Mackie SR40.8 Owner'S Manual Download | Manualshive

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SR40•8/SR56•8

OWNER’S MANUAL

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O

O

+1

5

U

+1

5

-1

5

U

+1

5

-1

5

U

O

O

+1

5

U

O

O

+1

5

U

O

O

+1

5

U

O

O

+1

5

150

220

350

45

75

800

30

U

O

O

+1

5

U

O

O

+1

5

U

O

O

+1

5

U

O

O

+1

5

U

+1

5

-1

5

U

+1

5

-1

5

U

O

O

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5

U

O

O

+1

5

U

O

O

+1

5

U

O

O

+1

5

150

220

350

45

75

800

30

U

O

O

+1

5

U

O

O

+1

5

U

O

O

+1

5

U

O

O

+1

5

U

+1

5

-1

5

U

+1

5

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5

U

O

O

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5

U

O

O

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5

U

O

O

+1

5

U

O

O

+1

5

150

220

350

45

75

800

30

U

O

O

+1

5

U

O

O

+1

5

U

O

O

+1

5

U

O

O

+1

5

U

+1

5

-1

5

U

+1

5

-1

5

U

O

O

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5

U

O

O

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5

U

O

O

+1

5

U

O

O

+1

5

150

220

350

45

75

800

30

U

O

O

+1

5

U

O

O

+1

5

U

O

O

+1

5

U

O

O

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5

U

+1

5

-1

5

U

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5

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5

U

O

O

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5

U

O

O

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5

U

O

O

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5

U

O

O

+1

5

150

220

350

45

75

800

30

U

O

O

+1

5

U

O

O

+1

5

U

O

O

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5

U

O

O

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5

U

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5

-1

5

U

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5

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5

U

O

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5

U

O

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5

U

O

O

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5

U

O

O

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5

150

220

350

45

75

800

30

U

O

O

+1

5

U

O

O

+1

5

U

O

O

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5

U

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5

U

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5

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5

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5

U

O

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5

U

O

O

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5

U

O

O

+1

5

150

220

350

45

75

800

30

U

O

O

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5

U

O

O

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5

U

O

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5

U

O

O

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5

U

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5

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5

U

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5

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5

U

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5

U

O

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5

U

O

O

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5

U

O

O

+1

5

150

220

350

45

75

800

30

U

O

O

+1

5

U

O

O

+1

5

U

O

O

+1

5

U

O

O

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5

U

+1

5

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5

U

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5

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5

U

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5

U

O

O

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5

U

O

O

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5

U

O

O

+1

5

150

220

350

45

75

800

30

U

O

O

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5

U

O

O

+1

5

U

O

O

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5

U

O

O

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5

U

+1

5

-1

5

U

+1

5

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5

U

O

O

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5

U

O

O

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5

U

O

O

+1

5

U

O

O

+1

5

150

220

350

45

75

800

30

U

O

O

+1

5

U

O

O

+1

5

U

O

O

+1

5

U

O

O

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5

U

+1

5

-1

5

U

+1

5

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5

U

O

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5

U

O

O

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5

U

O

O

+1

5

U

O

O

+1

5

150

220

350

45

75

800

30

U

O

O

+1

5

U

O

O

+1

5

U

O

O

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5

U

O

O

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5

U

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5

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5

U

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5

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5

U

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5

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5

U

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5

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5

U

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5

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5

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5

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5

U

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5

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5

U

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5

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5

U

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5

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5

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5

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5

U

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5

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5

U

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5

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5

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5

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5

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5

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5

U

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5

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5

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5

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5

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5

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5

U

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5

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5

U

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5

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5

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5

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5

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5

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5

U

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5

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5

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5

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5

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5

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5

U

+1

5

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5

U

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5

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5

U

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5

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5

U

+1

5

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5

U

+1

5

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5

U

+1

5

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5

U

+1

5

-1

5

U

+1

5

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5

U

+1

5

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5

U

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5

-1

5

U

O

O

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5

U

O

O

+1

5

U

O

O

+1

5

U

O

O

+1

5

M

IC

06

0

–20dB

+40dB

L

IN

E

GAIN

250

700

70

3k

2.5k

6k

700

15k

500

M

IC

06

0

–20dB

+40dB

L

IN

E

GAIN

250

700

70

3k

2.5k

6k

700

15k

500

M

IC

06

0

–20dB

+40dB

L

IN

E

GAIN

250

700

70

3k

2.5k

6k

700

15k

500

M

IC

06

0

–20dB

+40dB

L

IN

E

GAIN

250

700

70

3k

2.5k

6k

700

15k

500

M

IC

06

0

–20dB

+40dB

L

IN

E

GAIN

250

700

70

3k

2.5k

6k

700

15k

500

M

IC

06

0

–20dB

+40dB

L

IN

E

GAIN

250

700

70

3k

2.5k

6k

700

15k

500

M

IC

06

0

–20dB

+40dB

L

IN

E

GAIN

250

700

70

3k

2.5k

6k

700

15k

500

M

IC

06

0

–20dB

+40dB

L

IN

E

GAIN

250

700

70

3k

2.5k

6k

700

15k

500

M

IC

06

0

–20dB

+40dB

L

IN

E

GAIN

250

700

70

3k

2.5k

6k

700

15k

500

M

IC

06

0

–20dB

+40dB

L

IN

E

GAIN

250

700

70

3k

2.5k

6k

700

15k

500

M

IC

06

0

–20dB

+40dB

L

IN

E

GAIN

250

700

70

3k

2.5k

6k

700

15k

500

M

IC

06

0

–20dB

+40dB

L

IN

E

GAIN

250

700

70

3k

2.5k

6k

700

15k

500

M

IC

06

0

–20dB

+40dB

L

IN

E

GAIN

45

250

700

70

3k

2.5k

6k

700

15k

500

M

IC

06

0

–20dB

+40dB

L

IN

E

GAIN

45

250

700

70

3k

2.5k

6k

700

15k

500

M

IC

06

0

–20dB

+40dB

L

IN

E

GAIN

45

250

700

70

3k

2.5k

6k

700

15k

500

M

IC

06

0

–20dB

+40dB

L

IN

E

GAIN

45

250

700

70

3k

2.5k

6k

700

15k

500

M

IC

06

0

–20dB

+40dB

L

IN

E

GAIN

45

250

700

70

3k

2.5k

6k

700

15k

500

M

IC

06

0

–20dB

+40dB

L

IN

E

GAIN

45

250

700

70

3k

2.5k

6k

700

15k

500

M

IC

06

0

–20dB

+40dB

L

IN

E

GAIN

45

250

700

70

3k

2.5k

6k

700

15k

500

M

IC

06

0

–20dB

+40dB

L

IN

E

GAIN

45

250

700

70

3k

2.5k

6k

700

15k

500

M

IC

06

0

–20dB

+40dB

L

IN

E

GAIN

45

250

700

70

3k

2.5k

6k

700

15k

500

M

IC

06

0

–20dB

+40dB

L

IN

E

GAIN

45

250

700

70

3k

2.5k

6k

700

15k

500

M

IC

06

0

–20dB

+40dB

L

IN

E

GAIN

45

250

700

70

3k

2.5k

6k

700

15k

500

M

IC

06

0

–20dB

+40dB

L

IN

E

GAIN

45

250

700

70

3k

2.5k

6k

700

15k

500

M

IC

06

0

–20dB

+40dB

L

IN

E

GAIN

45

250

700

70

3k

2.5k

6k

700

15k

500

M

IC

06

0

–20dB

+40dB

L

IN

E

GAIN

45

250

700

70

3k

2.5k

6k

700

15k

500

M

IC

06

0

–20dB

+40dB

L

IN

E

GAIN

45

250

700

70

3k

2.5k

6k

700

15k

500

M

IC

06

0

–20dB

+40dB

L

IN

E

GAIN

45

250

700

70

3k

2.5k

6k

700

15k

500

M

IC

06

0

–20dB

+40dB

L

IN

E

GAIN

45

250

700

70

3k

2.5k

6k

700

15k

500

M

IC

06

0

–20dB

+40dB

L

IN

E

GAIN

45

250

700

70

3k

2.5k

6k

700

15k

500

M

IC

06

0

–20dB

+40dB

L

IN

E

GAIN

45

250

700

70

3k

2.5k

6k

700

15k

500

M

IC

06

0

–20dB

+40dB

L

IN

E

GAIN

45

250

700

70

3k

2.5k

6k

700

15k

500

M

IC

06

0

–20dB

+40dB

L

IN

E

GAIN

45

250

700

70

3k

2.5k

6k

700

15k

500

M

IC

06

0

–20dB

+40dB

L

IN

E

GAIN

45

250

700

70

3k

2.5k

6k

700

15k

500

M

IC

06

0

–20dB

+40dB

L

IN

E

GAIN

45

250

700

70

3k

2.5k

6k

700

15k

500

M

IC

06

0

–20dB

+40dB

L

IN

E

GAIN

45

250

700

70

3k

2.5k

6k

700

15k

500

M

IC

06

0

–20dB

+40dB

L

IN

E

GAIN

45

250

700

70

3k

2.5k

6k

700

15k

500

M

IC

06

0

–20dB

+40dB

L

IN

E

GAIN

45

250

700

70

3k

2.5k

6k

700

15k

500

M

IC

06

0

–20dB

+40dB

L

IN

E

GAIN

45

250

700

70

3k

2.5k

6k

700

15k

500

M

IC

06

0

–20dB

+40dB

L

IN

E

GAIN

SOLO

SOLO

SOLO

SOLO

SOLO

SOLO

SOLO

SOLO

SOLO

SOLO

SOLO

PAN

123

4

B

1

B

2

B

3

B

4

56

7

8

1

23

4

5

6

7

8

MUTE

L-R

CENTER

L-R

CENTER

L-R

CENTER

L-R

CENTER

L-R

CENTER

L-R

CENTER

L-R

CENTER

L-R

CENTER

PAN

MUTE

PAN

MUTE

PAN

MUTE

PAN

MUTE

PAN

MUTE

PAN

MUTE

PAN

ASSIGN

TALKBACK MIC

TALKBACK

PHANTOM POWERED

MUTE

LINE OUT

LEVEL

LEVEL

LEVEL

LEVEL

LEVEL

LEVEL

MUTE

INPUTS

MONITOR

SOLO

TAPE B

TAPE A

FLIP

FLIP

FLIP

FLIP

FLIP

FLIP

FLIP

INPUT

SECTION

OUTPUT

SECTION

FLIP

AUX SEND MASTERS

AUX RETURNS

ASSIGNED TO

CENTER

TAPE RETURNS

MATRIX

A

MATRIX

B

MATRIX

C

MATRIX

D

MASTER

ABC

D

MASTER

MASTER

MASTER

SUB

1

SUB

2

SUB

3

SUB

4

SUB

5

SUB

6

SUB

7

SUB

8

CTR

LEFT

RIGHT

PFL

AFL

PFL

AFL

PFL

AFL

PFL

AFL

CLEAR

DO IT

STORE

SYSTEM

BY PASS

MUTE

PREVIEW

SOLO

SOLO

SOLO

SOLO

SOLO

SOLO

SOLO

SOLO

MUTE

SOLO

MUTE

SOLO

MUTE

SOLO

MUTE

SOLO

MUTE

SOLO

MUTE

SOLO

GRP

SNAP

MODE

RUDE

SOLO LIGHT

SOLO

FADER LINK

SOLO

SOLO

SOLO

MUTE

MUTE

MUTE

MUTE

AIR

AIR

AIR

AIR

AIR

AIR

AIR

AIR

AUX 1-4

MATRIX A

AUX 5-8

MATRIX B

EXTERNAL

MATRIX C

L/R

MATRIX D

INTERCOM

PHONES

SOLO LEVEL

LEVEL

METER

TALKBACK LEVEL

ULTRA MUTE

™

V.

+

POWER SUPPLY

STATUS

V

.-

5

V

12 V

48 V

PHONES

01234567

8

9

10

dB

30

20

10

O

O

40

5

5

U

60

50

10

dB

30

20

10

O

O

40

5

5

U

60

50

10

dB

30

20

10

O

O

40

5

5

U

60

50

10

dB

30

20

10

O

O

40

5

5

U

60

50

10

dB

30

20

10

O

O

40

5

5

U

60

50

10

dB

30

20

10

O

O

40

5

5

U

60

50

10

dB

30

20

10

O

O

40

5

5

U

60

50

10

dB

30

20

10

O

O

40

5

5

U

60

50

10

dB

30

20

10

O

O

40

5

5

U

60

50

10

dB

30

20

10

O

O

40

5

5

U

60

50

10

dB

30

20

10

O

O

40

5

5

U

60

50

1

PR

E

2

3

5

12

k

HI

FREQ

FREQ

FREQ

80Hz

EQ IN

HPF

LOW

AUX

EQ

1-2

3-4

5-6

7-8

L-R

CENTER

4

P

RE FDR

POST EQ

8

HI

MID

LOW

MID

PAN

21

10

dB

30

20

10

O

O

40

5

5

U

60

50

0

6

7

TRIM

21

LOW CUT

150 Hz

18dB/OCT

A

1

1

PR

E

2

3

5

6

12

k

HI

80Hz

EQ IN

LOW

AUX

EQ

1-2

3-4

5-6

7-8

L-R

SOLO

SOLO

CENTER

4

P

RE FDR

POST EQ

7

8

HI

MID 3.5k

LOW

MID 800Hz

PAN

A1

10

dB

30

20

10

O

O

40

5

5

U

60

50

TRIM

DIMMER

METERING

ON

IGNORE

CALL

COMMUNICATIONS

OSCILLATOR

RECEIVE

400H

z

PINK NOISE

OUTPUTS

0-

9

ASSIGN

ASSIGN

ASSIGN

ASSIGN

ASSIGN

ASSIGN

ASSIGN

ASSIGN

LAMP

40•8•2 AUDIO MIXING CONSOLE

+48 PH

1

PR

E

2

3

5

12

k

HI

FREQ

FREQ

FREQ

80Hz

EQ IN

HPF

LOW

AUX

EQ

1-2

3-4

5-6

7-8

L-R

CENTER

4

P

RE FDR

POST EQ

8

HI

MID

LOW

MID

PAN

25

10

dB

30

20

10

O

O

40

5

5

U

60

50

0

6

7

TRIM

25

SOLO

+48 PH

1

PR

E

2

3

5

12

k

HI

FREQ

FREQ

FREQ

80Hz

EQ IN

HPF

LOW

AUX

EQ

1-2

3-4

5-6

7-8

L-R

CENTER

4

P

RE FDR

POST EQ

8

HI

MID

LOW

MID

PAN

26

10

dB

30

20

10

O

O

40

5

5

U

60

50

0

6

7

TRIM

26

SOLO

+48 PH

1

PR

E

2

3

5

12

k

HI

FREQ

FREQ

FREQ

80Hz

EQ IN

HPF

LOW

AUX

EQ

1-2

3-4

5-6

7-8

L-R

CENTER

4

P

RE FDR

POST EQ

8

HI

MID

LOW

MID

PAN

27

10

dB

30

20

10

O

O

40

5

5

U

60

50

0

6

7

TRIM

27

SOLO

+48 PH

1

PR

E

2

3

5

12

k

HI

FREQ

FREQ

FREQ

80Hz

EQ IN

HPF

LOW

AUX

EQ

1-2

3-4

5-6

7-8

L-R

CENTER

4

P

RE FDR

POST EQ

8

HI

MID

LOW

MID

PAN

28

10

dB

30

20

10

O

O

40

5

5

U

60

50

0

6

7

TRIM

28

SOLO

+48 PH

1

PR

E

2

3

5

12

k

HI

FREQ

FREQ

FREQ

80Hz

EQ IN

HPF

LOW

AUX

EQ

1-2

3-4

5-6

7-8

L-R

CENTER

4

P

RE FDR

POST EQ

8

HI

MID

LOW

MID

PAN

22

10

dB

30

20

10

O

O

40

5

5

U

60

50

0

6

7

TRIM

22

SOLO

+48 PH

1

PR

E

2

3

5

12

k

HI

FREQ

FREQ

FREQ

80Hz

EQ IN

HPF

LOW

AUX

EQ

1-2

3-4

5-6

7-8

L-R

CENTER

4

P

RE FDR

POST EQ

8

HI

MID

LOW

MID

PAN

23

10

dB

30

20

10

O

O

40

5

5

U

60

50

0

6

7

TRIM

23

SOLO

+48 PH

1

PR

E

2

3

5

12

k

HI

FREQ

FREQ

FREQ

80Hz

EQ IN

HPF

LOW

AUX

EQ

1-2

3-4

5-6

7-8

L-R

CENTER

4

P

RE FDR

POST EQ

8

HI

MID

LOW

MID

PAN

24

10

dB

30

20

10

O

O

40

5

5

U

60

50

0

6

7

TRIM

24

SOLO

+48 PH

LOW CUT

150 Hz

18dB/OCT

A

2

1

PR

E

2

3

5

6

12

k

HI

80Hz

EQ IN

LOW

AUX

EQ

1-2

3-4

5-6

7-8

L-R

SOLO

CENTER

4

P

RE FDR

POST EQ

7

8

HI

MID 3.5k

LOW

MID 800Hz

PAN

A2

10

dB

30

20

10

O

O

40

5

5

U

60

50

TRIM

LOW CUT

150 Hz

18dB/OCT

A

3

1

PR

E

2

3

5

6

12

k

HI

80Hz

EQ IN

LOW

AUX

EQ

1-2

3-4

5-6

7-8

L-R

SOLO

CENTER

4

P

RE FDR

POST EQ

7

8

HI

MID 3.5k

LOW

MID 800Hz

PAN

A3

10

dB

30

20

10

O

O

40

5

5

U

60

50

TRIM

LOW CUT

150 Hz

18dB/OCT

A

4

1

PR

E

2

3

5

6

12

k

HI

80Hz

EQ IN

LOW

AUX

EQ

1-2

3-4

5-6

7-8

L-R

SOLO

CENTER

4

P

RE FDR

POST EQ

7

8

HI

MID 3.5k

LOW

MID 800Hz

PAN

A4

10

dB

30

20

10

O

O

40

5

5

U

60

50

TRIM

1

PR

E

2

3

5

12

k

HI

FREQ

FREQ

FREQ

80Hz

EQ IN

HPF

LOW

AUX

EQ

1-2

3-4

5-6

7-8

L-R

CENTER

4

P

RE FDR

POST EQ

8

HI

MID

LOW

MID

PAN

20

10

dB

30

20

10

O

O

40

5

5

U

60

50

0

6

7

TRIM

20

SOLO

+48 PH

1

PR

E

2

3

5

12

k

HI

FREQ

FREQ

FREQ

80Hz

EQ IN

HPF

LOW

AUX

EQ

1-2

3-4

5-6

7-8

L-R

CENTER

4

P

RE FDR

POST EQ

8

HI

MID

LOW

MID

PAN

19

10

dB

30

20

10

O

O

40

5

5

U

60

50

0

6

7

TRIM

19

SOLO

+48 PH

1

PR

E

2

3

5

12

k

HI

FREQ

FREQ

FREQ

80Hz

EQ IN

HPF

LOW

AUX

EQ

1-2

3-4

5-6

7-8

L-R

CENTER

4

P

RE FDR

POST EQ

8

HI

MID

LOW

MID

PAN

18

10

dB

30

20

10

O

O

40

5

5

U

60

50

0

6

7

TRIM

18

SOLO

+48 PH

1

PR

E

2

3

5

12

k

HI

FREQ

FREQ

FREQ

80Hz

EQ IN

HPF

LOW

AUX

EQ

1-2

3-4

5-6

7-8

L-R

CENTER

4

P

RE FDR

POST EQ

8

HI

MID

LOW

MID

PAN

17

10

dB

30

20

10

O

O

40

5

5

U

60

50

0

6

7

TRIM

17

SOLO

+48 PH

1

PR

E

2

3

5

12

k

HI

FREQ

FREQ

FREQ

80Hz

EQ IN

HPF

LOW

AUX

EQ

1-2

3-4

5-6

7-8

L-R

CENTER

4

P

RE FDR

POST EQ

8

HI

MID

LOW

MID

PAN

16

10

dB

30

20

10

O

O

40

5

5

U

60

50

0

6

7

TRIM

16

SOLO

+48 PH

1

PR

E

2

3

5

12

k

HI

FREQ

FREQ

FREQ

80Hz

EQ IN

HPF

LOW

AUX

EQ

1-2

3-4

5-6

7-8

L-R

CENTER

4

P

RE FDR

POST EQ

8

HI

MID

LOW

MID

PAN

15

10

dB

30

20

10

O

O

40

5

5

U

60

50

0

6

7

TRIM

15

SOLO

+48 PH

1

PR

E

2

3

5

12

k

HI

FREQ

FREQ

FREQ

80Hz

EQ IN

HPF

LOW

AUX

EQ

1-2

3-4

5-6

7-8

L-R

CENTER

4

P

RE FDR

POST EQ

8

HI

MID

LOW

MID

PAN

14

10

dB

30

20

10

O

O

40

5

5

U

60

50

0

6

7

TRIM

14

SOLO

+48 PH

1

PR

E

2

3

5

12

k

HI

FREQ

FREQ

FREQ

80Hz

EQ IN

HPF

LOW

AUX

EQ

1-2

3-4

5-6

7-8

L-R

CENTER

4

P

RE FDR

POST EQ

8

HI

MID

LOW

MID

PAN

13

10

dB

30

20

10

O

O

40

5

5

U

60

50

0

6

7

TRIM

13

SOLO

+48 PH

1

PR

E

2

3

5

12

k

HI

FREQ

FREQ

FREQ

80Hz

EQ IN

HPF

LOW

AUX

EQ

1-2

3-4

5-6

7-8

L-R

CENTER

4

P

RE FDR

POST EQ

8

HI

MID

LOW

MID

PAN

12

10

dB

30

20

10

O

O

40

5

5

U

60

50

0

6

7

TRIM

12

SOLO

+48 PH

1

PR

E

2

3

5

12

k

HI

FREQ

FREQ

FREQ

80Hz

EQ IN

HPF

LOW

AUX

EQ

1-2

3-4

5-6

7-8

L-R

CENTER

4

P

RE FDR

POST EQ

8

HI

MID

LOW

MID

PAN

11

10

dB

30

20

10

O

O

40

5

5

U

60

50

0

6

7

TRIM

11

SOLO

+48 PH

1

PR

E

2

3

5

12

k

HI

FREQ

FREQ

FREQ

80Hz

EQ IN

HPF

LOW

AUX

EQ

1-2

3-4

5-6

7-8

L-R

CENTER

4

P

RE FDR

POST EQ

8

HI

MID

LOW

MID

PAN

10

10

dB

30

20

10

O

O

40

5

5

U

60

50

0

6

7

TRIM

10

SOLO

+48 PH

1

PR

E

2

3

5

12

k

HI

FREQ

FREQ

FREQ

80Hz

EQ IN

HPF

LOW

AUX

EQ

1-2

3-4

5-6

7-8

L-R

CENTER

4

P

RE FDR

POST EQ

8

HI

MID

LOW

MID

PAN

9

10

dB

30

20

10

O

O

40

5

5

U

60

50

0

6

7

TRIM

9

SOLO

+48 PH

1

PR

E

2

3

5

12

k

HI

FREQ

FREQ

FREQ

80Hz

EQ IN

HPF

LOW

AUX

EQ

1-2

3-4

5-6

7-8

L-R

CENTER

4

P

RE FDR

POST EQ

8

HI

MID

LOW

MID

PAN

8

10

dB

30

20

10

O

O

40

5

5

U

60

50

0

6

7

TRIM

8

SOLO

+48 PH

1

PR

E

2

3

5

12

k

HI

FREQ

FREQ

FREQ

80Hz

EQ IN

HPF

LOW

AUX

EQ

1-2

3-4

5-6

7-8

L-R

CENTER

4

P

RE FDR

POST EQ

8

HI

MID

LOW

MID

PAN

7

10

dB

30

20

10

O

O

40

5

5

U

60

50

0

6

7

TRIM

7

SOLO

+48 PH

1

PR

E

2

3

5

12

k

HI

FREQ

FREQ

FREQ

80Hz

EQ IN

HPF

LOW

AUX

EQ

1-2

3-4

5-6

7-8

L-R

CENTER

4

P

RE FDR

POST EQ

8

HI

MID

LOW

MID

PAN

6

10

dB

30

20

10

O

O

40

5

5

U

60

50

0

6

7

TRIM

6

SOLO

+48 PH

1

PR

E

2

3

5

12

k

HI

FREQ

FREQ

FREQ

80Hz

EQ IN

HPF

LOW

AUX

EQ

1-2

3-4

5-6

7-8

L-R

CENTER

4

P

RE FDR

POST EQ

8

HI

MID

LOW

MID

PAN

5

10

dB

30

20

10

O

O

40

5

5

U

60

50

0

6

7

TRIM

5

SOLO

+48 PH

1

PR

E

2

3

5

12

k

HI

FREQ

FREQ

FREQ

80Hz

EQ IN

HPF

LOW

AUX

EQ

1-2

3-4

5-6

7-8

L-R

CENTER

4

P

RE FDR

POST EQ

8

HI

MID

LOW

MID

PAN

4

10

dB

30

20

10

O

O

40

5

5

U

60

50

0

6

7

TRIM

4

SOLO

+48 PH

1

PR

E

2

3

5

12

k

HI

FREQ

FREQ

FREQ

80Hz

EQ IN

HPF

LOW

AUX

EQ

1-2

3-4

5-6

7-8

L-R

CENTER

4

P

RE FDR

POST EQ

8

HI

MID

LOW

MID

PAN

3

10

dB

30

20

10

O

O

40

5

5

U

60

50

0

6

7

TRIM

3

SOLO

+48 PH

1

PR

E

2

3

5

12

k

HI

FREQ

FREQ

FREQ

80Hz

EQ IN

HPF

LOW

AUX

EQ

1-2

3-4

5-6

7-8

L-R

CENTER

4

P

RE FDR

POST EQ

8

HI

MID

LOW

MID

PAN

2

10

dB

30

20

10

O

O

40

5

5

U

60

50

0

6

7

TRIM

2

SOLO

+48 PH

1

PR

E

2

3

5

12

k

HI

FREQ

FREQ

IN

FREQ

80Hz

EQ IN

IN

IN

IN

IN

IN

IN

IN

IN

IN

IN

IN

IN

IN

IN

IN

IN

IN

IN

IN

IN

IN

IN

IN

IN

IN

IN

IN

IN

IN

IN

IN

IN

IN

IN

IN

IN

IN

IN

IN

IN

IN

IN

IN

IN

IN

IN

IN

IN

IN

IN

IN

IN

IN

IN

IN

HPF

LOW

AUX

EQ

1-2

3-4

5-6

7-8

L-R

CENTER

4

P

RE FDR

POST EQ

8

HI

MID

LOW

MID

PAN

1

10

dB

30

20

10

O

O

40

5

5

U

60

50

0

6

7

TRIM

1

SOLO

+48 PH

1

PR

E

2

3

5

12

k

HI

FREQ

FREQ

FREQ

80Hz

EQ IN

HPF

LOW

AUX

EQ

1-2

3-4

5-6

7-8

L-R

CENTER

4

P

RE FDR

POST EQ

8

HI

MID

LOW

MID

PAN

29

10

dB

30

20

10

O

O

40

5

5

U

60

50

0

6

7

TRIM

29

SOLO

+48 PH

TALKBACK

LR

LR

LR

LR

LR

1

PR

E

2

3

5

12

k

HI

FREQ

FREQ

FREQ

80Hz

EQ IN

HPF

LOW

AUX

EQ

1-2

3-4

5-6

7-8

L-R

CENTER

4

P

RE FDR

POST EQ

8

HI

MID

LOW

MID

PAN

30

10

dB

30

20

10

O

O

40

5

5

U

60

50

0

6

7

TRIM

30

SOLO

+48 PH

LR

1

PR

E

2

3

5

12

k

HI

FREQ

FREQ

FREQ

80Hz

EQ IN

HPF

LOW

AUX

EQ

1-2

3-4

5-6

7-8

L-R

CENTER

4

P

RE FDR

POST EQ

8

HI

MID

LOW

MID

PAN

31

10

dB

30

20

10

O

O

40

5

5

U

60

50

0

6

7

TRIM

31

SOLO

+48 PH

LR

1

PR

E

2

3

5

12

k

HI

FREQ

FREQ

FREQ

80Hz

EQ IN

HPF

LOW

AUX

EQ

1-2

3-4

5-6

7-8

L-R

CENTER

4

P

RE FDR

POST EQ

8

HI

MID

LOW

MID

PAN

32

10

dB

30

20

10

O

O

40

5

5

U

60

50

0

6

7

TRIM

32

SOLO

+48 PH

LR

1

PR

E

2

3

5

12

k

HI

FREQ

FREQ

FREQ

80Hz

EQ IN

HPF

LOW

AUX

EQ

1-2

3-4

5-6

7-8

L-R

CENTER

4

P

RE FDR

POST EQ

8

HI

MID

LOW

MID

PAN

33

10

dB

30

20

10

O

O

40

5

5

U

60

50

0

6

7

TRIM

33

SOLO

+48 PH

LR

1

PR

E

2

3

5

12

k

HI

FREQ

FREQ

FREQ

80Hz

EQ IN

HPF

LOW

AUX

EQ

1-2

3-4

5-6

7-8

L-R

CENTER

4

P

RE FDR

POST EQ

8

HI

MID

LOW

MID

PAN

34

10

dB

30

20

10

O

O

40

5

5

U

60

50

0

6

7

TRIM

34

SOLO

+48 PH

LR

1

PR

E

2

3

5

12

k

HI

FREQ

FREQ

FREQ

80Hz

EQ IN

HPF

LOW

AUX

EQ

1-2

3-4

5-6

7-8

L-R

CENTER

4

P

RE FDR

POST EQ

8

HI

MID

LOW

MID

PAN

35

10

dB

30

20

10

O

O

40

5

5

U

60

50

0

6

7

TRIM

35

SOLO

+48 PH

LR

1

PR

E

2

3

5

12

k

HI

FREQ

FREQ

FREQ

80Hz

EQ IN

HPF

LOW

AUX

EQ

1-2

3-4

5-6

7-8

L-R

CENTER

4

P

RE FDR

POST EQ

8

HI

MID

LOW

MID

PAN

36

10

dB

30

20

10

O

O

40

5

5

U

60

50

0

6

7

TRIM

36

SOLO

+48 PH

LR

1

PR

E

2

3

5

12

k

HI

FREQ

FREQ

FREQ

80Hz

EQ IN

HPF

LOW

AUX

EQ

1-2

3-4

5-6

7-8

L-R

CENTER

4

P

RE FDR

POST EQ

8

HI

MID

LOW

MID

PAN

37

10

dB

30

20

10

O

O

40

5

5

U

60

50

0

6

7

TRIM

37

SOLO

+48 PH

LR

1

PR

E

2

3

5

12

k

HI

FREQ

FREQ

FREQ

80Hz

EQ IN

HPF

LOW

AUX

EQ

1-2

3-4

5-6

7-8

L-R

CENTER

4

P

RE FDR

POST EQ

8

HI

MID

LOW

MID

PAN

38

10

dB

30

20

10

O

O

40

5

5

U

60

50

0

6

7

TRIM

38

SOLO

+48 PH

LR

1

PR

E

2

3

5

12

k

HI

FREQ

FREQ

FREQ

80Hz

EQ IN

HPF

LOW

AUX

EQ

1-2

3-4

5-6

7-8

L-R

CENTER

4

P

RE FDR

POST EQ

8

HI

MID

LOW

MID

PAN

39

10

dB

30

20

10

O

O

40

5

5

U

60

50

0

6

7

TRIM

39

SOLO

+48 PH

LR

1

PR

E

2

3

5

12

k

HI

FREQ

FREQ

FREQ

80Hz

EQ IN

HPF

LOW

AUX

CENTER

12345678

MUTE

MUTE

MUTE

MUTE

MUTE

MUTE

MUTE

MUTE

D

C

B

A

21

MUTE

A1

MUTE

25

MUTE

26

MUTE

27

MUTE

28

MUTE

22

MUTE

23

MUTE

24

MUTE

A2

MUTE

A3

MUTE

A4

MUTE

20

MUTE

19

MUTE

18

MUTE

17

MUTE

16

MUTE

15

MUTE

14

MUTE

13

MUTE

12

MUTE

11

MUTE

10

MUTE

9

MUTE

8

MUTE

7

MUTE

6

MUTE

5

MUTE

4

MUTE

3

MUTE

2

MUTE

1

MUTE

29

MUTE

30

MUTE

31

MUTE

32

MUTE

33

MUTE

34

MUTE

35

MUTE

36

MUTE

37

MUTE

38

MUTE

39

MUTE

40

MUTE

EQ

1-2

3-4

5-6

7-8

L-R

CENTER

4

P

RE FDR

POST EQ

8

HI

MID

LOW

MID

PAN

40

10

dB

30

20

10

O

O

40

5

5

U

60

50

0

6

7

TRIM

40

SOLO

+48 PH

LR

O

O

MAX

O

O

MAX

LEFT

RIGHT

L & R

R = L/R

24

23

22

21

20

19

18

17

16

15

14

13

12

11

91

0

8

7

6

5

4

3

2

1

25

26

MASTER

CENTER

LEVEL

SET

(AFL)

LEFT

RIGHT

2

0

2

4

7

10

20

30

4

7

10

22

2

0

2

4

7

10

20

30

4

7

10

22

2

0

2

4

7

10

20

30

4

7

10

22

1

2

0

2

4

7

10

20

30

4

7

10

22

2

2

0

2

4

7

10

20

30

4

7

10

22

3

2

0

2

4

7

10

20

30

4

7

10

22

4

2

0

2

4

7

10

20

30

4

7

10

22

5

2

0

2

4

7

10

20

30

4

7

10

22

6

2

0

2

4

7

10

20

30

4

7

10

22

7

2

0

2

4

7

10

20

30

4

7

10

22

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CLIP

CLIP

CLIP

CLIP

CLIP

27

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LEVEL

SET

(PFL)

MAIN INSERTS

(BAL/UNBAL)

HEADPHONES

R

L

LEFT RETURN

2

1

4

3

6

5

8

7

R

R

R

R

L

L

L

L

2

1

4

3

6

5

8

7

RIGHT SEND

LEFT SEND

MONITOR

(BAL/UNBAL)

AUX SEND

(BAL/UNBAL)

"B" AUX RETURNS

(BAL/UNBAL)

SUB INSERTS

(BAL/UNBAL)

1

2

3

4

(MONO)

(MONO)

(MONO)

(MONO)

R

R

R

R

L

L

L

L

A1

A2

A3

A4

(MONO)

C

A

D

B

(MONO)

(MONO)

SOURCE =

MASTER L-

R

SOURCE =

MATRIX C&D

(MONO)

MATRIX D

MATRIX C

MATRIX B

MATRIX A

SUB

1

SUB

2

SUB

3

SUB

4

SUB

5

SUB

6

SUB

7

SUB

8

CENTER

RIGHT

LEFT

TALK BACK

MIC

PHANTOM POWERED

INTERCOM

INSERT RETURN

MIC 25

INSERT SEND

25

DIRECT OUT

LINE IN

INSERT RETURN

MIC 26

INSERT SEND

INSERT RETURN

MIC 24

INSERT SEND

24

DIRECT OUT

LINE IN

INSERT RETURN

MIC 23

INSERT SEND

23

DIRECT OUT

LINE IN

INSERT RETURN

MIC 22

INSERT SEND

22

DIRECT OUT

LINE IN

INSERT RETURN

MIC 21

INSERT SEND

21

DIRECT OUT

LINE IN

INSERT RETURN

MIC 20

INSERT SEND

20

DIRECT OUT

LINE IN

INSERT RETURN

MIC 19

INSERT SEND

19

DIRECT OUT

LINE IN

INSERT RETURN

MIC 18

INSERT SEND

18

DIRECT OUT

LINE IN

INSERT RETURN

MIC 17

INSERT SEND

17

DIRECT OUT

LINE IN

INSERT RETURN

MIC 16

INSERT SEND

16

DIRECT OUT

LINE IN

INSERT RETURN

MIC 15

INSERT SEND

15

DIRECT OUT

LINE IN

INSERT RETURN

MIC 14

INSERT SEND

14

DIRECT OUT

LINE IN

INSERT RETURN

MIC 13

INSERT SEND

13

DIRECT OUT

LINE IN

INSERT RETURN

MIC 12

INSERT SEND

12

DIRECT OUT

LINE IN

INSERT RETURN

MIC 11

INSERT SEND

11

DIRECT OUT

LINE IN

INSERT RETURN

MIC 10

INSERT SEND

10

DIRECT OUT

LINE IN

INSERT RETURN

MIC 9

INSERT SEND

9

DIRECT OUT

LINE IN

INSERT RETURN

MIC 8

INSERT SEND

8

DIRECT OUT

LINE IN

INSERT RETURN

MIC 7

INSERT SEND

7

DIRECT OUT

LINE IN

INSERT RETURN

MIC 6

INSERT SEND

6

DIRECT OUT

LINE IN

INSERT RETURN

MIC 5

INSERT SEND

5

DIRECT OUT

LINE IN

INSERT RETURN

MIC 4

INSERT SEND

4

DIRECT OUT

LINE IN

INSERT RETURN

MIC 3

INSERT SEND

3

DIRECT OUT

LINE IN

INSERT RETURN

MIC 2

INSERT SEND

2

DIRECT OUT

LINE IN

INSERT RETURN

MIC 1

INSERT SEND

1

DIRECT OUT

LINE IN

26

DIRECT OUT

LINE IN

INSERT RETURN

MIC 27

INSERT SEND

27

DIRECT OUT

LINE IN

INSERT RETURN

MIC 28

INSERT SEND

28

DIRECT OUT

LINE IN

INSERT RETURN

MIC 29

INSERT SEND

29

DIRECT OUT

LINE IN

INSERT RETURN

MIC 30

INSERT SEND

30

DIRECT OUT

LINE IN

INSERT RETURN

MIC 31

INSERT SEND

31

DIRECT OUT

LINE IN

INSERT RETURN

MIC 32

INSERT SEND

32

DIRECT OUT

LINE IN

INSERT RETURN

MIC 33

INSERT SEND

33

DIRECT OUT

LINE IN

INSERT RETURN

MIC 34

INSERT SEND

34

DIRECT OUT

LINE IN

INSERT RETURN

MIC 35

INSERT SEND

35

DIRECT OUT

LINE IN

INSERT RETURN

MIC 36

INSERT SEND

36

DIRECT OUT

LINE IN

INSERT RETURN

MIC 37

INSERT SEND

37

DIRECT OUT

LINE IN

INSERT RETURN

MIC 38

INSERT SEND

38

DIRECT OUT

LINE IN

INSERT RETURN

MIC 39

INSERT SEND

39

DIRECT OUT

LINE IN

INSERT RETURN

MIC 40

INSERT SEND

40

DIRECT OUT

LINE IN

DATA

MIDI IN

MIDI OUT

TAPE

TAPE

R

L

R

L

R

L

R

L

INPUT

OUTPUT

TAPE

TAPE

INPUT

OUTPUT

TAPE A

TAPE B

(MACKIE 400

-WATT POWER SUPPL

Y !)

DC POWER IN

TALKBACK

SUB OUTPUTS

SEND

RETURN

SEND

RETURN

SEND

RETURN

SEND

RETURN

SEND

RETURN

SEND

RETURN

SEND

RETURN

SEND

RETURN

MATRIX OUTPUTS

MATRIX INPUTS

MAIN OUTPUTS

CNTR SEND

RIGHT RETURN

CNTR RETURN

L-INSERT

R-INSERT

TAPE

MAIN AUX RETURNS

™

1
2
3
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»

Summary of Contents for SR40.8

Page 1: ...HI FREQ FREQ FREQ 80Hz EQ IN HPF LOW AUX EQ 1 2 3 4 5 6 7 8 L R CENTER 4 PRE FDR POST EQ 8 HI MID LOW MID PAN 22 10 dB 30 20 10 O O 40 5 5 U 60 50 0 6 7 TRIM 22 SOLO 48 PH 1 PRE 2 3 5 12k HI FREQ FREQ...

Page 2: ...grounding or polarization means of this Mackie product is not defeated 14 This apparatus does not exceed the Class A Class B whichever is applicable limits for radio noise emissions from digital appar...

Page 3: ...ce the TRIM settings further Alternate Method This method results in the faders being in a straight line across the board 1 Set the METERING INPUT SECTION switch to PFL mode so your Fader settings won...

Page 4: ...e who specialize in mixing The SR40 8 and SR56 8 Large Format Sound Reinforcement Consoles are designed to fulfill the mixing needs of almost any type of sound reinforcement application and it boasts...

Page 5: ...mprehensive dictio nary of pro audio terms If terms like clipping noise floor or unbalanced leave you blank flip to the glossary at the back of this manual for a quick explanation A Plug For The Conne...

Page 6: ...MATRIX OUTPUTS 19 MATRIX INPUTS 19 DC POWER IN 19 MIDI IN OUT 19 DATA 19 CHANNEL 20 U LIKE UNITY GAIN 20 CHANNEL INPUT CONTROLS 20 48 PH PHANTOM POWER 20 TRIM 20 POLARITY REVERSAL 20 EQ 21 HI 12K 21...

Page 7: ...LEVEL 41 MUTE 41 MASTER LEVEL 41 SOLO 41 ULTRA MUTE AUTOMATION 42 TYPICAL APPLICATIONS 42 IMPORTANT TIDBITS AND TITTLES 43 OPERATION 44 GROUP MODE 44 NUMERIC DISPLAY 44 SNAPSHOT MODE 46 ULTRA MUTE SU...

Page 8: ...PE B TALKBACK SEND RETURN SEND RETURN SEND RETURN SEND RETURN SEND RETURN SEND RETURN SEND RETURN SEND RETURN MATRIX OUTPUTS MATRIX INPUTS MAIN OUTPUTS CNTR SEND RIGHT RETURN CNTR RETURN L INSERT R IN...

Page 9: ...SEND RETURN SEND RETURN SEND RETURN SEND RETURN SEND RETURN SEND RETURN MATRIX OUTPUTS MATRIX INPUTS MAIN OUTPUTS CNTR SEND RIGHT RETURN CNTR RETURN L INSERT R INSERT TAPE MAIN AUX RETURNS INSERT RET...

Page 10: ...ix and offer only rotary level and mute switch controls Aux return B4 is dedicated to the center mix Additionally there are two stereo line level RCA tape returns dedicated to the left right mix with...

Page 11: ...gulated by a level control Additionally the talkback signal may be replaced by a 400Hz sine wave for checking levels or pink noise for quickly checking frequency response The Clear Com Intercom System...

Page 12: ...phones instruments effects headphones and the ulti mate destination for your sound PA system tape recorder and the like E Z INTERFACE Concerned about levels balancing impedances polarity or other inte...

Page 13: ...device simply patch from the INSERT SEND jack to the effect s in put and from the effect s output to the INSERT RETURN jack using either balanced TRS or unbalanced TS cables Since using the INSERT SEN...

Page 14: ...cable with 1 4 TRS or TS connector tip hot ring cold sleeve shield Point After B AUX RETURNS The left jack s signal is normalled to the right jack a mono signal patched into the left jack only will ap...

Page 15: ...e a 3k output impedance enabling you to combine the left and right out puts using a Y cord adapter thereby creating a mono signal Do not attempt this on any of the SR40 8 s TRS or XLR outputs Patch th...

Page 16: ...ing either balanced TRS or unbalanced TS cables Since using the SEND jack by itself does not interrupt the mix signal path it may also be used as a pre Fader direct output SUB OUTPUTS Point Before SUB...

Page 17: ...ainfully loud with some earphones BE CAREFUL Always turn the PHONES level all the way down before connecting headphones Keep it down until you ve put the phones on Then turn it up slowly Why Engineers...

Page 18: ...situations You can use the EXTERNAL switch ASSIGN to deliver the TALKBACK and OSCILLATOR signal to a second console such as a monitor console Simply patch from the FOH front of house console s TALKBAC...

Page 19: ...ntil you ve connected its power cable here POWER SUPPLY STATUS LEDs in the out put section will confirm that the console is fully powered MIDI IN OUT This is where you interface the SR40 8 with an ext...

Page 20: ...p position the de fault setting for this switch so all the signals will have correct polarity also known as in phase and only reverse the polarity of Channels that you deem necessary The forty Channel...

Page 21: ...at 80Hz and fully boost the LOW shelving preset at 80Hz you ll be asking for 30dB of gain at 80Hz If you started out with signal with a 0dB level at that frequency you d be clipping for sure HI 12K Th...

Page 22: ...aware that the HPF feature is switched independently of this EQ IN switch HPF and FREQ Point Before Channel mic line preamp 0 polarity reversal Point After Channel path at INSERT SEND PRE switch AUX 1...

Page 23: ...ays to get this signal out of the console Just to get a handle on things we ll stick to the basic tried and true methods and leave the wild routing schemes up to you MUTE Point Before EQ IN switch Poi...

Page 24: ...nd the right AFL SOLO With the PAN knob set some where in between left and right the signal is divided between the left and right buses Be aware Since CENTER assignment occurs before the PAN control i...

Page 25: ...ng to assign them to any of the LEFT RIGHT CEN TER mixes or Subgroup SUB 1 8 mixes You can simultaneously SOLO as many Channels and other signals as you like The SR40 8 features nondestructive solo En...

Page 26: ...are off when turned fully down deliver unity gain at the center detent and provide 15dB of gain turned fully up The AUX SEND outputs are then patched to stage monitor amp inputs pre Fader or parallel...

Page 27: ...ctivate the HPF high pass filter The difference is that the frequency is not adjustable it s pre set at 150Hz with a 18dB per octave curve We recommend that you leave the HPF engaged at all times unle...

Page 28: ...CENTER assignment on the MAIN AUX RETURNS A1 A4 operates the same as it does on the Channels except that it takes both the LEFT and RIGHT signals mixes them to gether and then sends that mono signal t...

Page 29: ...AUX RETURNS A1 A4 and how the signals get in and out In the output section things get a bit more complicated so put on your thinking cap LEFT RIGHT CENTER MIXES This is where everything assigned via t...

Page 30: ...2 3 4 5 6 7 8 MUTE L R CENTER L R CENTER L R CENTER L R CENTER L R CENTER L R CENTER L R CENTER L R CENTER PAN MUTE PAN MUTE PAN MUTE PAN MUTE PAN MUTE PAN MUTE PAN ASSIGN TALKBACK MIC TALKBACK MUTE...

Page 31: ...o the LEFT versus the RIGHT mixes via the L R ASSIGN switch and the SOLO bal ance in AFL mode With the PAN knob hard left the signal feeds the LEFT mix and the left AFL SOLO assuming their assignment...

Page 32: ...0kHz When AIR is set at 0 it is effectively out of the signal path and the submix bus has a flat response But when you need a little more air in your sound just a hint of high treble to add that atmos...

Page 33: ...ted The signal is muted with the switch engaged down B AUX RETURNS and TAPE A and TAPE B do not have momentary MUTE switches or associated LEDs and are not controllable via ULTRA MUTE SOLO PFL Point B...

Page 34: ...bgroup signal to the original AUX SEND MASTER controls and TRS output Confused Try it this way This is the path of an AUX SEND MASTER signal with its FLIP switch disengaged up Channel AUX level contro...

Page 35: ...SOLO including AUX SENDS has precedence over OUTPUTS SOLO you can t combine these signals SOLO MASTER CONTROLS To audition individual signals or groups of signals there are SOLO switches on every Chan...

Page 36: ...bout your level of solo awareness In addition to this huge LED each SOLO switch has a local LED adjacent to it to help you find that pesky soloed Channel right away PHONES LEVEL Point Before LEFT RIGH...

Page 37: ...the SOLO LEVEL independently MUTE This switch is your garden variety DPDT double pole double throw switch Engage it and the line level MONITOR outputs become silent The MONITOR MUTE is not a member o...

Page 38: ...M power supply On the off chance that one of these status LEDs doesn t glow indicating a problem be sure to power down as continued use could cause further damage TALKBACK SECTION The SR40 8 s extensi...

Page 39: ...an sound that builds up and takes over towards the end LEVEL Point Before 400HZ PINK NOISE switch Point After ON OSCILLATOR switch This controls the signal level of all OSCIL LATOR signals be it the 4...

Page 40: ...mpatible interface Furthermore the interface is transformer isolated to prevent any nasty ground loops from showing up in the audio If you already have the Clear Com Inter com System you probably alre...

Page 41: ...ey have RCA outputs TAPE B OUTPUT in addition to the XLR outputs MUTE Point Before MATRIX mix Point After MATRIX MASTER level Muting removes the signal from its MATRIX OUTPUT and AFL SOLO The PFL SOLO...

Page 42: ...l path where the note number corresponds to a mute node Snapshots can be changed using Program Change Messages Typical Applications From the board point of view Group Mode works best to mute groups of...

Page 43: ...00 as All Mutes Off and Snapshot 99 as All Mutes On You can reprogram these Snapshots if you wish Since Snapshot 00 is loaded into the console when it is first powered up you may want to reprogram Sn...

Page 44: ...decimal point LED lights steadily and the mute configuration you selected is now stored in that Group 6 You can exit STORE mode by pressing the CLEAR button at any time If you had muted any channels...

Page 45: ...may be situations where this is useful so we leave it to you to make this choice Previewing Mute Groups Preview mode lets you see the mute configuration of a Group without actually engaging it This g...

Page 46: ...anu ally turn off the MUTE switches or press and hold the CLEAR button to unmute all the channels or you can select a different Snapshot by pressing the Up Down Arrow button and then pressing the DO I...

Page 47: ...D above theMUTE PREVIEW button lights 3 Select a different Snapshot by using either the Up Down Arrow buttons or directly entering the Snapshot number via the number buttons The MUTE LEDs for the chan...

Page 48: ...napshot Mode you should press DO IT to engage the Snapshot in the Numeric Display When going from Snapshot to Group Mode you must press CLEAR for two seconds to clear the Snapshot s mute configuration...

Page 49: ...ress and hold the CLEAR and Arrow Down buttons to exit Auto Increment Mode Press to abort a store procedure To clear all programmed mutes in Group or Snapshot Mode press and hold the CLEAR and MODE bu...

Page 50: ...RA MUTE recognizes certain Message Numbers to move data between its memory and the host computer See the table on page 11 for descriptions and examples of the messages recognized by ULTRA MUTE NN is t...

Page 51: ...00 00 66 03 0F 42 05 00 DATA 01 DATA 09 DATA F7 for SR40 8 F0 00 00 66 04 0F 42 05 00 DATA 01 DATA 09 DATA F7 for SR56 8 43h dump only Mute Groups in one set To Write Mute Groups to Set 71 to SR40 8 S...

Page 52: ...DB9 FEMALE DB9 MALE TO COMPUTER RS 232 PORT TO CONSOLE DATA PORT STANDARD DB9 COMPUTER CABLE MIDI IMPLEMENTATION SUMMARY When you first power up the console a number briefly appears in ULTRA MUTE s n...

Page 53: ...ized Remarks Basic Channel Default 16 16 Channel 16 only Changed Mode Default X X Not Applicable Messages X X Altered X X Note Number Mute Node O O See Appendix B Velocity Note ON O O Note OFF O O See...

Page 54: ...F0 19 Channel 19 9F 12 40 9F 12 00 F 0 20 Channel 20 9F 13 40 9F 13 00 G0 21 Channel 21 9F 14 40 9F 14 00 G 0 22 Channel 22 9F 15 40 9F 15 00 A0 23 Channel 23 9F 16 40 9F 16 00 A 0 24 Channel 24 9F 1...

Page 55: ...9F 3B 00 B3 65 Sub 5 9F 3C 40 9F 3C 00 C4 66 Sub 6 9F 3D 40 9F 3D 00 C 4 67 Sub 7 9F 3E 40 9F 3E 00 D4 68 Sub 8 9F 3F 40 9F 3F 00 D 4 69 Aux Send 1 9F 30 40 9F 30 00 C3 70 Aux Send 2 9F 31 40 9F 31 00...

Page 56: ...1 B2 B3 B4 IDENTICAL LINE IN L LINE IN R TAPE A IN TAPE B IDENTICAL LINE IN L LINE IN R AUX RETURN B4 ONLY L LEFT MAIN MIX R RIGHT MAIN MIX C CENTER MAIN MIX FOR SIMPLICITY AUX SENDS 2 4 AND 6 8 NOT S...

Page 57: ...L R METERS CENTER METER SOLO RELAY METER AFL PFL RELAY TO MATRIX IN CENTER OUT R MIX SOLO SOLO C MIX SOLO C FADER METERS OUTPUTS PFL AFL METERS INPUTS PFL AFL SOLO LOGIC SOLO INPUTS PFL AFL SOLO OUTP...

Page 58: ...20 16 10 20 0dB 10 10 20 0dB 10 20 16 10 20 22 30 40 50 60 0dB 10 10 20 22 UNBALANCED OUT 6dB INSERT 6dB AUX SEND MASTER 10dB MAX AUX OUT 0dB MATRIX MIX MATRIX EXT IN 10dB MAX 0dB NOMINAL MATRIX MASTE...

Page 59: ...59 This page was intentionally left blank until we put this message on it...

Page 60: ...ing 15dB 80Hz Low Mid EQ 1 5 octave bandwith Mono channels sweepable 15dB 45Hz 3kHz Stereo channels fixed 15dB 800Hz Hi Mid EQ 1 5 octave bandwith Mono channels sweepable 500Hz 15kHz Stereo channels f...

Page 61: ...0 14 0cm 76 72 194 9cm 79 10 200 9cm 59 57 151 3cm 14 90 37 9cm 27 40 69 6cm 11 00 27 9cm 7 20 18 3cm 0 50 1 27cm 10 50 26 7cm 9 2 2 5 0 5 7 2 cm 3 0 5 0 7 7 5 cm 62 05 157 6cm 82 15 208 7cm 65 00 165...

Page 62: ...stations or at the factory lo cated in sunny Woodinville Washington Ser vice for mixers living outside the United States can be obtained through local dealers or dis tributors If your mixer needs ser...

Page 63: ...round Balanced input circuits can offer excellent rejection of common mode noise induced into the line and also make proper no ground loops system grounding easier Usually terminated with 1 4 TRS or X...

Page 64: ...it is not equivalent dBV A unit of measurement of audio signal level in an electrical circuit expressed in decibels referenced to 1 VRMS across any impedance Commonly used to describe signal levels in...

Page 65: ...alent input noise voltage nec essary to obtain a given preamp s output noise Typically ranges from 125 to 129 5 dBm EQ See equalization EQ curve A graph of the response of an equalizer with frequency...

Page 66: ...ncies evenly spaced through the audio spectrum In a per fect world a line drawn through the centers of the control shafts would form a graph of the frequency response curve Get it Or the positions of...

Page 67: ...en the only way that real consoles were built was in modular fashion one channel per module See channel strip knee A knee is a sharp bend in an EQ response curve not unlike the sharp bend in your leg...

Page 68: ...em In a well designed mixer the noise floor will be a quiet hiss which is the thermal noise gener ated by bouncing electrons in the transistor junctions The lower the noise floor and the higher the he...

Page 69: ...d and smooth while a Q of 10 gives a narrow pointed response curve To calculate the value of Q you must know the center frequency of the EQ section and the frequencies at which the up per and lower sk...

Page 70: ...audibility If you were to graph the response it would look like a shelf Or more like a shelf than a hiking boot The EQ controls on your stereo are usually shelving equalizers See also peaking and dipp...

Page 71: ...ity gain A circuit or system that has its voltage gain adjusted to be one or unity A signal will leave a unity gain circuit at the same level at which it entered In Mackie mixers unity gain is achieve...

Page 72: ...or plug is connected tip to signal high hot ring to signal low cold and sleeve to ground earth Unbalanced Send Return circuits When wired as send return Y connector a 1 4 TRS jack or plug is connecte...

Page 73: ...nnect the signal to the center post and the ground earth or shield to the surrounding basket UNBALANCING A LINE In most studio stage and sound reinforce ment situations there is a combination of balan...

Page 74: ...rcuit and will show up in the center of the stereo pair of buses it s assigned to or it can be panned with the Balance control A stereo signal having two plugs should be patched into the LEFT MONO and...

Page 75: ...ound for both audio and power Balanced Lines Balanced lines offer increased immunity to external noise specifically hum and buzz Because a balanced system is able to minimize noise it is the preferred...

Page 76: ...ch as the AKG C12 Neumann U47 or U67 these microphones may be connected in a phantom powered system and will operate without regard to the pres ence or absence of phantom power They will always requir...

Page 77: ...he electrician uses the star ground system for the safety grounds in your electrical system All of the audio system grounds should terminate at the same physical point No other grounds may come in con...

Page 78: ...need to wire directly into the electrical service then use a voltmeter to ensure that the line voltage is correct then use the outlet tester mentioned in 3 above Do this before you connect any of your...

Page 79: ...ineering staff not to mention a nameless Marketing Weenie Manual composed on a cocktail napkin then converted to this amaz ing piece of work using a 13 story 1000 gigawhopper Macintosh operated by Mac...

Page 80: ...0 220 350 45 75 800 30 250 700 70 3k 45 2 5k 6k 700 15k 450 U O O 15 U O O 15 U O O 15 U O O 15 U 15 15 U 15 15 U O O 15 U O O 15 U O O 15 U O O 15 250 350 220 3k 45 3k 5k 1k 15k 500 MIC GAIN 10dB 40d...

Page 81: ...60 50 0 6 7 TRIM 21 SOLO 48 PH 1 PRE 2 3 5 12k HI FREQ FREQ FREQ 80Hz EQ IN HPF LOW AUX EQ 1 2 3 4 5 6 7 8 L R CENTER 4 PRE FDR POST EQ 8 HI MID LOW MID PAN 22 10 dB 30 20 10 O O 40 5 5 U 60 50 0 6 7...

Page 82: ...MIC TALKBACK PHANTOM POWERED MUTE LINE OUT LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL MUTE INPUTS MONITOR SOLO TAPE B TAPE A FLIP FLIP FLIP FLIP FLIP FLIP FLIP INPUT SECTION OUTPUT SECTION FLIP AUX SEND MAST...

Page 83: ...ssing STORE twice Step 4 should read Once you ve decided on a Snapshot or modified Snapshot configuration press DO IT and the new Snapshot plus any manually muted channels will engage Note that any ch...

Page 84: ...MATRIX A D D C B A N18 Not Used 3 DATA Structure SR56 8 22 bytes nibblized low high 0 Mute OFF 1 Mute ON 0000 N1 0000 N2 0000 N3 0000 N22 N1 Channels 1 4 4 3 2 1 N2 Channels 5 8 8 7 6 5 N3 Channels 9...

Page 85: ...atever mute configuration that exists on the console as the new nominal state The decimal point LED lights steadily indicating a nominal starting point Think of mute groups as layers of mutes which yo...

Page 86: ...16220 Wood Red Road N E Woodinville WA 98072 800 258 6883 Outside the U S call 425 487 4333 FAX 425 487 4337 www mackie com 2001 Mackie Designs Inc All rights reserved Printed in the USA Part No 820 0...

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