Mackie SR244 / SR324 Contractor's Specs - Page 2

Monitor mixes with effects can be created by folding back Aux Returns 1 & 2 into Aux Sends 1 & 2, respectively. This is great for shy vocalists who "need" a little reverb on their voice. EQ's no problem on the SR24•4 and SR32•4. They have three bands on their mono channels, with 80Hz Lo shelving, sweepable 100Hz to 8kHz mids, and 12kHz Hi shelving EQ. (On the stereo channels mid EQ is fixed at 3k and 800Hz.) A low cut filter with 18dB/octave roll-off at 75Hz severely lessens room rumble, wind noise and mic thumps. It allows Lo EQ to be used safely on vocals because the audible bass range is boosted but the unwanted frequencies below 75Hz get cut off. No more using Mid EQ for low frequency tasks. Another Mackie breakthrough is an EQ circuit we call "AIR." It works on the top end of the mix (via the submix buses), adding clarity to the higher frequencies without affecting the lower treble octaves. The result is positively brilliant, giving a little atmosphere to the vocals, making old guitar strings sound new, and generally breathing life into the whole mix. The SR Series have amazingly high headroom. Like the 8•Bus and the CR-1604 before them, their bus and main mix amplifiers use Mackie's distinctive negative gain mix amplifier architecture, for up to twice as much extra headroom. Since the mix amp is where all the signals come together, we built ours to deal with lots of hot signals and still supply astonishing headroom and low noise. VLZ - Very Low Impedance - is another reason that the SR24•4 and 32•4 are such low-noise marvels. VLZ architecture means minuscule noise levels in both live and recording situations. Thermal noise is created in every bit of circuitry inside a console; Mackie's VLZ design reduces thermal noise by making internal console impedances as low as possible, in as many places as possible. In the live arena, the sound in the mains will be as quiet as a church mouse (when there's no other sound coming through). And in recording, VLZ's low noise will garner pristine tracks on analog tape, digital tape, hard disk - whatever the medium, the SR Series consoles are incredibly quiet. Recording flexibility. Because the SR Series' buses are "double-bussed," outputs to an 8-track recorder (like ADAT or DA-88) are a snap and can be achieved without repatching. Plus, the Phones/Control Room switch and level control is connected to two stereo phone outputs and the Control Room output, letting you route the stereo Tape Return to Phones/ Control Room for 2-track recording and monitoring. With the Tape Return feature, a stereo tape deck can be monitored, whether it's being used to record a live event, or for music playback. Tape Return to Phones/C-R routes the tape playback signal into the monitor system and meters, and the Tape Return knob adjusts the level of the tape playback. The playback signal from the tape deck can be listened to via headphones and levels can be checked via the SR24•4 or 32•4's meters. Of course, the SR24•4 and 32•4 have RCAstyle Tape Outs for output to conventional cassette decks, as well as 1/4" balanced outs. They also have XLR outs for use with DAT recorders and other pro equipment. Tape signals can also be assigned directly to the Main Mix, replacing its usual signals, making it ideal for playing "canned" music between events. VLZ VERY LOW IMPEDANCE DESIGN OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO MIC GA-1IN0 U TRIM MIC GA-1IN0 1 U TRIM MIC GA-1IN0 2 U TRIM MIC GA-1IN0 3 U TRIM MIC GA-1IN0 4 U TRIM MIC GA-1IN0 5 U TRIM MIC GA-1IN0 6 U TRIM MIC GA-1IN0 7 U TRIM MIC G 8 U 10 60 +10dB -40dB U AUX 10 60 +10dB -40dB U AUX 10 60 +10dB -40dB U AUX 10 60 +10dB -40dB U AUX 10 60 +10dB -40dB U AUX 10 60 +10dB -40dB U AUX 10 60 +10dB -40dB U AUX 10 60 +10dB -40dB U AUX 10 +10dB U 1 1 1 1 1 1 1 1 PRE PRE PRE PRE PRE PRE PRE PRE +15 +15 +15 +15 +15 +15 +15 +15 U U U U U U U U U 2 2 2 2 2 2 2 2 PRE PRE PRE PRE PRE PRE PRE PRE +15 +15 +15 +15 +15 +15 +15 +15 U U U U U U U U U 3 3 3 3 3 3 3 3 +15 +15 +15 +15 +15 +15 +15 +15 U U U U U U U U U 4 +15 4 +15 4 +15 4 +15 4 +15 4 +15 4 +15 4 +15 U PRE 5 +15 U 6 +15 U EQ HI 12k -15 +15 U -15 +15 MID U PRE 5 +15 U 6 +15 U -15 +15 U EQ HI 12k -15 +15 MID U PRE 5 +15 U 6 +15 U EQ HI 12k -15 +15 U -15 +15 MID U PRE 5 +15 U 6 +15 U EQ HI 12k -15 +15 U -15 +15 MID U PRE 5 +15 U 6 +15 U EQ HI 12k -15 +15 U -15 +15 MID U PRE 5 +15 U 6 +15 U EQ HI 12k -15 +15 U -15 +15 MID U PRE 5 +15 U 6 +15 U EQ HI 12k -15 +15 U -15 +15 MID U PRE 5 +15 U 6 +15 U -15 +15 U EQ HI 12k -15 +15 MID U U U -15 U -15 FREQ 100 8kHz U -15 +15 LOW CUT 75 Hz 18dB/OCT LOW 80Hz FREQ 100 8kHz U -15 +15 LOW CUT 75 Hz 18dB/OCT LOW 80Hz FREQ 100 8kHz U -15 +15 LOW CUT 75 Hz 18dB/OCT LOW 80Hz FREQ 100 8kHz U -15 +15 LOW CUT 75 Hz 18dB/OCT LOW 80Hz FREQ 100 8kHz U -15 +15 LOW CUT 75 Hz 18dB/OCT LOW 80Hz FREQ 100 8kHz U -15 +15 LOW CUT 75 Hz 18dB/OCT LOW 80Hz FREQ 100 8kHz U -15 +15 LOW CUT 75 Hz 18dB/OCT LOW 80Hz FREQ 100 8kHz U -15 +15 LOW CUT 75 Hz 18dB/OCT LOW 80Hz 100 U -15 LOW 75 H 18dB/ OL OL OL OL OL OL OL OL L R -20 PAN 1 MUTE MUTE / SOLO L R -20 PAN 2 MUTE MUTE / SOLO L R -20 PAN 3 MUTE MUTE / SOLO L R -20 PAN 4 MUTE MUTE / SOLO L R -20 PAN 5 MUTE MUTE / SOLO L R -20 PAN 6 MUTE MUTE / SOLO L R -20 PAN 7 MUTE MUTE / SOLO L R -20 PAN 8 MUTE MUTE / SOLO L PA 9 MU M dB dB dB dB dB dB dB dB dB 10 SOLO 10 SOLO 10 SOLO 10 SOLO 10 SOLO 10 SOLO 10 SOLO 10 SOLO 10 5 5 5 5 5 5 5 5 5 U 1-2 U 1-2 U 1-2 U 1-2 U 1-2 U 1-2 U 1-2 U 1-2 U 5 5 5 5 5 5 5 5 5 3-4 3-4 3-4 3-4 3-4 3-4 3-4 3-4 10 10 10 10 10 10 10 10 10 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 30 30 30 30 30 30 30 30 30 40 40 40 40 40 40 40 40 40 50 50 50 50 50 50 50 50 50 60 60 60 60 60 60 60 60 60 OO OO OO OO OO OO OO OO OO ®