HD1221:
MONITOR-SETUP
Mackie HD1221 powered loudspeakers strewn across the stage in monitor position
Power
Cord
Power
Cord
Power
Cord
Power
Cord
AUX SENDS 1-3 to Mackie HD1221
powered loudspeaker MAIN INPUTS
Mackie HD1221 powered
loudspeaker LOOP OUT to
Mackie HD1221 powered
loudspeaker MAIN INPUT for the
prima donna lead singer who
needs two monitors
LEFT/RIGHT MAIN OUTS to house PA
(Mackie HD1801 Power Subwoofers and
Mackie HD1531 Powered Loudspeakers
not shown, but that would be a great setup!)
Mixing Console
(Mackie 2404-VLZ3 shown)
01 PLATE REVERB
02 V O C A L P L A T E
03 W A R M R O O M
04 BRIGHT ROOM
05 WARM LOUNGE
06 SMALL STAGE
13 CHORUS
14 REVERB
15 DOUBLER
16 TAPE SLAP
17 DLY 1 BRIGHT (350ms)
18 DLY 1 WARM (300ms)
19 DLY 2 BRIGHT (250ms)
20 DLY 2 WARM (200ms)
21 DLY 3 BRIGHT (175ms)
22 DLY 3 WARM (150ms)
23 DLY (300ms)
24 DLY (200ms)
FX PRESETS
TAP TO EDIT
07 WARM THEATER
08 BRIGHT STAGE
09 WARM HALL
10 CONCERT HALL
11 CATHEDRAL
12 GATED REVERB
GAIN
1
GAIN
2
GAIN
3
GAIN
4
GAIN
5
GAIN
6
GAIN
7
GAIN
8
GAIN
9
GAIN
GAIN
GAIN
GAIN
GAIN
GAIN
10
11
12
13
14
15
GAIN
GAIN
GAIN
GAIN
GAIN
GAIN
20
21/22
23/24
17
18
19
GAIN
16
LOW CUT
100 Hz
18dB/OCT
LOW CUT
100 Hz
18dB/OCT
LOW CUT
100 Hz
18dB/OCT
LOW CUT
100 Hz
18dB/OCT
LOW CUT
100 Hz
18dB/OCT
LOW CUT
100 Hz
18dB/OCT
LOW CUT
100 Hz
18dB/OCT
LOW CUT
100 Hz
18dB/OCT
LOW CUT
100 Hz
18dB/OCT
LOW CUT
100 Hz
18dB/OCT
LOW CUT
100 Hz
18dB/OCT
LOW CUT
100 Hz
18dB/OCT
LOW CUT
100 Hz
18dB/OCT
LOW CUT
100 Hz
18dB/OCT
LOW CUT
100 Hz
18dB/OCT
PAD
-20dB
PAD
-20dB
PAD
-20dB
PAD
-20dB
PAD
-20dB
PAD
-20dB
PAD
-20dB
PAD
-20dB
PAD
-20dB
PAD
-20dB
PAD
-20dB
PAD
-20dB
PAD
-20dB
PAD
-20dB
PAD
-20dB
LOW CUT
100 Hz
18dB/OCT
LOW CUT
100 Hz
18dB/OCT
LOW CUT
100 Hz
18dB/OCT
LOW CUT
100 Hz
18dB/OCT
PAD
-20dB
LOW CUT
100 Hz
18dB/OCT
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
2404
MUTE
1
MUTE
2
MUTE
3
MUTE
4
MUTE
5
MUTE
6
MUTE
7
MUTE
8
MUTE
9
MUTE
10
MUTE
11
MUTE
12
MUTE
13
MUTE
14
MUTE
15
MUTE
18
MUTE
19
MUTE
20
MUTE
21/22
MUTE
23/24
MUTE
16
MUTE
17
EQ
PAN
EQ
PAN
EQ
PAN
EQ
PAN
EQ
PAN
EQ
PAN
EQ
PAN
EQ
PAN
EQ
PAN
EQ
PAN
EQ
PAN
EQ
PAN
EQ
PAN
EQ
PAN
EQ
PAN
EQ
EQ
EQ
EQ
EQ
EQ
PAN
PAN
PAN
PAN
BAL
BAL
EQ
PAN
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
INT FX
AUX 5/6
PRE
HI
12k
LOW
80Hz
MID
INT FX
AUX 5/6
PRE
HI
12k
LOW
80Hz
MID
INT FX
AUX 5/6
PRE
HI
12k
LOW
80Hz
MID
INT FX
AUX 5/6
PRE
HI
12k
LOW
80Hz
MID
INT FX
AUX 5/6
PRE
HI
12k
LOW
80Hz
MID
INT FX
AUX 5/6
PRE
HI
12k
LOW
80Hz
MID
INT FX
AUX 5/6
PRE
HI
12k
LOW
80Hz
MID
INT FX
AUX 5/6
PRE
HI
12k
LOW
80Hz
MID
INT FX
AUX 5/6
PRE
HI
12k
LOW
80Hz
MID
INT FX
AUX 5/6
PRE
HI
12k
LOW
80Hz
MID
INT FX
AUX 5/6
PRE
HI
12k
LOW
80Hz
MID
INT FX
AUX 5/6
PRE
HI
12k
LOW
80Hz
MID
INT FX
AUX 5/6
PRE
HI
12k
LOW
80Hz
MID
INT FX
AUX 5/6
PRE
HI
12k
LOW
80Hz
MID
INT FX
AUX 5/6
PRE
HI
12k
LOW
80Hz
MID
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
INT FX
AUX 5/6
PRE
SOLO
LEFT
TAP
DELAY
INT FX
MUTE
INT FX
AUX 5/6
PRE
HI
12k
LOW
80Hz
MID
INT FX
AUX 5/6
PRE
HI
12k
LOW
80Hz
MID
INT FX
AUX 5/6
PRE
HI
12k
LOW
80Hz
MID
HI
12k
LOW
80Hz
MID
HI
12k
LOW
80Hz
HI
12k
LOW
80Hz
LOW
MID
400Hz
HI
MID
2.5k
LOW
MID
400Hz
HI
MID
2.5k
INT FX
AUX 5/6
PRE
INT FX
AUX 5/6
PRE
INT FX
AUX 5/6
PRE
HI
12k
LOW
80Hz
MID
FREQ
FREQ
FREQ
FREQ
FREQ
1
2
3
4
PRE
PRE
5
6
FX1
FX2
1
2
3
4
PRE
PRE
5
6
FX1
FX2
1
2
3
4
PRE
PRE
5
6
FX1
FX2
1
2
3
4
PRE
PRE
5
6
FX1
FX2
1
2
3
4
PRE
PRE
5
6
FX1
FX2
1
2
3
4
PRE
PRE
5
6
FX1
FX2
1
2
3
4
PRE
PRE
5
6
FX1
FX2
1
2
3
4
PRE
PRE
5
6
FX1
FX2
1
2
3
4
PRE
PRE
5
6
FX1
FX2
1
2
3
4
PRE
PRE
5
6
FX1
FX2
1
2
3
4
PRE
PRE
5
6
FX1
FX2
1
2
3
4
PRE
PRE
5
6
FX1
FX2
1
2
3
4
PRE
PRE
5
6
FX1
FX2
1
2
3
4
PRE
PRE
5
6
FX1
FX2
1
2
3
4
PRE
PRE
5
6
FX1
FX2
1
2
3
4
PRE
PRE
5
6
FX1
FX2
1
2
3
4
PRE
PRE
5
6
FX1
FX2
1
2
3
4
PRE
PRE
5
6
FX1
FX2
1
2
3
4
PRE
PRE
5
6
FX1
FX2
1
2
3
4
PRE
PRE
5
6
FX1
FX2
1
2
3
4
PRE
PRE
5
6
FX1
FX2
1
2
3
4
PRE
PRE
5
6
FX1
FX2
PUSH
TO TALK
TALKBACK
GROUPS
MAIN
RIGHT
AUX 1-4
STEREO
RIGHT
SOLO
LEFT
TO AUX 1
TO AUX 2
SOLO
PHONES
MONITOR
TAP
DELAY
INT FX
MUTE
TO AUX 1
TO AUX 2
RIGHT
SOLO
STEREO
LEFT
RIGHT
SOLO
LEFT
SEND MASTER
SEND MASTER
TO MAIN
TO MAIN
FX
2
FX
1
1
2
3
4
MAIN MIX
SOLO
1
SOLO
1
2
3
4
2
SOLO
SOLO MODE
MAIN
FX 1
USB
STEREO RETURNS
AUX MASTERS
SOLO
SOLO
SOLO
SOLO
+15
O
O
+15
O
O
+15
O
O
SOLO
U
MAX
O
O
U
U
MAX
O
O
U
MAX
O
O
FX 2
U
MAX
O
O
U
MAX
O
O
SIG/OL
SIG/OL
AUX
AUX
AUX
AUX
MAIN
MIX
0 dB=0 dBu
RUDE SOLO
20
10
7
4
2
0
2
4
7
10
20
30
LEFT RIGHT
SOLO
MAX
O
O
U
MAX
O
O
U
MAX
O
O
U
MAX
O
O
U
MAX
O
O
U
MAX
O
O
U
+20
O
O
TO MAIN
PFL
AFL
GRP 1-2
CH 1-2
CH 3-4
AUX 5-6
PWR
48V
TAPE
USB
2-TRACK RETURN
USB OUT
GRP 3-4
MAIN L/R
LEVEL
SET
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
U
MAX
O
O
OFF
MAX
COMP
OFF
MAX
COMP
OFF
MAX
COMP
OFF
MAX
COMP
LEVEL
U
+15
O
O
3
1
5
6
2
U
U
+15
O
O
U
+15
O
O
+15
O
O
U
+15
O
O
U
4
U
U
+20
-20
U
+20
-20
12V
0.5A
50%
25%
75%
0%
100%
SUCK
OFF
MAX
OFF
MAX
OFF
MAX
OFF
MAX
COMP
COMP
COMP
COMP
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
SOLO
3-4
1-2
L/R
2k
0
60
-45dB
+15dB
U
800
200
8k
100
U
-15
U
+15
-15 +15
-15 +15
U
OL
SIG
SIG
SIG
SIG
SIG
SIG
SIG
SIG
SIG
SIG
SIG
SIG
SIG
SIG
SIG
U
U
MIC
GAIN
-10 dBV
MIC
GAIN
dB
30
20
10
O
O
40
50
5
5
U
60
10
SOLO
3-4
1-2
L/R
OL
dB
30
20
10
O
O
40
50
5
5
U
60
10
SOLO
3-4
1-2
L/R
OL
dB
30
20
10
O
O
40
50
5
5
U
60
10
SOLO
3-4
1-2
L/R
OL
dB
30
20
10
O
O
40
50
5
5
U
60
10
SOLO
3-4
1-2
L/R
OL
dB
30
20
10
O
O
40
50
5
5
U
60
10
SOLO
3-4
1-2
L/R
OL
dB
30
20
10
O
O
40
50
5
5
U
60
10
SOLO
3-4
1-2
L/R
OL
dB
30
20
10
O
O
40
50
5
5
U
60
10
SOLO
3-4
1-2
L/R
OL
dB
30
20
10
O
O
40
50
5
5
U
60
10
SOLO
3-4
1-2
L/R
OL
dB
30
20
10
O
O
40
50
5
5
U
60
10
SOLO
3-4
1-2
L/R
OL
dB
30
20
10
O
O
40
50
5
5
U
60
10
SOLO
3-4
1-2
L/R
OL
dB
30
20
10
O
O
40
50
5
5
U
60
10
SOLO
3-4
1-2
L/R
OL
dB
30
20
10
O
O
40
50
5
5
U
60
10
SOLO
3-4
1-2
L/R
OL
dB
30
20
10
O
O
40
50
5
5
U
60
10
SOLO
3-4
1-2
L/R
OL
dB
30
20
10
O
O
40
50
5
5
U
60
10
SOLO
3-4
1-2
L/R
OL
dB
30
20
10
O
O
40
50
5
5
U
60
10
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
2k
0
60
-45dB
+15dB
U
800
200
8k
100
U
-15
U
+15
-15 +15
-15 +15
U
U
U
MIC
GAIN
-10 dBV
MIC
GAIN
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
2k
0
60
-45dB
+15dB
U
800
200
8k
100
U
-15
U
+15
-15 +15
-15 +15
U
U
U
MIC
GAIN
-10 dBV
MIC
GAIN
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
2k
0
60
-45dB
+15dB
U
800
200
8k
100
U
-15
U
+15
-15 +15
-15 +15
U
U
U
MIC
GAIN
-10 dBV
MIC
GAIN
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
2k
0
60
-45dB
+15dB
U
800
200
8k
100
U
-15
U
+15
-15 +15
-15 +15
U
U
U
MIC
GAIN
-10 dBV
MIC
GAIN
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
2k
0
60
-45dB
+15dB
U
800
200
8k
100
U
-15
U
+15
-15 +15
-15 +15
U
U
U
MIC
GAIN
-10 dBV
MIC
GAIN
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
2k
0
60
-45dB
+15dB
U
800
200
8k
100
U
-15
U
+15
-15 +15
-15 +15
U
U
U
MI
C GAIN
-10 dBV
MI
C GAIN
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
2k
0
60
-45dB
+15dB
U
800
200
8k
100
U
-15
U
+15
-15 +15
-15 +15
U
U
U
MIC
GAIN
-10 dBV
MIC
GAIN
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
2k
0
60
-45dB
+15dB
U
800
200
8k
100
U
-15
U
+15
-15 +15
-15 +15
U
U
U
MIC
GAIN
-10 dBV
MIC
GAIN
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
2k
0
60
-45dB
+15dB
U
800
200
8k
100
U
-15
U
+15
-15 +15
-15 +15
U
U
U
MIC
GAIN
-10 dBV
MIC
GAIN
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
2k
0
60
-45dB
+15dB
U
800
200
8k
100
U
-15
U
+15
-15 +15
-15 +15
U
U
U
MIC
GAIN
-10 dBV
MIC
GAIN
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
2k
0
60
-45dB
+15dB
U
800
200
8k
100
U
-15
U
+15
-15 +15
-15 +15
U
U
U
MIC
GAIN
-10 dBV
MIC
GAIN
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
2k
0
60
-45dB
+15dB
U
800
200
8k
100
U
-15
U
+15
-15 +15
-15 +15
U
U
U
MIC
GAIN
-10 dBV
MIC
GAIN
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
2k
0
60
-45dB
+15dB
U
800
200
8k
100
U
-15
U
+15
-15 +15
-15 +15
U
U
U
MI
C GAIN
-10 dBV
MI
C GAIN
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
2k
0
60
-45dB
+15dB
U
800
200
8k
100
U
-15
U
+15
-15 +15
-15 +15
U
U
U
MIC
GAIN
-10 dBV
MIC
GAIN
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
2k
0
60
-45dB
+15dB
U
800
200
8k
100
U
-15
U
+15
-15 +15
-15 +15
U
U
U
MIC
GAIN
-10 dBV
MIC
GAIN
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
2k
0
60
-45dB
+15dB
U
800
200
8k
100
U
-15
U
+15
-15 +15
-15 +15
U
U
U
MIC
GAIN
-10 dBV
MIC
GAIN
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
2k
0
60
-45dB
+15dB
U
800
200
8k
100
U
-15
U
+15
-15 +15
-15 +15
U
2k
800
200
8k
100
U
-15
U
+15
-15 +15
-15 +15
U
U
-15 +15
-15 +15
U
U
-15 +15
-15 +15
U
-15 +15
U
-15 +15
U
-15 +15
U
-15 +15
U
U
U
MIC
GAIN
-10 dBV
MIC
GAIN
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
0
60
-45dB
+15dB
U
U
U
MIC
GAIN
-10 dBV
MIC
GAIN
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
U
dB
30
20
10
O
O
40
50
5
5
U
60
10
dB
30
20
10
O
O
40
50
5
5
U
60
10
dB
30
20
10
O
O
40
50
5
5
U
60
10
dB
30
20
10
O
O
40
50
5
5
U
60
10
dB
30
20
10
O
O
40
50
5
5
U
60
10
SIG
SOLO
3-4
1-2
L/R
OL
dB
30
20
10
O
O
40
50
5
5
U
60
10
SIG
SOLO
3-4
1-2
L/R
OL
dB
30
20
10
O
O
40
50
5
5
U
60
10
SIG
SOLO
3-4
1-2
L/R
OL
dB
30
20
10
O
O
40
50
5
5
U
60
10
SIG
SOLO
3-4
1-2
L/R
OL
dB
30
20
10
O
O
40
50
5
5
U
60
10
SIG
SOLO
3-4
1-2
L/R
OL
dB
30
20
10
O
O
40
50
5
5
U
60
10
SIG
SOLO
3-4
1-2
L/R
OL
dB
30
20
10
O
O
40
50
5
5
U
60
10
SIG
SOLO
3-4
1-2
L/R
OL
dB
30
20
10
O
O
40
50
5
5
U
60
10
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
U
+15
O
O
2k
0
60
-45dB
+15dB
U
800
200
8k
100
U
-15
U
+15
-15 +15
-15 +15
U
U
U
MIC
GAIN
-10 dBV
MIC
GAIN
Das ist das perfekte Setup, um die HD1221 als leistungsstarke, professionelle Bühnenmonitore zu nutzen. Das
Setup könnte in lokalen Clubs, auf Festival-Bühnen, in Kirchen usw. Anwendung finden.
In diesem Beispiel versorgen AUX SEND 1-3 eines Mixers die MAIN INPUTS von drei Mackie HD1221
Aktivboxen, die über die Bühnenfront als Monitore für die Band verteilt sind. Zusätzlich ist eine vierte Mackie
HD1221 Aktivbox über die LOOP OUT XLR-Buchse von einer der anderen HD1221 durchgeschleift, wodurch
man das Signal eines AUX SENDs an zwei Monitoren anliegen hat. Auf Seite 15 („Anhang B: Verbindungen“)
finden Sie Details über das Durchschleifen von Boxen.
Der rechte und der linke Main-Out des selben Mixers sind mit den MAIN INPUTS der PA verbunden. Auf
der vorherigen Seite („HD1221: 3-Wege-System mit Aktiv-Subwoofern”) sehen Sie, wie der Mixer an die PA
angeschlossen wird.
6
HD1221
HD1221
