2-Channel DJ Mixer with FireWire Option
O W N E R ’ S M A N U A L
PGM 2
SOURCE
MIC
OL
PGM 1
CONTROL
MAIN
SOURCE
U
U
48V
SIG
LINE/
LINE/
PHONO
PHONO
OFF
ON
O O
MAX
LEVEL
O O
MAX
O O
MAX
+3 +50
CD
CD
LEVEL
LEVEL
LEVEL
EQ
EQ
EQ
BOOTH
U
U
HIGH
MID
HIGH
HIGH
STEREO
MONO
O O
MAX
LEVEL
-15 +15
U
KILL
KILL
KILL
+10
+10
+10
KILL
KILL
KILL
+10
+10
+10
FX
MID
MID
O O
+15
SEND
-15 +15
U
O O
+15
RETURN
LOW
LOW
LOW
-15 +15
PHONES
U
PGM
MAIN
ON
FX
FX
O O
MAX
LEVEL
PGM SOURCE
PAN
BAL
BAL
1
2
L
R
L
R
L
R
PGM 1
PGM 2
TRANSFORM
TRANSFORM
MAIN
L
R
OL
10
7
OL
10
7
OL
10
7
4
4
4
2
2
2
0
0
0
2
2
2
4
4
4
7
7
7
10
20
30
10
20
30
10
20
30
REVERSE
REVERSE
REVERSE
infinium
contact-free
cross-fader
A
B
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Table of Contents
Safety Instructions................................... 2
Introduction...............................................4
Getting Started ......................................... 5
READ THIS PAGE!!....................................................5
Hookup Diagrams.....................................6
Rear Panel Features................................ 10
Top Panel Features...................................12
Microphone Input Section ................................. 12
Program Input Section......................................... 13
Control Section......................................................14
Program Output Section..................................... 15
Front Panel Features ...............................17
Appendix A: Service Information....... 18
Warranty Service...................................................18
Troubleshooting ....................................................18
Repair .......................................................................19
Appendix B: Connections .....................20
Appendix C: Technical Info ...................21
Specifications......................................................... 21
Block Diagram........................................................23
Gain Structure Diagram...................................... 24
Appendix D: Transform Switch
Rotation and Fader Replacement...... 25
Limited Warranty...................................27
information about this and other Mackie products.
Part No. 0014096 Rev. A 7/05
©2005 LOUD Technologies Inc. All Rights Reserved. Printed in China.
3
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Introduction
•
Optional user-installable FireWire card receives
four program channels from PC/Mac and sends
a stereo L-R recording stream to PC/Mac.
Thank you for choosing a Mackie d.2 Premium VCA
Mixer for scratch and club DJs. It contains all your fa-
vorite features in a scratch mixer, along with significant
extras that you will come to appreciate.
•
•
Program faders and Crossfader have variable
contour curves and reverse switches.
The d.2 is the first DJ mixer made by Mackie. We were
able to apply our extensive knowledge of mixer design
to the d.2, making it a truly professional product with
the high-end performance you’ve come to expect from
Mackie. Features like our “built like a tank” construc-
tion, premium analog circuitry, infinium™ contact-free
crossfader, optional FireWire™ connectivity, and “Planet
Earth” power supply add value to the d.2 not found in
any other scratch mixer in its class.
Ultra bright blue/white main meters plus
individual program meters for cueing and beat
matching.
•
Separate mono/stereo switchable booth output
on balanced TRS connectors.
•
•
Stereo FX loop for outboard effects.
“Planet Earth” power-supply operates on volt-
ages between 100 and 240 VAC.
•
Standard IEC power receptacle and power cord.
FEATURES
•
•
•
Mighty strong construction to withstand the
rigors of DJ work.
Integrated rack ears (Odyssey Battle Bridge™
compatible).
HOW TO USE THIS MANUAL
We know that many of you can’t wait to get your new
mixer hooked up, and you’re probably not going to read
the manual first (sigh!). So the first section after this
Introduction is a Getting Started guide to 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.
Removable top panel provides access to the
rotatable transform switches and to the
user-replaceable faders.
•
Premium VCA-based design offers extremely
smooth fades and cross fades with very low
distortion characteristics for warm, hearty
sounding mixes.
Then, when you have time, read the Features Descrip-
tion section. This describes every knob, button, and
connection point on the d.2, roughly following the signal
fl ow through the mixer from top to bottom.
•
•
Mackie mic preamp with 3-band EQ for pro-
quality vocals through the d.2.
Throughout this section you’ll find illustrations with
each feature numbered. If you want to know more about
a feature, simply locate it on the appropriate illustra-
tion, notice the number attached to it, and find that
number in the nearby paragraphs.
XLR main outputs with Mic/Line switch (mic
position allows stage connections with no D.I.
boxes required).
•
•
RCA main outs with Live/Record switch
(Record position delivers a pre-main out).
This icon marks information that is critically
important or unique to the d.2. For your own
good, read them and remember them. They
will be on the final test.
Endless-life optical crossfader from the UK-
based Infinium, with adjustable mechanical
tension accessible from the top panel.
This icon leads you to in-depth explanations
of features and practical tips. While not
mandatory, they usually have some valuable
nuggets of information.
Please write your serial number here for future
reference (i.e., insurance claims, tech support,
return authorization, etc.)
Appendix B is a section on connectors: XLR connec-
tors, TRS balanced connectors, TS unbalanced connec-
tors, and RCA unbalanced connectors.
Purchased at:
Date of purchase:
d.2 DJ Mixer
Appendix C shows the d.2 specifications, a block dia-
gram, and a gain structure diagram.
Appendix D shows how to adjust the position of the
transform switches, and how to replace the faders if you
ever have to.
4
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Set the Levels
Getting Started
To set the LEVEL controls, it’s not even necessary
to hear what you’re doing at the outputs of the mixer.
If you want to listen while you work, plug headphones
into the PHONES jack on the front panel, then set the
PHONES knob up a little.
READ THIS PAGE!!
Even if you never reads manuals, please
read and digest the safety instructions
on page 2, and this page before you
begin using the d.2 mixer.
1. Select the input using the SOURCE switch.
2. 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. Turn the rear panel POWER switch off.
2. Turn down the LEVEL controls for MIC, PGM 1 and 3. Center the TRANSFORM switch. There will be no
PGM 2, and center all EQ, PAN, and BAL controls.
output, but the PROGRAM METER will still work.
3. Set all push button switches to their “out” positions. 4. Adjust the channel’s rotary LEVEL control so that
the LEDs on the PROGRAM meter stay around “0”
and +4, and never go higher than “+7.”
4. In the CONTROL section (right hand side), turn all
the rotary knobs down, and the switches out.
5. Apply some EQ if needed, (return to step 4 if you
5. Set the PROGRAM Faders fully down.
do, just to check the levels are still OK).
6. On the front panel, set the REVERSE switches out.
6. Repeat for the other channel (if you want to).
7. Center the CROSSFADER.
Set the MIC Levels
Connections
1. To level the microphone input, keep the ON button
off, and talk or sing at your highest expected level.
If you already know how you want to connect the d.2,
go ahead and connect the inputs and outputs the way
you want them. If you just want to get sound through
the d.2 mixer, follow these steps:
2. Adjust the MIC LEVEL until the OL LED next to it
only comes on occasionally.
1. Plug a signal source to the d.2. This could be a:
Instant Mixing
•
Microphone into the MIC input
1. To get sound out of the speakers, press the TRANS-
FORM switch up (the latched position), turn up the
PROGRAM fader, and slowly rotate the MAIN control
to a comfortable listening level.
•
Turntable into a PHONO input (push in the
rear panel LINE/PHONO switch)
•
•
Line-level source such as a CD player into the
PHONO input (push out the LINE/PHONO
switch)
2. Sing and play. You’re a star! Bring in the other
channel, play with the CROSSFADER, and generally
have fun.
Line-level source such as a CD player into a CD
input.
2. If you are using the PHONO input, make sure you
set the LINE/PHONO switch correctly.
Other Nuggets of Wisdom
•
Always turn down the MAIN, BOOTH, and PHONE
knobs before making any connections.
3. Connect cords from the d.2’s MAIN OUTs (XLR or
RCA connectors on the rear panel) to your powered
speakers or amplifier.
•
When you shut down your equipment, turn off the
amplifiers first. When powering up, turn on the
amplifiers last.
4. Plug in the detachable linecord, connect it to a live
AC outlet, and turn on the d.2’s POWER switch.
•
Never listen to loud music for prolonged periods.
Please see the Safety Instructions on page 2 for
information on hearing protection.
5. If you have powered speakers, turn them on. Other-
wise, hook up your speakers to the amp and turn it
on. Adjust your powered speaker or amplifier level
controls to however the manufacturer recommends.
(This is usually all the way up.)
5
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Hookup Diagrams
(The following hookup diagrams show the d.2 with the optional FireWire card installed.)
SRM450
SRM450
Powered Speaker
Main Right
Powered Speaker
Main Left
SWA1501
SWA1501
Powered Subwoofer
Powered Subwoofer
Pro CD Player
Plug into
Microphone
front panel
headphone jack
DESIGNED BY MACKOIDS IN WOODINVILLE, WA, USA
FABRIQUE EN CHINE COPYRIGHT ©2005 "MACKIE", AND THE RUNNING MAN
FIGURE ARE TRADEMARKS OF LOUD TECHNOLOGES, INC. PATENT PENDING.
•
MANUFACTURED IN CHINA
•
•
•
MAIN
BOOTH
FX
PGM 2
PHONO CD
PGM 1
HONO CD
MIC
SEND
L
R
L
L
L
R
R
L
L
L
LINE
MIC
R
R
R
LIVE
RECORD
ETURN
R
LINE
LINE
GND
GND
~100-240 VAC 50-60Hz 20W
PHONO
PHONO
L
ON
SERIAL
/
DACODE
R
FIREWIRE
Headphones
Effects Processor
Laptop Computer
Mobile DJ System: Rental, Wedding, or Funeral
6
d.2 DJ Mixer
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Plug into
front panel
Microphone
headphone jack
DESIGNED BY MACKOIDS IN WOODINVILLE, WA, USA
FABRIQUE EN CHINE COPYRIGHT ©2005 "MACKIE", AND THE RUNNING MAN
FIGURE ARE TRADEMARKS OF LOUD TECHNOLOGIES, INC. PATENT PENDING.
•
MANUFACTURED IN CHINA
•
•
•
MAIN OUT
BOOTH
FX
PGM 2
PHONO CD
PGM 1
PHONO CD
MIC
SEND
L
R
L
L
L
R
R
L
L
L
L
LINE
MIC
R
R
R
LIVE
RECORD
RET
R
INE
GND
GND
~100-240 VAC 50-60Hz 20W
PHONO
L
ON
SERIAL
/
DATE CODE
R
FIREWIRE
Headphones
ground wire
ground wire
Laptop Computer
Turntable with phono-level output
Turntable with phono-level output
cup of tea
(optional)
Radio Show Recording/Podcasting/having a good old time
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SRM450
SRM450
Powered Speaker
Main Right
Powered Speaker
Main Left
SWA1501
SWA1501
Powered Subwoofer
Powered Subwoofer
Plug into
front panel
Microphone
headphone jack
DESIGNED BY MACKOIDS IN WOODINVILLE, WA, USA
FABRIQUE EN CHINE COPYRIGHT ©2005 "MACKIE", AND THE RUNNING MAN
FIGURE ARE TRADEMARKS OF LOUD TECHNOLOGIES, INC. PATENT PENDING.
•
MANUFACTURED IN CHINA
•
•
•
MAIN
L
BOOTH
FX
PGM 2
PHONO CD
PGM 1
PHONO CD
MIC
SEND
R
L
L
L
R
R
L
L
L
L
LINE
MIC
R
R
R
LIVE
RECORD
RET
R
INE
GND
GND
~100-240 VAC 50-60Hz 20W
ON
PHONO
L
SERIAL
/
DATE CODE
R
FIREWIRE
Headphones
ground wire
ground wire
Turntable with phono-level output
Turntable with phono-level output
Two-Turntable Portable System
8
d.2 DJ Mixer
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SA1532z
SA1532z
Powered Speaker
Main Right
Powered Speaker
Main Left
SWA1801
SWA1801
Powered
Powered
Subwoofers
Subwoofers
CD Turntable (PGM 2)
CD Turntable (PGM 1)
Plug into
front panel
Microphone
headphone jack
DESIGNED BY MACKOIIN WOODINVILLE, WA, USA
FABRIQUE EN CHINE PYRIGHT ©2005 "MACKIE", AND THE RUNNINAN
FIGURE ARE TRADEMAOF LOUD TECHNOLOGIES, INC. PATENT PNG.
•
MANUFACTURED IN INA
•
•
•
MAIN
BOOTH
FX
P2
PHOD
PGM 1
PHONO CD
MIC
SEND
L
R
L
L
L
R
R
L
L
L
LINE
MIC
R
R
R
E
ORD
RETUR
R
LINE
GND
GND
~100-240 VAC 50-60Hz 20W
PHONO
L
ON
SERIAL
/
DATE CODE
Headphones
FIREWIRE
ground wire
ground wire
Laptop Computer
Turntable (PGM 1)
Turntable (PGM 2)
with phono-level output
with phono-level output
SRM450 Powered Speaker
Booth Left
SRM450 Powered Speaker
Booth Right
Club System
9
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Rear Panel Features
DESIGNED BY MAIN WLLE, WMANUED IN CHINA
FABRIQUE EN COPY05 • "AND NING MAN
FIGURE ARE TRKS OECHNOINC. PENDING.
MAIN OUT
BOOTH
FX
PGM 2
PGM 1
MIC
PHONO
CD
PHONO
CD
SEND
R
L
L
L
R
R
L
L
L
L
LINE
MIC
R
R
R
R
LIVE
RECORD
RETURN
R
LINE
LINE
GND
GND
~100-240 VAC 50-60Hz 20W
PHONO
PHONO
L
ON
SERIAL / DATE CODE
R
FIREWIRE
(ACCESSORY CARD REQUIRED)
1. MIC Input
5. GND Terminal
This is a Neutrik “combo” input connector that ac-
cepts either a balanced male XLR connector or a 1/4"
balanced or unbalanced connector. Use an XLR connec-
tor for low-impedance microphones and a 1/4" connec-
tor for high-impedance microphones.
These terminals are provided to connect a ground
wire from your turntable(s) to the d.2. Most turntables
provide a ground wire to connect to the preamp for the
purpose of eliminating “hum” in the audio signal. Simply
turn the ground terminal on the d.2 counter-clockwise
to loosen it, wrap the end of the ground wire clockwise
around the terminal, and hand-tighten the ground ter-
minal for a secure ground connection.
The MIC Input signal is routed through the MIC Input
Section, MIC EQ, and then to the Main Mix bus.
2. CD Inputs
6. Stereo FX SEND
These RCA jacks accept a stereo line-level signal from
a CD player or other line-level playback device (such as
an MP3 player or DVD audio).
These 1/4" TRS jacks provide a balanced line-level
output signal from the stereo FX Send bus. Use these to
connect to the inputs of an external effects processor.
You can also use an unbalanced 1/4" TS cable to make
this connection.
3. LINE/PHONO Inputs
These RCA jacks accept a stereo phono-level signal
from a turntable (when the LINE/PHONO [4] switch
is pushed in), or from a line-level playback device such
as a CD player or MP3 player (when the LINE/PHONO
switch is out). Check that your turntable has a phono-
level output and a Moving Magnet cartridge.
7. Stereo FX RETURN
These 1/4" TRS jacks accept a balanced line-level
signal from an external effects processor. They will also
accept an unbalanced 1/4" TS connector.
If you are using a stereo effects processor, connect its
left and right outputs to the corresponding left and right
FX RETURN jacks. If it is a mono effects processor, con-
nect its output signal to the left FX RETURN jack, and it
will appear on both the left and right Main Mix bus.
4. LINE/PHONO Switch
If you connect a turntable with phono-level outputs
to the LINE/PHONO inputs [3], push this switch in to
select the phono-level input stage, which includes an
RIAA preamp for proper re-equalization of the incoming
phono signal.
8. BOOTH Outputs
These 1/4" TRS jacks provide a balanced line-level
signal from the Main Mix bus, prior to the rotary MAIN
LEVEL control [32]. Use these to connect to a pair
of powered monitor speakers (or to the inputs of an
amplifier powering the monitor speakers in the booth).
If you are connecting a line-level playback device like
a CD or MP3 player, leave this switch out to select the
line-level preamp.
Do not press it in if you have a line-level
signal connected.
10
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If you only have one monitor speaker, just use one of
the BOOTH Outputs and push in the BOOTH STEREO/
MONO switch [34] in the CONTROL section on the top
panel.
MAIN LEVEL control. This allows you to make a stereo
recording that is not affected by Main Out level changes
during a performance.
13. POWER Switch
9. XLR MAIN OUTs
When the POWER switch is turned ON, power is sup-
plied to the d.2 and the cool blue EQ knobs light up.
These male XLR connectors provide a balanced mic-
or line-level signal from the MAIN LEVEL control [32].
The LINE/MIC Switch [10] determines if it is a mic-
level or line-level output. Connect these to the balanced
inputs of the active speakers, or power amplifier(s)
powering your main speakers.
14. Power Receptacle
This is a standard 3-prong IEC power connector. Con-
nect the detachable linecord (included in the box with
your d.2) to the power receptacle, and plug the other
end of the linecord into an AC outlet.
If you are connecting the MAIN OUT of the d.2 to an
unbalanced input, use the RCA Main Outs [11] instead.
The d.2 has a universal power supply that can accept
any AC voltage from 100 VAC to 240 VAC. No need for
voltage select switches. It will work virtually anywhere
in the world. That’s why we call it a “Planet-Earth”
power supply! This also means that it is less susceptible
to voltage sags or spikes, providing greater electromag-
netic isolation and better protection against AC line
noise.
Note: Balanced connections offer better immunity to
external noise (specifically, hum and buzz) than unbal-
anced connections. 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).
15. FIREWIRE I/O Option
FireWire (a.k.a. IEEE 1394) is a high-speed serial I/O
interface for connecting digital devices, with more than
30 times the bandwidth of USB 1.1. You can install the
optional FireWire card here, to provide two FireWire
connectors for transferring digital audio to and from
your laptop computer or digital audio workstation
(DAW) with absolute zero latency.
10. LINE/MIC Switch
If you are connecting the XLR MAIN OUTs [9] to line-
level inputs like a power amplifier’s inputs, leave this
switch out, in the LINE position.
If you are using the d.2 as a submixer and connecting
the XLR MAIN OUTS to the mic inputs of another mixer,
push this switch in to the MIC position. This inserts a
30 dB pad to reduce the output signal to a mic level.
This great feature allows you to connect the d.2 output
directly to a snake without using direct boxes.
FIREWIRE
The FireWire interface provides a stereo main output
to your computer. The signals are pre-MAIN LEVEL con-
trol [32], so they are independent of any adjustments
made to the MAIN LEVEL control. This allows you to
record your live performance directly to your laptop.
11. RCA Main Outs
These RCA connectors provide an unbalanced line-
level signal from the MAIN OUT, either pre- or post-
MAIN LEVEL control [32], depending on the setting of
the LIVE/RECORD switch [12].
The FireWire interface also lets you use your comput-
er to playback music for mixing on the d.2. It provides
a return for four signals, which can be selected as the
program source for PGM 1 and PGM 2. Assign two chan-
nels (or a stereo pair) to ASIO or CoreAudio outputs 1
and 2 for PGM 1, and two channels (or a stereo pair) to
outputs 3 and 4 for PGM 2.
12. LIVE/RECORD Switch
When this switch is out (LIVE position), the RCA
Main Outs provide the signal just after the MAIN LEVEL
control [32], so it essentially provides the same signal
as the XLR MAIN OUTs [9], except it is an unbalanced
signal rather than a balanced one.
The FireWire card can easily be installed with the
help of a small screwdriver. Ask your Mackie dealer
about it. (The FireWire card, not the screwdriver.) Each
card comes with installation instructions that I have
to write before the boss gets back from his vacation in
Gary, Indiana.
When this switch is pushed in (RECORD position),
the RCA Main Outs provide the signal just prior to the
11
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Top Panel Features
MIC Input Section
16. MIC LEVEL Control
PGM 2
SOURCE
MIC
PGM 1
CONTROL
MAIN
This knob adjusts the gain
of the mic preamp for any
microphone plugged into the
SOURCE
OL
U
U
48V
SIG
LINE/
PHONO
LINE/
PHONO
OFF
ON
O O
MAX
O O
MAX
LEVEL
O O
MAX
LEVEL
+3 +50
LEVEL
CD
CD
LEVEL
EQ
EQ
EQ
MIC input jack [1]. It ranges
BOOTH
U
U
from +13 dB to +63 dB of
gain. Adjust this knob so
that the loudest speaking or
shouting that you do into the
microphone just barely lights
the OL LED [18]. This gives
you the best signal-to-noise
ratio for the mic preamp.
HIGH
MID
HIGH
HIGH
STEREO
MONO
O O
MAX
LEVEL
-15 +15
KILL
KILL
KILL
+10
+10
+10
KILL
KILL
KILL
+10
+10
+10
FX
U
MID
MID
O O
+15
SEND
-15 +15
U
O O
+15
RETURN
LOW
LOW
LOW
-15 +15
PHONES
PGM
MAIN
U
ON
FX
FX
O O
MAX
LEVEL
PGM SOURCE
PAN
BAL
BAL
1
2
17. MIC SIGNAL LED
L
R
L
R
L
R
This green LED is a signal
present indicator. It lights
when the microphone signal
reaches –20 dBu, to give you a clue that the microphone
is working.
21. MID EQ
This knob gives you up to 15 dB of boost and cut at
2.5 kHz. At the center position the MID EQ has no effect
on the signal.
18. MIC OL LED
This red LED lights when the microphone signal
reaches 6 dB below clipping. It’s okay if this LED blinks
occasionally, but if it is blinking frequently or lit con-
tinuously, turn down the MIC LEVEL control [16] until
it just blinks occasionally.
22. 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.
19. 48V Phantom Power Switch
23. ON Switch
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.
Press this switch in to send the microphone signal to
the MAIN outputs, otherwise, your dulcet tones will not
be heard, and people will say “huh?”
Dynamic microphones, like Shure’s SM57 and SM58,
do not require phantom power. However, phantom
power will not harm most dynamic microphones should
you accidentally plug one in while the phantom power
is turned on. Check your microphone’s user’s manual if
you are not sure whether your microphone needs phan-
tom power or not.
24. PAN
This knob adjusts the amount of microphone signal
that is sent to the left versus the right main outputs.
When the knob is turned hard left, the signal feeds only
the left main out, and when the knob is turned hard
right, it only feeds the right main out. When the knob is
in the center, the microphone signal is sent equally to
the left and right main mix. The fiendish design of the
pan circuit allows “constant pan power,” where the aver-
age audio output level remains constant for all positions
of the PAN control.
20. HIGH EQ
This knob gives your mic signal up to 15 dB of boost
and cut at 12 kHz and above. At the center position the
HIGH EQ has no effect on the signal.
12
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30. FX Switch
Program Input Section
Press this switch in to tap the PGM signal to the FX
SEND outputs. This allows you to send the signal to an
external effects processor, or even provide a direct feed
for the PGM signal to another mixer. This switch will
route the PGM signal to the FX send output connectors,
interrupting the signal to the Main Outputs. If there
is no effects processor connected to the FX send and
returns, then the PGM signal is muted.
25. LEVEL Control
This knob adjusts the gain of the PGM input signals
selected by the position of the SOURCE Select switch
[26]. This knob ranges from off to +13 dB of gain at
maximum. Adjust this with your good eye on the PRO-
GRAM METERS [42], so the level is typically bouncing
between the 0 and +4 LEDs.
31. BAL
26. SOURCE Select Switch
This knob works like the balance control on a home
stereo. Turning the knob to the left turns down the right
side, and turning the knob to the right turns down the
left side. When the BAL control is in the center, the left
and right sides are equally as loud (assuming the left
and right inputs are equal loudness).
This switch selects one of three possible input sources
for the PGM channel:
FireWire: The signal coming in from the optional
FireWire interface is selected as the source.
LINE/PHONO: The signal connected to the PHONO
connectors on the rear panel is selected. This
could be from a turntable or from a line-level
playback device, depending on the setting of
the LINE/PHONO switch [4].
CD: The signal connected to the CD connectors on
the rear panel is selected.
You could have a signal coming in on all three inputs,
and quickly change from one input source to another
using this heavy duty switch.
27. HIGH EQ
This knob gives you up to 10 dB of boost at 4 kHz and
above, and turns off the signal at 4 kHz and above when
the knob is turned to the KILL position. At the center
position, the HIGH EQ has no effect on the signal.
28. MID EQ
This knob gives you up to 10 dB of boost at 1 kHz, and
turns off the signal at 1 kHz when the knob is turned to
the KILL position. At the center position, the MID EQ
has no effect on the signal.
29. LOW EQ
This knob gives you up to 10 dB of boost at 300 Hz
and below, and turns off the signal at 300 Hz and below
when the knob is turned to the KILL position. At the
center position, the LOW EQ has no effect on the signal.
Note: When all three EQ knobs are turned to the KILL
position, the signal is effectively muted and no signal
passes through to the output.
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Control Section
32. MAIN LEVEL
Control
PGM 2
SOURCE
MIC
PGM 1
CONTROL
MAIN
SOURCE
OL
U
U
This knob adjusts the
main output level at the
MAIN OUT XLRs [9]
(and to the RCA Main
Outs [11] when the
LIVE/RECORD switch
[12] is out). (Remem-
ber, when the LIVE RE-
CORD switch is pushed
in, the RCA Main Outs
are not affected by the
MAIN LEVEL control.)
48V
SIG
LINE/
PHONO
LINE/
PHONO
OFF
ON
O O
MAX
O O
MAX
LEVEL
O O
MAX
LEVEL
+3 +50
LEVEL
CD
CD
LEVEL
EQ
EQ
EQ
BOOTH
U
U
HIGH
MID
HIGH
HIGH
STEREO
MONO
O O
MAX
LEVEL
-15 +15
U
KILL
KILL
KILL
+10
+10
+10
KILL
KILL
KILL
+10
+10
+10
FX
MID
MID
O O
+15
SEND
-15 +15
U
O O
+15
RETURN
LOW
LOW
LOW
-15 +15
PHONES
U
PGM
MAIN
ON
FX
FX
O O
MAX
LEVEL
PGM SOURCE
PAN
BAL
BAL
1
2
33. BOOTH LEVEL
Control
L
R
L
R
L
R
This knob adjusts
the output level at the
BOOTH outputs [8].
37. PHONES LEVEL Control
This controls the volume of the PHONES output from
off to maximum gain.
34. STEREO/MONO Switch
Turn it to minimum before connecting and
putting on headphones. Increase it slowly to
a safe listening level. See page 17.
With this switch up, the BOOTH outputs [8] provide
a stereo left and right output of the main mix. Push the
switch in to combine the left and right signals to mono if
you only have one booth monitor speaker.
38. PGM/MAIN Switch
35. FX SEND LEVEL Control
Use this switch to select the source for the head-
phones signal. When the switch is up (PGM position),
the signal is tapped just after the BAL control [30] on
the PGM channels. You can use the PGM SOURCE cross-
fader [39] to fade between PGM 1 and PGM 2.
This knob controls the amount of signal being sent to
FX SEND outputs [6]. Adjust this knob to provide an
appropriate input signal level to your external effects
processor (or whatever you have connected to the FX
SENDs). It ranges from off to +13 dB at maximum.
When the switch is down (MAIN position), the signal
is tapped from the Main Mix bus, just before the MAIN
LEVEL control [32].
Note: The FX SENDs are affected by the TRANSFORM
switches [40], so if you mute a PGM channel with the
TRANSFORM switch, the FX SEND for that PGM chan-
nel is muted as well.
39. PGM SOURCE Cue Crossfader
When the PGM/MAIN switch [38] is up (in the PGM
position), you can use this crossfader to listen to PGM
1 and PGM 2 in the headphones. When the crossfader
is all the way to the left, PGM 1 is heard in the head-
phones. When the crossfader is all the way to the right,
PGM 2 is heard in the headphones. When the knob is in
the center, the headphones get an even mix of PGM 1
and 2.
36. FX RETURN LEVEL Control
This adjusts the signal level coming from your exter-
nal effects processor via the FX RETURN jacks [7]. Use
it to adjust the processed signal going to the main mix
bus. It ranges from off to +13 dB at maximum.
Note: When the PGM/MAIN switch is down (MAIN
position), this control has no effect on the PHONES
output.
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Program Output Section
PGM 1
PGM 2
40. TRANSFORM
Switch
The transform switch
has three positions: Latch-
ing, Center, and Momen-
tary.
TRANSFORM
TRANSFORM
MAIN
L
R
OL
10
7
OL
10
7
OL
10
7
4
4
4
When the switch is
Latched, this program’s
signal is on, and passes
through to the outputs.
2
2
2
0
0
0
2
2
2
4
4
4
7
7
7
10
20
30
10
20
30
10
20
30
When the switch is in
the center position, this
program’s signal is muted
at the outputs and FX
Sends.
REVERSE
REVERSE
REVERSE
infinium
contact-free
cross-fader
A
B
The other position is a
momentary version of the
Latched position (in other
words, it won’t stay there
when you let go of it), and allows the signal to pass as
long as the switch is held down. Let go of the switch,
and the signal is muted again. This lets you quickly use
the transform switch for “stutter” effects.
42. PGM LEVEL METERS
These meters have 12 LEDs, ranging from –30 to +20
(OL). They indicate the summed-mono signal strength
of the PGM signals just before the BAL controls [31].
The meters are not affected by the PROGRAM faders
[41].
If you prefer, you can rotate the Transform switch 45º
or 90º so the switch moves diagonally or horizontally in-
stead of vertically. See Appendix D on page 25 for more
information.
Typically, you want to see these meters bouncing
between the “0” and the “+4” LEDs. It is okay if the OL
LED lights occasionally, but if it lights frequently or con-
tinuously, turn down the PGM LEVEL control [25] until
the OL LED blinks occasionally or not at all.
Note: If this switch is in the center position, the
program can still be heard and cued in the headphones
if the PGM/MAIN switch [38] is up.
41. PROGRAM FADER
43. REVERSE LED
This controls the volume for the PGM signal being
sent to the Main Mix bus. The characteristics of how the
fader affects the audio signal are determined by the cor-
responding CONTOUR control [47] and the REVERSE
switch [48].
These light when the front-panel REVERSE switches
[48] have been activated for PGM 1 or PGM 2 faders.
They show that the fader direction-of-action is reversed.
(The meters are not reversed, just the faders.)
These faders have a very light touch
and are designed to last the lifetime of the
d.2. No audio passes through these faders.
44. MAIN LEVEL METERS
These meters are similar to the PGM LEVEL METERS
[42], but indicate the signal strength of the Main out-
puts before the MAIN LEVEL control. As with the other
meters, you want to see the signals 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 PROGRAM FADERS [41] until the OL
LEDs blink occasionally, or not at all.
Rather, they send a control voltage to a pair of VCAs
(Voltage-Controlled Amplifiers) that determine the gain
of the signal. This is a very good thing, by the way, as the
audio will not be affected by any scratchy electrical con-
tacts, and the design allows for customizing the fader
action using the CONTOUR and REVERSE controls.
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45. REVERSE LED
PGM 1
PGM 2
This LED lights when
the REVERSE switch
[48] has been activated
for the Crossfader. For
more details, see the dis-
cussion of the REVERSE
switches [48] on the
next page.
TRANSFORM
TRANSFORM
MAIN
L
R
OL
10
7
OL
10
7
OL
10
7
4
4
4
2
2
2
0
0
0
2
2
2
4
4
4
46. CROSSFADER
7
7
7
10
20
30
10
20
30
10
20
30
The crossfader is used
to fade between the
REVERSE
REVERSE
REVERSE
two PGM signals in the
MAIN outputs. When
the crossfader is all the
way to the left, PGM 1 is
heard in the MAIN outs.
When the crossfader is
all the way to the right,
PGM 2 is heard. When
the crossfader knob is
infinium
contact-free
cross-fader
A
B
in the center, the MAIN outs get an even mix of PGM 1
and 2.
The characteristics of how the crossfader affects the
audio signal are determined by its corresponding CON-
TOUR control [47] and the REVERSE switch [48].
The crossfader is a high-quality
infinium™ contact-free optical digital fader,
designed to last the lifetime of the d.2 with
no degradation in quality.
You can adjust the tension of the fader movement to
your specific taste.
To adjust the crossfader tension:
1. Move the crossfader all the way to the left.
2. Remove the fader cap (knob) by grasping it
fi rmly and pulling straight up.
3. Use a small slot-head screwdriver to turn the
screw located through the hole on the left side
of the crossfader slot.
Rotate the screw clockwise to tighten the ten-
sion, and rotate the screw counter-clockwise to
loosen the tension. You might need a flashlight
to make sure you are lined up on the screw.
4. Replace the fader cap, and you’re all done.
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Front Panel Features
PGM 1 FADER
REVERSE
CROSS FADER
PGM 2 FADER
REVERSE
REVERSE
SLOW
FAST
SLOW
FAST
SLOW
FAST
CONTOUR
CONTOUR
CONTOUR
49. Headphones Jack
47. CONTOUR Controls
This is where you plug in your stereo headphones. It is
a 1/4" TRS stereo jack.
Use the CONTOUR controls to adjust how fast or
slow each fader responds to movement. In the SLOW
position, the faders respond in a linear fashion, increas-
ing from minimum to maximum at the same rate. In
the FAST position, the faders respond logarithmically,
increasing from minimum to maximum very quickly, and
then changing very little for the remainder of the fader
travel. Adjust the CONTOUR controls between the two
extremes to get the fader response that works best for
your application.
If you have the PGM/MAIN switch [38] up, you can
listen to the PGM 1 or PGM 2 signals, or a mix of both,
determined by setting the PGM SOURCE Slider [39].
The signals are taken just after the BAL controls [31],
but before the PROGRAM Faders [41].
If you have the PGM/MAIN switch [38] down, you can
listen to the MAIN MIX signals, taken just before the
MAIN LEVEL control [32].
The CONTOUR control for the crossfader works in
a similar fashion, crossfading linearly with the CON-
TOUR control in the SLOW position, and crossfading
very quickly with the CONTOUR control in the FAST
position. In fact, in the FAST position, the crossfading
occurs within the first 2 mm of fader travel. This is great
for “crabbing” techniques.
The headphone volume is controlled by the PHONES
LEVEL control [37], and the position of the PGM
SOURCE Crossfader [39] if you are listening to PGM 1
or PGM 2.
WARNING: The headphone amp is de-
signed to drive any standard headphones to
a very loud level. We’re not kidding! It can
cause permanent hearing damage. Even intermediate
levels may be painfully loud with some headphones. BE
CAREFUL!
48. REVERSE Switches
Normally (with these switches out) when you move
the PGM 1 or PGM 2 faders up, the volume will increase.
When you move the crossfader left to right, PGM 1 will
fade into PGM 2.
Always start with the PHONES LEVEL
control [37] turned all the way down before
connecting headphones to the PHONES
These switches let you reverse the direction of the
action of the program faders and the crossfader:
jack, or making any connections. Keep it down until
you’ve put on the headphones. Set the PGM SOURCE
Slider [39] if you are listening to PGM 1 or PGM 2, then
turn up the PHONES LEVEL control [37] slowly. Why?
Always remember: “Engineers who fry their ears, find
themselves with short careers.”
With the PGM 1 or PGM 2 REVERSE switches on,
when you move the PGM 1 or PGM 2 faders up, the
volume will now decrease.
With the Crossfader REVERSE switch on, when you
move the crossfader left to right, PGM 2 will fade into
PGM 1. (This is sometimes called a hamster switch.)
Note: These switches and the CONTOUR controls do
not affect the meters, just the faders.
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Appendix A: Service Information
•
If the FX button [30] is pressed on that channel,
make sure your effects processor is connected cor-
rectly and is working.
Warranty Service
Details concerning Warranty Service are spelled out in
the Warranty section on page 27.
•
Try the same source signal in the other channel, set
up exactly like the suspect channel.
If you think your d.2 has a problem, please do everything
you can to confirm it before calling for service. Doing so
might save you from the deprivation of your mixer and
the associated suffering.
Bad Output
•
•
Is the associated level control (if any) turned up?
If it’s one of the MAIN OUTPUTS, try unplugging
the others. For example, if it’s the XLR LEFT MAIN
OUT, unplug the RCA LEFT OUT. If the problem
goes away, it’s not the mixer.
These may sound obvious to you, but here are some
things you can check. Read on:
Troubleshooting
•
If a left output is presumed dead, switch the left
and right cords at the mixer end. If the problem
stays on the left side, it’s not the mixer.
No Power
•
•
Our favorite question: Is it plugged in?
Bad Sound
Make sure the power cord is securely seated in the
IEC socket [14] and plugged all the way into the
AC outlet.
•
Is the input connector plugged completely into the
jack?
•
Is it loud and distorted? Make sure the input
LEVEL control [25] is set correctly. Reduce the
signal level on the input source if possible.
•
•
•
•
•
Make sure the AC outlet is live (check with a tester
or lamp).
Make sure the rear panel POWER switch [13] is in
the ON position (up).
•
•
If possible, listen to the signal with headphones
plugged into the input source device. If it sounds
bad there, it’s not the d.2 causing the problem.
Are the EQ controls on the front panel illuminated?
If not, make sure the AC outlet is live.
If you are using a turntable with a phono-level out-
put, and the sound is low and distorted, check that
the LINE/PHONO switch [4] is set to PHONO. Note
that the phono section requires your cartridge to be
a Moving Magnet type. It may be too low to amplify
the low levels of a Moving Coil type.
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 AC outlet is live, it will be necessary to have
your d.2 serviced. There are no user serviceable parts
inside. Refer to “Repair” on the next page to find out
how to proceed.
Noise/Hum
•
Turn down the FX RETURN knob [36]. If the noise
disappears, it’s coming from whatever is plugged
into the FX RETURNS [7].
Bad Channel
•
Check the TRANSFORM switch [40] is not in the
center position.
•
•
Check that your turntable’s audio ground wire is
connected to the GND terminals [5].
•
•
Is a fader or crossfader REVERSE LED [48] on?
Turn down each channel, one by one. If the noise
disappears, it’s coming from whatever is plugged
into that channel. Check your whatever.
Check the channel’s PROGRAM fader [41] is not
fully down.
•
•
Are that channel’s EQ controls all turned down?
•
•
Check the signal cables between the input sources
and the d.2. Disconnect them one by one. When the
noise goes away, you’ll know which input source is
causing the problem.
Is the signal source turned up? Make sure the
signal level from the selected input source is high
enough to light up some of the PROGRAM METER
LEDs [42].
Sometimes it helps to plug all the audio equipment
into the same AC circuit so they share a common
ground.
•
Is the correct input chosen with the SOURCE SE-
LECT switch [26], and its PGM LEVEL [25] turned
up far enough?
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Repair
Service for Mackie products is available at a factory-
authorized service center. Service for Mackie products
living outside the United States can be obtained through
local dealers or distributors.
If your d.2 needs service, follow these instructions:
1. Review the preceding troubleshooting suggestions.
Please.
2. Call Tech Support at 1-800-898-3211, 7 am to 5 pm
PST, to explain the problem and request a Service
Request Number. Have your d.2’s serial number
ready. You must have an Service Request Number
before you can obtain warranty service.
3. Keep this owner’s manual and the detachable line-
cord. We don’t need them to repair the mixer.
4. Pack the mixer in its original package, includ-
ing endcaps and box. This is VERY IMPORTANT.
Mackie is not responsible for any damage that
occurs due to non-factory packaging.
5. Include a legible note stating your name, shipping
address (no P.O. boxes), daytime phone number,
Service Request Number, and a detailed description
of the problem, including how we can duplicate it.
6. Write the Service Request Number in BIG PRINT on
top of the box. Units sent without the SR number will
be refused.
7. Tech Support will tell you where to ship the d.2 for
repair. We suggest insurance for all forms of cart-
age.
8. You will need to contact the authorized service cen-
ter for their latest turn-around times. The d.2 must
be packaged in its original packing box, and must
have the Service Request Number on the box. Once
it’s repaired, the authorized service center will ship
it back by ground shipping, pre-paid (if it was a war-
ranty 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.
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Appendix B: Connections
XLR Connectors
1/4" TS Phone Plugs and Jacks
The d.2 MIC combo input accepts 3-pin male XLR
connectors; the MAIN OUTs accept 3-pin female XLR
connectors. These are wired as follows, according to
standards specified by the AES (Audio Engineering
Society).
“TS” stands for Tip-Sleeve, the two connection points
available on a mono 1/4 phone jack or plug. They are
used for unbalanced signals.
"
SLEEVE
SLEEVE
TIP
2
SHIELD
TIP
HOT
TIP
SLEEVE
1
3
COLD
SHIELD
1
1/4 TS Unbalanced Wiring:
"
Sleeve = Shield
Tip = Hot (+)
3
COLD
2
HOT
SHIELD
COLD
HOT
1
3
2
RCA Plugs and Jacks
XLR Balanced Wiring:
Pin 1 = Shield
Pin 2 = Hot (+)
Pin 3 = Cold (–)
RCA-type plugs (also known as phono plugs) and jacks
are often used in home stereo and video equipment and
in many other applications. They are unbalanced and
electrically equivalent to a 1/4 TS phone plug.
"
1/4" TRS Phone Plugs and Jacks
TIP
SLEEVE TIP SLEEVE
“TRS” stands for Tip-Ring-Sleeve, the three connection
points available on a stereo 1/4 or balanced phone
jack or plug. TRS jacks and plugs are used for balanced
signals and stereo headphones:
"
RCA Unbalanced Wiring:
Sleeve = Shield
Tip = Hot (+)
Balanced Mono
RING SLEEVE
TIP
SLEEVE RING TIP
RING
TIP
SLEEVE
1/4 TRS Balanced Mono Wiring:
"
Sleeve = Shield
Tip = Hot (+)
Ring = Cold (–)
Stereo Headphones
RING SLEEVE
TIP
SLEEVE RING TIP
RING
TIP
SLEEVE
1/4 TRS Stereo Unbalanced Wiring:
"
Sleeve = Shield
Tip = Left
Ring = Right
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Appendix C: Technical Info
Specifications
Input Impedance:
Mic Input:
Frequency Response :
2.4 kΩ balanced
Mic Input to any Output: (Trim at 0 dB):+0, –1 dB
20 Hz to 20 kHz
CD/ Line Input:
FX Return:
20 kΩ balanced
Line/CD Input to any Output:
Phono input to any Output:
0.5 dB
20 Hz to 20 kHz
20 kΩ balanced
Phono Input:
47.5 kΩ shunted with 200 pF
1 dB of RIAA EQ curve
Maximum Output Levels:
XLR Main Output:
RCA Main Output:
Booth Output:
Distortion (THD and IMD):
THD @ Main Output, 20 Hz to 20 kHz
Mic Input @ 30 dB Gain:
Line/CD Input @ 0 dB Gain:
Phono Input:
+22 dBu
+22 dBu
Less than 0.0075%
Less than 0.0075%
Less than 0.01%
+22 dBu
FX Send:
+22 dBu
Phones:
15 volts rms into 8Ω (28 watts)
THD @ Phones Output, 20 Hz to 20 kHz
Output Impedance:
Main XLR/RCA Output:
Booth Output:
FX Send:
Line Input @ 0 dB Gain:
Less than 0.03%
150 Ω
150 Ω
150 Ω
25 Ω
SMPTE IMD @ +4 dBu Output:
Mic Input @ 30 dB Gain:
Line/CD Input @ 0 dB Gain:
Less than 0.008%
Less than 0.008%
Phones:
Common Mode Rejection Ratio (CMRR):
Equalization
Mic Channel
Low:
Mic Input (Gain = maximum)
Greater than 60 dB
@ 1 kHz
15 dB @ 80 Hz
15 dB @ 2.5 kHz
15 dB @ 12 kHz
Crosstalk:
Mid:
Adjacent Inputs or Input to Main Output:
Less than –85 dB
@ 1 kHz
High:
PGM Channel
Low:
+10/–inf dB @ 300 Hz
+10/–inf dB @ 1 kHz
+10/–inf dB @ 4 kHz
Noise Characteristics:
Equivalent Input Noise (E.I.N.) (20 Hz to 20 kHz):
Mid:
High:
Mic Input (150 Ω source impedance): Less than –123 dBu
Phono Input (500 Ω/500 mH source impedance):
VU Meters
Less than 0.3 µV
12-segment pre-fader PGM meters
12-segment pre-fader Main Mix meters
OL (+20), +10, +7, +4, +2, 0, –2, –4, –7, –10, –20, –30
0 LED = +4 dBu
CD/Line Input (150 Ω source impedance):
Less than –110 dBu
Dynamic Range (Main Out):
Greater than 100 dB
Maximum Input Levels (rated at 1% THD):
Mic Input Signal Present LED (Sensitivity):
–20 dBu
Mic Input (Gain @ minimum):
+9 dBu
CD and Line Inputs (PGM Gain = 0 dB):
+22 dBu
FX Input:
+22 dBu
Phono Input:
78 mV @ 1kHz
Input/Output Characteristics:
Input Gain Control Range:
Mic Input:
+13 dB to +63 dB
OFF to +13 dB
OFF to +13 dB
PGM Input:
FX Return:
continued
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AC Power Requirements:
Power Consumption:
20 watts
Universal AC Power Supply:
100 VAC – 240 VAC,
50-60 Hz
Physical Dimensions and Weight:
Height: 15.49”/393.4 mm (including knobs and connectors)
Width: 10"/254 mm
Depth: 4.62”/ 117.3 mm (including knobs and connectors)
Weight: 11 lb/5 kg (with FireWire card)
The d.2 mounting slots are compatible with the Odyssey Battle
Bridge. This consists of two L brackets which bolt to the d.2
and allow you to fit it securely between two turntable cases.
Options
d.2 FireWire Interface Card
WEIGHT
11 lb
5 kg
4.62"
3.59"
117.3 mm
91.2 mm
9.06"
230.1 mm
0.28"
7.1 mm
7.1"
15.49"
14.79"
375.7 mm
180.3 mm
393.4 mm
4.42"
112.3 mm
10.00"
254 mm
LOUD Technologies Inc. is always striving to improve our prod-
ucts by incorporating new and improved materials, components,
and manufacturing methods. Therefore, we reserve the right to
change these specifications at any time without notice.
“Mackie,” and the “Running Man” are registered trademarks of
LOUD Technologies Inc. All other brand names mentioned are
trademarks or registered trademarks of their respective hold-
ers, and are hereby acknowledged.
©2005 LOUD Technologies Inc. All Rights Reserved.
22
d.2 DJ Mixer
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R
F X
L
R
L
S U
S U
F X M I X R I G H T B
F X M I X L E F T B
F X
M A I N
S U
S U
M A I N M I X R I G H T B
M A I N M I X L E F T B
R
M A I N
L
R
L
P G M 1
P G M 2
o l t a g e C o n t r o l V
o l t a g e C o n t r o l V
23
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24
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Appendix D: Transform Switch Rotation and
Fader Replacement
5. Gently lift off the panel, taking care not to dam-
Transform Switch Rotation
age the front panel contour knobs. Keep it in a
safe place were it won’t get scratched, or fall off
the table and hit the cat.
From the factory, the transform switches operate
vertically, that is (to get all technical for a moment)
6. Each transform switch has
four screws, but remove only
the outer two. These are
fore and aft.
You can perform a simple modification to make these
switches operate sideways, or even diagonally, to suit
your carefully cultivated set of operational preferences.
black, whereas the inner
screws are bright and shiny.
7. Rotate the switch assembly
to suit your preference, and replace the two
screws.
Tools
To do this procedure, you will need a small phillips
screwdriver, nerves of steel, grit, determination, and a
steady hand. People should find you ruggedly charming,
yet approachable.
Procedure
Diagonally
Sideways
1. Remove the power cord, and any other cords or
cables connected to the d.2.
8. If you need to replace a transform switch,
gently pull it out just enough so you can reach
and undo its connector. Connect the new switch
securely, and screw it in the desired position.
You might want to replace both switches, if they
are both aged and/or had a rough life.
2. Gently place the d.2 face upwards on a flat,
clean and dry surface, such as the kitchen
table.
3. Remove the three slider knobs, by gently pull-
ing them upwards. Keep them safe.
4. Undo the five screws from the top panel and
two screws from the front, as shown. Keep the
screws in a safe place, away from Llamas.
PGM
1
PGM
2
TRANSFORM
TRANSFORM
MAIN
L
R
OL
10
7
OL
10
7
OL
10
7
4
4
4
2
2
2
0
0
0
2
2
2
4
4
4
7
7
7
10
20
30
10
20
30
10
20
30
REVERSE
REVERSE
REVERSE
infinium
contact-free
cross-fader
A
B
9. Replace the top cover, and make sure that all
the meter LEDs and the Reverse LEDs are pok-
ing through before you tighten down the screws
securely.
PGM
1
FADER
CROSS FADER
REVERSE
PGM
2
FADER
REVERSE
REVERSE
SLOW
FAST
SLOW
FAST
SLOW
FAST
CONTOUR
CONTOUR
CONTOUR
25
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Replacing Faders
If the faders ever need to be replaced, this can be
done with the help of your trusty screwdriver.
14. Secure the fader assembly to the chassis with
the two screws you lost in step 11.
15. Replace the top cover, and make sure that all
the meter LEDs and the Reverse LEDs are pok-
ing through before you tighten down the screws
securely.
10. Follow steps 1 to 5 and remove the top panel.
11. Take care to only remove the two outer screws
of each fader you are replacing, as shown below.
16. Check that all the faders and switches are
working normally. (You might have to reset the
tension if you changed the cross fader.)
12. Gently lift up the fader assembly, just enough to
be able to pull the connector out of the recep-
tacle on the bottom of the fader assembly.
Removing the Cross Fader Connector
Removing a Program Fader Connector
13. Insert the connector into the receptacle on the
new fader assembly. (It will only fit in one way.)
26
d.2 DJ Mixer
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Limited Warranty
Please keep your sales receipt in a safe place.
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 within thirty days of receipt. LOUD
Technologies and its authorized service centers may use
refurbished parts for repair or replacement of any product.
Products returned to LOUD Technologies that do not meet
the terms of this Warranty will not be repaired unless
payment is received for labor, materials, return freight,
and insurance. Products repaired under warranty will be
returned freight prepaid by LOUD Technologies to any
location within the boundaries of the USA.
A. LOUD Technologies Inc. warrants all materials,
workmanship and proper operation of this product for a
period of three years from the original date of purchase. If
any defects are found in the materials or workmanship or if
the product fails to function properly during the applicable
warranty period, LOUD Technologies, at its option, will repair
or replace the product. This warranty applies only to
equipment sold and delivered within the U.S. by
LOUD Technologies Inc. or its authorized dealers.
B. Failure to register online or return the product registration
card will not void the three-year warranty.
C. Service and repairs of Mackie products are to be
performed only at a factory-authorized facility (see D below).
Unauthorized service, repairs, or modification will void this
warranty. To obtain repairs under warranty, you must have a
copy of your sales receipt from the authorized Mackie dealer
where you purchased the product. It is necessary to establish
the purchase date and determine whether your Mackie
product is within the warranty period.
G. LOUD Technologies warrants all repairs performed
for 90 days or for the remainder of the warranty period.
This warranty does not extend to damage resulting from
improper installation, misuse, neglect or abuse, or to
exterior appearance. This warranty is recognized only if
the inspection seals and serial number on the unit have not
been defaced or removed.
H. LOUD Technologies assumes no responsibility for the
quality or timeliness of repairs performed by an authorized
service center.
D. To obtain factory-authorized service:
1. Call Mackie Technical Support at 800/898-3211, 7
AM to 5 PM Monday through Friday (Pacific Time) to get
a Service Request Number. Products returned without a
Service Request Number will be refused.
I. This warranty is extended to the original purchaser and to
anyone who may subsequently purchase this product within
the applicable warranty period. A copy of the original sales
receipt is required to obtain warranty repairs.
2. Pack the product in its original shipping carton. Also
include a note explaining exactly how to duplicate the
problem, a copy of the sales receipt with price and date
showing, and your return street address (no P.O. boxes or
route numbers, please!). If we cannot duplicate the problem
or establish the starting date of your Limited Warranty, we
may, at our option, charge for service time.
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.
K. THE WARRANTY GIVEN ON THIS PAGE IS THE SOLE
WARRANTY GIVEN BY LOUD TECHNOLOGIES INC.
AND IS IN LIEU OF ALL OTHER WARRANTIES, EXPRESS
AND IMPLIED, INCLUDING THE WARRANTIES OF
MERCHANTABILITY AND FITNESS FOR A PARTICULAR
PURPOSE. THE WARRANTY GIVEN ON THIS PAGE
SHALL BE STRICTLY LIMITED IN DURATION TO THREE
YEARS FROM THE DATE OF ORIGINAL PURCHASE
FROM AN AUTHORIZED MACKIE DEALER. UPON
EXPIRATION OF THE APPLICABLE WARRANTY PERIOD,
LOUD TECHNOLOGIES INC. SHALL HAVE NO FURTHER
WARRANTY OBLIGATION OF ANY KIND. LOUD
4. Ship the product in its original shipping carton, freight
prepaid to the authorized service center. The address of
your closest authorized service center will be given to you
by Technical Support.
IMPORTANT: Make sure that the Service Request
Number is plainly written on the shipping carton.
E. LOUD Technologies reserves the right to inspect any
products that may be the subject of any warranty claims before
repair or replacement is carried out. LOUD Technologies may,
at our option, require proof of the original date of purchase in
TECHNOLOGIES INC. SHALL NOT BE LIABLE FOR ANY
the form of a dated copy of the original dealer’s invoice or sales INCIDENTAL, SPECIAL, OR CONSEQUENTIAL DAMAGES
receipt. Final determination of warranty coverage lies solely
with LOUD Technologies.
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.
27
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16220 Wood-Red Road NE • Woodinville, WA 98072 • USA
United States and Canada: 800.898.3211
Europe, Asia, Central and South America: 425.487.4333
Middle East and Africa: 31.20.654.4000
Fax: 425.487.4337 • www.mackie.com
E-mail: [email protected]
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