
from your turntable(s) to the mixer. Most turntables  
provide a ground wire for the purpose of eliminating  
hum in the audio signal.  
You can connect stereo line-level sources such as CD  
players, MP3 players, keyboards, drum machines, tape  
players, and all manner of line-level goodies. You may  
need to purchase some adapters from RCA to 1/4" mono,  
depending upon your source component. These adapters  
are readily available at your local music or electronics  
store.  
Rotate this terminal counter-clockwise to loosen it,  
wrap the end of the turntable’s ground wire clockwise  
around the terminal, and hand-tighten the terminal for  
a secure ground connection.  
11  
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MAIN  
OUT  
AUX  
OUT  
L
4
PHONO  
L
LINE 3  
2
1
GND  
LINE  
MIC/LINE  
MIC/LINE  
(MONO)  
L
L
PHONO  
L
POWER  
18V,1.5A  
R
R
R
R
R
Balanced 1/4" TRS connections offer better  
immunity to external noise (specifically, hum  
and buzz) than 1/4" TS unbalanced connec-  
5. AUX Outputs  
These 1/4" TRS outputs provide stereo line-level  
tions. Because of this, it is the preferred interconnect  
method, especially in cases where very long lengths of  
cable are being used. A long unbalanced cable carries  
with it more opportunity for noise to get into the system  
— having balanced cables means very little noise  
will enter the system. If you must use an unbalanced  
connection, keep the cable length to 10 feet or less (3  
meters).  
output signals from the aux bus. You can connect these  
outputs to the inputs of an external effects processor,  
another PA system, or stage monitors. You can also use  
unbalanced 1/4" TS connectors.  
The stereo aux output is the sum of all channels  
whose aux level controls [17 or 24] are set to more than  
minimum. This gives you the chance to make a second  
mix or send an individual channel from the mixer, inde-  
pendent of the main level control [36].  
7. HEADPHONES Output  
You could use the aux output to feed stage monitors,  
or to feed a headphone amplifier so you can wear head-  
phones and look cool on stage. You will hear a different  
mix than the audience is hearing.  
This 1/4" TRS stereo jack is where you plug in your  
stereo headphones.  
The headphone volume is controlled by the phones  
level control [35]. It is not affected by the main level  
control [36].  
If you plug a cable into the left aux output  
jack, and leave the right output jack empty,  
the right and left signals are summed together  
to provide a mono output.  
The headphones output is either the main mix, taken  
just before the main level control, or, if a cue button  
[18] is pressed, the headphones play back the cue bus  
instead. This allows you to cue up a source in the head-  
phones before turning up its fader and adding it to the  
main mix. The cue light [31] reminds you if any channel  
has its cue button engaged.  
If you are going out to an external processor, you can  
return its processed (wet) output to one of the mixer’s  
line-level input channels.  
ꢂ. MAIN Outputs  
Warning: The headphone amp may drive  
the headphones to a loud level. It can cause  
permanent hearing damage. Even intermedi-  
ate levels may be painfully loud with some headphones.  
Be careful!  
These 1/4" TRS outputs provide stereo line-level sig-  
nals from the main mix. Connect these to the balanced  
inputs of the active speakers, or power amplifier(s)  
powering your main speakers.  
The main mix is the sum of all active channels cur-  
rently playing, and any FireWire input. How much of  
each channel that is heard in the main mix, is de-  
termined by each channel’s level control, and by the  
crossfader.  
Always start with the phones level control turned all the  
way down before connecting headphones or making any  
connections. Keep it down until you’ve put on the head-  
phones, and turn it down whenever you press cue.  
If you plug a cable into the left main output  
jack, and leave the right output jack empty,  
the right and left signals are summed together  
to provide a mono output.  
1ꢀ  
U.4ꢀ0d 4-Channel Mic/Line Mixer  
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8. DC Input  
This DC input connector is used to supply power to  
the mixer. Connect the supplied external power supply  
here, and plug the other end of the power supply into  
the AC mains. The power LED [28] will joyfully illumi-  
nate, indicating that the mixer is powered on, and ready  
for action.  
The universal external power supply that comes with  
your mixer can accept any AC voltage from 100 VAC to  
240 VAC.  
9. FireWire Connection  
FireWire (IEEE 1394) is a high-speed serial I/O inter-  
face for connecting digital devices. The mixer has one  
FireWire connector for transferring digital audio to and  
from your computer.  
The FireWire interface provides two audio outputs to  
your computer:  
Main mix output, left and right. These output  
signals are independent of any adjustments  
made to the main level control [36]. This al-  
lows you to easily record your live performance  
directly to your laptop.  
The FireWire loop out switch [34] lets you  
choose if you want the FireWire input to be  
connected to the FireWire output for recording.  
See page 19 for more details of this switch.  
The FireWire interface also lets you use your com-  
puter to playback two channels into the mixer:  
Left and right signals from your computer are  
added to the main mix. The FW in control [33]  
allows you to adjust the level of the incoming  
audio being added to the main mix.  
See Appendix D on page 25 for more FireWire details,  
and the block diagram on page 24.  
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Top Panel Features  
1
2
3
4
LEVEL  
SET  
LEVEL  
SET  
MIC  
MIC  
U
U
GAIN  
GAIN  
+3  
+50  
+3  
+50  
POWER  
48V  
-14  
+14  
-14  
+14  
-22  
+25  
-22  
+25  
U
U
U
U
U
U
U
U
HIGH  
12kHz  
EQ  
HIGH  
L
R
-15  
-15  
100  
-15  
+15  
+15  
8k  
-15  
-15  
100  
-15  
+15  
+15  
8k  
KILL  
KILL  
KILL  
+10  
KILL  
KILL  
KILL  
+10  
U
U
OL  
10  
7
MID  
MID  
+10  
+10  
4
600  
600  
0
MID  
FREQ  
4
150  
1.5k  
150  
1.5k  
LOW  
10  
20  
+10  
+10  
U
U
AUX  
LOW  
80Hz  
O O  
O O  
+15  
+15  
MAX  
MAX  
MAX  
MAX  
U
U
AUX  
CUE  
LEVEL  
48V  
O O  
O O  
O O  
O O  
MAX  
MAX  
CUE  
CUE  
CUE  
CUE  
CURVE  
SLOW  
FAST  
O
O
MAX  
FW IN  
O
O
MAX  
PHONES  
+10  
5
0
-5  
LOOP  
OUT  
3
4
-10  
-20  
O O  
MAX  
O O  
When this switch is out, input 1 is just like input 2,  
and you will need a DI box if connecting instrument-  
level signals to the inputs.  
Channel 1 and 2 controls  
Channel 1 and 2 are mono channels, fed by the combo  
input connectors [1]. The controls are mono, but the  
final output of each channel is split equally and added  
to the left and right main mix.  
1ꢀ. GAIN  
This knob adjusts the gain of the preamp for any mi-  
crophone or line-level source you care to plug into the  
input jacks [1].  
10. LEVEL SET LED  
These LEDs are used with the gain control [12] to set  
the level of the channel’s preamplifier gain just right.  
They light when the signal level is 0 dBu.  
The gain ranges from +3 dB to +50 dB of gain for  
microphone-level signals coming in on the XLR inputs,  
and from –22 dB to +25 dB for line-level signals coming  
in on the 1/4" TRS inputs. Adjust the gain control so the  
level set LEDs [10] come on while you are playing, and  
go off when you stop. As a rough guide, adjust the gain  
until the LEDs are on for about half the time during  
your performance. This gives you the best signal-to-  
noise ratio for the preamp.  
Adjust the gain control so these LEDs come on while  
you are playing, and go off when you stop. As a rough  
guide, adjust the gain until the LED is on for about half  
the time during your performance.  
Setting the gain correctly will ensure that the pre-  
amplifier’s gain is not too high, where distortion could  
occur, and not too low, where your quieter, exquisitely-  
delicate performance might be lost in background noise.  
Adjust the gain after plugging in any input, or playing  
a new source or instrument for the first time.  
11. INSTRUMENT SWITCH  
When this is pressed in, channel 1’s 1/4" TRS input  
can accept direct instrument-level signals from guitars  
or other instruments. They will be impedance-matched  
to the channel 1 input, without the need for a DI box.  
14  
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ꢁ-BAND EQ  
17. AUX  
The mono channels have 3-band equalization at  
carefully selected points — low shelving at 80 Hz, mid  
peaking at a variable frequency from 100 Hz to 8 kHz,  
and high shelving at 12 kHz.  
These controls allow you to adjust how much of the  
channel signal is added to the aux bus. The aux bus  
contains the sum of all channels whose aux controls  
[17, or 24] are set to more than minimum. For the mono  
channels 1 and 2, the aux signals are split and sent to  
both left and right aux bus. The aux bus feeds the aux  
outputs [5], typically out to an external processor.  
“Shelving” means that the circuitry boosts or cuts all  
frequencies past the specified frequency. For example,  
rotating the low EQ knob clockwise will boost the bass  
at 80 Hz and below.  
The aux output is affected by the gain, EQ, and  
aux level of each channel.  
“Peaking” means that certain frequencies form a “hill”  
around the center frequency in the case of the mid EQ.  
The aux output is not affected by the fader level  
control of each channel, and it is independent  
of the main mix bus.  
There is a lot of boost and cut available, be-  
cause you may occasionally need it, but if you  
max the EQs on every channel, you’ll get mix  
For an example of using the aux bus, you could set up  
a stage monitor for the guitar player. Connect an ampli-  
fier or a powered monitor to the aux outputs [5]. Set all  
aux level controls to minimum, then turn up the guitar  
channel’s aux level to suit his tone-deaf hearing. Any  
adjustments of the faders [19] or main level [36] will  
not affect the stage monitor level, so your guitar player  
will be happy.  
mush. Equalize subtly and use the left sides of the knobs  
(cut), as well as the right (boost). You can create many  
interesting and useful EQ changes by turning the knobs  
down and adjusting the faders [19] up if needed.  
1ꢁ. HIGH EQ  
This knob gives the channel signal up to 15 dB of  
boost and cut at 12 kHz and above. At the center posi-  
tion the high EQ has no effect on the signal.  
18. CUE  
Normally, what you hear in your headphones is the  
main mix. If you press cue, then your headphones are  
switched internally to listen to the channel that is cued.  
This gives you the chance to listen to a source before  
you turn up its fader [19] and add it to the main mix.  
The cue switches do not affect the main mix, just the  
headphones.  
Use it to add sizzle to cymbals, and an overall sense  
of transparency, or edge to keyboards, vocals, guitar and  
bacon frying. Turn it down a little to reduce sibilance, or  
to hide tape hiss.  
14. MID EQ  
Turn down the phones level [35] before you press  
cue, as this will protect your hearing if you have a loud  
source playing.  
This knob gives you up to 15 dB of boost and cut at  
a frequency set by the mid freq [15] control. At the  
center position the mid EQ has no effect on the signal.  
The mixer contains a left and right cue bus, so you  
will hear left and right mono in the headphones for  
channels 1 and 2, and stereo for channels 3 and 4. If you  
have more than one cue button engaged, then you will  
hear a mix of all cued channels. The cue light [31] will  
also come on as a reminder that you are not listening to  
the main mix in the headphones.  
Midrange EQ is often thought of as the most dynamic,  
because the frequencies that define any particular  
sound are almost always found in this range.  
15. MID FREQ  
This knob allows you to set the frequency of the mid  
EQ control. It varies from 100 Hz up to 8 kHz, with a  
frequency of 600 Hz when centered.  
19. FADERS  
These custom faders allow you to adjust how much of  
the channel signal appears on the main mix bus. They  
have no effect on the level of signals going onto the aux  
bus or the cue bus. (If the faders are all the way down,  
the channels can still be cued and heard in the head-  
phones, or added to the aux bus.)  
1ꢂ. LOW EQ  
This knob gives you up to 15 dB of boost and cut at  
80 Hz and below. At the center position the low EQ has  
no effect on the signal.  
After the fader, the mono channels are split and added  
to the left and right main mix.  
Frequencies below 80 Hz represent the realm of bass  
drums, bass guitar, fat synth patches, and lower down to  
some really serious male singers.  
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1
2
3
4
LEVEL  
SET  
LEVEL  
SET  
MIC  
MIC  
U
U
GAIN  
GAIN  
+3  
+50  
+3  
+50  
POWER  
48V  
-14  
+14  
-14  
+14  
-22  
+25  
-22  
+25  
U
U
U
U
U
U
U
U
HIGH  
12kHz  
EQ  
HIGH  
L
R
-15  
-15  
100  
-15  
+15  
+15  
8k  
-15  
-15  
100  
-15  
+15  
+15  
8k  
KILL  
KILL  
KILL  
+10  
KILL  
KILL  
KILL  
+10  
U
U
OL  
10  
7
MID  
MID  
+10  
+10  
4
600  
600  
0
MID  
FREQ  
4
150  
1.5k  
150  
1.5k  
LOW  
10  
20  
+10  
+10  
U
U
AUX  
LOW  
80Hz  
O O  
O O  
+15  
+15  
MAX  
MAX  
MAX  
MAX  
U
U
AUX  
CUE  
LEVEL  
48V  
O O  
O O  
O O  
O O  
MAX  
MAX  
CUE  
CUE  
CUE  
CUE  
CURVE  
SLOW  
FAST  
O O  
O O  
PHONES  
MAX  
FW IN  
MAX  
+10  
5
0
-5  
LOOP  
OUT  
3
4
-10  
-20  
O O  
MAX  
O O  
Channel 3 and 4 controls  
Channel 2 and 3 are identical stereo channels, fed by  
the line-level input connectors [2] or the phono-level  
ꢀ1. HIGH EQ  
This knob gives your channel signal up to 10 dB of  
boost at 4 kHz and above. In the kill position, the high  
frequency range above 4 kHz are muted. In the center  
position the high EQ has no effect on the signal.  
inputs [3]. The controls are stereo, and the final output  
of each channel is added to the left and right main mix.  
These channels are set up with a crossfader, ideal for  
DJ work with two turntables. The EQ controls are also  
DJ-friendly with a kill position, where each frequency  
band can be turned fully off if needed.  
If all three EQ controls are set to kill, then the channel  
is effectively muted.  
The controls are much the same as the mono chan-  
nels 1 and 2, but there are enough differences in the  
details to justify an extra page or two.  
ꢀꢀ. MID EQ  
This knob gives you up to 10 dB of boost at 1 kHz. In  
the kill position, the mid frequency range around 1 kHz  
is muted. At the center position, the mid EQ has no ef-  
fect on the signal.  
ꢀ0. GAIN  
This knob adjusts the gain of the stereo preamp.  
Signals from the line-level input jacks [2] go straight to  
the preamp and this control. Phono-level signals enter-  
ing the phono inputs [3] are first passed through an  
RIAA phono preamplifier to become line-level.  
ꢀꢁ. LOW EQ  
This knob gives you up to 10 dB of boost at 300 Hz  
and below. In the kill position, the low frequency range  
below 300 Hz is muted. At the center position, the low  
EQ has no effect on the signal.  
The gain ranges from –14 dB to +14 dB, and it should  
be adjusted so that the level set LEDs [10] are on for  
about half the time during your performance. This gives  
you the best signal-to-noise ratio for the preamp.  
1ꢂ  
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ꢀ4. AUX  
ꢀꢂ. CURVE  
These stereo controls allow you to adjust how much  
of the channel signal is added to the aux bus. The aux  
bus contains the sum of all channels whose aux controls  
[24, or 17] are set to more than minimum. The aux bus  
feeds the aux outputs [5], typically out to an external  
processor. The aux bus is stereo, so the left and right  
aux signals are separate and may be used for feeding  
stereo processors for example.  
This switch affects how the crossfader operates, and  
allows for some fast crossfading DJ work:  
In the slow position (up), the crossfade from chan-  
nel 3 to channel 4 occurs linearly over the complete  
movement of the crossfader. For example, channel 3 is  
maximum and channel 4 minimum when the crossfader  
is fully left, and channel 3 is minimum and channel 4  
maximum when the crossfader is fully right.  
See aux [17] on page 15 for more details.  
In the fast position (down), the crossfade from chan-  
nel 3 to channel 4 occurs over a small movement of the  
crossfader. For example, channel 3 is maximum and  
channel 4 minimum when the crossfader is fully left,  
and channel 3 is minimum and channel 4 maximum  
when the crossfader is moved just slightly to the right.  
ꢀ5. LEVEL  
These level controls allow you to adjust how much of  
the channel signals appear on the main mix bus. They  
have no effect on the level of signals going onto the aux  
bus, but they do affect the levels going onto the cue bus  
if the cue button [18] is pressed.  
ꢀ7. CROSSFADER  
After the level control, the stereo signals are sent  
through a voltage controlled amplifier (VCA) that is af-  
fected by the position of the crossfader [27].  
The crossfader is used to fade between channel 3 and  
4 in the main mix bus. It has no effect on the aux bus, or  
the headphones when cue is enabled  
When the crossfader moves left, then channel 3 in-  
creases in volume in the main outputs, while channel 4  
decreases in volume. When the crossfader moves to the  
right, channel 4 increases while channel 3 decreases.  
With two turntables connected to channels 3 and 4,  
the crossfader allows you to set up and run a nice DJ  
system.  
The characteristics of how the crossfader affects the  
audio signal are determined by the curve switch [26].  
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ꢁ0. METERS  
These meters have 8 LEDs each, ranging from –20 to  
+13.5 (OL). They indicate the stereo signal strength of  
the main mix after the main level control [36].  
POWER  
48V  
R
L
Typically, you want to see these meters bouncing  
between the “0” and the “+4” LEDs. It is okay if the OL  
LEDs light occasionally, but if they light frequently or  
continuously, turn down the main level control until the  
OL LEDs blink occasionally or not at all.  
OL  
10  
7
4
0
4
10  
20  
ꢁ1. CUE LED  
This large LED will light whenever a cue switch [18]  
is engaged. This acts as a reminder that, in your head-  
phones, you are listening to those channels whose cue  
switch is engaged, and not the main mix.  
CUE  
48V  
O O  
O O  
PHONES  
MAX  
FW IN  
MAX  
ꢁꢀ. 48V  
LOOP  
OUT  
If your microphone is a condenser design, it probably  
requires phantom power to operate. Push in this switch  
to supply 48 VDC to pins 2 and 3 of the XLR microphone  
connector.  
MAX  
O O  
Dynamic microphones, like Shure’s SM57  
and SM58, do not require phantom power.  
However, phantom power will not harm most  
dynamic microphones should you accidentally plug one  
in while the phantom power is turned on. Do not use  
phantom power with ribbon microphones, as they may  
be damaged. Check your microphone’s user’s manual  
if you are not sure whether your microphone needs  
phantom power.  
Control Section  
ꢀ8. POWER LED  
This will light whenever the external power supply  
is connected to the mixer and is supplying the correct  
DC voltage. The mixer does not have a power switch, so  
as long as the external power supply is connected and  
operating, the mixer is powered up and this LED should  
be on.  
ꢁꢁ. FW IN  
This control lets you adjust the signal level of the  
two FireWire channels coming in from your computer,  
relative to the mix of channels 1 to 4. Adjust it carefully  
to achieve the desired mix with the other channels. (If  
the mono-channel faders [19] or stereo-channel level  
controls [25] are turned down, then the meters will  
show the level of the FireWire input only.)  
ꢀ9. 48V LED  
This LED will light when the 48V switch [32] is en-  
gaged. It acts as a reminder that 48 VDC phantom power  
is supplied by the mixer to any microphones connected  
to the mic inputs [1].  
The FireWire input from your audio software such as  
Tracktion, could be individual instrument tracks, a mix  
of tracks, or processed tracks.  
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ꢁ4. FW LOOP OUT  
ꢁ5. PHONES LEVEL  
In addition to a mix of channels 1 to 4, the FireWire  
output to the computer can contain the FireWire input  
signal, if this switch is down. The mains and phones are  
not affected by the switch, and always provide a full mix  
of channels 1 to 4 and the 2-channel FireWire inputs.  
This controls the volume of the headphones output  
from off to maximum gain.  
Warning: The headphone amplifier is de-  
signed to drive any standard headphones to  
a loud level. It can cause permanent hearing  
damage. Even intermediate levels may be painfully loud  
with some headphones. Be careful!  
If disengaged (out), the FireWire output to  
your computer will just be the main mix from  
channels 1 to 4. This is a good position for  
overdubbing, as any playback from your com-  
puter can be played in your main speakers and  
headphones, while you play along with a guitar  
and record only the guitar via FireWire.  
Always start with the phones level control turned all the  
way down before connecting headphones or making any  
connections. Keep it down until you’ve put on the head-  
phones, and turn it down first whenever you press cue.  
1
2
3
4
U
U
LEVEL  
ꢁꢂ. MAIN LEVEL  
O O  
O O  
MAX  
MAX  
This conveniently-large knob adjusts the main mix  
output level at the main outputs [6]. The meters will  
also be affected by this control.  
FireWire recording channels 1–4 only  
It does not adjust the levels to your headphones,  
FireWire outputs, or the aux outputs.  
If pressed in, the FireWire output to your  
computer will be the mix of channels 1 to 4,  
including any FireWire audio coming in from  
your computer. This is a good position to record  
live, where your complete main performance  
(including any input from the computer) can  
be recorded via FireWire.  
1
2
3
4
U
U
LEVEL  
O O  
O O  
MAX  
MAX  
FireWire input from computer  
LOOP  
OUT  
O O  
FW IN  
MAX  
PRESS IN TO MAKE THIS CONNECTION  
FireWire recording channels 1–4 and FireWire in  
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Appendix A: Service Information  
If you are playing a guitar or other instrument level  
source into channel 1, make sure you are using the  
1/4" input, and that the instrument switch [11] is  
engaged.  
If you think your U.420d has a problem, please check  
out the following troubleshooting tips and do your best  
to confirm the problem. Visit the support section of our  
lots of useful information such as FAQs, documentation,  
and user forums. You may find the answer to the prob-  
lem without having to send your U.420d away.  
If you are playing a guitar into channel 2, 3, or 4,  
you need to use a DI box for the correct impedance  
match and high frequency fidelity.  
These may sound obvious to you, but here are some  
things you can check. Read on:  
Try the same source signal in another channel, set  
up exactly like the suspect channel.  
Only phono-level sources (turntables) should be  
connected to the RCA phono inputs [3]. The phono  
section requires your cartridge to be a moving-mag-  
net type. It may be too low to amplify the low levels  
of a moving-coil type.  
Troubleshooting  
No Power  
Make sure the external power supply is securely  
seated in the DC input [8] and plugged all the way  
into the AC outlet.  
If there is no phono output, check that there is  
nothing plugged into the channel’s line-level inputs.  
The phono inputs are disconnected internally when  
a 1/4" connector is plugged into the same channel.  
Make sure the AC outlet is live (check with a tester  
or lamp).  
Only line-level sources should be connected to the  
line-level inputs [2] of channels 3 and 4.  
Is the power LED [28] illuminated? If not, make  
sure the AC outlet is live.  
If possible, listen to the signal with headphones  
plugged into the input source device. If it sounds  
bad there, it’s not the mixer causing the problem.  
Are all the lights out in your town? If so, contact  
your local power company to get power restored.  
If no LEDs are illuminated, and you are certain  
that the external power supply is working, it will be  
necessary to have your mixer serviced. There are no  
user serviceable parts inside. Refer to “Repair” on the  
next page to find out how to proceed.  
Bad Output  
Is the associated level control (if any) turned up?  
If a left output is presumed dead, switch the left  
and right cords at the mixer end. If the problem  
stays on the left side, it’s not the mixer.  
Bad Channel  
Check the connections from your source are made  
securely, and that the cords are in good condition.  
Noise/Hum  
Check that your turntable’s audio ground wire is  
connected to the ground terminals [4].  
Check the channel’s program gain [12] or [20] are  
set correctly.  
Turn down each channel, one by one. If the noise  
disappears, it’s coming from whatever is plugged  
into that channel. Check your whatever.  
Are that channel’s EQ controls all turned down?  
Is the signal source turned up? Make sure the  
signal level from the selected input source is high  
enough to light the level set LEDs [10] when ad-  
justed with the gain controls.  
Check the signal cables between the input sources  
and the mixer. Disconnect them one by one. When  
the noise goes away, you’ll know which input source  
is causing the problem.  
Sometimes it helps to plug all the audio equipment  
into the same AC circuit so they share a common  
ground.  
Hungry? Try the all-you-can-eat lunchtime buffet at  
the Bombay Palace in downtown Woodinville.  
ꢀ0  
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Repair  
For warranty repair or replacement, refer to the war-  
ranty information on page 31.  
Non-warranty repair for Mackie products is available  
at a factory-authorized service center. To locate your  
nearest service center, visit www.mackie.com, click  
“Support” and select “Locate a Service Center.” Service  
for Mackie products living outside the United States can  
be obtained through local dealers or distributors.  
If you do not have access to our website, you can call  
our Tech Support department at 1-800-898-3211,  
Monday-Friday, 7 am to 5 pm Pacific Time, to explain the  
problem. Tech Support will tell you where the nearest  
factory-authorized service center is located in your area.  
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Appendix B: Connections  
XLR Connectors  
1/4" TS Phone Plugs and Jacks  
The mixer’s combo inputs accept 3-pin male XLR con-  
nectors. These are wired as follows, according to stan-  
“TS” stands for Tip-Sleeve, the two connection points  
available on a mono 1/4 phone jack or plug. They are  
"
dards specified by the AES (Audio Engineering Society). used for unbalanced signals.  
2
SHIELD  
HOT  
SLEEVE  
SLEEVE  
TIP  
TIP  
1
3
COLD  
TIP  
SHIELD  
1
SLEEVE  
3
COLD  
2
1/4 TS Unbalanced Wiring:  
"
HOT  
SHIELD  
COLD  
HOT  
Sleeve = Shield  
Tip = Hot (+)  
1
3
2
XLR Balanced Wiring:  
Pin 1 = Shield  
Pin 2 = Hot (+)  
Pin 3 = Cold (–)  
RCA Plugs and Jacks  
RCA-type plugs (also known as phono plugs) and jacks  
are often used in home stereo and video equipment and  
in many other applications. They are unbalanced and  
1/4" TRS Phone Plugs and Jacks  
electrically equivalent to a 1/4 TS phone plug.  
"
“TRS” stands for Tip-Ring-Sleeve, the three connection  
TIP  
SLEEVE TIP SLEEVE  
points available on a stereo 1/4 or balanced phone  
"
jack or plug. TRS jacks and plugs are used for balanced  
signals and stereo headphones:  
RCA Unbalanced Wiring:  
Sleeve = Shield  
Tip = Hot (+)  
Balanced Mono  
RING SLEEVE  
TIP  
SLEEVE RING TIP  
RING  
TIP  
SLEEVE  
1/4 TRS Balanced Mono Wiring:  
"
Sleeve = Shield  
Tip = Hot (+)  
Ring = Cold (–)  
Dimensions  
Stereo Headphones  
3.7 in/  
94 mm  
9.4 in/  
239 mm  
RING SLEEVE  
TIP  
SLEEVE RING TIP  
RING  
TIP  
WEIGHT  
3.0 lb  
1.36 kg  
SLEEVE  
10.0 in/  
254 mm  
1/4 TRS Stereo Unbalanced Wiring:  
"
Sleeve = Shield  
Tip = Left  
Ring = Right  
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U.4ꢀ0d 4-Channel Mic/Line Mixer  
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Appendix C: Technical Info  
Input/Output Characteristics:  
Input gain control range:  
Specifications  
Ch.1 and 2 input gain knob (XLR):  
Ch.1 and 2 input gain knob (TRS):  
Ch.1 and 2 level faders:  
+3 dB to +50 dB  
–22 dB to +25 dB  
Off to +10 dB  
Off to +10 dB  
–14 to +14 dB  
Off to +10 dB  
Frequency Response (ꢀ0 Hz to ꢀ0 kHz) :  
Mic input to any output, –20 dBu in, +30 dB gain, +10 dBu out:  
+0/–0.5 dB  
FireWire Input Level knob:  
Ch.3 and 4 Input Gain knob:  
Ch.3 and 4 Input Level knob:  
Line input to any output:  
+0/–0.5 dB  
Phono input to any output:  
FireWire Output to FireWire Input:  
0.5 dB of RIAA EQ curve  
+0/–0.5 dB  
Output gain control range (measured with 100 kΩ):  
Main Level knob:  
Channel Aux knob:  
Phones Level:  
Off to +10 dB  
Off to +10 dB  
Off to +10 dB  
Distortion (THD+N):  
Main Outputs, 20 Hz to 20 kHz, 1 kHz input signal:  
Input Impedance:  
Mic Input:  
Line Input:  
Phono Input:  
Mic input, –20 dBu in, +30 dB gain, +10 dBu out:  
Better than 0.004%  
Ch.1 and 2 line input at unity gain, +4 dBu input signal:  
Better than 0.005%  
1.7 kΩ balanced  
50 kΩ balanced  
47.5 kΩ shunted with 200 pF  
Ch.3 and 4 line input at unity gain, +4 dBu input signal (via cross-  
fader VCA to main outs):  
Phono input at unity gain, –30 dBu input signal  
(via crossfader VCA to main outs):  
FireWire output to FireWire input:  
Aux Outputs, 20 Hz to 20 kHz, 1 kHz input signal:  
Better than 0.150%  
Maximum Output Levels:  
Main Out:  
Aux Out:  
Phones:  
+15 dBu  
+15 dBu  
1.5 Vrms into 32Ω (70 mW)  
Better than 0.150%  
Better than 0.005%  
Mic input, –20 dBu in, +30 dB gain, +10 dBu out:  
Output Impedance:  
Main Out:  
Aux Out:  
Phones:  
Better than 0.004%  
Ch.1 and 2 line input at unity gain, +4 dBu input signal:  
Better than 0.005%  
120 Ω  
120 Ω  
50 Ω  
Ch.3 and 4 line input at unity gain, +4 dBu input signal (pre-cross-  
fader VCA to aux outs):  
Phono input at unity gain, –30 dBu input signal (pre-crossfader  
VCA): Better than 0.030%  
Phones output, 20 Hz to 20 kHz, +4 dBu input signal  
Better than 0.005%  
Equalization  
Channels 1 and 2:  
Low:  
–15 dB to +15 dB @ 80 Hz  
–15 dB to +15 dB  
100 Hz to 8 kHz  
Mid Level:  
Mid Frequency:  
High:  
Ch.1 or 2 line input at unity gain:  
Better than 0.015%  
Common Mode Rejection Ratio  
–15 dB to +15 dB @ 12 kHz  
Channels 3 and 4:  
Mic input, maximum gain, 1 kHz:  
Better than 60 dB  
Low:  
Mid:  
High:  
Off to +10 dB @ 300 Hz  
Off to +10 dB @ 1 kHz  
Off to +10 dB @ 4 kHz  
Attenuation/Crosstalk (1 kHz, ꢀ0 Hz to ꢀ0 kHz):  
Channel Attenuation –Main level at unity gain, signal placed on any  
channel with gain knob at unity and level knob or fader at minimum,  
FireWire  
Sample rates:  
Main outs measured:  
Better than –85 dBu  
44.1 kHz, 48 kHz,  
88.2 kHz, 96 kHz  
Crosstalk –Main Level at unity gain, signal placed on any channel with  
gain knob at unity and level knob at minimum, main outs measured  
with any other channel gain knob at unity and level knob at unity:  
Better than –85 dBu  
Resolution:  
24-bit  
VU Meters  
8-segment post Main Level meters:  
Crossfader attenuation –Main level at unity gain, signal placed on chan-  
nel 3 or 4, gain knob at unity, level knob at unity, crossfader moved to  
OL (+13), +10, +7, +4, +0,  
–4, –10, –20 dBu  
opposite channel:  
Better than –90 dBu  
Level Set LED (Sensitivity):  
0 dBu  
Noise Characteristics:  
Equivalent Input Noise (EIN), 20 Hz to 20 kHz, max gain:  
AC Power Requirements:  
Power Consumption:  
8.9 watts  
Mic input, 150 Ω source impedance:  
Better than –125 dBu  
Signal to Noise Ratio, 20 Hz to 20 kHz, ref +4 dBu:  
Universal AC Power Supply:  
100 VAC – 240 VAC,  
50–60 Hz  
Main Outputs: Main out at unity, all channel gain knobs at minimum:  
Better than –90 dBu  
Line: Main out at unity, all channel gain knobs at unity (dummy  
plugs in Ch.3 and 4 TRS inputs so Phono is disengaged):  
Better than –88 dB  
Physical Dimensions and Weight:  
Height: 10.0 in/254 mm  
Width:  
Depth:  
9.4 in/239 mm  
3.7 in/94 mm  
Aux Outputs: All channel aux knobs at unity with all channel gain  
knobs at unity (dummy plugs in Ch.3 and 4 TRS inputs so Phono is  
Weight: 3.0 lb./1.36 kg  
disengaged):  
Better than –90 dB  
Phono: Main Out at unity, Ch.1 and 2 at minimum, Ch.3 and 4 Phono  
at unity gain (no TRS plugs in Channel 3 or 4):  
Better than –74 dB  
(See the lovely dimensions drawing on the previous page.)  
LOUD Technologies Inc. is always striving to improve our products by  
incorporating new and improved materials, components, and manu-  
facturing methods. Therefore, we reserve the right to change these  
specifications at any time without notice.  
FireWire: Main Out at unity, all channel gain knobs at minimum,  
FireWire input level at unity:  
Better than –87 dB  
Maximum Input Levels (rated at 1% THD):  
“Mackie,” and the “Running Man” are registered trademarks of LOUD  
Technologies Inc. All other brand names mentioned are trademarks  
or registered trademarks of their respective holders, and are hereby  
acknowledged.  
Mic Inputs, preamp gain min (+3 dB):  
Line Inputs, unity gain:  
Phono Input:  
+12 dBu  
+15 dBu  
77 mV rms @ 1 kHz  
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R
L
R
R
L
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E U C  
X U A  
E U C  
X U A  
L
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R
L
R
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N I A M  
N I A M  
ꢀ4  
U.4ꢀ0d 4-Channel Mic/Line Mixer  
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Appendix D: FireWire  
System Requirements  
FireWire stream to computer  
These are the minimum requirements for your com-  
puter system to use the U.420d FireWire interface.  
In addition to a mix of channels 1 to 4, the FireWire  
output to your computer can contain any FireWire input  
from your computer, if the FW loop out switch [34] is  
down.  
For the PC:  
Windows XP (service pack 2)  
Pentium 4 or Athlon XP processor  
256 MB RAM  
1
2
3
4
U
U
LEVEL  
O O  
O O  
MAX  
MAX  
For the Mac:  
FireWire input from computer  
OS X (10.3.9 or higher)  
G4 processor  
256 MB RAM  
LOOP  
OUT  
O O  
MAX  
FW IN  
PRESS IN TO MAKE THIS CONNECTION  
The internal FireWire interface will allow the left and  
right main mix to be recorded on a Mac or PC computer.  
It also allows two channels of audio from the computer  
to be added to the main mix.  
The mains and phones outputs are not af-  
fected by the switch, and always provide a  
full mix of channels 1 to 4 and the 2-channel  
FireWire input.  
FireWire stream from computer  
The analog audio from the mixer is converted to digi-  
tal signals by the FireWire interface’s A/D converters.  
The following table shows the outputs from your com-  
puter to the mixer’s FireWire interface:  
The following table shows the outputs to your com-  
puter from the mixer’s FireWire interface:  
From  
To  
To  
From  
Computer output 1 Main mix L  
Computer output 2 Main mix R  
Computer input 1 Left mix of channels 1 to 4  
with FW input (switch down)  
or without FW in (switch up)  
The 2-channel digital stream from the computer  
enters the mixer through the FireWire connector and is  
converted to analog audio.  
Computer input 2 Right mix of channels 1 to 4  
with FW input (switch down)  
or without FW in (switch up)  
The audio level can be adjusted using the FW in  
control [33].  
Here are two examples of using the FW loop out  
switch:  
Beware of a possible feedback loop, if you are  
feeding the main mix back into the mixer.  
Studio Overdub – Tracktion playback is coming  
into the mixer on FireWire inputs, and routing  
through the mains/phones for you to hear. A  
guitar plugged into channel 1 is being recorded  
via the FireWire output, while you listen and  
play along to the Tracktion playback. The FW  
loop out switch is up, so the FireWire out-  
put contains all playing channels except the  
FireWire playback.  
Live Performance – Computer playback software  
like Ableton Live is being mixed to the mains  
with other stereo sources such as synths, sam-  
plers, turntables, and CD-DJ players. The FW  
loop out switch is down, so everything will be  
fed to the FireWire out for recording an entire  
set.  
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Direct hardware monitoring  
Recording with FireWire  
The U.420d’s built-in FireWire connection allows  
overdub style recording to a Mac or PC digital audio  
workstation (DAW) through the FireWire cable.  
When in performance or “live set” recording  
mode, many professional audio interfaces  
go to significant lengths to simulate direct  
hardware monitoring by incorporating a zero-latency  
monitoring engine via dedicated digital signal process-  
ing. This usually requires you to configure a separate  
“virtual” mixer for monitoring. The U.420d ALWAYS  
provides zero-latency monitoring by design, without any  
extra configuration. Hurrah!  
Here are some steps showing how to record a first  
track, and then record additional tracks while monitor-  
ing ones that have already been recorded.  
1. Connect the sound source you wish to record to  
your audio software, for example:  
Due to the nature of its signal path, the U.420d re-  
quires the use of direct hardware monitoring, as follows:  
A microphone for a voice or instrument.  
A line-level source such as an electronic  
keyboard.  
Arm the track you wish to record onto, on your  
DAW software.  
A turntable connected to the phono inputs.  
On the track you have just armed, press that  
track’s mute button, so that (while recording)  
you do not hear the return of that track com-  
ing from the computer. This will ensure you do  
not mix the direct track you are monitoring,  
with the duplicate of the track on the DAW as  
it is being recorded. You do not want to hear  
the direct and DAW track of the same source  
simultaneously, as the DAW version might be  
slightly delayed, and the combination of the two  
will produce a filtered sound.  
An instrument connected directly to the  
instrument input 1 (with the instrument  
switch [11] pressed in).  
2. Make sure the FW loop out switch [34] is not  
pressed in. This will ensure that during each  
recording pass, the audio software only receives  
the track-in-progress as an audio signal, and  
not the pre-existing mix from the computer as  
well.  
3. Set the gain knob [12] at the top of the channel  
you are using, to an appropriate level for the  
source being recorded, using the level set LED  
[10] as a guide. Once the gain has been set, set  
the channel fader [19] to unity (0 dB).  
Make sure that the DAW’s input meters show  
a healthy level, and if it needs to be increased  
or decreased, adjust the signal’s channel fader  
[19], not the gain knob [12].  
Press record on the DAW and record the track.  
The signals going out to your computer are not  
affected by the main volume knob [36] or the  
phones knob [35].  
Overdubbing  
4. If you are recording an acoustic source through  
a microphone, monitor it through headphones,  
not through speakers. This will prevent sound  
from the speakers from leaking into the micro-  
phone. If working in this fashion, turn down the  
main volume knob [36], and instead turn up  
the phones knob [35] for safe listening levels in  
the headphones.  
To overdub additional tracks while listening to previ-  
ously recorded ones, follow these steps:  
Unmute the previously recorded track in the  
DAW. It will now play out of the DAW’s main L-R  
mix into the FW input of the mixer.  
Set the level of the FireWire in knob [33]  
to a level where you can hear the previously  
recorded track comfortably.  
Monitoring  
Arm a new track in the DAW software and mute  
that same DAW channel, and record the new  
track on your DAW *.  
When recording to computer software, there are two  
ways to monitor the track you are recording:  
While recording the new track, you will hear  
the previously recorded tracks coming into the  
mixer’s FireWire input, while you simultane-  
ously hear the current track you are recording  
directly through the mixer hardware.  
1. Direct hardware monitoring: Listen to the track  
you are recording directly off of your mixer,  
while also listening to previously-recorded  
tracks on your DAW software, as they are fed  
back into the mixer.  
Repeat these steps until you have built up all  
the tracks of your recording.  
2. ”Through-the-DAW” monitoring, where you  
monitor the track you are recording after its  
round trip through the computer software,  
along with any previously recorded tracks.  
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U.4ꢀ0d 4-Channel Mic/Line Mixer  
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* In Tracktion, it is not necessary to mute the output  
of the track you are overdubbing on. Instead, select the  
input to the track (it will be highlighted in red) and dis-  
able the end-to-end function.  
A word or three about latency  
Latency describes the amount of time it takes the  
input signal to pass through the system, and reach  
the output. When recording a guitar and monitoring  
through software, it is the amount of time it takes from  
the moment you strike your guitar string, to the mo-  
ment you hear it in your headphones. You are used to  
this latency being very close to zero; when you play your  
guitar through a guitar amp, you hear the signal imme-  
diately. So when you are recording and monitoring via  
software, you want this latency (delay time) to be as low  
as possible.  
You’ll hear existing tracks playing back via the  
FireWire in, and you’ll be monitoring the track you are  
recording through the U.420d’s headphones or main out.  
When you play back the recording, you’ll hear the track  
you’ve just overdubbed without un-muting anything.  
We would like to set the latency as low as possible, but  
the smaller it is, the harder the computer will have to  
work. If the latency is very small, the computer needs to  
work very hard to quickly transfer the audio in and out.  
It may not even be able to keep up, especially if there  
are lots of tracks, lots of automation and/or lots of plug-  
ins in your work. If this happens, your audio may stop or  
“drop out.” Drop outs may also occur if you have a slower  
computer or not enough memory.  
Other tips  
If recording with a microphone, turn down the  
large volume knob [36] while recording, and  
listen through the headphones instead.  
When recording using the overdub method, it is  
important to set the U.420d’s latency to it’s lowest oper-  
able setting. This means going into the audio interface  
property page of your recording program and setting the  
latency property to the lowest setting the device and  
your system will accept without any drop-outs, distor-  
tion or CPU overburdening.  
If recording “direct” sources such as an electric  
guitar or a turntable, you can listen with speak-  
ers, as there is no microphone present to worry  
about the speaker’s sound leaking in.  
One drawback of using direct hardware moni-  
toring (vs. through-DAW monitoring) is that  
the track you are recording will not normally  
be able to take advantage of any effects that  
the DAW’s mixer has to offer, such as a reverb  
on the vocal being recorded, or a guitar amp  
simulation on a directly attached instrument,  
without introducing an unacceptable amount of  
latency. One workaround is as follows:  
The buffer is an area of computer memory that your  
DAW uses to hold audio as it works. The smaller the  
buffer, the faster audio gets in and out of your com-  
puter, and the lower the latency. The size of the buffer  
is measured in samples. Depending on your system, a  
low setting is typically between 64 and 256 samples. The  
more samples, the higher the latency time value. This  
time value varies by sample rate, as shown in this table.  
Set the latency on your DAW to as low as  
the computer can handle, and check the  
U.420d software console panel shows the  
same value (see page 29 for more details).  
Samples 44.1 kHz 48 kHz  
96 kHz  
0.7 ms  
1.3 ms  
2.7 ms  
64  
1.5 ms  
2.9 ms  
5.8 ms  
1.3 ms  
2.7 ms  
5.3 ms  
128  
256  
Do not mute the channel on the DAW that  
is being recorded. This will allow you to  
hear a mixture of the direct hardware  
monitor, and the through-DAW signal.  
It is generally accepted that delay or latency times of  
3.3 ms or less, are tolerable for musical timing accuracy.  
Apply the effect of choice (reverb, amp  
emulation) to the DAW track, which you  
will hear mixed in with the direct hardware  
monitor source.  
Higher latency settings are fine and even necessary  
when in live record or performance mode. The same is  
true for mix-down mode, especially when you start add-  
ing lots of plug-ins.  
As long as the latency is set low enough,  
the timing difference between the direct  
and through-DAW signal should be small  
enough to not cause distraction.  
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6. The next window reminds you to make sure the  
U.420d is NOT connected to your computer yet.  
Read the instructions and click “Continue.”  
Software installation  
For the PC:  
When using the mixer with a PC, it is necessary to  
first install the drivers and the control panel. The con-  
trol panel allows you to set the sample rate and adjust  
the latency of the audio passing through the mixer’s  
FireWire interface. If you use a Macintosh computer,  
please jump ahead to page 30.  
The U.420d and U.420 share the same install-  
er, so the screenshots say “U.420” even though  
you have a U.420d. No worries.  
7. You may get a warning about running the  
installer because it hasn’t passed Windows  
Logo testing. It’s okay. We’ve tested it and it is  
compatible with Windows XP. Click “Continue  
Anyway.”  
Do not connect the mixer’s FireWire con-  
nector to your computer just yet. We will  
tell you when.  
To install the software on a PC running  
Windows XP (SPꢀ):  
1. Turn off any (non-essential) applications.  
2. Insert the U.420d CD-ROM into your PC’s CD-  
ROM drive.  
3. Click Start in the task bar, then click Run and  
click Browse. Browse to your CD drive and  
double-click _SETUP.EXE. Then click OK to  
start the installation.  
8. Now it is time to connect your U.420d FireWire  
connection to your computer. Follow the in-  
structions and then click “Next.”  
4. The Installer opens. Click “Continue.”  
5. Next you will see the License Agreement. Read  
through the text and if you are all in favor, click  
“I Agree.”  
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U.4ꢀ0d 4-Channel Mic/Line Mixer  
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9. Wait until the “Found New Hardware Wizard”  
pops up. Do not select any options, just click  
“Cancel” to continue. If the same screen comes  
back up, click “Cancel” again.  
12. A window will pop up to let you know that the  
installation was successful. Click “Finish.”  
Now you are ready to use the FireWire capabili-  
ties of your U.420d.  
Do not worry about the various popup warnings,  
even the one that says “a problem occurred..”  
Pay no attention to the man behind the curtain.  
Console (PC only)  
You should adjust the sample rate and latency from  
within your audio software application, for example in  
Tracktion’s “settings” tab. If this is not an option in your  
software, then use this console instead.  
If you do this from within your software ap-  
plication, do not use the control panel during  
the same session, or there might be a conflict.  
You can use the console for a quick check of the set-  
tings, and to make sure they are the same as your audio  
software settings.  
10. You will get another impertinent warning, this  
time about installing the hardware. It’s okay.  
Click “Continue Anyway.”  
The installer places a shortcut to the console  
on your desktop.  
Adjust the sample rate by clicking on the arrow  
in the sample rate window. (The arrow disap-  
pears if your local software has control.)  
11. The drivers and control panel will be installed  
on your computer.  
Adjust the latency by clicking and moving the  
slider in the display. (It looks like a crossfader,  
but only adjusts the latency.)  
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For the Mac:  
Selecting the device (Mac/PC):  
1. If you have followed the preceeding instruc-  
tions for the PC or Mac, connect the U.420d to  
your computer using the FireWire connection.  
Macintosh OS X Audio MIDI Setup  
(version 10.ꢁ.9 or later):  
2. In your audio production software, such as  
Tracktion, select the U.420d as your input and  
output device. The screenshot below shows the  
“Settings” area of Tracktion 3.  
Macintosh OS X does not require FireWire drivers  
to be installed. OS X provides a dedicated setup utility  
for audio and MIDI. You can use the Audio MIDI Setup  
utility to change the default audio input and output and  
general system settings on your Macintosh.  
1. Go to the Applications folder and open the  
Utilities folder.  
2. Double-click “Audio MIDI Setup.”  
3. Play a source into the U.420d and verify that  
your software is receiving the signals correctly.  
4. Record audio and play it back to verifiy every-  
thing is working nicely.  
3. Click the Audio Devices tab, and select U.420 in  
the “Properties For” drop-down box. Note that it  
says U.420 and not U.420d, that’s all OK.  
4. Here you can see the settings for the U.420d.  
You can also choose it as your default input or  
output, as well as designate it to be used for the  
system sound output.  
U
U
LEVEL  
O O  
O O  
MAX  
MAX  
5. You’re ready to go with any Mac OS X Core  
Audio host application (i.e., Tracktion, Logic,  
Cubase, Nuendo, Live, Digital Performer, etc.).  
DJ bunny!  
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U.4ꢀ0d 4-Channel Mic/Line Mixer  
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U.420d Limited Warranty  
Please keep your sales receipt in a safe place.  
IMPORTANT: Make sure that the Service Request Number  
is plainly written on the shipping carton. No receipt, no  
warranty service.  
A. LOUD Technologies Inc. warrants all materials,  
workmanship and proper operation of this product for a period  
of one year from the original date of purchase. You may  
purchase an additional 24-month Extended Warranty (for a  
total of 36 months of coverage). Visit our website and follow  
If any defects are found in the materials or workmanship or  
if the product fails to function properly during the applicable  
warranty period, LOUD Technologies, at its option, will repair  
or replace the product. This warranty applies only to equipment  
sold and delivered within the U.S. and Canada by LOUD  
Technologies Inc. or its authorized dealers.  
E. LOUD Technologies reserves the right to inspect any  
products that may be the subject of any warranty claims before  
repair or replacement is carried out. LOUD Technologies may,  
at our option, require proof of the original date of purchase in  
the form of a dated copy of the original dealer’s invoice or sales  
receipt. Final determination of warranty coverage lies solely  
with LOUD Technologies.  
F. Any products returned to one of the LOUD Technologies  
factory-authorized service centers, and deemed eligible  
for repair or replacement under the terms of this warranty  
will be repaired or replaced. LOUD Technologies and its  
authorized service centers may use refurbished parts for repair  
or replacement of any product. Products returned to LOUD  
Technologies that do not meet the terms of this Warranty  
will not be repaired unless payment is received for labor,  
materials, return freight, and insurance. Products repaired  
under warranty will be returned freight prepaid by LOUD  
Technologies to any location within the boundaries of the USA  
or Canada.  
B. For faster processing, register online at www.mackie.com,  
or you may fill out and mail in the product registration card  
included along with this manual.  
C. Unauthorized service, repairs, or modification of Mackie  
products will void this warranty. To obtain repairs or replacement  
under warranty, you must have a copy of your sales receipt from  
the authorized Mackie dealer where you purchased the product.  
It is necessary to establish purchase date and determine whether  
your Mackie product is within the warranty period.  
D. To obtain warranty repair or replacement:  
G. LOUD Technologies warrants all repairs performed  
for 90 days or for the remainder of the warranty period.  
This warranty does not extend to damage resulting from  
improper installation, misuse, neglect or abuse, or to exterior  
appearance. This warranty is recognized only if the inspection  
seals and serial number on the unit have not been defaced or  
removed.  
1. Call Mackie Technical Support at 800/898-3211, 7 AM  
to 5 PM Monday through Friday (Pacific Time) to get  
authorization for repair or replacement. Alternately, go to  
the Mackie website, click “Support” (www.mackie.com/  
issue and submitting a request for an advance replacement.  
2. Advance Replacement: Mackie will ship a replacement  
unit to you along with an invoice for the suggested  
retail price of the replacement unit. You must return the  
defective unit immediately to cancel the invoice. If you do  
not return the defective unit within 30 days, you must pay  
the full amount stated in the invoice to satisfy your debt.  
H. LOUD Technologies assumes no responsibility for the  
timeliness of repairs performed by an authorized service  
center.  
I. This warranty is extended to the original purchaser. This  
warranty may be transferred to anyone who may subsequently  
purchase this product within the applicable warranty period  
for a nominal fee. A copy of the original sales receipt is  
required to obtain warranty repairs or replacement.  
3. Repair: When you call Mackie Technical Support,  
explain the problem and obtain a Service Request  
Number. Have your Mackie product’s serial number  
ready. You must have a Service Request Number before  
you can obtain factory-authorized service.  
J. This is your sole warranty. LOUD Technologies does not  
authorize any third party, including any dealer or sales  
representative, to assume any liability on behalf of LOUD  
Technologies or to make any warranty for LOUD Technologies  
Inc.  
• Pack the product in its original shipping carton. Also  
include a note explaining exactly how to duplicate the  
problem, a copy of the sales receipt with price and date  
showing, your daytime phone number and return street  
address (no P.O. boxes or route numbers, please!), and  
the Service Request Number. If we cannot duplicate the  
problem or establish the starting date of your Limited  
Warranty, we may, at our option, charge for service time  
and parts.  
K. THE WARRANTY GIVEN ON THIS PAGE IS THE SOLE  
WARRANTY GIVEN BY LOUD TECHNOLOGIES INC.  
AND IS IN LIEU OF ALL OTHER WARRANTIES, EXPRESS  
AND IMPLIED, INCLUDING THE WARRANTIES OF  
MERCHANTABILITY AND FITNESS FOR A PARTICULAR  
PURPOSE. THE WARRANTY GIVEN ON THIS PAGE SHALL BE  
STRICTLY LIMITED IN DURATION TO ONE YEAR FROM THE  
DATE OF ORIGINAL PURCHASE FROM AN AUTHORIZED  
MACKIE DEALER. UPON EXPIRATION OF THE APPLICABLE  
WARRANTY PERIOD, LOUD TECHNOLOGIES INC. SHALL  
HAVE NO FURTHER WARRANTY OBLIGATION OF ANY  
KIND. LOUD TECHNOLOGIES INC. SHALL NOT BE LIABLE  
FOR ANY INCIDENTAL, SPECIAL, OR CONSEQUENTIAL  
DAMAGES THAT MAY RESULT FROM ANY DEFECT IN THE  
MACKIE PRODUCT OR ANY WARRANTY CLAIM. Some states  
do not allow exclusion or limitation of incidental, special, or  
consequential damages or a limitation on how long warranties  
last, so some of the above limitations and exclusions may not  
apply to you. This warranty provides specific legal rights and  
you may have other rights which vary from state to state.  
• Ship the product in its original shipping carton,  
freight prepaid to the authorized service center. Write  
the Service Request Number in BIG PRINT on top of  
the box. The address of your closest authorized service  
center will be given to you by Technical Support, or it  
may be obtained from our website. Once it’s repaired,  
the authorized service center will ship it back by ground  
shipping, pre-paid (if it qualified as a warranty repair).  
Note: Under the terms of the warranty, you must ship  
or drop-off the unit to an authorized service center.  
The return ground shipment is covered for those units  
deemed by us to be under warranty.  
Note: You must have a sales receipt from an authorized  
Mackie dealer for your unit to be considered for  
warranty repair.  
ꢁ1  
Owner’s Manual  
Download from Www.Somanuals.com. All Manuals Search And Download.  
 
16220 Wood-Red Road NE • Woodinville, WA 98072 • USA  
United States and Canada: 800.898.3211  
Europe, Asia, Central and South America: 425.487.4333  
Middle East and Africa: 31.20.654.4000  
Fax: 425.487.4337 • www.mackie.com  
Download from Www.Somanuals.com. All Manuals Search And Download.  

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