background image

16

5. TAPE OUT

Use these stereo jacks to capture the entire

performance to tape. The signal at these jacks
is the main mix, post-MAIN INSERTS (13) and
post-MAIN MIX FADER (72). Signals at these
jacks will depend on the levels set by the main
mix fader.

RCA unbalanced wiring:

Tip = hot, sleeve = shield

6. TAPE IN

Patch the outputs of an intermission enter-

tainment device here. Any line level mono or
stereo device can be used: tape, CD player,
television audio, etc. See TAPE RETURN TO
PHONES/C-R (69) and TAPE RETURN TO
MAIN MIX (71) for more information.

When connecting a mono device (just one

cord), use a “Y-splitter” RCA adapter. It turns a
mono cord into two cords; so both the left and
right tape input jacks can be patched. This
adapter is widely available.

7. SUB INSERTS

With nothing plugged into these jacks, the

subgroup mix goes straight through the SUB-
GROUP FADER (60) to the SUB OUTS (8).
With an effects device plugged into these jacks,
the subgroup mix leaves the mixer, goes
through the effects device and back into the
mixer’s subgroup faders.

Use these jacks to send a subgroup mix

through a compressor, graphic equalizer or
similar device. Since the insert is before the
subgroup faders, moving the fader will not

alter the level sent to a compressor, thereby
preserving the original signal’s characteristics.

These unbalanced insert jacks are wired ex-

actly the same as shown for INSERT (3) on
page 15.

8. SUB OUTS

In live sound applications, these jacks can

be patched into secondary amplifiers, allowing
levels to be controlled, independently of the
main mix, via the SUBGROUP FADERs (60).

Alternatively, the MAIN OUTS (12) (16)

could feed the amplifiers while the subgroups
feed a recorder.

In studio applications, these outputs can be

used as four separate paths to feed four or
more tracks of a multi-track recorder.

See 1-2 & 3-4 (40) and L/R ASSIGN (59) for

more information.

Accepts 1/4” TRS balanced or 1/4” TS unbal-

anced plugs, see page 14 for wiring details.

DOUBLE BUSING

Although this is a “four-bus mixer,” meaning

there are four separate subgroups available, it
can be used to feed all eight tracks of a multi-
track recorder, thanks to a trick called Double
Busing.

SUB OUTS 1 and 5 carry the same signal,

and so do 2 and 6, 3 and 7, 4 and 8. Patch these
outputs into the corresponding inputs of your
multi-track recorder.

To record onto track 1, for example, put

track 1 in record mode, but leave track 5 in
safe mode. To record onto track 5, put  track 5
in record and put track 1 in safe mode.

INSERT

INSERT

INSERT

INSERT

INSERT

INSERT

INSERT

MIC 20

TAPE OUT

TAPE IN

TALK BACK

MIC

R

R

R

(MONO)

4

L

L

L

3

2

1

L

CONTROL ROOM OUT

MAIN INSERTS

3

3

4

2

3

1

1

L

L

R

R

R

L

24

23

21

22

20

MIC 19

19

LINE IN

(BAL OR UNBAL)

LINE IN

(BAL OR UNBAL)

LINE IN

(BAL OR UNBAL)

LINE IN

(BAL OR UNBAL)

LINE IN

(BAL OR UNBAL)

LINE IN

(BAL OR UNBAL)

LINE IN

(BAL OR UNBAL)

MIC 18

18

MIC 17

17

MIC 16

16

MIC 15

15

MIC 14

14

RIGHT

MAIN OUT

LEFT

MAIN OUT

MONO

MAIN OUT

OUTPUT

LEVEL

PHONES

2

PHONES

1

OFF

POWER

ON

OFF

PHANTOM

ON

MONO

MONO

PIN 2 = HOT

PIN 3 = COLD

FUSE INSIDE

     120VAC 

50/60 HZ 60W

 1A/250V SLO BLO  

CAUTION:

 

TO REDUCE

THE RISK OF FIRE, REPLACE

WITH THE SAME TYPE FUSE

AND RATING

O

O

+6

MAIN

BALANCED

OUTPUTS

R

R

L

L

AUX SENDS

(BAL OR UNBAL)

STEREO AUX RETURNS

(BAL OR UNBAL)

SUB INSERTS

(BAL OR UNBAL)

6

2

5

1

4

R

R

L

R

L

7

8

6

5

SUB OUTS

(BAL OR UNBAL)

4

2

MAIN OUTS

(BAL OR UNBAL)

(BAL OR UNBAL)

XDR

MIC PRE

XDR

MIC PRE

XDR

MIC PRE

XDR

MIC PRE

XDR

MIC PRE

XDR

MIC PRE

XDR

MIC PRE

TIP

SLEEVE

TIP

SLEEVE

Summary of Contents for SR24-4-VLZ PRO

Page 1: ...dB 45dB M I C G A I N 0 U 60 1 0 d B V POST POST POST POST POST POST 15dB 45dB M I C G A I N 0 U 60 1 0 d B V 600 1 5k 150 8k 100 600 1 5k 150 8k 100 600 1 5k 150 8k 100 600 1 5k 150 8k 100 600 1 5k 1...

Page 2: ...ote that this Mackie product is not completely disconnected from the AC mains service when the power switch is in the OFF position 17 This apparatus does not exceed the Class A Class B whichever is ap...

Page 3: ...r aux sends 4 band EQ Pan mute and 1 2 3 4 L R busing PFL or AFL solo 60mm stereo fader Comprehensive master section with 60mm subgroup mono faders Assign to main switching for each sub group Air EQ f...

Page 4: ...O 15 U O O 15 U 15 15 U 15 15 8kHz 100 U 15 15 U O O 15 U O O 15 U 15 15 U 15 15 U 15 15 U 15 15 U 15 15 U 15 15 U 15 15 U 15 15 U O O 15 U O O 15 U O O 15 U O O 15 U O O 15 U O O 15 U O O 15 U O O 15...

Page 5: ...HI 20 MID 20 FREQ 20 HI MID 20 LOW MID 20 LOW 20 LOW CUT 20 OL LED 21 20 LED 21 PAN 21 MUTE 21 SOLO 21 1 2 3 4 21 L R 21 CHANNEL FADER 21 MASTER SECTION FEATURES LAMP CONNECTOR 22 AUX SEND MASTER AUX...

Page 6: ...in the drawing on the next page 1 On the rear panel turn the POWER switch and the PHANTOM off and the OUTPUT LEVEL fully down 2 Disengage these switches for pushbutton switches disengaged or off refer...

Page 7: ...OBAL AUX RETURN ASSIGN TO SUB SOLO SOLO TAPE RETURN TO PHONES C R TAPE RETURN TO MAIN MIX LEFT RIGHT MAIN MIX AUX 1 2 TALKBACK LEVEL TAPE RETURN 3 4 LEFT RIGHT L R ASSIGN L R ASSIGN L R ASSIGN L R ASS...

Page 8: ...METERS 54 peak near the 0 label 4 Disengage that channel s MUTE 38 5 Turn up the CHANNEL FADER 42 to the unity gain U label You should now be hearing your noise in the phones or control room 70 6 If n...

Page 9: ...o reverb L R mix 23 24 stereo delay Submix 4 PHONES MAIN OUTS MAIN OUTS AUX RETURNS SUB INSERTS TAPE IN STEREO CHANNELS TAPE OUT SUB OUTS MAIN INSERTS TALKBACK 2 L R L 1 2 3 4 L R L R 1 2 L R L R L R...

Page 10: ...HR824 Active Monitors OL PWR HIGH RESOLUTION STUDIO MONITOR ON OFF OL PWR HIGH RESOLUTION STUDIO MONITOR ON OFF ch device input insert assignment 1 kick mic all optional submix 1 2 2 snare mic submix...

Page 11: ...OFF ch device input insert assignment 1 kick mic gate submix 1 2 2 snare mic gate submix 1 2 3 hi hat mic submix 1 2 4 hi tom mic gate submix 1 2 5 lo tom mic gate submix 1 2 6 drum overhead mic L mic...

Page 12: ...Compressor Limiter DAT player HR824 Active Monitors OL PWR HIGH RESOLUTION STUDIO MONITOR ON OFF OL PWR HIGH RESOLUTION STUDIO MONITOR ON OFF ch device input insert assignment 1 mic 1 mic compressor a...

Page 13: ...DESIGN Power Amplifier CH 1 CH 2 FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN Power Amplifier CH 1 CH 2 FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN Power Amplifier CH 1 CH 2 FULL SYMMET...

Page 14: ...NBAL LINE IN BAL OR UNBAL LINE IN BAL OR UNBAL LINE IN BAL OR UNBAL MIC 18 18 MIC 17 17 MIC 16 16 MIC 15 15 MIC 14 14 RIGHT MAIN OUT LEFT MAIN OUT MONO MAIN OUT OUTPUT LEVEL PHONES 2 PHONES 1 OFF POWE...

Page 15: ...processed and returned to be mixed with the original dry signals Multiple signals via multiple mixer channels can all make use of the same parallel effects device Examples include reverb delay chorus...

Page 16: ...the amplifiers while the subgroups feed a recorder In studio applications these outputs can be used as four separate paths to feed four or more tracks of a multi track recorder See 1 2 3 4 40 and L R...

Page 17: ...ng extraneous noise re jection These accept 1 4 TRS balanced or 1 4 TS unbalanced plugs see page 14 for wiring details 13 MAIN INSERTS With nothing plugged into these jacks the main mix goes straight...

Page 18: ...turn the mixer off push the switch the other way Note turning off the switch does not remove all power from the mixer To remove all power the power cord must be disconnected from the power source 21...

Page 19: ...master section page 22 The 24 4 VLZ PRO has 20 mono channels and two stereo channels The 32 4 VLZ PRO has 28 mono channels and two stereo chan nels All of the mono channels are identical and all of t...

Page 20: ...3 LOW This control is centered at 80Hz and below This frequency represents the punch in kick drums bass guitar and fat synth patches This graph shows various settings of the LOW control with LOW CUT n...

Page 21: ...signal and sends it to the control room phones and meters See RUDE SOLO LIGHT 61 and MODE 63 for more information Note A muted channel can still be soloed set MODE 63 to PFL 40 1 2 3 4 Used in conjun...

Page 22: ...ese switches will isolate the associated signal and send it to the control room phones and meters See RUDE SOLO LIGHT 61 and MODE 63 for more informa tion dB 30 20 10 O O 40 50 5 5 U 60 10 dB 30 20 10...

Page 23: ...and meters See RUDE SOLO LIGHT 61 and MODE 63 for more information Note In PFL mode aux returns are not soloed before their master level controls but are instead summed after the controls into a mono...

Page 24: ...k For live sound subgroups allow a group of channels to be controlled by one or two sub group faders and then sent to the main mix using this switch and its associated PAN 58 control For multi track r...

Page 25: ...ate for the difference In AFL mode the solo signal is tapped ste reo after a circuit s associated controls trim EQ pan fader mute etc It s the equivalent of muting all the other channels AFL is popu l...

Page 26: ...DER This fader controls the main mix levels sent to CONTROL ROOM OUT 11 MAIN OUTS 12 16 MONO MAIN OUT 14 PHONES 18 and METERS 54 The stereo main mix can be processed before this fader by patching an e...

Page 27: ...PRO Noise 20Hz to 20kHz bandwidth Line inputs to Main L R outputs all channels assigned panned L R Master fader down Ch gains down 94 7dBu Master fader unity Ch gains down 87 4dBu Master fader unity...

Page 28: ...YOU TALKBACK XLR INPUT LEVEL TB TO AUX 1 2 TB TO L R MIX 1 2 3 4 L R SUBS LEVEL AUX RET 4 IN AUX RET 3 IN AUX RET 1 2 IN LEVEL LEVEL SOLO SOLO LED AUX SEND 1 OF 6 AUX 1 OUTPUT L L L R R R L R PHONES O...

Page 29: ...PRO GAIN STRUCTURE REV 1 0 3 2000 ALL LEVELS ARE IN dBu 20dB gain 20dB loss STEREO LINE INPUT INSERT EQ FADER PAN MASTERS L R CHANNEL CONTROL ROOM SUB 1 4 FADER OUTPUT INSERT MIX 0dBu 0VU METERS OUTP...

Page 30: ...paid using three day shipping However if you rush your mixer to us by next day air we ll treat it in kind by shipping it back the same way in which it was received This paragraph does not necessarily...

Page 31: ...ns 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 Please keep your sales receipt in a safe place A LOUD T...

Page 32: ...16220 Wood Red Road NE Woodinville WA 98072 USA US and Canada 800 258 6883 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 m...

Reviews: