SOUND REINFORCEMENT CONSOLES
same high headroom
and ultra-low noise
components and cir-
cuitry as our 8•Bus
series, with many of the
same features.
24 or 32 in, 4 x 2 x 1 out.
The SR Series mixers are
true 4-bus consoles. Any
channel can be assigned
to any bus (or directly to
the main mix), and each
bus can be assigned to
MORE INFORMATION
SR32•4/ SR24•4
ARCHITECTS’ AND
ENGINEERS’
SPECIFICATIONS
the main L/R or mono
“IN YOUR FACE”
mixes, or fed out directly to,
for instance, an 8-track re-
corder. The SR24•4 and 32•4
each have 6 aux sends,
ALL-PRODUCT BROCHURE
FEATURES
Fast, easy, accurate
level-setting via Solo
4 Submix Buses
3-band EQ with sweepable
mids, and Mackie’s unique
“AIR” EQ circuit.
At a price that belies their
durability and features, the
SR24•4 and 32•4 are easily
affordable workhorses that’ll
be as welcome as live mix-
ing consoles as they are in a
recording studio.
The SR24•4 and SR32•4
do for live sound what
Mackie’s already done for
studio recording. Like our
acclaimed 8•Bus series,
these professional grade
mixing consoles were built
to deliver the same kind of
useful features and pro
specifications as those found
on “bigger boards.” And to
stand up to continuous,
24-hr.-a-day use.
8•Bus-style mic preamps
with –129.5dBm
“Double-Bussed” sub
outs for 8-tk. recording
6 aux sends available
at all times
Globally-switchable
AFL/ PFL
3 Band EQ on mono chs.:
• 80Hz Lo Shelving
Durability. A word
Mackie lives by.
The SR Series of mixing
consoles can take just about
any kind of punishment.
They’re built like tanks. Be-
cause we knew they would
be moved around and used
as both live and recording
consoles, we made them to
stand up to continuous duty.
Not only can they take active
abuse — they’re as rugged as
anything Mackie makes —
the SR24•4 and 32•4’s
• Sweepable, 100Hz to
8kHz Mid
• 12kHz Hi Shelving
AIR EQ Circuit for Extra
Sheen
Very Low Impedance (VLZ)
circuitry for low noise
Trim Control on each
channel for wide gain
range
Balanced Inputs and
Outputs
Tape Return to Main Mix
Mono Out with level
control
Many of today’s large
hotels, convention centers,
theaters and places of wor-
ship require mixers that can
handle advanced sound
reinforcement. At the same
time, they need to be por-
table and compact enough
to move around, flexible
enough to work in a variety
of applications, and be easy
to use. Of course, they must
be affordable. The SR24•4 &
32•4 mixing consoles are all
that. And they feature the
insides are made to stand up
to more passive problems.
®
Download from Www.Somanuals.com. All Manuals Search And Download.
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TRIM
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U
U
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U
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LAMP
60
-40dB
10
60
10
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60
10
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60
10
60
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+10dB -40dB
+10dB -40dB
+10dB -40dB
+10dB -40dB
+10dB -40dB
+10dB -40dB
+10dB -40dB
+10dB -40dB
+10dB -40dB
+10dB -40dB
+10dB -40dB
-20
+20
-20
+20
U
U
U
U
AUX
1
U
AUX
1
U
AUX
1
U
AUX
1
U
AUX
1
U
AUX
1
U
AUX
1
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AUX
1
U
AUX
1
U
AUX
1
U
AUX
1
U
AUX
1
U
AUX
1
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AUX
1
U
U
U
CL
I
P
28
10
7
1
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4
1
2
3
4
1
2
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
SOL
O
+15
+15
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+15
O
O
+15
+15
+15
+15
O
O
+15
+15
+15
+15
O
O
+15
+15
+15
+15
O
O
+15
+15
+15
+15
O
O
+15
+15
+15
+15
O
O
+15
+15
+15
+15
O
O
+15
+15
+15
+15
O
O
+15
+15
+15
+15
O
O
+15
+15
+15
+15
O
O
+15
+15
+15
+15
O
O
+15
+15
+15
+15
O
O
+15
+15
+15
+15
O
O
+15
+15
+15
+15
O
O
+15
+15
+15
+15
+15
+15
O
O
+20
+20
+20
+20
O
O
+15
+15
U
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4
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PR
E
PR
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PR
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PR
E
PR
E
PR
E
PR
E
PR
E
PR
E
PR
E
PR
E
PR
E
PR
E
PR
E
2
SOLO
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
O
O
0
U
U
U
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U
U
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U
U
U
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TO AUX
SEND
2
3
3
3
3
3
3
3
3
3
3
3
3
3
3
-
1
2
4
(
EFX TO MONITOR
)
SOLO
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
7
U
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U
U
U
10
20
30
40
4
4
4
4
4
4
4
4
4
4
4
4
4
4
SOLO
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
O
O
+20
TAPE
RETURN
U
U
PRE
U
U
PRE
U
U
PRE
U
U
PRE
U
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PRE
U
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PRE
U
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PRE
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PRE
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PRE
U
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PRE
U
U
PRE
U
U
PRE
U
U
PRE
U
U
PRE
5
6
L
EVEL SET
L
EFT
OPERAT
0dB 0dBu
RIGHT
NG LEVEL
SOLO
ASSIGN
TO SUB
I
=
O
O
5
5
5
5
5
5
5
5
5
5
5
5
5
5
GLOBAL
AUX
RETUR
N
+15
+15
O
O
+15
+15
O
O
+15
+15
O
O
+15
+15
O
O
+15
+15
O
O
+15
+15
O
O
+15
+15
O
O
+15
+15
O
O
+15
+15
O
O
+15
+15
O
O
+15
+15
O
O
+15
+15
O
O
+15
+15
O
O
+15
+15
-
2
4
1
3
-
SOLO
SUB
SOL
O
O
O
R
UDE
SOL
GHT
POWER
6
6
6
6
6
6
6
6
6
6
6
6
6
6
O
L
I
AUX SEND
MASTERS
STEREO
AUX RETURNS
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
EQ
U
EQ
U
EQ
U
EQ
U
EQ
U
EQ
U
EQ
U
EQ
U
EQ
U
EQ
U
EQ
U
EQ
U
U
U
U
EQ
U
U
U
U
EQ
U
U
U
MODE
HI
HI
HI
HI
HI
HI
HI
HI
HI
HI
HI
HI
HI
HI
TRACK
TRACK
TRACK
TRACK
12k
12k
12k
12k
12k
12k
12k
12k
12k
12k
12k
12k
12k
12k
1
•
5
2
•
6
3
•
7
4
•
8
+15
+15
-15
+15
+15
-15
+15
+15
-15
+15
+15
-15
+15
+15
-15
+15
+15
-15
+15
+15
-15
+15
+15
-15
+15
+15
-15
+15
+15
-15
+15
+15
-15
+15
+15
-15
+15
+15
+15
+15
-15
+15
+15
+15
+15
O
O
+15
PR
E
FADER
U
U
U
U
U
U
U
U
U
U
U
LEVEL
IN
PLACE AFL
HI
HI
MID
MID
MID
MID
MID
MID
MID
MID
MID
MID
MID
MID
MI
D
MI
D
3k
3k
SOLO
AUX SUB
MAIN MIX
-15
100
-15
-15
100
-15
-15
100
-15
-15
100
-15
-15
100
-15
-15
100
-15
-15
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-15
-15
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-15
-15
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-15
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-15
-15
100
-15
-15
-15
-15
-15
-15
-15
5
5
5
5
L
OW
MI
800Hz
L
OW
MI
800Hz
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
D
D
8kHz
8kHz
8kHz
8kHz
8kHz
8kHz
8kHz
8kHz
8kHz
8kHz
8kHz
8kHz
0
+10
AIR
0
+10
AIR
0
+10
AIR
0
+10
AIR
O
O
MAX
U
U
U
U
U
U
U
U
U
U
U
U
L
EVEL
L
OW
L
OW
L
OW
L
OW
L
OW
L
OW
L
OW
L
OW
L
OW
L
OW
L
OW
L
OW
L
OW
L
OW
80Hz
80Hz
80Hz
80Hz
80Hz
80Hz
80Hz
80Hz
80Hz
80Hz
80Hz
80Hz
80Hz
80Hz
16kHz
SOL
16kHz
SOL
16kHz
SOL
16kHz
SOL
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
O
O
O
O
-
2
AUX 1
CUT
Hz
/OCT
L
OW CUT
L
OW CUT
L
OW CUT
L
OW CUT
L
OW CUT
L
OW CUT
L
OW CUT
L
OW CUT
L
OW CUT
L
OW CUT
L
OW CUT
75 Hz
75 Hz
75 Hz
75 Hz
75 Hz
75 Hz
75 Hz
75 Hz
75 Hz
75 Hz
75 Hz
18dB/OCT
18dB/OCT
18dB/OCT
18dB/OCT
18dB/OCT
18dB/OCT
18dB/OCT
18dB/OCT
18dB/OCT
18dB/OCT
18dB/OCT
TALKBACK
TAPE RETURN
OL
OL
OL
OL
OL
OL
OL
OL
OL
OL
OL
OL
OL
OL
O O
MAX
-20
-20
-20
-20
-20
-20
-20
-20
-20
-20
-20
-20
-20
-20
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
TO PHONES
/
C
R
-
R
AN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PHONES
/
C
L
EVEL
L/
R
ASSIGN
L/
R
ASSIGN
L/
R
ASSIGN
L/
R
ASSIGN
9
10
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14
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21 22
MUTE
23 24
MUTE
UTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MAIN MIX
TAPE RETURN EFT/RIGHT
TO MAIN MIX
SUB
2
SUB
3
SUB
4
S1UB
L
MUTE
/
SOLO
/
SOLO
/
SOLO
/
SOLO
/
SOLO
/
SOLO
/
SOLO
/
SOLO
/
SOLO
/
SOLO
/
SOLO
/
SOLO
MUTE
/
SOLO
MUTE
/
SOLO
dB
dB
dB
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
10
10
10
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
5
5
5
5
U
5
5
U
5
5
U
5
5
U
5
5
U
5
5
U
5
5
U
5
5
U
5
5
U
5
5
U
5
5
U
5
5
U
5
5
U
5
5
U
5
5
U
5
-
-
-
-
-
-
-
-
-
-
-
-
-
-
2
1
3
2
1
3
2
1
3
2
1
3
2
1
3
2
1
3
2
1
3
2
1
3
2
1
3
2
1
3
2
1
3
2
1
3
2
1
3
2
1
3
U
5
U
5
U
5
-
4
-
4
-
4
-
4
-
4
-
4
-
4
-
4
-
4
-
4
-
4
-
4
-
4
-
4
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
-
-
-
-
-
-
-
-
-
-
-
-
-
-
L R
L
R
20
30
L
R
20
30
L
R
20
30
L
R
20
30
L
R
20
30
L
R
20
30
L
R
20
30
L
R
20
30
L
R
20
30
L
R
20
30
L
R
20
30
L
R
20
30
L
R
20
30
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30
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60
40
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60
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40
50
40
50
60
40
50
40
50
60
40
50
60
60
60
60
60
60
60
60
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 O
O
U
TRIM
TRIM
TRIM
21
22
TRIM
23
24
19
20
U
LAMP
10
60
-20
+20
-20
+20
+10dB -40dB
AUX
AUX
AUX
AUX
U
U
U
U
U
U
CLIP
28
1
1
1
1
1
2
3
4
5
6
1
2
3
4
1
2
PRE
PRE
PRE
PRE
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
10
7
O O +15
U
O O +15
U
O O +15
U
O O +15
U
O O +20
U
O O +15
U
The SR Series: The most
affordable, full-featured
VLZ – Very Low Impedance
circuitry for low noise
4
2
2
2
2
PRE
PRE
PRE
PRE
2
O O +15
U
O O +15
U
O O +15
U
O O +15
U
O O +20
U
O O +15
0
mixing consoles available.
TO AUX
SEND
High headroom, low-noise mic
2
3
3
4
3
4
3
4
-
1
2
4
(EFX TO MONITOR)
As you can see, there is
every reason that the
O O +15
U
O O +15
U
O O +15
U
O O +15
U
O O +20
U
preamps (–129.5dBm E.I.N.)
7
U
10
20
30
40
3-Band EQ with Sweepable
Mids: 80Hz, 100Hz–8kHz
swept mid, 12kHz (Mids fixed
at 800Hz & 3kHz for 4-band
EQ on stereo channels)
60mm log-taper faders
with lip seal and long-
wearing
O O +15
U
O O +15
U
O O +15
U
O O +15
U
O O +20
O O +20
SR24•4 and 32•4 are fast
becoming the premier,
affordable 4-bus mixing
consoles. With their proven
durability, professional
features and specs, and
certainly not least, the low
cost — the SR Series is des-
tined to be a classic. There
are no other mixing con-
soles in their class, with all
these features, at such an
affordable price.
And that’s why people
from all professions, with
all kinds of different appli-
cations, prefer Mackie’s SR
Series. You’ll like them
because of the SR24•4 and
32•4’s low price, easy-to-
use features, and rugged
construction. That’s got to
sound good. And of
TAPE
RETURN
E
PRE
5
PRE
5
PRE
5
LEVEL SET
LEFT
RIGHT
ASSIGN
TO SUB
OPERATING LEVEL
0dB = 0dBu
O O +15
U
GLOBAL
AUX RETURN
O O +15
U
O O +15
U
O O +15
U
-
1
3
2
4
-
SUB
SOLO
O O +15
RUDE
SOLO
LIGHT
POWER
6
6
6
AUX SEND
MASTERS
STEREO
O O +15
U
O O +15
U
O O +15
U
AUX RETURNS
EQ
EQ
EQ
EQ
U
HI
HI
HI
HI
TRACK
TRACK
TRACK
TRACK
2k
12k
12k
12k
1
•
5
2
•
6
3
•
7
4
•
8
-15
-15
100
-15
+15
+15
-15
+15
+15
+15
+15
-15
+15
+15
+15
+15
O O +15
LEVEL
PRE FADER
IN PLACE AFL
U
U
U
U
U
U
U
HI
MID
3k
HI
MID
3k
MID
MID
SOLO
AUX SUB
MAIN MIX
-15
-15
-15
-15
-15
contact material
“AIR” high frequency EQ
circuit on sub tracks 1-8
5
5
5
5
LOW
MID
LOW
MID
REQ
FREQ
800Hz
800Hz
8kHz
0
+10
AIR
0
+10
AIR
0
+10
AIR
0
+10
AIR
O O MAX
LEVEL
U
LOW
80Hz
LOW
80Hz
LOW
80Hz
16kHz
SOLO
16kHz
SOLO
16kHz
SOLO
16kHz
SOLO
+15
-
2
AUX 1
LOW CUT
75 Hz
6 aux sends
18dB/OCT
TALKBACK
TAPE RETURN
OL
-20
OL
-20
OL
-20
OL
-20
6 aux returns, 2 switchable
pre- or post-fader (2 fixed
pre- and 2 fixed post-fader)
4 submix buses
Phones/Control Room level
control for 2-track monitoring
O O MAX
L
R
L
R
L
R
L
R
L
R
L
R
L
R
TO PHONES /
C
R
-
R
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PHONES /
LEVEL
C
L/R ASSIGN
L/R ASSIGN
L/R ASSIGN
L/R ASSIGN
20
21 22
23 24
MUTE
MUTE
MUTE
MAIN MIX
SUB
SUB
SUB
SUB
TAPE RETURN
TO MAIN MIX
LEFT/RIGHT
MUTE / SOLO
MUTE / SOLO
MUTE / SOLO
1
2
3
4
dB
10
dB
dB
dB
10
dB
10
dB
10
dB
dB
10
10
10
10
LO
SOLO
SOLO
SOLO
5
U
5
5
5
5
U
5
5
U
5
5
U
5
5
U
5
-
-
-
-
2
1
3
2
1
3
2
1
3
2
1
3
U
5
U
5
U
5
PFL/AFL Solo (globally
switchable)
-
4
-
4
-
4
-
4
10
10
10
10
10
10
10
10
-
-
-
-
L R
L R
L R
L R
20
30
20
30
20
30
20
30
20
30
20
30
20
30
20
30
Constant-loudness pan pots
40
50
60
40
50
60
40
50
60
40
50
40
50
40
50
40
50
60
40
50
“Double-bussed” sub outs for
8-track recording
60
60
60
O
O
O O
O O
O
O
O
course, Mackie does.
Balanced inputs & outputs
(except RCAs & channel inserts)
Trim control on each chan-
nel for wide gain range
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protection from RF interfer-
ence. (As you well know,
many installations suffer
from such problems.)
Metal lockwashers make
electrical contact between
the jack and outer chassis,
and an internal shunting
capacitor is placed from
each input to ground. This
The SR Series consoles
have built-in power sup-
plies (instead of a “wall
wart,” which takes up pre-
cious outlet spaces and can
get lost or damaged), so
you’re sure to have plenty
of power. We could go on
and on, but suffice to say
that people who have
®
The main chassis of the
SR24•4 and SR32•4 mixing
consoles is made of solid steel
monocoque construction.
Because the steel doesn’t flex,
the console itself is quite
sturdy. And at the same time,
the SR Series consoles don’t
weigh a ton, either.
routes RF back through the hauled their SR24•4s and
metal chassis, where it is
dissipated before it can
propagate via the SR24•4
or 32•4’s circuit boards.
32•4s all over the country
will attest to their durability.
They’ll hold up to years of
use with nary a problem.
Controls are designed to
withstand serious downward
impact. From a fistpounding to
a heavy box dropping, the
SR Series’ knobs can take it.
We also use sealed controls
rather than open-frame
potentiometers that eventually
deteriorate from airborne
contamination. Switches are
ultra-high duty-cycle. And
inside, impact-resistant,
ASSIGN
SWITCHES
•
INSERT
-20 dB LED
PHANTOM POWER
(GLOBAL SWITCH)
O/L LED
Vp
•
•
MACKIE
MIC PREAMP
•
•
•
•
1-2
EQ
MUTE
2
PAN
•
LO MID HI
1
+
-
75Hz
HPF
•
•
100-
•
MIC
IN
•
•
•
•
•
•
•
80
8k
12k
FADER
3
•
LO CUT
TRIM: MIC GAIN-
3-4
L-R
•
•
+10 t o +60 dB
LINE GAIN-
-10 t o +40 dB
•
•
•
LINE
IN
•
GAIN
FREQ
•
•
GAIN
FREQ
•
•
•
BOLD LINES INDICATE
SIGNAL PATH FROM MIC
INPUT TO LEFT MAIN OUTPUT.
•
AUX 1
AUX 2
•
•
SOLO IN
PLACE
•
MUTE LED
(STEADY)
SOLO LED
double-thru-hole-plated fiber-
glass circuit boards, brass
standoffs, and gold-plated
interconnects abound.
MONO
INPUT
CHANNEL
PFL
PRE
(FLASHING)
AUX 3
•
•
•
LOGIC
•
AUX 4
AUX 5
AUX 6
SR 24•4 (1 of 20)
SR32•4 (1 of 32)
•
The SR24•4 and 32•4’s
60mm faders are made with
the same precision log taper
as those on our 8•Bus con-
soles. Besides giving smooth,
consistent fades, these faders
were built to last. They have a
newly-developed, ultra-tight
lip seal made of a special
co-polymer membrane that
provides a continuously-
•
LO LO- HI- HI
MID MID
+
-
LEFT
(MONO)
1-2
•
•
•
•
•
•
80 800
3k 12k
•
PAN
FADER
•
•
•
•
•
O/L
LED
•
3-4
L-R
•
TRIM
MUTE
•
•
-20dB
LED
•
•
•
•
•
•
+
-
•
•
RIGHT
LO LO- HI- HI
MID MID
•
80 800
3k 12k
SOLO IN
PLACE
LINE GAIN-
-20 TO +20dB
sealed barrier against dust
and liquid, yet doesn’t
interfere with fader travel.
MUTE LED
(STEADY)
SOLO LED
(FLASHING
•
PFL
•
•
LOGIC
There’s more. 1/4” jack
sleeves are metal, not
plastic. That’s part of the
reason why the SR24•4 and
32•4 have such exceptional
AUX 1
AUX 2
•
•
PRE
•
STEREO
INPUT
CHANNEL
(1 OF 2)
AUX 3
AUX 4
AUX 5
AUX 6
•
EXIT 27B
LEVEL
•
STOPLIGHT
•
••
••
•
316 GLENDALE
(KNOCK FIRST)
•
•
•
•
TALKBACK
XLR INPUT
TB TO AUX 1-2
•
•
•
•
MACKIE SR24•4/SR32•4
BLOCK DIAGRAM Rev. 1.5 5/11/95
•
TB TO L-R MIX
•
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Pro features even
amateurs can
understand.
Mackie’s SR Series was
designed with professionals
— and amateurs — in mind.
That’s why they feature 4
submix buses — “double-
bussed” for 8-track recording,
6 aux sends on each input
channel, VLZ® Very Low
Impedance design, Mackie’s
brand new “AIR” EQ circuit,
high-headroom mic preamps,
constant-power pan pots, 4
aux returns, and more.
The SR Series mixing con-
soles are great for live music
festivals, theatrical revues, or
any event with lots of per-
formers. The SR24•4 has 24
inputs and the SR32•4 has
32 (the last two channel
strips on each are stereo, for
playback of tape decks or
CD players). With 20 and 28
mic preamps, respectively,
the SR Series consoles are
big enough to handle major-
sized acts or performances.
“Most significant [about
the SR Series] is the large
degree of flexibility while
retaining ease of use. Typi-
cally these two factors are at
odds — the more something
does, the harder it is to make
it do what you want. Not so
with the SR24•4. Things are
laid out very logically, mak-
ing operation very intuitive.”
— J.H., Kathleen, GA
GAIN
FADER
SUB
OUT
1
LEFT
OUT
•
•
AIR
16kHz
∑
INSERT
•
L
SUB
OUT
5
•
•
SUB OUT 1 (1 OF 4)
TAPE OUT
•
•
•
SOLO
PFL
ASSIGN
TO L-R
R
•
•
•
•
•
RIGHT
OUT
LOGIC
•
•
MONO
LEVEL
PAN
•
•
•
2
•
•
1
MONO
TAPE TO L-R
XLR
•
•
∑
3
OUT
L MIX
R MIX
INSERTS
FADER
2
1
1
LEFT
XLR
6 aux sends make the
SR24•4 and 32•4 very
3
OUT
•
•
•
∑
2
adaptable to systems with
many effects. Pre-fader
auxes are great for monitor
sends — which you need
more of for live mixing. Post-
fader aux sends are for
RIGHT
XLR
OUT
3
•
•
SOLO RELAY
MONITOR LEVEL
•
TAPE IN
•
•
∑
•
•
•
•
L
•
•
CONTROL
ROOM OUT
•
∑
•
•
TAPE TO
MONITOR
•
•
R
LEVEL
RUDE SOLO LED
•
•
•
effects, which you usually
want more of during studio
tracking and mixdown.
PFL/SIP
L
•
∑
•
•
•
PHONES
OUTPUTS
SOLO
LEVEL
PHONES
AMPS
∑
∑
•
RELAY
You get both with the
SR Series. Aux Sends 1 & 2
are pre-fader, Aux Sends 3 &
4 can be used either pre- or
post-fader, and Aux Sends
5 & 6 are post-fader. For live
mixing, you can have four
pre-fader auxes (Aux Sends
1-4), and therefore four dif-
ferent monitor mixes, as well
as two post-fader auxes for
effects. For studio recording,
you can have four post-fader
auxes (Aux Sends 3-6), for
use with all the effects pro-
cessors in your rack, plus
two pre-fader auxes for
R
•
•
∑
•
•
+22
+10
+7
+4
+2
0
-2
-4
-7
-10
-20
-30
-40
•
AUX SEND 1 (2)
∑
•
•
•
•
•
•
•
•
+
-
L
R
•
•
•
•
•
•
•
SOLO
+
-
LEVEL
LEVEL
LEVEL
•
•
•
AUX RET 1 (2) IN
•
•
•
METERS
ØdBu=Ø VU
•
•
•
+
-
L
R
∑
∑
• •
• •
•
•
•
+
-
LEVEL
AUX RET 3 IN
∑
•
•
•
•
•
+
-
SOLO
L
R
AUX 1
+
-
OUTPUT
1-2
3-4
•
•
L-R/SUBS
AUX RET 4 IN
•
AUX
SEND
•
•
(1 OF 6)
•
•
SOLO LED
headphone mixes.
•
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SPECIFICATIONS
DIMENSIONS
• SR24•4: H*xWxD:
5.65”x31”x19.2”
(143.5x787.4x487.7mm),
Weight: 31 lbs.
• 6 Aux Send Solo switches
CONFIGURATIONS
• SR24•4: 24x4x2x1, 20 mono
channels with mic preamps
and line inputs, 2 stereo chan-
nels with line inputs only
• Master Solo LED (“Rude Solo
Light”)
• 13-segment LED metering
• SOLO section: Level control
with 15dB max. gain, AFL
(SIP)/ PFL switch, Aux & Sub
Solo LED indicators
• SR32•4: H*xWxD:
5.75”x39.25”x19”
(146x997x483mm),
Weight: 40.7 lbs
• SR32•4: 32x4x2x1, 28 mono
channels with mic preamps
and line inputs, 2 stereo chan-
nels with line inputs only
• TALKBACK section: Level control,
Main Mix & Aux 1–2 assign
switches, Talkback LED indicator,
balanced dynamic mic XLR input
on rear panel
* Maximum height at rear panel
CHANNEL STRIP
• Trim control: 10dB attenuation to
40dB gain, line inputs; 10-60dB
gain mic inputs
18.90"
2.80"
5.60"
2.80"
• Tape return level control, Tape
Return To Master switch
• 6 mono aux sends: 1 & 2 pre-
fader, 3 & 4 switchable pre/post,
5 & 6 post-fader
1.30"
1.80"
0.50"
• Phones/Control Room level
control
19.20"
• Hi shelving EQ: 12kHz, ±15dB
• Submix buses: AIR HF peak-
ing EQ, Pan control, L/R assign
• Midrange EQ (mono channels):
100Hz-8kHz swept peaking
mid, ±15dB
• Midrange EQ (stereo channels):
3k fixed Hi mid, 800Hz fixed Lo
mid, ±15dB
• Lo shelving EQ: 80Hz, ±15dB
• Lo cut filter: 75Hz cut-off, 18dB/
octave (mono channels only)
REAR PANEL
• All inputs and outputs
balanced/ unbalanced (except
channel inserts & RCA jacks)
31.00"
• INSERTS: all mono channels,
submix buses, main L/ R mix
• INPUTS: balanced mono line &
mic (mono channels)/balanced
stereo line (stereo channels),
balanced stereo aux returns,
RCA-type stereo tape returns,
XLR talkback mic
• Constant loudness Pan (mono
channels), Balance (stereo
channels)
• –20dB Signal Present LED, Over-
load LED, Mute/Solo LED
SR24•4
• OUTPUTS: 1/4” TRS Main L/R,
XLR Main L/R, XLR Mono Main
with output level control, stereo
Control Room, Headphones (2),
Submix (double-
• Solo (AFL/ PFL switchable via
master section)
• 1–2 & 3–4 Submix Assign and
L/ R Main Mix Assign switches
39.25"
bussed for easy use
with 8-track
• 60mm logarithmic-taper faders
recorders), mono
Aux Sends, RCA-
type stereo Tape
Send
MASTER SECTION
• 6 aux send masters with individual
Solo switches, 10dB max. gain
• 4 stereo aux returns, 20dB max.
gain. Aux 4 assignable to Subs
1–2 or 3–4
• Global phantom
power switching
(48V)
• Aux Return 1 & 2 foldback to Aux
Send 1 & 2, respectively (EFX TO
MONITOR), 15dB max. gain
• Global Aux Return Solo switch
SR32•4
Mackie Designs Inc. is engaged in a continuous program of prod-
uct evaluation and improvement and reserves the right to change
product specifications at any time without notice.
®
©1996-1998 Mackie Designs Inc. All rights reserved. Rev. 2/ 98
“Mackie.,” VLZ, and the “Running Man” figure are registered
trademarks of Mackie Designs Inc.
MACKIE DESIGNS INC.
16220 Wood-Red Road NE • Woodinville, WA 98072 USA
Toll-Free 800/ 258-6883 • FAX 425/487-4337
Outside the U.S., Phone 206/487-4333 • FAX 425/485-1152
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