User manual MACKIE SR-VLZ PRO

[. . . ] SR SERIES 24·4· 4­BUS MIXING CONSOLE WITH PREMIUM XDRTM MIC PREAMPLIFIERS 2 SR24 ·4-VLZ PRO U GAIN MIC U GAIN MIC GAIN MIC -10dBV TRIM 1 60 0 +15dB -45dB -20 +20 +20 U U U GAIN MIC -10dBV -10dBV TRIM 2 60 0 +15dB -45dB -20 U GAIN MIC -10dBV TRIM 3 60 0 +15dB -45dB 60 0 +15dB -45dB 60 0 +15dB -45dB 60 0 +15dB -45dB 60 0 +15dB -45dB 60 0 +15dB -45dB 60 0 +15dB -45dB 60 0 +15dB -45dB 60 0 +15dB -45dB 60 0 +15dB -45dB 60 0 +15dB -45dB 60 0 +15dB -45dB 60 0 +15dB -45dB U U GAIN MIC -10dBV TRIM 4 AUX U U U U U U U U U U U U U U U GAIN MIC -10dBV TRIM 5 AUX PRE O O U TRIM 6 AUX PRE O O U GAIN MIC -10dBV TRIM 7 AUX PRE O O U GAIN MIC -10dBV TRIM -10dBV TRIM 8 AUX PRE O O 9 AUX PRE O O U GAIN MIC -10dBV TRIM 10 AUX PRE O O U GAIN MIC -10dBV TRIM 11 AUX PRE O O U GAIN MIC -10dBV TRIM 12 AUX PRE O O U GAIN MIC -10dBV TRIM 13 AUX PRE O O U GAIN MIC -10dBV TRIM 14 AUX PRE O O U GAIN MIC -10dBV TRIM 15 AUX PRE O O U GAIN MIC -10dBV TRIM 16 AUX PRE O O U GAIN MIC -10dBV TRIM 17 AUX PRE O O U GAIN MIC -10dBV TRIM 18 AUX PRE O O U GAIN MIC -10dBV TRIM 19 AUX PRE O O U GAIN MIC -10dBV TRIM U U TRIM TRIM 20 AUX PRE O O 60 0 +15dB -45dB 60 0 +15dB -45dB 60 0 +15dB -45dB 60 0 +15dB -45dB 60 0 +15dB -45dB 21 22 1 1 +15 U 23 24 U U U LAMP U AUX PRE O O U AUX 1 +15 U U U U U U U U U U U U U U U U AUX 1 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 U AUX 1 1 1 1 1 1 1 1 1 1 1 1 1 U AUX PRE +15 U 1 PRE 1 PRE 1 PRE 1 PRE 1 CLIP 1 O O 1 +15 U 1 SOLO O O 28 +20 U O O O O +15 O O +15 O O +15 O O +15 O O +15 +15 U 10 7 PRE O O U U U U U PRE O O 2 PRE +15 O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O PRE +15 U U U U U U U U U U U U U U U 2 PRE +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE 2 PRE 2 PRE 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 PRE +15 U 2 2 2 O O 2 +15 U 2 SOLO O O 4 2 +20 U O O O O +15 U O O +15 O O +15 O O +15 O O +15 +15 U U U U U 0 3 O O 3 +15 O O O O O O O O O O O O O O O O O O O O O O O O O O O O 3 +15 U U U U U U U U U U U U U U 3 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 U 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 O O 3 +15 U O O 3 +15 U O O 3 +15 U 3 SOLO O O TO AUX SEND (EFX TO MONITOR) +20 U U 2 1-2 4 7 10 O O +15 O O +15 O O +15 O O +15 O O +15 U U U U U 4 O O 4 +15 O O O O O O O O O O O O O O O O O O O O O O O O O O O O 4 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 O O 4 +15 O O 4 +15 O O 4 +15 U 4 SOLO O O 20 +20 O O O O +15 O O +15 O O +15 O O +15 O O +15 +20 30 TAPE RETURN U 40 PRE U U PRE U U U U U U U U U U U U U U U PRE U PRE U PRE U PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE U PRE 5 5 5 5 O O LEVEL SET 5 +15 LEFT SOLO ASSIGN TO SUB POST O O RIGHT OPERATING LEVEL 5 POST O O 5 POST O O 5 POST O O 5 POST O O 5 POST O O 5 POST O O 5 POST O O 5 POST O O 5 POST O O 5 POST O O 5 POST O O 5 POST O O 5 POST O O 5 +15 O O 5 +15 U U U U 5 +15 +15 +15 5 5 0dB = 0dBu POST +15 U U U U U U U U U U POST +15 +15 +15 +15 +15 +15 +15 +15 POST POST POST POST +15 U POST O O POST +15 U O O U O O +15 O O +15 O O +15 O O +15 O O +15 +15 U GLOBAL AUX RETURN U U U U U 6 6 POST 1-2 3-4 6 POST O O 6 POST O O 6 POST O O 6 POST O O 6 POST O O 6 POST O O 6 POST O O 6 POST O O 6 POST O O 6 POST O O 6 POST O O 6 POST O O 6 POST O O 6 +15 +15 +15 +15 +15 6 6 6 6 O O 6 POST +15 O O POST +15 +15 +15 +15 +15 +15 +15 +15 POST POST POST POST POST +15 O O 6 +15 POST O O 6 +15 O O +15 SOLO SUB SOLO RUDE SOLO LIGHT POWER O O +15 O O +15 O O +15 O O +15 O O +15 AUX SEND MASTERS EQ 12k U STEREO AUX RETURNS EQ HI 12k U U EQ U U U U U U U U U U U U U U EQ 12k -15 U U U U U U U U U U U U U EQ HI 12k -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 12k 12k 12k 12k 12k 12k 12k 12k 12k 12k -15 U U EQ HI HI HI HI HI HI HI HI HI HI HI U EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ HI 12k U EQ HI 12k U EQ HI 12k U MODE HI 12k +15 HI 12k HI 12k HI 12k HI 12k HI TRACK +15 -15 U TRACK +15 -15 U TRACK +15 -15 U TRACK +15 -15 U -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 +15 O O +15 U U U U U LEVEL MID -15 +15 -15 +15 PRE FADER IN PLACE AFL MID -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 MID MID MID MID MID MID MID MID MID MID MID MID MID MID MID MID MID -15 +15 MID -15 +15 HI MID 3k -15 +15 HI MID 3k 1 · 5 600 600 600 U U 5 2 · 6 5 3 · 7 5 4 · 8 5 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 SOLO AUX SUB 600 1. 5k FREQ 150 150 150 150 150 150 150 150 150 150 1. 5k FREQ 1. 5k FREQ 1. 5k FREQ 1. 5k FREQ 1. 5k FREQ 1. 5k FREQ 1. 5k FREQ 1. 5k FREQ 1. 5k FREQ 1. 5k FREQ 150 600 600 600 600 600 600 600 600 600 600 600 600 600 600 600 600 1. 5k FREQ 150 150 1. 5k FREQ 150 1. 5k FREQ 150 1. 5k FREQ 150 1. 5k FREQ 150 1. 5k FREQ 150 1. 5k FREQ 150 1. 5k 150 1. 5k FREQ 800Hz LOW MID 100 U 800Hz LOW MID 8k 100 U 100 U U U U U U U U U U U 8k 100 8k 100 8k 100 8k 100 8k 100 8k 100 8k 100 8k 100 8k 100 8k 100 8k 100 8k 100 8k 100 8k 100 8k 100 8k 8k 100 U 8k 100 U 8k -15 U +15 -15 U +15 0 +10 0 +10 0 +10 0 +10 O O MAX U U U U U AIR LOW 80Hz AIR LOW 80Hz AIR LOW 80Hz AIR LOW 80Hz LEVEL LOW 80Hz MAIN MIX LOW 80Hz LOW 80Hz -15 LOW CUT 75 Hz 18dB/OCT LOW CUT 75 Hz 18dB/OCT LOW CUT 75 Hz 18dB/OCT LOW CUT 75 Hz 18dB/OCT LOW CUT 75 Hz 18dB/OCT LOW CUT 75 Hz 18dB/OCT LOW CUT 75 Hz 18dB/OCT LOW CUT 75 Hz 18dB/OCT LOW CUT 75 Hz 18dB/OCT +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz -15 LOW CUT 75 Hz 18dB/OCT +15 80Hz LOW 80Hz LOW 80Hz LOW 80Hz LOW 80Hz LOW LOW LOW LOW LOW LOW LOW LOW LOW LOW +15 LOW CUT 75 Hz 18dB/OCT LOW 80Hz -15 +15 LOW CUT 75 Hz 18dB/OCT -15 +15 LOW CUT 75 Hz 18dB/OCT -15 +15 LOW CUT 75 Hz 18dB/OCT -15 +15 LOW CUT 75 Hz 18dB/OCT -15 +15 -15 +15 16kHz 16kHz 16kHz 16kHz -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 SOLO SOLO SOLO SOLO AUX 1-2 LOW CUT 75 Hz 18dB/OCT LOW CUT 75 Hz 18dB/OCT LOW CUT 75 Hz 18dB/OCT LOW CUT 75 Hz 18dB/OCT LOW CUT 75 Hz 18dB/OCT TALKBACK OL OL OL OL OL OL OL OL OL OL OL OL OL OL OL OL OL OL OL OL OL OL L R -20 L R L R L R L R L R L R L R L R L R L R -20 L R -20 L R -20 L R -20 -20 -20 -20 -20 -20 -20 -20 -20 -20 L R -20 L R -20 L R -20 L R -20 L R -20 L R -20 L R -20 L R -20 L R L R L R L R TAPE RETURN TO PHONES / C R O O MAX SR24·4-VLZ PRO & SR32·4-VLZ PRO OWNER'S MANUAL PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN MUTE MUTE / SOLO dB dB dB dB dB dB dB dB 1 MUTE MUTE / SOLO MUTE / SOLO MUTE / SOLO MUTE / SOLO MUTE / SOLO MUTE / SOLO MUTE / SOLO MUTE 2 MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE 3 MUTE 4 MUTE 5 6 7 8 9 10 11 12 13 14 MUTE MUTE / SOLO dB 15 MUTE MUTE / SOLO dB 16 MUTE MUTE / SOLO dB 17 MUTE MUTE / SOLO dB 18 MUTE MUTE / SOLO dB 19 MUTE MUTE / SOLO dB 20 21 22 MUTE MUTE / SOLO dB 23 24 MUTE MUTE / SOLO dB L/R ASSIGN L/R ASSIGN L/R ASSIGN L/R ASSIGN PHONES / C-R LEVEL MAIN MIX SUB MUTE / SOLO dB MUTE / SOLO MUTE / SOLO MUTE / SOLO MUTE / SOLO MUTE / SOLO 1 10 SOLO 5 10 SOLO 5 10 SOLO 5 10 SOLO 5 10 SOLO 5 10 SOLO 5 10 SOLO 5 10 SOLO 5 10 SOLO 5 10 SUB 2 dB SUB 3 dB SUB 4 dB TAPE RETURN TO MAIN MIX LEFT/RIGHT dB dB dB dB dB dB dB 10 SOLO 5 1-2 U 5 3-4 10 L-R 20 30 40 50 60 O O O O O O O O O O SOLO 5 1-2 U 5 3-4 10 L-R 20 30 40 50 60 40 50 60 40 50 60 40 50 60 30 30 30 30 40 50 60 O O 10 10 SOLO 5 5 1-2 U 5 3-4 10 10 L-R 20 20 20 L-R L-R 10 L-R 20 10 L-R 3-4 3-4 5 5 3-4 10 20 30 40 50 60 O O SOLO 5 1-2 U 5 U U 1-2 1-2 5 5 10 SOLO SOLO SOLO SOLO SOLO SOLO 10 SOLO 10 SOLO 10 10 10 10 10 10 10 SOLO 10 5 1-2 U 5 3-4 10 L-R 20 30 40 50 60 O O 10 5 1-2 U 5 3-4 10 L-R 20 30 40 50 60 O O 10 5 1-2 U 5 3-4 10 L-R 20 30 40 50 60 O O 10 5 1-2 U 5 3-4 10 L-R 20 30 40 50 60 O O 5 1-2 U 5 3-4 5 5 5 5 5 5 1-2 U 5 3-4 10 L-R 20 30 40 50 60 O O U 1-2 U 1-2 U 1-2 U 1-2 U 1-2 U 1-2 U 5 3-4 10 L-R 20 30 40 50 60 O O 1-2 U 5 3-4 10 L-R 20 30 40 50 60 O O 1-2 U 5 3-4 10 L-R 20 30 40 50 60 O O 1-2 U 5 3-4 10 L-R 20 30 40 50 60 O O 1-2 U 5 3-4 10 L-R 20 30 40 50 60 O O U 5 10 20 30 40 50 60 O O U 5 10 20 30 40 50 60 O O U 5 10 20 30 40 50 60 O O U 5 10 20 30 40 50 60 O O 5 5 5 5 5 5 3-4 3-4 3-4 3-4 3-4 10 10 10 10 10 10 20 L-R 20 L-R 20 L-R 20 L-R 20 L-R 20 30 30 30 30 30 30 40 50 60 40 50 60 40 50 60 40 50 60 40 50 60 40 50 60 O O O O O O O O O O O O CAUTION AVIS 12. Damage Requiring Service -- This Mackie product should be serviced only by qualified service personnel when: A. Objects have fallen, or liquid has spilled into this Mackie product; or C. This Mackie product does not appear to operate normally or exhibits a marked change in performance; or E. [. . . ] Through the stereo channel's STEREO LINE IN (4) TRS inputs, there is 20dB of attenuation fully down and 20dB of gain fully up; with a "U" (unity gain) label at 12:00 (knob halfway up). POST O O 5 POST O O 5 +15 U +15 U 6 POST O O POST O O 6 +15 +15 U EQ 12k U EQ 12k 27. PRE Aux sends 1 & 2 are always pre-fader, designed for stage monitor applications. Aux sends 5 & 6 are always post-fader, designed for parallel effects applications. Aux sends 3 & 4, thanks to this switch, can be set to be pre- or post-fader, so they can be used for monitors or effects. PRE-FADER: With the PRE switch engaged (down), AUX 3 and 4 deliver signals post-insert, post-low cut, post EQ, post-mute, and pre-fader. Any changes made to the channel controls, except the fader, will affect the aux send signal. POST-FADER: With the PRE switch disengaged (up), AUX 3 and 4 deliver signals post-insert, post-low cut, post-mute, post-EQ and post-fader. Any changes made to the channel controls will affect the aux send signal. -15 U HI HI +15 -15 U +15 MID -15 +15 -15 U HI MID 3k +15 600 150 1. 5k FREQ 800Hz -15 U LOW MID 100 U 8k +15 LOW 80Hz -15 +15 -15 +15 LOW 80Hz LOW CUT 75 Hz 18dB/OCT OL OL L R -20 L R -20 PAN PAN MUTE MUTE / SOLO dB 20 21 22 MUTE MUTE / SOLO dB 10 5 U 5 SOLO 10 5 SOLO 1-2 U 5 1-2 3-4 10 20 30 40 50 60 O O 3-4 10 L-R 20 30 40 50 60 O O L-R 19 Mono channels IC UM Stereo channels U -10dBV GA IN TRIM TRIM EQ: (28 through 34) The mixer has low shelving, mid peaking and high shelving EQ. "Shelving" means that the circuitry boosts or cuts all frequencies past the specified frequency. For example, boosting the LOW EQ knob boosts bass frequencies at 80Hz and below. "Peaking" means that only a selected "hill" of frequencies surrounding a center "hilltop" frequency is affected by the EQ control. All EQ gain controls provide up to 15dB of boost (clockwise) or cut (counter-clockwise). They are flat (no boost or cut) at their center detents, effectively bypassing their circuits. With excessive amounts, the signal may become too hot and overload subsequent circuitry. Should this happen, either back off the EQ gain, or repeat the SET THE LEVELS on page 8. The following graphs show how the frequency response changes when the various controls are adjusted. (The graphs are simplified for entertainment and enlightenment purposes only). 31. LOW MID The stereo channels employ a 2-stage fixedfrequency midrange EQ: +15 +10 +5 20 -20 +20 U U 60 0 +15dB -45dB 21 22 AUX PRE O O AUX PRE 1 1 O O +15 U +15 U 0 ­5 ­10 ­15 20Hz 100Hz 1kHz 10kHz 20kHz LOW MID PRE O O 2 PRE O O 2 LOW MID is centered at 800Hz. +15 U +15 U 3 O O 3 O O +15 U +15 U +15 +10 +5 4 O O 4 O O 0 ­5 ­10 ­15 20Hz 100Hz 1kHz 10kHz 20kHz HI MID +15 +15 HI MID is centered at 3kHz U PRE U PRE POST O O 5 POST O O 5 +15 U +15 U 6 POST O O POST O O 6 +15 +15 Midrange EQ is often considered the most dynamic, because the frequencies that define any sound are almost always found in this range. U EQ 12k U EQ 12k HI HI 33. This frequency represents the punch in kick drums, bass guitar and fat synth patches. +15 +10 +5 -15 U +15 -15 U +15 MID -15 +15 -15 U HI MID 3k +15 600 150 1. 5k FREQ 800Hz -15 U LOW MID 100 U 8k +15 LOW 80Hz -15 +15 -15 +15 LOW 80Hz 28. Boost it to add sizzle and definition to sounds with high-frequency transients, such as cymbals. Reduce it to attenuate sibilance or to mask tape hiss. +15 +10 +5 0 ­5 ­10 ­15 20Hz 100Hz 1kHz 10kHz 20kHz LOW LOW CUT 75 Hz 18dB/OCT This graph shows various settings of the LOW control, with LOW CUT not engaged. OL OL 34. LOW CUT This switch (only on the mono channels) cuts the bass frequencies below 75Hz at a rate of 18dB per octave. To prevent muddy mixes, use low cut on every mono channel except those which carry kick drum, bass guitar or other bass-intensive sounds. [. . . ] If you bring your product to an Authorized Service Center and they can't find anything wrong with it, you may be charged a service fee. If the Authorized Mackie Service Center is located in another city, pack the product in its original shipping carton. More information on packing can be found in the Service section of this manual. Contact the Authorized Mackie Service Center to arrange service or bring the product to them. [. . . ]