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SR24•4-VLZ PRO &
SR32•4-VLZ PRO
OWNER’S MANUAL
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11. Damage Requiring Service — This Mackie product should be serviced only by qualified service personnel when: CAUTION AVIS A. The power-supply cord or the plug has been damaged; or RISK OF ELECTRIC SHOCK DO NOT OPEN B. Objects have fallen, or liquid has spilled into this Mackie RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR product; or CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK C. This Mackie product has been exposed to rain; or DO NOT REMOVE COVER (OR BACK) NO USER-SERVICEABLE PARTS INSIDE D.
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INTRODUCTION Comprehensive master section, with: Thank you for choosing a Mackie Designs professional sound reinforcement mixer! The • 60mm subgroup mono faders 24•4-VLZ PRO and 32•4-VLZ PRO are • Assign-to-main switching for each sub equipped with our new precision-engineered group TM XDR Extended Dynamic Range premium • “Air” EQ for each subgroup studio-grade mic preamps, featuring: • PFL or AFL solo for each subgroup • Full gain range from 0 to 60dB • 60mm main mix stereo fader • Massive +22d
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N 0 I 1 A - G ABOUT THIS MANUAL Further information: The stuff you MUST read: This icon marks infor- First, you must read and follow all the safety mation that is critically instructions on page 2. important or unique to your Before you get to work, please read the mixer. For your own good, “Quick Start” section on page 6. It’s a list of read and remember them. steps that will familiarize you with the mixer This icon will lead you and help you set up a basic performance. The to in-depth explanat
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CONTENTS page page SAFETY INSTRUCTIONS............................... 2 MASTER SECTION FEATURES INTRODUCTION ......................................... 3 LAMP CONNECTOR .............................. 22 ABOUT THIS MANUAL ................................ 4 AUX SEND MASTER QUICK START ............................................ 6 AUX SEND MASTERS ..................... 22 APPLICATIONS DIAGRAMS .......................... 9 SOLO ........................................... 22 STEREO AUX RETURNS PATCHB
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E E E E E E E R R R R R R R P P P P P P P C C C C C C C I I I I I I I M M M M M M M QUICK START ZERO THE CONSOLE Note: the numbers in brackets refer to the numbers inside each switch and control in the drawing on the next page. 4. Set these controls fully down (for 1. On the rear panel, turn the POWER switch rotary controls, “down” refers to the and the PHANTOM off, and the OUTPUT Control fully counter-clockwise position; for LEVEL fully down. Fully Down faders, it refers to all the way down): 2
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N I V A B d G SR24•4-VLZPRO U U TRIM TRIM TRIM U 25 25 25 20 21 23 LAMP 22 24 0 60 -20 +20 -20 +20 +15dB -45dB U AUX U AUX U AUX U U U CLIP 49 26 26 26 1 1 1 28 1 47 1 1 PRE PRE PRE 46 48 SOLO 10 +15 +15 +15 +15 +20 +15 U U U U U U 7 26 26 26 49 4 2 2 2 2 47 2 2 PRE PRE PRE 46 48 2 SOLO +15 +15 +15 +15 +20 +15 0 U U U U U TO AUX 26 26 26 2 SEND 3 3 3 3 47 3 - 1 2 46 48 4 (EFX TO MONITOR) SOLO +15 +15 +15 +15 +20 7 U U U U U U 10 53 26 26 26 444 4 4 47 20 46 48 SOLO +15 +15 +15 +15 +20 +20 30 U
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MAKE THE CONNECTIONS: 6. If necessary, apply channel EQ (28-34) changes. Resultant level changes can be 1. Make sure your amplifiers are turned off corrected by readjusting the TRIM (25). before making any connections. 7. Disengage that channel’s SOLO (39) 2. Connect speakers to your amplifier’s switch. outputs (unless, of course, you have 8. Repeat steps 1 through 7 for the remaining powered speakers, such as the Mackie active channels. SRM 450 active monitors). 9. Stop making noise, start maki
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APPLICATION DIAGRAMS 9 Band in a Club Stage Monitor Stage Monitor SRM450 Power Amplifier Power Amplifier FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN Active Monitors CH CH CH CH 1 2 1 2 Stereo Reverb #1 Graphic EQ Graphic EQ Stereo Reverb #2 1 2L R L R 1234 12 12 34 12 21 22 LR 2-track Recorder LRLR LR PHONES MAIN OUTS MAIN OUTS TAPE IN SUB STEREO CHANNELS AUX SENDS AUX RETURNS SUB INSERTS OUTS TAPE OUT TALKBACK MONO MAIN INSERTS CNTR
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10 Church Installation Stage Monitor Stage Monitor Assisted Listening 4-track Recorder Station Stage Monitor SRM450 Power Amplifier Power Amplifier FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN Active Monotors FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN CH CH 1 CH 2 CH 1 2 Power Amplifier FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN Playback Only CH CH 1 2 (DAT, CD, etc.) 1234 12 34 12 1 2L R L R 12 21 22 Cassette or DAT LR LRLR LR PHONES MAIN OUTS MAIN OUTS TAPE IN S
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11 Headphone Amplifier 8-Track Recording DAT Player Stereo EQ Keyboard, or other line level input Stereo Reverb #1 Stereo Reverb #2 1 2L R L R 1234 12 12 34 12 21 22 Tape Cassette LR LRLR LR PHONES MAIN OUTS MAIN OUTS TAPE IN SUB AUX RETURNS SUB INSERTS STEREO CHANNELS AUX SENDS OUTS TALKBACK TAPE OUT MONO MAIN INSERTS CNTRL RM OUT LRLR LR LR 56 L R 34 LR 5678 23 24 34 8-track Recorder NOTE: for recording PWR OL PWR OL HIGH RESOLUTION ON HIGH RESOLUTION ON STUDIO MONITOR OFF STUDIO MONITO
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12 Audio/Video Production Effects Device Stereo Compressor/ Limiter DAT player 1 2L R L R 1234 12 12 34 12 21 22 Video Deck #2 LR LRLR LR PHONES MAIN OUTS MAIN OUTS TAPE IN SUB AUX RETURNS SUB INSERTS STEREO CHANNELS AUX SENDS OUTS TALKBACK TAPE OUT MONO MAIN INSERTS CNTRL RM OUT LRLR LR LR 56 L R 34 LR 5678 23 24 34 Effects Device OL OL PWR ON PWR ON HIGH RESOLUTION STUDIO MONITOR OFF HIGH RESOLUTION STUDIO MONITOR OFF Stereo Compressor/ Video Deck #1 Limiter HR824 Active Monitors Time Code
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13 Stage Monitor Stage Monitor Monitor Mix Configuration Power Amplifier FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN CH CH Power Amplifier 1 2 FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN 1 CH 2 CH Graphic EQ Side Fills Graphic EQ Power Amplifier Power Amplifier Graphic EQ FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN CH CH 1 2 CH CH 1 2 Stage Monitor Graphic EQ Power Amplifier Graphic EQ FULL SYMMETRY DUAL DIFFERENTIAL
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E E E E E E E R R R R R R R P P P P P P P C C C C C C C I I I I I I I M M M M M M M PATCHBAY This is where everything gets plugged in: microphones, line-level instruments, effects devices, headphones and the ultimate destination(s): PA system, tape recorder, etc. MAIN OUTS AUX SENDS STEREO AUX RETURNS SUB OUTS SUB INSERTS 23 21 20 19 18 17 16 15 14 (BAL OR UNBAL) (BAL OR UNBAL) (BAL OR UNBAL) (BAL OR UNBAL) (BAL OR UNBAL) 14 R L 1 5 1 1 L L L MONO MONO INSERT INSERT INSERT INSERT INSERT INSERT I
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3. INSERT EFFECTS: SERIAL OR PARALLEL? With nothing plugged into this jack, the Effects devices are used channel’s signal goes straight through the mic/ either in serial or in parallel: line preamp to the channel strip. With an ex- Serial means that the en- ternal effects device plugged into this jack, the tire signal is routed through channel’s signal leaves the mixer, goes through the effects device. Examples the effects device and back into the channel include: preamps, compres- strip. sor/li
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E E E E E E E R R R R R R R P P P P P P P C C C C C C C I I I I I I I M M M M M M M MAIN OUTS AUX SENDS STEREO AUX RETURNS SUB OUTS SUB INSERTS 23 21 (BAL OR UNBAL) (BAL OR UNBAL) (BAL OR UNBAL) (BAL OR UNBAL) (BAL OR UNBAL) 20 19 18 17 16 15 14 14 R L 1 5 1 1 L L L MONO MONO INSERT INSERT INSERT INSERT INSERT INSERT INSERT 2 5 R L 2 6 2 2 RR R LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN 3 6 R L 3 7 3 (BAL OR UNBAL) (BAL OR UNBAL) (BAL OR UNBAL) (BAL OR UNBAL) (BAL OR UNBAL) (BAL OR
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9. STEREO AUX RETURNS 13. MAIN INSERTS Patch the outputs of external parallel ef- With nothing plugged into these jacks, the fects devices (reverb, delay, etc.) to these main mix goes straight through the MAIN MIX inputs. FADER (72) to the MAIN OUTS (12) (16). With an effects device plugged into these jacks, When connecting a mono device (just one the main mix leaves the mixer, goes through cord), always use the LEFT (MONO) input and the effects device and back into the mixer’s plug nothing into
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E E E E E E E R R R R R R R P P P P P P P C C C C C C C I I I I I I I M M M M M M M MAIN OUTS AUX SENDS STEREO AUX RETURNS SUB OUTS SUB INSERTS 23 21 (BAL OR UNBAL) (BAL OR UNBAL) (BAL OR UNBAL) (BAL OR UNBAL) (BAL OR UNBAL) 20 19 18 17 16 15 14 14 R L 1 5 1 1 L L L MONO MONO INSERT INSERT INSERT INSERT INSERT INSERT INSERT 2 5 R L 2 6 2 2 RR R LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN 3 6 R L 3 7 3 (BAL OR UNBAL) (BAL OR UNBAL) (BAL OR UNBAL) (BAL OR UNBAL) (BAL OR UNBAL) (BAL OR
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N I V A B d G CHANNEL STRIP FEATURES Mono Stereo channels channels AUX SEND: (26 and 27) The channel strip is where you dress up U TRIM TRIM U 20 21 each channel’s audio: setting the gain, adding 22 EQ, riding the fader, tapping signal off to stage 26. AUX 0 60 -20 +20 +15dB -45dB monitors and effects devices. After a signal U AUX U AUX These knobs tap a portion of each leaves the channel strip it goes through a mix 1 1 channel signal and send it out, via the PRE PRE stage and on to the master s
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N I V A B d G Mono Stereo channels channels EQ: (28 through 34) 31. HI MID and 32. LOW MID U TRIM TRIM U 20 21 The mixer has low shelving, mid The stereo channels employ a 2-stage fixed- 22 0 60 -20 +20 +15dB -45dB peaking and high shelving EQ. “Shelv- frequency midrange EQ: AUX AUX U U ing” means that the circuitry boosts or +15 1 1 +10 cuts all frequencies past the specified PRE PRE LOW MID is +5 +15 +15 frequency. For example, boosting the U U 0 LOW MID centered at LOW EQ knob boosts bass fre
