User manual MACKIE SR24-4-VLZ PRO DATASHEET

[. . . ] The stereo channels (21-24) provide ±15 dB of boost and cut at the following frequencies: 12 kHz shelving high-frequency EQ, 3 kHz peaking high-mid frequency EQ, 800 Hz peaking low-mid frequency EQ, and 80 Hz shelving low-frequency EQ. (continued on page 2) Features Low noise/high headroom XDRTM (Extended Dynamic Range) mic preamps with excellent RFI rejection New high-performance 2068 op-amps for incredibly low noise and distortion Improved cooling for even greater thermal protection 20 mic/line mono, and 2 stereo line channels True 4-bus design Solo, pan, and 16 kHz Air EQ on each submaster 6 individual aux sends per channel (2 pre, 2 post, 2 switchable pre/post) 3-band swept midrange EQ on mic channels; 4-band fixed on stereo line channels 75 Hz low-cut filters on mic channels Mute, solo, signal present and OL LEDs on every channel 6 aux send masters with individual solos 4 stereo aux returns with EFX monitor Separate Talkback section with mic preamp Double-bused sub outs for easy multi-track routing Balanced stereo TRS & XLR main outputs Balanced XLR mono output with level control R E LA TE D PR O D U C TS SR32·4-VLZ PRO Applications Live sound mixing Multi-track recording 1 OF 8 PAGES SR24·4-VLZ PRO MIXER SR24·4-VLZ PROTM MIXER SR24·4-VLZ PRO Specifications Noise (20 Hz to 20 kHz bandwidth, Line inputs to Main L/R outputs, all channels assigned, panned L/R): Master fader down, Ch. gains @ unity ­83. 5 dBu Total Harmonic Distortion (1 kHz @ +14 dBu, 20 Hz-20 kHz): Mic input insert output Other outputs 24-Channel Sound Reinforcement Console (continued from page 1) SR24·4-VLZ PRO Channels can be assigned to buses 1-2, 3-4, and Main Mix L/R, and the 4 subs can be assigned to Left and Right Main Mix. Furthermore, each bus is "double-bused, " providing eight outputs that can be connected to an 8-track recorder without repatching. Furthermore, Mackie's unique "AIR" EQ circuit is included on each of the four subgroups. [. . . ] The stereo input channels shall be capable of accepting either stereo or monaural line-level signals, and shall be fitted with stereo trim, equalization, balance, and auxiliary send controls; solo, mute and bus assign switches; and level indicating LEDs. The submix outputs shall each have level, pan, and "air" controls; solo and assign switches; and a bus access insert jack. The main outputs shall share a stereo master output fader and shall be fitted with insert jacks. Additionally, the mixer shall include a pre-fader/post fader solo function, a main monaural output with level control derived from the main stereo outputs, 6 monitor/effects send outputs, 4 stereo effects return inputs with switching and control functions, 1 stereo control room monitor output, 2 stereo headphone outputs, 1 set of stereo tape recorder convenience outputs, and 1 set of stereo tape monitor inputs. All necessary operating voltages for the mixer shall be provided by an internal power supply. Each monaural channel (1-20) shall include an XDRTM (Extended Dynamic Range) electronically balanced microphone input, using an XLR-3-F-type connector, accepting nominal levels from ­60 dBu to +4 dBu via a rotary Trim control. Each monaural input channel shall also have an electronically balanced line level input, accommodating a nominal line level of between ­10 dBV and +4 dBu, and appearing on the rear panel as a 1/4" TRS phone jack. Each stereo input channel shall have left and right electronically balanced line level input, accommodating a nominal line level of between ­10 dBV and +4 dBu, and appearing on the rear panel as 1/4" TRS phone jacks. These jacks shall be fitted with internal switching contacts to accommodate monaural configuration. Additionally, each of the monaural input channels (1-20) shall offer an unbalanced insert connection, appearing on the rear panel as a 1/4" TRS phone jack. Each monaural input channel shall be equipped with a preamplifier gain control, a solo switch, a mute switch, three bus assignment switches, and a stereo pan control. Each stereo input channel shall be equipped with a dual preamplifier gain control, a solo switch, a mute switch, three bus assignment switches and a stereo balance control. Each monaural input channel shall be equipped with an equalization function. The equalizer shall have three sections: a lowfrequency shelving equalizer with the knee set at 80 Hz and a range of +15 dB; a mid-frequency peaking equalizer with a center frequency sweepable from a range of 100 Hz to 8 kHz, and a range of +15 dB; and a high-frequency shelving equalizer with the knee set at 12 kHz and a range of +15 dB. Each stereo input channel shall be equipped with a stereo equalization function. The equalizer shall have four sections: a low-frequency shelving equalizer with the knee set at 80 Hz and a range of +15 dB; a low-mid-frequency peaking equalizer centered at 800 Hz and a range of +15 dB; a high-mid-frequency peaking equalizer centered at 3. 5 kHz and a range of +15 dB; and a high frequency shelving equalizer with the knee set at 12 kHz and a range of +15 dB. Each mixer input channel shall have 6 monaural auxiliary send controls. Two auxiliary send controls shall be fixed as prefader sends; two shall be fixed as post-fader sends; and two shall be switchable between pre-fader and post-fader. The mixer shall have electronically balanced, line-level left and right main outputs, appearing on male XLR-3 type connectors and impedance balanced on 1/4" phone TRS jacks on the rear panel. Additionally, the main buses shall offer left and right unbalanced insert connections, appearing on the rear panel as 1/4" phone TRS jacks. Further, there shall be a main, electronically balanced, monaural output derived from the main stereo output, appearing as a male XLR-3 type connector on the rear panel. There shall be an output level control to adjust the main monaural output level. [. . . ] The SR24·4-VLZ PRO's dimensions shall be 6. 1" (155mm) high by 31" (787mm) wide by 19. 2" (487mm) deep. In addition to specifications previously cited, the mixer shall meet or exceed the following specifications. Frequency response, microphone input to any output, 20 kHz to 60 kHz, +0 dB/ ­1 dB; Total Harmonic Distortion (THD), any input to any output, 1 kHz @ +14dBu, 0. 004%; Equivalent Input Noise (EIN), microphone input to insert send, ­129. 5 dBm; Common Mode Rejection (CMR), microphone input to insert send, maximum gain, 1 kHz, better than 90 dB; Typical Main Output noise, all channels assigned, odd channels panned left, even channels panned right, all faders down ­94. 7 dBu; Signal to Noise ratio, ref +4 dBu operating level, 90 dB; Attenuation, ref. 0 dB @ 1 kHz, Main Mix level control down, ­85 dBu; Channel Mute engaged, ­84 dBu; Channel Gain control down, ­83 dBu; Input impedance, microphone inputs, 1. 5 k; Channel Insert return, 2. 5 k; all other inputs, greater than 10 k; Output impedance, Tape Out, 1. 1 k; All other outputs, 120. [. . . ]