SR24•4-VLZ PRO™
24-Channel Sound Reinforcement Console
Introduction
THE SR24•4-VLZ PRO is the latest update of our SR24•4
sound reinforcement console, incorporating our ultra-high
quality XDR™ (Extended Dynamic Range) mic preamps with
the best RFI rejection of any sound reinforcement mixer
design on the market.
Like all Mackie mixers, the SR24•4-VLZ PRO is designed
for rugged, 24-hour-a-day use. With its multiple input/
output configurations, true 4-bus architecture, 6 aux
sends, and extensive routing capabilities, it can be used
in a variety of live sound and recording applications. Its
sturdy steel construction houses rugged, double-sided
SMT-plated fiberglass circuit boards, and 60 mm faders
with ultra-tight lip seals for keeping out dust and other
contaminants. Impact-resistant knobs are mounted so they
“ride” just above the steel chassis.
Features
Low noise/high headroom XDR™ (Extended Dynamic
Range) mic preamps with excellent RFI rejection
New high-performance 2068 op-amps for incredibly low
noise and distortion
The SR24•4-VLZ PRO has 20 mono mic/line input chan-
nels, with XLR mic inputs and 1/4" TRS line inputs, and 2
stereo line input channels with 1/4" TRS inputs. All mono
channels have TRS insert jacks (tip = send, ring = return).
Each channel strip has an input trim, 6 aux sends (2 pre-
fader, 2 post-fader, and 2 switchable pre or post), 3-band
EQ with sweepable midrange (4-band EQ on the stereo chan-
nels), pan control, and mute, solo, and bus assign switches.
A 60 mm fader provides output gain for each channel.
Improved cooling for even greater thermal protection
20 mic/line mono, and 2 stereo line channels
True 4-bus design
Solo, pan, and 16 kHz Air EQ on each submaster
6 individual aux sends per channel (2 pre, 2 post,
2 switchable pre/post)
3-band swept midrange EQ on mic channels;
4-band fixed on stereo line channels
Twenty XDR mic preamps provide high-headroom and
low-noise. They are impedance-independent, so the fre-
quency response remains constant whether the mic preamp
is presented with an extremely high- or low-impedance
load. Additionally, each channel has its own switchable
low-cut filter (18 dB/octave @ 75 Hz).
75 Hz low-cut filters on mic channels
Mute, solo, signal present and OL LEDs on every channel
6 aux send masters with individual solos
4 stereo aux returns with EFX monitor
Separate Talkback section with mic preamp
Double-bused sub outs for easy multi-track routing
Balanced stereo TRS & XLR main outputs
Balanced XLR mono output with level control
The mono channel EQs provide a range of ±15 dB at the
following frequencies: 12 kHz shelving high-frequency EQ,
100 Hz to 8 kHz sweepable peaking mid-frequency EQ,
and 80 Hz shelving low-frequency EQ. The stereo channels
(21-24) provide ±15 dB of boost and cut at the following
frequencies: 12 kHz shelving high-frequency EQ, 3 kHz
peaking high-mid frequency EQ, 800 Hz peaking low-mid
frequency EQ, and 80 Hz shelving low-frequency EQ.
(continued on page 2)
R E L A T E D P R O D U C T S
Applications
Live sound mixing
SR32•4-VLZ PRO
Multi-track recording
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24-Channel Sound
Reinforcement Console
SR24•4-VLZ PRO
SR24•4-VLZ PRO Top
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24-Channel Sound
Reinforcement Console
SR24•4-VLZ PRO
SR24•4-VLZ PRO Rear Panel
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24-Channel Sound
Reinforcement Console
SR24•4-VLZ PRO
SR24•4-VLZ Pro Dimensions
18.90"
2.80"
5.60"
2.80"
1.30"
1.80"
0.50"
19.20"
31.00"
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24-Channel Sound
Reinforcement Console
SR24•4-VLZ PRO
SR24•4-VLZ PRO Block Diagram
L O G I C
P F L
R
L
S O L O
S O L O
6
A U X
A U X 5
A U X
A U X
A U X
A U X
4
3
2
1
X
R M I
L M I X
4
3
2
1
S U B
S U B
S U B
S U B
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24-Channel Sound
Reinforcement Console
switches, and a stereo pan control. Each stereo input
channel shall be equipped with a dual preamplifier gain
control, a solo switch, a mute switch, three bus assign-
ment switches and a stereo balance control.
5. INPUT CHANNEL EQUALIZATION. Each monaural
input channel shall be equipped with an equalization
function. The equalizer shall have three sections: a low-
frequency shelving equalizer with the knee set at 80 Hz
and a range of +15 dB; a mid-frequency peaking equal-
izer with a center frequency sweepable from a range of
100 Hz to 8 kHz, and a range of +15 dB; and a high-fre-
quency shelving equalizer with the knee set at 12 kHz
and a range of +15 dB. Each stereo input channel shall
be equipped with a stereo equalization function. The
equalizer shall have four sections: a low-frequency shelv-
ing equalizer with the knee set at 80 Hz and a range of
+15 dB; a low-mid-frequency peaking equalizer centered
at 800 Hz and a range of +15 dB; a high-mid-frequency
peaking equalizer centered at 3.5 kHz and a range of
+15 dB; and a high frequency shelving equalizer with the
knee set at 12 kHz and a range of +15 dB.
SR24•4-VLZ PRO
Architects’ and Engineers’ Specifications
1. GENERAL CONFIGURATION. The audio mixer shall
have a free-standing frame fitted with four resilient
feet suitable for tabletop placement. The frame shall
be comprised of 20 monaural input channels, 2 stereo
input channels, 4 submix output channels and 2 main
output channels. The monaural input channels shall be
capable of accepting either microphone- or line-level
signals, and shall be fitted with trim, equalization, bal-
ance, and auxiliary send controls; solo, mute, and bus
assign switches; level-indicating LEDs and insert jacks.
The stereo input channels shall be capable of accept-
ing either stereo or monaural line-level signals, and
shall be fitted with stereo trim, equalization, balance,
and auxiliary send controls; solo, mute and bus assign
switches; and level indicating LEDs. The submix outputs
shall each have level, pan, and “air” controls; solo and
assign switches; and a bus access insert jack. The main
outputs shall share a stereo master output fader and
shall be fitted with insert jacks. Additionally, the mixer
shall include a pre-fader/post fader solo function, a
main monaural output with level control derived from the
main stereo outputs, 6 monitor/effects send outputs, 4
stereo effects return inputs with switching and control
functions, 1 stereo control room monitor output, 2 stereo
headphone outputs, 1 set of stereo tape recorder conve-
nience outputs, and 1 set of stereo tape monitor inputs.
2. POWER SUPPLY. All necessary operating voltages for
the mixer shall be provided by an internal power supply.
3. INPUT CHANNEL CONNECTIONS. Each monau-
6. INPUT CHANNEL AUXILIARY SENDS. Each mixer
input channel shall have 6 monaural auxiliary send con-
trols. Two auxiliary send controls shall be fixed as pre-
fader sends; two shall be fixed as post-fader sends; and
two shall be switchable between pre-fader and post-fad-
er. All auxiliary sends shall be post-mute switch.
7. MAIN OUTPUT CONNECTIONS. The mixer shall have
electronically balanced, line-level left and right main
outputs, appearing on male XLR-3 type connectors and
impedance balanced on 1/4" phone TRS jacks on the rear
panel. Additionally, the main buses shall offer left and
right unbalanced insert connections, appearing on the
rear panel as 1/4" phone TRS jacks. Further, there shall be
a main, electronically balanced, monaural output derived
from the main stereo output, appearing as a male XLR-3
type connector on the rear panel. There shall be an output
level control to adjust the main monaural output level.
8. OTHER OUTPUT AND MONITORING CONNECTIONS.
The mixer shall have the following impedance balanced
line-level connections, appearing as 1/4" TRS jacks on
the rear panel: submix bus outputs 1-4, also wired in
parallel respectively to submix outputs 5-8; left and right
control room monitor outputs, left and right tape monitor
outputs, left and right tape monitor inputs. For conve-
nience, the left and right main outputs (unbalanced) and
the left and right tape monitor inputs shall also appear
as RCA phono jacks on the rear panel. There shall also be
two stereo headphone outputs on the rear panel of the
mixer, carrying the control room monitor signals at levels
and impedances proper for headphones. Each head-
phone output connection shall be a stereo 1/4" jack.
ral channel (1-20) shall include an XDR™ (Extended
Dynamic Range) electronically balanced microphone
input, using an XLR-3-F-type connector, accepting
nominal levels from –60 dBu to +4 dBu via a rotary Trim
control. Phantom power shall be globally controlled via
a rocker-type switch. Each monaural input channel shall
also have an electronically balanced line level input,
accommodating a nominal line level of between –10 dBV
and +4 dBu, and appearing on the rear panel as a 1/4"
TRS phone jack. Each stereo input channel shall have
left and right electronically balanced line level input,
accommodating a nominal line level of between –10 dBV
and +4 dBu, and appearing on the rear panel as 1/4"
TRS phone jacks. These jacks shall be fitted with internal
switching contacts to accommodate monaural configura-
tion. Additionally, each of the monaural input channels
(1-20) shall offer an unbalanced insert connection,
appearing on the rear panel as a 1/4" TRS phone jack.
4. INPUT CHANNEL LEVEL AND ASSIGNMENT
CONTROLS AND INDICATORS. Each monaural input chan-
nel shall be equipped with a preamplifier gain control,
a solo switch, a mute switch, three bus assignment
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24-Channel Sound
Reinforcement Console
SR24•4-VLZ PRO
9. OUTPUT AND MONITORING CONTROLS AND SWITCHES.
The mixer shall include one linear fader control for gain
adjustment of main L/R outputs, covering a range from
infinite attenuation to +10 dB above unity gain. A tape
monitor switch shall alternately select either the main L/R
outputs or the signal at the tape inputs as the source for
the control room and headphones monitoring circuits.
There shall be a stereo dual-channel rotary control for gain
adjustment of the control room and headphone monitor
output. The mixer shall have a stereo dual-channel control
for adjustment of the monitoring level of the internal solo
signals, and a light to indicate channel solo condition.
The solo system shall be capable of switching between
PFL (pre-fader listen) and AFL (after-fader listen––solo in
place) operation.
10. OUTPUT METERING. The mixer frame shall include
two 13-segment LED meters each displaying a signal range
from –40 dBU to +10 dBu, each with an additional LED
indicating mixer clipping level at +22 dBu. The meters
shall monitor the main left and right output channels;
alternately, the meters shall monitor the tape return sig-
nals when the tape monitor switch is depressed; or, the
soloed input channel signals when the solo switch is
depressed.
11. AUXILIARY SEND CONNECTIONS. The mixer shall
include impedance balanced, line-level outputs from the
six auxiliary send buses, appearing on the rear panel as
1/4" TRS phone jacks.
12. AUXILIARY RETURN CONNECTIONS. The mixer shall
include 4 stereo auxiliary return inputs. Each auxiliary
return shall have a left and a right balanced line-level
input, accommodating a nominal line level of between
–10 dBu and +4 dBu, and shall appear on the rear panel
as 1/4" TRS phone jacks. The jacks shall be fitted with
internal switching contacts to accommodate monaural
configuration.
13. AUXILIARY RETURN CONTROLS AND SWITCHES. The
mixer shall include 4 dual-channel auxiliary return gain
controls, each feeding the main stereo buses. Auxiliary
returns 1-2 shall have their signals assignable to auxiliary
send buses 1 and 2, respectively, through rotary level con-
trols. Auxiliary return 4 shall be assignable to three differ-
ent pairs of destinations, feeding either the main left and
right buses or the submix buses.
14. PHYSICAL CONFIGURATION. The mixer shall have
a steel chassis frame painted grey-black and designed to
rest on a horizontal surface. The SR24•4-VLZ PRO’s dimen-
sions shall be 6.1" (155mm) high by 31" (787mm) wide by
19.2" (487mm) deep.
15. SPECIFICATIONS. In addition to specifications
previously cited, the mixer shall meet or exceed the fol-
lowing specifications. Frequency response, microphone
input to any output, 20 kHz to 60 kHz, +0 dB/ –1 dB;
Total Harmonic Distortion (THD), any input to any output,
1 kHz @ +14dBu, 0.004%; Equivalent Input Noise (EIN),
microphone input to insert send, –129.5 dBm; Common
Mode Rejection (CMR), microphone input to insert send,
maximum gain, 1 kHz, better than 90 dB; Typical Main
Output noise, all channels assigned, odd channels panned
left, even channels panned right, all faders down –94.7
dBu; Signal to Noise ratio, ref +4 dBu operating level, 90
dB; Attenuation, ref. 0 dB @ 1 kHz, Main Mix level con-
trol down, –85 dBu; Channel Mute engaged, –84 dBu;
Channel Gain control down, –83 dBu; Input impedance,
microphone inputs, 1.5 kΩ; Channel Insert return, 2.5 kΩ;
all other inputs, greater than 10 kΩ; Output impedance,
Tape Out, 1.1 kΩ; All other outputs, 120Ω.
16. DESIGNATION. The mixer shall be a Mackie
SR24•4-VLZ PRO.
Electronic files for this product available at:
This Specification Sheet
Owner/Operator’s Manual
SR24VLZPRO_SS.PDF
SRVLZPRO_OM.PDF
LOUD Technologies continually engages in research related to product improvement. New material,
production methods, and design refinements are introduced into existing products without notice as
a routine expression of that philosophy. For this reason, any current LOUD Technologies product may
differ in some respect from its published description, but will always equal or exceed the original
design specifications unless otherwise stated. ©1999–2004 LOUD Technologies Inc. All rights
reserved. Mackie and the “Running Man” figure are registered trademarks of LOUD Technologies Inc.
Part No. 0003711 Rev A2 9/04
16220 Wood-Red Road NE, Woodinville, WA 98072 USA
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UK +44.1268.570.808, fax +44.1268.570.809, [email protected]
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