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SR24•4-VLZ PRO &

SR32•4-VLZ PRO
OWNER’S MANUAL
dB3
0
2
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0
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0
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0
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4
0
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0
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0
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0
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4
0
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0
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0
2
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4
0
5
0
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0
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0
2
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4
0
5
0
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0
10
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0
2
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4
0
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0
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P
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P
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M
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AIN
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P
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M
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AIN
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600
1.5k
150
8k
10
0
600
1.5k
150
8k
10
0
600
1.5k
150
8k
10
0
600
1.5k
150
8k
10
0
600
1.5k
150
8k
10
0
600
1.5k
150
8k
10
0
600
1.5k
150
8k
10
0
600
1.5k
150
8k
10
0
600
1.5k
150
8k
10
0
600
1.5k
150
8k
10
0
600
1.5k
150
8k
10
0
600
1.5k
150
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10
0
600
1.5k
150
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10
0
600
1.5k
150
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10
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600
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150
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10
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600
1.5k
150
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10
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600
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150
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10
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600
1.5k
150
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10
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600
1.5k
150
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10
0
600
1.5k
150
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10
0
16kH
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16kH
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16kH
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16kH
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L
A
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12k
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H
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800H
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M
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LO
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PRE
1PRE
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235612k
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FREQ
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1
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1234
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CLIP
1074 22 04710203040
3
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-20
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235612k
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2
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1•5
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2•6
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3•7
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LEVEL
0dB = 0dBu
P
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4

4
-
V
L
Z
P
R
O
2
CAUTION AVIS
RISK OF ELECTRIC SHOCK
DO NOT OPEN
RISQUE DE CHOC ELECTRIQUE
NE PAS OUVRIR
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK
DO NOT REMOVE COVER (OR BACK)
NO USER-SERVICEABLE PARTS INSIDE
REFER SERVICING TO QUALIFIED PERSONNEL
ATTENTION: POUR EVITER LES RISQUES DE CHOC
ELECTRIQUE, NE PAS ENLEVER LE COUVERCLE. AUCUN
ENTRETIEN DE PIECES INTERIEURES PAR L'USAGER. CONFIER
L'ENTRETIEN AU PERSONNEL QUALIFIE.
AVIS: POUR EVITER LES RISQUES D'INCENDIE OU
D'ELECTROCUTION, N'EXPOSEZ PAS CET ARTICLE
A LA PLUIE OU A L'HUMIDITE
The lightning flash with arrowhead symbol within an equilateral
triangle is intended to alert the user to the presence of uninsulated
"dangerous voltage" within the product's enclosure, that may be
of sufficient magnitude to constitute a risk of electric shock to persons.
Le symbole éclair avec point de flèche à l'intérieur d'un triangle
équilatéral est utilisé pour alerter l'utilisateur de la présence à
l'intérieur du coffret de "voltage dangereux" non isolé d'ampleur
suffisante pour constituer un risque d'éléctrocution.
The exclamation point within an equilateral triangle is intended to
alert the user of the presence of important operating and maintenance
(servicing) instructions in the literature accompanying the appliance.
Le point d'exclamation à l'intérieur d'un triangle équilatéral est
employé pour alerter les utilisateurs de la présence d'instructions
importantes pour le fonctionnement et l'entretien (service) dans le
livret d'instruction accompagnant l'appareil.
Duration Per Day Sound Level dBA, Typical
In Hours Slow Response Example
8 90 Duo in small club
6 92
4 95 Subway Train
3 97
2 100 Very loud classical music
1.5 102
1 105 Tami screaming at Adrian about deadlines
0.5 110
0.25 or less 115 Loudest parts at a rock concert
WARNING — To reduce the risk of fire or electric shock,
do not expose this appliance to rain or moisture.
12. Damage Requiring Service — This Mackie product should be serviced
only by qualified service personnel when:
A. The power-supply cord or the plug has been damaged; or
B. Objects have fallen, or liquid has spilled into this Mackie
product; or
C. This Mackie product has been exposed to rain; or
D. This Mackie product does not appear to operate normally or
exhibits a marked change in performance; or
E. This Mackie product has been dropped, or its chassis damaged.
13. Servicing — The user should not attempt to service this Mackie product
beyond those means described in this operating manual. All other servicing
should be referred to the Mackie Service Department.
14. To prevent electric shock, do not use this polarized plug with an
extension cord, receptacle or other outlet unless the blades can be fully
inserted to prevent blade exposure.
Pour prévenir les chocs électriques ne pas utiliser cette fiche polariseé avec un
prolongateur, un prise de courant ou une autre sortie de courant, sauf si les
lames peuvent être insérées à fond sans laisser aucune pariie à découvert.
15. Grounding or Polarization — Precautions should be taken so that the
grounding or polarization means of this Mackie product is not defeated.
16. Power Precautions — Unplug this Mackie product during lightning storms
or when unused for long periods of time. Note that this Mackie product is not
completely disconnected from the AC mains service when the power switch is
in the OFF position.
17. This apparatus does not exceed the Class A/Class B (whichever is
applicable) limits for radio noise emissions from digital apparatus as set out in the
radio interference regulations of the Canadian Department of Communications.
ATTENTION —Le présent appareil numérique n’émet pas de bruits
radioélectriques dépassant las limites applicables aux appareils numériques de
class A/de class B (selon le cas) prescrites dans le règlement sur le brouillage
radioélectrique édicté par les ministere des communications du Canada.
18. Exposure to extremely high noise levels may cause permanent hearing
loss. Individuals vary considerably in susceptibility to noise-induced hearing loss,
but nearly everyone will lose some hearing if exposed to sufficiently intense
noise for a period of time. The U.S. Government’s Occupational Safety and
Health Administration (OSHA) has specified the permissible noise level exposures
shown in the following chart.
According to OSHA, any exposure in excess of these permissible limits could
result in some hearing loss. To ensure against potentially dangerous exposure to
high sound pressure levels, it is recommended that all persons exposed to equip-
ment capable of producing high sound pressure levels use hearing protectors
while the equipment is in operation. Ear plugs or protectors in the ear canals or
over the ears must be worn when operating the equipment in order to prevent a
permanent hearing loss if exposure is in excess of the limits set forth here.
SAFETY INSTRUCTIONS
1. Read Instructions — All the safety and operation instructions should be
read before this Mackie product is operated.
2. Retain Instructions — The safety and operating instructions should be kept
for future reference.
3. Heed Warnings — All warnings on this Mackie product and in these operating
instructions should be followed.
4. Follow Instructions — All operating and other instructions should be
followed.
5. Water and Moisture — This Mackie product should not be used near water
– for example, near a bathtub, washbowl, kitchen sink, laundry tub, in a wet
basement, near a swimming pool, swamp or salivating St. Bernard dog, etc.
6. Cleaning — Clean only with a dry cloth.
7. Ventilation — This Mackie product should be situated so that its
location or position does not interfere with its proper ventilation. For
example, the Component should not be situated on a bed, sofa, rug, or
similar surface that may block any ventilation openings, or placed in a
built-in installation such as a bookcase or cabinet that may impede the
flow of air through ventilation openings.
8. Heat — This Mackie product should be situated away from heat sources
such as radiators, or other devices which produce heat.
9. Power Sources — This Mackie product should be connected to a power
supply only of the type described in these operation instructions or as marked
on this Mackie product.
10. Power Cord Protection — Power supply cords should be routed so that
they are not likely to be walked upon or pinched by items placed upon or
against them, paying particular attention to cords at plugs, convenience
receptacles, and the point where they exit this Mackie product.
11. Object and Liquid Entry — Care should be taken so that objects do not
fall on, and liquids are not spilled into, this Mackie product.
3
Part No. 820-213-90 Rev. C 03/04
©2004 LOUD Technologies Inc. All Rights Reserved.
INTRODUCTION
Thank you for choosing a Mackie profes-
sional sound reinforcement mixer! The
24•4-VLZ PRO and 32•4-VLZ PRO are
equipped with our new precision-engineered
XDR
TM
Extended Dynamic Range premium
studio-grade mic preamps, featuring:
• Full gain range from 0 to 60dB
• Massive +22dBu line signal handling
capability
• 130dB dynamic range
• Distortion and noise: 0.0007%, 20Hz to
20kHz
• Bullet-proof RF rejection using a
DC pulse transformer
• 192kHz bandwidth
These live sound mixers are designed to
meet the needs of almost any venue: indoor
concert, club or theatre, meeting room, sanctu-
ary, outdoor gathering, as well as a recording
studio.
Here’s a quick glance at all the features
you’ve acquired:
20 mono channels (24•4-VLZ PRO) or
28 mono channels (32•4-VLZ PRO)
with:
• Mackie’s cutting-edge XDR
TM
microphone preamps
• Variable input trim (0 to +60dB mic, -15
to +45dB line)
• Phantom power (globally switched)
• Switchable 75Hz low cut filter
• TRS insert jack
• 2 pre-fader aux sends
• 2 switchable pre or post-fader aux sends
• 2 post-fader aux sends
• 3-band mid-sweep EQ
• Pan, mute, and 1-2/3-4/L-R busing
• PFL or AFL solo
• 60mm mono fader
2 stereo line channels, with:
• -20dB to +20dB variable input trim
• 2 pre-fader aux sends
• 2 switchable pre or post-fader aux sends
• 2 post-fader aux sends
• 4-band EQ
• Pan, mute, and 1-2/3-4/L-R busing
• PFL or AFL solo
• 60mm stereo fader
Comprehensive master section, with:
• 60mm subgroup mono faders
• Assign-to-main switching for each sub
group
• “Air” EQ for each subgroup
• PFL or AFL solo for each subgroup
• 60mm main mix stereo fader
• TRS insert jacks for main mix
• Balanced XLR and TRS stereo main outs
• XLR mono output with level control
• 13-segment stereo LED metering
• Mackie’s (in)famous Rude Solo Light
• 6 aux send masters with level controls
• 4 stereo aux returns with level controls
• 2 effects to monitor controls
• RCA tape in & out
• Tape to Main Mix break switch
• XLR input for talkback microphone
• 2 headphone outputs with level control
• Control room output with level control
• 12V BNC lamp socket
At Mackie, we know what it takes to make
roadworthy gear. After all, our mixers have
traveled all over the world under the worst of
conditions. We’ve applied these experiences to
the mechanical design of the 24•4-VLZ PRO
and 32•4-VLZ PRO mixers.
Live sound only? No way! Although both
mixers are aimed primarily at sound reinforce-
ment, they have features such as 4-bus,
metering and control room circuitry, that make
them serve easily as recording or mixing con-
soles.
Please write your serial number here for
future reference (i.e., insurance claims, tech
support, return authorization, etc.):
Serial Number
Purchased at:
Date of purchase:
Make sure that you keep your proof of pur-
chase in a safe place, otherwise it will end up
in the land of enchantment, where TV remotes,
car keys and odd socks go.
4
ABOUT THIS MANUAL
The stuff you MUST read:
First, you must read and follow all the safety
instructions on page 2.
Before you get to work, please read the
“Quick Start” section on page 6. It’s a list of
steps that will familiarize you with the mixer
and help you set up a basic performance. The
rest of the manual explains the mixer’s fea-
tures in excruciating detail.
24•4-VLZ PRO and 32•4-VLZ PRO
This manual covers both mixers. The 32•4-
VLZ PRO has eight more mic/line channel
strips, otherwise the two models are identical.
About all those numbers:
Every feature on the mixer has a number as-
signed to it. Whenever a feature is illustrated
described or mentioned, its number will be
right next to it. They’ll help you find your way
around this whopping opus, and we opus you
will like it.
Every feature of the mixer is described “geo-
graphically;” in other words, in order of where
it is physically placed on the mixer’s top or rear
panel. These descriptions are divided into
three chapters, just as your mixer is organized
into three distinct zones:
PATCHBAY (page 14)
Along the back where everything plugs in.
CHANNEL STRIPS (page 19)
The mono mic/line channel strips and the
two stereo line channel strips.
MASTER SECTION (page 22)
The section on the right.
dB
30
20
10
OO
40 50
5
5
U
60
10
dB
30
20
10
OO
40 50
5
5
U
60
10
dB
30
20
10
OO
40 50
5
5
U
60
10
dB
30
20
10
OO
40 50
5
5
U
60
10
dB
30
20
10
OO
40 50
5
5
U
60
10
dB
30
20
10
OO
40 50
5
5
U
60
10
dB
30
20
10
OO
40 50
5
5
U
60
10
dB
30
20
10
OO
40 50
5
5
U
60
10
OO
U
OO+15
U
OO+15
OO
U
OO+15
MAX
MAX
U
OO+20
U
OO+20 U
OO+20
U
OO+20
U
OO+20
U
OO+15 U
OO+15
U
OO+15 U
OO+15
U
OO+15
U
OO+15
5
+10 0
5
+10 0
5
+10 0
5
+10 0
L R L R L R L R
MICGAIN
10
U
60 +10dB -40dB
-10
L R L R L R
U
OO+15 U
OO+15
U
OO+15 U
OO+15
U
+15 -15 U
+15 -15
8kHz 100 U
+15 -15
U
OO+15
U
OO+15
U
+15 -15 U
+15 -15
U
+15 -15 U
+15 -15 U
+15 -15
U
+15 -15 U
+15 -15
U
+15 -15
U
OO+15 U
OO+15
U
OO+15 U
OO+15
U
OO+15
U
OO+15
U
OO+15 U
OO+15
U
OO+15 U
OO+15
U
OO+15
U
OO+15
-20 +20
U
-20 +20
U
16kHz 16kHz 16kHz 16kHz
LAMP
STEREO AUX RETURNS AUX SEND MASTERS
LEVEL
5
6
AIR AIR AIR AIR
SOLO SOLO SOLO SOLO
1
2
3
4
1
2
1
2
3
4
SOLO
SOLO
1-2
SUB SOLO
GLOBAL AUXRETURN
ASSIGN TOSUB SOLO
SOLO
TAPERETURN TOPHONES / C R
TAPERETURN TOMAINMIX LEFT/RIGHT
MAINMIX
AUX1-2
TALKBACK
LEVEL
TAPE RETURN
3-4
LEFT RIGHT
L/R ASSIGN L/R ASSIGN L/R ASSIGN L/R ASSIGN
SUB SUB SUB SUB
1 2 3 4
PHONES / C-R LEVEL
MAINMIX
SOLO
TOAUX SEND 1-2 (EFXTOMONITOR)
SOLO
28 CLIP
10
7
4
2
2
0
4
7
10
20
30
40
TRACK
1

5
TRACK
2

6
TRACK
3

7
TRACK
4

8
SOLO
MODE
SUB AUX
PREFADER INPLACEAFL
LEVEL SET
PAN PAN PAN PAN
POWER RUDE SOLO LIGHT
OPERATINGLEVEL 0dB=0dBu
12k HI
3k MID HI
800Hz MID LOW
EQ
12k HI
3k MID HI
800Hz MID LOW
EQ
-20
OL
PRE 1
PRE
PRE
2
3
5
6
12k HI
MID
FREQ
80Hz
LOWCUT 75 Hz 18dB/OCT
LOW 80Hz LOW 80Hz LOW
TRIM
1
AUX
1 MUTE
EQ
3-4
L-R
1-2
3-4
L-R
1-2
3-4
L-R
1-2
-20
OL
-20
OL
TRIM
21
22
TRIM
23
24
PRE 1
PRE
PRE
2
3
5
6
AUX
PRE 1
PRE
PRE
2
3
5
6
AUX
21 22 MUTE 23 24 MUTE
SOLO SOLO SOLO
MUTE/ SOLO MUTE/ SOLO MUTE/ SOLO
PAN PAN PAN
4 4 4
LINE ONLY CHANNELS 21-24
MIC/LINE CHANNELS 1-20 (IDENTICAL)
MASTER SECTION
PATCHBAY
Further information:
This icon marks infor-
mation that is critically
important or unique to your
mixer. For your own good,
read and remember them.
This icon will lead you
to in-depth explanations of
features and practical tips.
While not mandatory, they
usually have some valuable
nuggets of information.
This entire manual is condensed onto one
page, albeit in hieroglyphics: see the Block Dia-
gram on page 28.
Please come on by and visit our website, at
http://www.mackie.com. It contains helpful
stuff about mixers and audio, as well as spe-
cific information about this and other Mackie
products.
5
CONTENTS
SAFETY INSTRUCTIONS............................... 2
INTRODUCTION ......................................... 3
ABOUT THIS MANUAL ................................ 4
QUICK START ............................................ 6
APPLICATIONS DIAGRAMS.......................... 9
PATCHBAY FEATURES
MIC .................................................. 14
LINE IN .............................................. 14
INSERT ............................................... 15
EFFECTS: SERIAL OR PARALLEL? ............ 15
STEREO LINE IN ................................... 15
TAPE OUT ........................................... 16
TAPE IN.............................................. 16
SUB INSERTS ...................................... 16
SUB OUTS .......................................... 16
DOUBLE BUSING ................................. 16
STEREO AUX RETURNS......................... 17
AUX SENDS ........................................ 17
CONTROL ROOM OUT .......................... 17
MAIN OUTS (TRS) ............................... 17
MAIN INSERTS .................................... 17
MONO MAIN OUT ............................... 17
OUTPUT LEVEL .................................... 17
MAIN OUT (XLR) ................................. 17
TALKBACK MIC.................................... 17
PHONES ............................................. 18
PHANTOM SWITCH ............................. 18
POWER SWITCH.................................. 18
AC RECEPTACLE ................................... 18
FUSE .................................................. 18
CHANNEL STRIP FEATURES
TRIM ................................................. 19
AUX SEND
AUX ............................................ 19
PRE ............................................. 19
EQ SECTION
HI ............................................... 20
MID ............................................ 20
FREQ ........................................... 20
HI MID ........................................ 20
LOW MID..................................... 20
LOW ........................................... 20
LOW CUT ..................................... 20
OL LED ............................................... 21
-20 LED.............................................. 21
PAN .................................................. 21
MUTE................................................. 21
SOLO ................................................. 21
1-2 & 3-4........................................... 21
L-R .................................................. 21
CHANNEL FADER ................................. 21
MASTER SECTION FEATURES
LAMP CONNECTOR .............................. 22
AUX SEND MASTER
AUX SEND MASTERS ..................... 22
SOLO........................................... 22
STEREO AUX RETURNS
STEREO AUX RETURNS .................. 23
TO AUX SEND 1-2 ......................... 23
ASSIGN TO SUB ............................ 23
SUB............................................. 23
SOLO........................................... 23
TAPE RETURN ..................................... 23
METERS ............................................. 23
ZERO EQUALS ZERO ............................ 23
POWER LED ........................................ 23
SUBGROUPS
AIR ............................................. 24
SOLO........................................... 24
PAN ............................................ 24
L/R ASSIGN ................................. 24
SUBGROUP FADERS ...................... 25
SOLO
RUDE SOLO LIGHT ......................... 25
LEVEL .......................................... 25
MODE .......................................... 25
AUX LED ...................................... 25
SUB LED....................................... 25
TALKBACK
LEVEL .......................................... 25
MAIN MIX ................................... 25
AUX 1-2 ...................................... 25
TAPE RETURN TO PHONES/C-R............. 25
PHONES/C-R LEVEL ............................. 26
TAPE RETURN TO MAIN MIX................. 26
MAIN MIX FADER................................ 26
SPECIFICATIONS ........................................ 27
BLOCK DIAGRAM....................................... 28
GAIN PATH ............................................... 29
SERVICE INFORMATION.............................. 30
SR24•4/SR32•4 LIMITED WARRANTY......... 31
page page
6
QUICK START
INSERT INSERT INSERT INSERT INSERT INSERT INSERT
MIC 20
TAPE OUT TAPE IN
TALK BACK
MIC
R
R
R
(MONO)
4
L
L
L
3
2
1
L
CONTROL ROOM OUT MAININSERTS
3 3
4
2
3
1 1
L L
R
R R
L
24
23 21
22
20
MIC 19
19
LINE IN
(BAL OR UNBAL)
LINE IN
(BAL OR UNBAL)
LINE IN
(BAL OR UNBAL)
LINE IN
(BAL OR UNBAL)
LINE IN
(BAL OR UNBAL)
LINE IN
(BAL OR UNBAL)
LINE IN
(BAL OR UNBAL)
MIC 18
18
MIC 17
17
MIC 16
16
MIC 15
15
MIC 14
14
RIGHT
MAINOUT
LEFT
MAINOUT
MONO
MAINOUT
OUTPUT
LEVEL
PHONES
2
PHONES
1
OFF
POWER
ON
OFF
PHANTOM
ON
MONO MONO
PIN2 = HOT
PIN3 = COLD
FUSE INSIDE
120VAC
50/60 HZ 60W
1A/250V SLOBLO
CAUTION: TOREDUCE
THE RISK OF FIRE, REPLACE
WITHTHE SAME TYPE FUSE
ANDRATING
OO+6
MAIN
BALANCED
OUTPUTS
R
R
L L
AUX SENDS
(BAL OR UNBAL)
STEREOAUX RETURNS
(BAL OR UNBAL)
SUB INSERTS
(BALORUNBAL)
6
2 5
1 4
R
R
L
R
L
7
8
6
5
SUB OUTS
(BAL OR UNBAL)
4
2
MAINOUTS
(BAL OR UNBAL)
(BAL OR UNBAL)
XDR MIC PRE XDR MIC PRE XDR MIC PRE XDR MIC PRE XDR MIC PRE XDR MIC PRE XDR MIC PRE
Output Level
Fully Down
Power
Off
Phantom
Off
ZERO THE CONSOLE
Note: the numbers in brackets refer to the
numbers inside each switch and control in the
drawing on the next page.
1. On the rear panel, turn the POWER switch
and the PHANTOM off, and the OUTPUT
LEVEL fully down.
2. Disengage these switches (for pushbutton
switches, “disengaged” or “off” refers to the
“up” position):
PRE (27)
LOW CUT (34)
SOLO (39)
1-2 & 3-4 (40)
SOLO (47)
ASSIGN TO SUB (50)
SUB (51)
SOLO (52)
SOLO (57)
L/R ASSIGN (59)
MODE (63)
MAIN MIX (67)
AUX 1-2 (68)
TAPE RETURN TO PHONES/C-R (69)
TAPE RETURN TO MAIN MIX (71)
3. Engage these switches (for pushbutton
switches, “engaged” or “on” refers to the
“down” position):
MUTE (38)
L-R (41)
When we say engaged, this does not imply
that you should become betrothed in any
legally binding sense, although there is
probably some drive-in wedding chapel in
‘Vegas, where this can be arranged.
4. Set these controls fully down (for
rotary controls, “down” refers to the
fully counter-clockwise position; for
faders, it refers to all the way down):
TRIM (25)
AUX (26)
TO AUX SEND 1-2 (49)
TAPE RETURN (53)
AIR (56)
CHANNEL FADER (42)
SUBGROUP FADER (60)
MAIN MIX FADER (72)
5. Set these controls at unity (for rotary
controls, “unity” refers to the center
detent position.
HI (28)
MID (29)
FREQ (30)
HI MID (31)
LOW MID (32)
LOW (33)
PAN (37)
AUX SEND MASTERS (46)
STEREO AUX RETURNS (48)
PAN (58)
SOLO LEVEL (62)
TALKBACK LEVEL (66)
PHONES/C-R LEVEL (70)
Control
Centered
30
20
OO
40
50
60
Fader
Down
Switch
Up
Switch
Down
Control
Fully Down
7
24•4-VLZPRO
dB
30
20
10
OO
40
50
5
5
U
60
10
dB
30
20
10
OO
40
50
5
5
U
60
10
dB
30
20
10
OO
40
50
5
5
U
60
10
dB
30
20
10
OO
40
50
5
5
U
60
10
dB
30
20
10
OO
40
50
5
5
U
60
10
dB
30
20
10
OO
40
50
5
5
U
60
10
dB
30
20
10
OO
40
50
5
5
U
60
10
dB
30
20
10
OO
40
50
5
5
U
60
10
OO
U
OO+15
U
OO+15
OO
U
OO+15
MAX
MAX
U
OO+20
U
OO+20
U
OO+20
U
OO+20
U
OO+20
U
OO+15
U
OO+15
U
OO+15
U
OO+15
U
OO+15
U
OO+15
5
+10 0
5
+10 0
5
+10 0
5
+10 0
L R L R L R L R L R L R L R
U
OO+15
U
OO+15
U
OO+15
U
OO+15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 -15
U
OO+15
U
OO+15
U
OO+15
U
OO+15
U
OO+15
U
OO+15
U
OO+15
U
OO+15
U
OO+15
U
OO+15
U
OO+15
U
OO+15
U
OO+15
U
OO+15
-20 +20
U
-20 +20
U
POST POST
POST
POST
POST POST
+15dB -45dB
M
ICGAIN
0
U
60
-10dBV
600
1.5k 150
8k 100
16kHz 16kHz 16kHz 16kHz
LAMP
12k
HI
3k
MID
HI
800Hz
MID
LOW
EQ
STEREO
AUX RETURNS
AUX SEND
MASTERS
LEVEL
5
6
12k
HI
3k
MID
HI
800Hz
MID
AIR AIR AIR AIR
LOW
SOLO SOLO SOLO SOLO
EQ
LOWCUT
75 Hz
18dB/OCT
80Hz
LOW
80Hz
LOW
80Hz
LOW
1
2
3
4
1
2
1
2
3
4
SOLO
SOLO
1-2
SUB SOLO
GLOBAL
AUXRETURN
ASSIGN
TO SUB
SOLO
SOLO
TAPE RETURN
TO PHONES / C R
TAPE RETURN
TO MAIN MIX
LEFT/RIGHT
MAIN MIX
AUX 1-2
TALKBACK
LEVEL
TAPE
RETURN
3-4
LEFT RIGHT
L/R ASSIGN L/R ASSIGN L/R ASSIGN L/R ASSIGN
SUB SUB SUB SUB
1 2 3 4
PHONES / C-R
LEVEL
MAIN MIX
SOLO
TO AUX
SEND
1-2
(EFXTOMONITOR)
SOLO
28
CLIP
10
7
4
2
2
0
4
7
10
20
30
40
3-4
L-R
1-2
3-4
L-R
1-2
3-4
L-R
1-2
-20
OL
-20
OL
-20
OL
PRE
1
PRE
PRE
2
3
5
6
12k
HI
MID
FREQ
TRIM
20
TRIM
21
22
TRIM
23
24
AUX
PRE
1
PRE
PRE
2
3
5
6
AUX
PRE
1
PRE
PRE
2
3
5
6
AUX
20
MUTE
EQ
21 22
MUTE
23 24
TRACK
1

5
TRACK
2

6
TRACK
3

7
TRACK
4

8
MUTE
SOLO
MODE
SUB AUX
PREFADER
INPLACEAFL
LEVEL SET
SOLO SOLO SOLO
PAN PAN PAN PAN PAN PAN PAN
4 4 4
POWER RUDE
SOLO
LIGHT
OPERATINGLEVEL
0dB=0dBu
MUTE/
SOLO
MUTE/
SOLO
MUTE/
SOLO
MUTE/
SOLO
MUTE/
SOLO
MUTE/
SOLO
30
20
OO
40
50
60
Control
Centered
Control
Fully Down
Switch
UP
Fader
DOWN
Switch
DOWN
The reference numbers
inside each switch and
control, refer to the
descriptions in this
owner's manual.
26 26 26
25 25 25
26 26 26
26 26 26
26 26 26
26 26 26
28 28 28
29 31 31
30 32 32
33 33
34
33
37 37 37 58 58 58 58
69
56 56 56 56
57 57 57 57
59 59 59 59 71
70
68
67
66
46
46
46
46
46
46
48
48
48
48
53
62
63
38 38 38
39
40
40
41
39
40
40
41
39
40
40
42 42 42 60 60 60 60 72
41
49
49
47 51
47
47
47
47
47
50
52
26 26 26
27 27 27
8
MAKE THE CONNECTIONS:
1. Make sure your amplifiers are turned off
before making any connections.
2. Connect speakers to your amplifier’s
outputs (unless, of course, you have
powered speakers, such as the Mackie
SRM 450 active monitors).
3. Plug all the sound system components into
suitable AC outlets; properly grounded and
capable of delivering adequate current. Use
power strips to minimize ground loops.
4. Using TRS or XLR cables, make connec-
tions from the mixer’s MAIN OUTS (12),
(16) to your amplification system’s line
inputs.
5. Make connections from your microphones
and instruments to the mixer: Connect
balanced microphones to the mono
channel MIC (1) jacks. (For condenser
microphones, engage the PHANTOM (19)
switch.) Connect line-level instruments
(synthesizers, guitar effects devices, direct
boxes) to the mono or stereo channel LINE
IN (2) (4) TRS jacks.
6. Follow the procedure shown on page 6 to
zero the console. This will also MUTE (38)
each channel.
7. Turn on all the AC power switches, includ-
ing the mixer and all other equipment.
Leave the amplifier’s power switch for last.
This prevents power-up thumps which can
damage speakers.
8. Turn up the MAIN MIX FADER (72) to the
“U” label. You should hear nothing at this
point.
SET THE LEVELS:
1. Choose one of the microphones or instru-
ments you’ve connected. Make some noise.
If it’s a microphone, speak at your normal
singing volume. If it’s a synthesizer, play it
at its normal output level.
2. While making noise, engage that channel’s
SOLO (39) switch.
3. Turn up that channel’s TRIM (25) up until
the METERS (54) peak near the “0” label.
4. Disengage that channel’s MUTE (38).
5. Turn up the CHANNEL FADER (42) to the
unity gain (“U” label). You should now be
hearing your noise in the phones or control
room (70).
6. If necessary, apply channel EQ (28-34)
changes. Resultant level changes can be
corrected by readjusting the TRIM (25).
7. Disengage that channel’s SOLO (39)
switch.
8. Repeat steps 1 through 7 for the remaining
active channels.
9. Stop making noise, start making music.
TWEAK THE MIX:
1. Engage MUTE (38) on all channels except
your rhythm section (drums & bass).
2. Adjust the rhythm section’s channel PANs
(37) and CHANNEL FADERs (42) to get a
good balance of levels.
3. Un-mute the other active channels and
adjust their pans and faders.
4. Tweak the fader, pan and EQ controls. Fine
tune your mix. Walk the room to see how it
sounds away from the mixer. Keep tweak-
ing.
5. Consider applying the proper EQ adjust-
ments by cutting certain frequencies,
rather than boosting. Compensate for EQ
cut by a slight boost in volume. For live
sound applications, this technique allows
for more gain before feedback, and gives
improved system reliability.
KNOW THESE THINGS:
• Never listen to loud
music for prolonged
periods. See the safety
instructions on page 2.
• Never plug amplifier
outputs into anything except speakers.
• Never use guitar cables to connect amplifi-
ers to speakers.
• Before making connections to an amp or
reconfiguring an amp’s routing, turn the
amp’s power off, make the changes and
then turn the power back on.
• When you shut down your equipment, turn
off all the amplifiers first. When powering
up, turn on the amplifiers last. This
prevents power-up and power-down
thumps which can damage speakers.
• Save the shipping box and packing mate-
rial. You may need them someday.
9
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14
PATCHBAY
This is where everything gets plugged in: microphones, line-level instruments, effects devices,
headphones and the ultimate destination(s): PA system, tape recorder, etc.
1. MIC
The mono channels are equipped with
Mackie’s cutting-edge XDR
TM
microphone
preamplifiers; providing up to 60dB of rugged,
low-noise, crystal-clear, phantom-powered am-
plification. Their balanced circuitry rejects all
manner of extraneous interference. Profes-
sional condenser, dynamic and ribbon mics will
all sound excellent through these XLR inputs.
The inputs will accept almost any kind of
balanced mic that has a standard XLR-type
male mic connector.
XLR balanced wiring:
Pin 1 = shield
Pin 2 = hot (+)
Pin 3 = cold (-)
INSERT INSERT INSERT INSERT INSERT INSERT INSERT
MIC 20
TAPE OUT TAPE IN
TALK BACK
MIC
R
R
R
(MONO)
4
L
L
L
3
2
1
L
CONTROL ROOM OUT MAININSERTS
3 3
4
2
3
1 1
L L
R
R R
L
24
23 21
22
20
MIC 19
19
LINE IN
(BAL OR UNBAL)
LINE IN
(BAL OR UNBAL)
LINE IN
(BAL OR UNBAL)
LINE IN
(BAL OR UNBAL)
LINE IN
(BAL OR UNBAL)
LINE IN
(BAL OR UNBAL)
LINE IN
(BAL OR UNBAL)
MIC 18
18
MIC 17
17
MIC 16
16
MIC 15
15
MIC 14
14
RIGHT
MAINOUT
LEFT
MAINOUT
MONO
MAINOUT
OUTPUT
LEVEL
PHONES
2
PHONES
1
OFF
POWER
ON
OFF
PHANTOM
ON
MONO MONO
PIN2 = HOT
PIN3 = COLD
FUSE INSIDE
120VAC
50/60 HZ 60W
1A/250V SLOBLO
CAUTION: TOREDUCE
THE RISK OF FIRE, REPLACE
WITHTHE SAME TYPE FUSE
ANDRATING
OO+6
MAIN
BALANCED
OUTPUTS
R
R
L L
AUX SENDS
(BAL OR UNBAL)
STEREOAUX RETURNS
(BAL OR UNBAL)
SUB INSERTS
(BALORUNBAL)
6
2 5
1 4
R
R
L
R
L
7
8
6
5
SUB OUTS
(BAL OR UNBAL)
4
2
MAINOUTS
(BAL OR UNBAL)
(BAL OR UNBAL)
XDR MIC PRE XDR MIC PRE XDR MIC PRE XDR MIC PRE XDR MIC PRE XDR MIC PRE XDR MIC PRE
2. LINE IN
The line inputs share circuitry (but not
phantom power) with the mic preamps, and
can be driven by balanced or unbalanced
sources. These inputs can accept virtually any
line-level signal, from -45dB up to +20dB.
1/4” TS (Tip-Sleeve) unbalanced wiring:
Tip = hot (+)
Sleeve = shield
1/4” TRS (Tip-Ring-Sleeve) balanced wiring:
Tip = hot (+)
Ring = cold (-)
Sleeve = shield
2
2
3 1
1
SHIELD
COLD
HOT
SHIELD
COLD
HOT
3
SHIELD
COLD
HOT
3
2
1
SLEEVE
TIP
TIP SLEEVE
TIP
SLEEVE
SLEEVE
TIP SLEEVE
TIP
RING
RING
TIP
SLEEVE RING
15
3. INSERT
With nothing plugged into this jack, the
channel’s signal goes straight through the mic/
line preamp to the channel strip. With an ex-
ternal effects device plugged into this jack, the
channel’s signal leaves the mixer, goes through
the effects device and back into the channel
strip.
Use these jacks to send the channel signal
through a compressor, graphic equalizer or
similar device. Since the insert is before the
CHANNEL FADER (42), moving that fader will
not alter the level sent to a compressor,
thereby preserving the original signal’s charac-
teristics.
These unbalanced jacks are wired thusly:
Tip = Send (to effects device input)
Ring = Return (from effects device output)
Sleeve = Common ground (connect shield
to all three sleeves)
Specialty “Y” cables, developed just for these
jacks, are widely available.
Besides being used for inserting effects de-
vices, these jacks can also be used as channel
direct outputs; post-TRIM, pre-LOW CUT and
pre EQ.
Here are three ways to use the INSERT
jacks:
EFFECTS: SERIAL OR PARALLEL?
Effects devices are used
either in serial or in parallel:
Serial means that the en-
tire signal is routed through
the effects device. Examples
include: preamps, compres-
sor/limiters, graphic equalizers. Connections
are typically made via the channel insert jacks.
Parallel means that a portion of the signal
is tapped off to the effects device processed
and returned, to be mixed with the original
“dry” signals. Multiple signals (via multiple
mixer channels) can all make use of the same
parallel effects device. Examples include:
reverb, delay, chorus. Connections are typically
made via aux sends & aux returns.
4. STEREO LINE IN
These balanced inputs are designed for TRS
balanced or TS unbalanced signals, from -20dB
to +20dB. They can accept any line-level in-
strument, effects device or tape player.
When connecting a stereo device (two
cords), use the LEFT (MONO) input and the
RIGHT input.
When connecting a mono device (just one
cord), always use the LEFT (MONO) input and
plug nothing into the RIGHT input. A trick
called “jack normalling” will cause the signal to
appear on both sides.
These inputs accept 1/4” TRS balanced and
1/4” TS unbalanced plugs, see the previous
page for wiring details.
Direct out with no signal interruption to master.
Insert only to first “click”
Channel Insert jack
Channel Insert jack
Channel Insert jack
Direct out with signal interruption to master.
Insert all the way in to the second “click”
For use as an effects loop.
(TIP = SEND to effect, RING = RETURN from effects)
MONO PLUG
MONO PLUG
STEREO
PLUG
“tip”
This plug connects to one of the
mixer’s Channel Insert jacks.
“ring”
tip
ring
sleeve
SEND to processor
RETURN from processor
(TRS plug) Dry Signal
Serial Device
Processed
Signal
Insert
Send
Insert
Return
Dry Signal(s) Dry Signal(s)
Aux
Send
Aux
Return
Wet Signal
Channel Path
Mix
Stage
Output
Section
Processed
Signal
Signal Processor
(e.g., Compressor)
Signal Processor
(e.g., Reverb)
Parallel Device
16
5. TAPE OUT
Use these stereo jacks to capture the entire
performance to tape. The signal at these jacks
is the main mix, post-MAIN INSERTS (13) and
post-MAIN MIX FADER (72). Signals at these
jacks will depend on the levels set by the main
mix fader.
RCA unbalanced wiring:
Tip = hot, sleeve = shield
6. TAPE IN
Patch the outputs of an intermission enter-
tainment device here. Any line level mono or
stereo device can be used: tape, CD player,
television audio, etc. See TAPE RETURN TO
PHONES/C-R (69) and TAPE RETURN TO
MAIN MIX (71) for more information.
When connecting a mono device (just one
cord), use a “Y-splitter” RCA adapter. It turns a
mono cord into two cords; so both the left and
right tape input jacks can be patched. This
adapter is widely available.
7. SUB INSERTS
With nothing plugged into these jacks, the
subgroup mix goes straight through the SUB-
GROUP FADER (60) to the SUB OUTS (8).
With an effects device plugged into these jacks,
the subgroup mix leaves the mixer, goes
through the effects device and back into the
mixer’s subgroup faders.
Use these jacks to send a subgroup mix
through a compressor, graphic equalizer or
similar device. Since the insert is before the
subgroup faders, moving the fader will not
alter the level sent to a compressor, thereby
preserving the original signal’s characteristics.
These unbalanced insert jacks are wired ex-
actly the same as shown for INSERT (3) on
page 15.
8. SUB OUTS
In live sound applications, these jacks can
be patched into secondary amplifiers, allowing
levels to be controlled, independently of the
main mix, via the SUBGROUP FADERs (60).
Alternatively, the MAIN OUTS (12) (16)
could feed the amplifiers while the subgroups
feed a recorder.
In studio applications, these outputs can be
used as four separate paths to feed four or
more tracks of a multi-track recorder.
See 1-2 & 3-4 (40) and L/R ASSIGN (59) for
more information.
Accepts 1/4” TRS balanced or 1/4” TS unbal-
anced plugs, see page 14 for wiring details.
DOUBLE BUSING
Although this is a “four-bus mixer,” meaning
there are four separate subgroups available, it
can be used to feed all eight tracks of a multi-
track recorder, thanks to a trick called Double
Busing.
SUB OUTS 1 and 5 carry the same signal,
and so do 2 and 6, 3 and 7, 4 and 8. Patch these
outputs into the corresponding inputs of your
multi-track recorder.
To record onto track 1, for example, put
track 1 in record mode, but leave track 5 in
safe mode. To record onto track 5, put track 5
in record and put track 1 in safe mode.
INSERT INSERT INSERT INSERT INSERT INSERT INSERT
MIC 20
TAPE OUT TAPE IN
TALK BACK
MIC
R
R
R
(MONO)
4
L
L
L
3
2
1
L
CONTROL ROOM OUT MAININSERTS
3 3
4
2
3
1 1
L L
R
R R
L
24
23 21
22
20
MIC 19
19
LINE IN
(BAL OR UNBAL)
LINE IN
(BAL OR UNBAL)
LINE IN
(BAL OR UNBAL)
LINE IN
(BAL OR UNBAL)
LINE IN
(BAL OR UNBAL)
LINE IN
(BAL OR UNBAL)
LINE IN
(BAL OR UNBAL)
MIC 18
18
MIC 17
17
MIC 16
16
MIC 15
15
MIC 14
14
RIGHT
MAINOUT
LEFT
MAINOUT
MONO
MAINOUT
OUTPUT
LEVEL
PHONES
2
PHONES
1
OFF
POWER
ON
OFF
PHANTOM
ON
MONO MONO
PIN2 = HOT
PIN3 = COLD
FUSE INSIDE
120VAC
50/60 HZ 60W
1A/250V SLOBLO
CAUTION: TOREDUCE
THE RISK OF FIRE, REPLACE
WITHTHE SAME TYPE FUSE
ANDRATING
OO+6
MAIN
BALANCED
OUTPUTS
R
R
L L
AUX SENDS
(BAL OR UNBAL)
STEREOAUX RETURNS
(BAL OR UNBAL)
SUB INSERTS
(BALORUNBAL)
6
2 5
1 4
R
R
L
R
L
7
8
6
5
SUB OUTS
(BAL OR UNBAL)
4
2
MAINOUTS
(BAL OR UNBAL)
(BAL OR UNBAL)
XDR MIC PRE XDR MIC PRE XDR MIC PRE XDR MIC PRE XDR MIC PRE XDR MIC PRE XDR MIC PRE
TIP SLEEVE TIP SLEEVE
17
9. STEREO AUX RETURNS
Patch the outputs of external parallel ef-
fects devices (reverb, delay, etc.) to these
inputs.
When connecting a mono device (just one
cord), always use the LEFT (MONO) input and
plug nothing into the RIGHT input. A trick
called “jack normalling” will cause the signal to
appear on both sides.
Accepts 1/4” TRS balanced or 1/4” TS unbal-
anced plugs, see page 14 for wiring details.
10. AUX SENDS
With aux sends in “pre” mode, patch these
jacks into stage monitor amplifier inputs. With
aux sends in “post” mode, patch these jacks
into the inputs of an effects device. See AUX
(26) and PRE (27) for more information.
Accepts 1/4” TRS balanced or 1/4” TS unbal-
anced plugs, see page 14 for wiring details.
11. CONTROL ROOM OUT
These line-level jacks are used to feed am-
plifier inputs in a control room situation,
typically found in a recording studio.
The stereo signal at these jacks is the same
as the MAIN OUTS (12) (16), except when any
SOLO (39) (47) (52) (57) or the TAPE RE-
TURN TO PHONES/C-R (69) is engaged. Its
level is independently controlled by PHONES/
C-R LEVEL (70).
Accepts 1/4” TRS balanced or 1/4” TS unbal-
anced plugs, see page 14 for wiring details.
12. MAIN OUTS (TRS) and
16. MAIN OUT (XLR)
Available in two types, XLR and TRS, the
main output represents the end of the signal
path, just after the MAIN MIX FADER (72),
where the fully mixed stereo signal enters the
real world.
The XLR balanced outputs will add 6dB
when connected to balanced inputs, thereby el-
evating signal from the noise floor by that
amount.
The TRS balanced outputs offer the advan-
tage of having no 6dB level change to deal
with, while still providing extraneous noise re-
jection. These accept 1/4” TRS balanced or 1/4”
TS unbalanced plugs, see page 14 for wiring
details.
13. MAIN INSERTS
With nothing plugged into these jacks, the
main mix goes straight through the MAIN MIX
FADER (72) to the MAIN OUTS (12) (16).
With an effects device plugged into these jacks,
the main mix leaves the mixer, goes through
the effects device and back into the mixer’s
main mix faders.
Use these jacks to send the main mix
through a compressor, graphic equalizer or
similar device. Since the insert is before the
main mix fader, moving the fader will not alter
the level sent to a compressor, thereby preserv-
ing the signal’s characteristics.
These unbalanced insert jacks are wired ex-
actly the same as shown for INSERT (3) on
page 15.
14. MONO MAIN OUT
The signal sent out of this XLR jack is a sum
of the left and right signals at the MAIN OUTS
(12) (16). It can be used to feed a mono sound
system or a mono recording device. See OUT-
PUT LEVEL (15) for more information.
This XLR balanced output will add 6dB
when connected to a balanced input, thereby
elevating signal from the noise floor by that
amount.
Accepts XLR balanced plugs, see page 14.
15. OUTPUT LEVEL
Use this knob to independently set the level
of the MONO MAIN OUT (14). The level is also
dependent on the level set by the MAIN MIX
FADER (72). Unity gain is at 3 o’clock, and
there is 6dB additional gain available when
turned fully up.
To feed a microphone input, like that found
on a camcorder, turn this knob down to the
9:00 range. Use the device’s input meters to as-
sure a good level.
17. TALKBACK MIC
Connect a balanced dynamic microphone to
this XLR jack to utilize the mixer’s talkback
feature (66) (67) (68). This input does not
provide phantom power, so it cannot accept
condenser microphones.
Accepts XLR balanced plugs, see page 14.
18
18. PHONES
The stereo signal from each of these identi-
cal outputs is a high-current version of the
signal from CONTROL ROOM OUT (11). Con-
nect TRS headphones to either or both jacks.
The stereo signal at these jacks is the same
as the MAIN OUTS (12) (16), except when
SOLO (39) or TAPE RETURN TO PHONES/C-R
(69) is engaged. Its level is independently con-
trolled by PHONES/C-R LEVEL (70).
TRS stereo wiring:
Tip = left, ring = right, sleeve = shield
19. PHANTOM
Engage this switch to provide phantom
power to all the MIC (1) input jacks. All of the
XLR mic inputs, except TALKBACK MIC (17),
are capable of simultaneously providing phan-
tom power. Phantom power is required to
operate most condenser microphones (some
condenser microphones are battery-powered).
+48VDC phantom power is delivered to pins 2
and 3 of the XLR connectors.
For dynamic, ribbon or tube mics that do
not require phantom power, leave this switch
off. If both condenser and dynamic mics are
used, turn the switch on. Phantom power will
not hurt most dynamic mics. If unsure, check
the microphone’s user manual.
Caution: Turn all output levels down before
operating this switch to avoid the possibility of
a “pop” in the speakers.
Caution: Connecting an external line-level
device to an XLR input connector with the
phantom power activated could damage that
device. Use the LINE IN (2) or STEREO LINE
IN (4) jacks for connecting line-level signals.
20. POWER
The POWER switch is located on the rear
panel, adjacent to the AC RECEPTACLE (21).
Push in the top side of the switch to turn on,
this connects the mixer to main AC power. The
POWER (55) LED in the top right corner of the
console, will glow in confirmation.
To turn the mixer off, push the switch the
other way. Note: turning off the switch does not
remove all power from the mixer. To remove all
power, the power cord must be disconnected
from the power source.
21. AC RECEPTACLE
Connect the supplied AC linecord into this
IEC socket to provide AC power to the Mixer.
Plug the cord into a suitable AC outlet; prop-
erly grounded and capable of delivering
adequate current.
Replacement AC linecords are widely avail-
able at any office or computer supply store.
22. FUSE INSIDE
An AC power fuse is located in a tiny slide-
out compartment inside the AC RECEPTACLE
(21). It’s a good idea to carry spare fuses.
Always remove the power
cord before changing the
fuse.
Always use the correctly
rated fuse for your specific
mixer:
24.4 VLZ PRO 120V: 1A/250V SLO BLO
32.4 VLZ PRO 120V: 1A/250V SLO BLO
24.4 VLZ PRO 230V: 500mA/250V SLO BLO
32.4 VLZ PRO 230V: 500mA/250V SLO BLO
INSERT INSERT INSERT INSERT INSERT INSERT INSERT
MIC 20
TAPE OUT TAPE IN
TALK BACK
MIC
R
R
R
(MONO)
4
L
L
L
3
2
1
L
CONTROL ROOM OUT MAININSERTS
3 3
4
2
3
1 1
L L
R
R R
L
24
23 21
22
20
MIC 19
19
LINE IN
(BAL OR UNBAL)
LINE IN
(BAL OR UNBAL)
LINE IN
(BAL OR UNBAL)
LINE IN
(BAL OR UNBAL)
LINE IN
(BAL OR UNBAL)
LINE IN
(BAL OR UNBAL)
LINE IN
(BAL OR UNBAL)
MIC 18
18
MIC 17
17
MIC 16
16
MIC 15
15
MIC 14
14
RIGHT
MAINOUT
LEFT
MAINOUT
MONO
MAINOUT
OUTPUT
LEVEL
PHONES
2
PHONES
1
OFF
POWER
ON
OFF
PHANTOM
ON
MONO MONO
PIN2 = HOT
PIN3 = COLD
FUSE INSIDE
120VAC
50/60 HZ 60W
1A/250V SLOBLO
CAUTION: TOREDUCE
THE RISK OF FIRE, REPLACE
WITHTHE SAME TYPE FUSE
ANDRATING
OO+6
MAIN
BALANCED
OUTPUTS
R
R
L L
AUX SENDS
(BAL OR UNBAL)
STEREOAUX RETURNS
(BAL OR UNBAL)
SUB INSERTS
(BALORUNBAL)
6
2 5
1 4
R
R
L
R
L
7
8
6
5
SUB OUTS
(BAL OR UNBAL)
4
2
MAINOUTS
(BAL OR UNBAL)
(BAL OR UNBAL)
XDR MIC PRE XDR MIC PRE XDR MIC PRE XDR MIC PRE XDR MIC PRE XDR MIC PRE XDR MIC PRE
19
CHANNEL STRIP FEATURES
AUX SEND: (26 and 27)
26. AUX
These knobs tap a portion of each
channel signal and send it out, via the
AUX SENDS (10) jacks, to an amp &
speakers for stage monitors or to an ef-
fects device for parallel effects
processing.
Each AUX knob’s level ranges from off,
through unity (center detent position),
on up to 15dB of extra gain (fully clock-
wise). AUX levels are controlled by these
knobs and by the AUX SEND MASTERS
(46).
The stereo channels’ AUX knobs con-
trol a mono sum of the channel’s stereo
signals. For instance, channel 21 (L) and
22 (R) mix together to feed that
channel’s mono AUX send knobs.
27. PRE
Aux sends 1 & 2 are always pre-fader,
designed for stage monitor applications.
Aux sends 5 & 6 are always post-fader, de-
signed 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 en-
gaged (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 sig-
nals 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.
The channel strip is where you dress up
each channel’s audio: setting the gain, adding
EQ, riding the fader, tapping signal off to stage
monitors and effects devices. After a signal
leaves the channel strip it goes through a mix
stage and on to the master section (page 22).
The 24•4-VLZ PRO has 20 mono channels
and two stereo channels. The 32•4-VLZ PRO
has 28 mono channels and two stereo chan-
nels. All of the mono channels are identical,
and all of the stereo channels are identical. In
this chapter, both flavors are described with
the help of an illustration from the 24•4-VLZ
PRO. This shows a mono channel strip 20 and
its neighbor, the stereo strip 21/22.
25. TRIM
If you haven’t already, please read SET THE
LEVELS on page 8.
TRIM adjusts the input sensitivity of the mic
and line inputs connected to the channels,
mono or stereo. This allows signals from the
outside world to be adjusted to optimal inter-
nal operating levels.
Through a mono channel’s MIC (1) XLR in-
put, there is 0dB of gain fully down and 60dB of
gain fully up.
Through a mono channel’s LINE IN (2)
TRS input, there is 15dB of attenuation fully
down and 45dB of gain fully up; with a “U”
(unity gain) label at about 10:00 (knob one-
third up).
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).
dB
30
20
10
OO
40
50
5
5
U
60
10
dB
30
20
10
OO
40
50
5
5
U
60
10
L R L R
U
OO+15
U
OO+15
U
OO+15
U
OO+15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 -15
U
OO+15
U
OO+15
U
OO+15
U
OO+15
U
OO+15
U
OO+15
U
OO+15
U
OO+15
-20 +20
U
POST POST
POST POST
+15dB -45dB
M
ICGAIN
0
U
60
-10dBV
600
1.5k 150
8k 100
12k
HI
3k
MID
HI
800Hz
MID
LOW
EQ
LOWCUT
75 Hz
18dB/OCT
80Hz
LOW
80Hz
LOW
3-4
L-R
1-2
3-4
L-R
1-2
-20
OL
-20
OL
PRE
1
PRE
PRE
2
3
5
6
12k
HI
MID
FREQ
TRIM
20
TRIM
21
22
AUX
PRE
1
PRE
PRE
2
3
5
6
AUX
20
MUTE
EQ
21 22
MUTE
SOLO SOLO
PAN PAN
4 4
MUTE/
SOLO
MUTE/
SOLO
MUTE/
SOLO
MUTE/
SOLO
Mono
channels
Stereo
channels
20
EQ: (28 through 34)
The mixer has low shelving, mid
peaking and high shelving EQ. “Shelv-
ing” 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 sur-
rounding 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, ef-
fectively bypassing their circuits.
Note: EQ boost is a form of level
boost. With excessive amounts, the sig-
nal may become too hot and overload
subsequent circuitry. Should this hap-
pen, 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).
28. HI
This control is centered at 12kHz and
above. Boost it to add sizzle and defini-
tion to sounds with high-frequency
transients, such as cymbals. Reduce it to
attenuate sibilance or to mask tape hiss.
29. MID and 30. FREQ
The mono channels employ a semi-
parametric mid-sweep EQ. The gain is
set via MID (29), and then “aimed” at a
specific frequency, from 100Hz to 8kHz,
via FREQ (30).
31. HI MID and 32. LOW MID
The stereo channels employ a 2-stage fixed-
frequency midrange EQ:
LOW MID is
centered at
800Hz.
HI MID is
centered at
3kHz
Midrange EQ is often considered the most
dynamic, because the frequencies that define
any sound are almost always found in this
range.
33. LOW
This control is centered at 80Hz and below.
This frequency represents the punch in kick
drums, bass guitar and fat synth patches.
This graph
shows various
settings of the
LOW control,
with LOW CUT
not engaged.
34. LOW CUT
This switch (only on the mono channels)
cuts the bass frequencies below 75Hz at a rate
of 18dB per octave. Low Cut is also known as
High Pass (low cut dress=high pass rate).
To prevent muddy mixes, use low cut on ev-
ery mono channel except those which carry
kick drum, bass guitar or other bass-intensive
sounds. Low cut can also help reduce the possi-
bility of feedback in live situations and it helps
to conserve amplifier power.
This graph
shows various
settings of the
LOW control,
with LOW CUT
engaged.
Desirable low frequencies can be boosted
whilst undesirable lower frequency stage
rumble, mic handling clunks and P-p-pops are
attenuated.
dB
30
20
10
OO
40
50
5
5
U
60
10
dB
30
20
10
OO
40
50
5
5
U
60
10
L R L R
U
OO+15
U
OO+15
U
OO+15
U
OO+15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 -15
U
OO+15
U
OO+15
U
OO+15
U
OO+15
U
OO+15
U
OO+15
U
OO+15
U
OO+15
-20 +20
U
POST POST
POST POST
+15dB -45dB
M
ICGAIN
0
U
60
-10dBV
600
1.5k 150
8k 100
12k
HI
3k
MID
HI
800Hz
MID
LOW
EQ
LOWCUT
75 Hz
18dB/OCT
80Hz
LOW
80Hz
LOW
3-4
L-R
1-2
3-4
L-R
1-2
-20
OL
-20
OL
PRE
1
PRE
PRE
2
3
5
6
12k
HI
MID
FREQ
TRIM
20
TRIM
21
22
AUX
PRE
1
PRE
PRE
2
3
5
6
AUX
20
MUTE
EQ
21 22
MUTE
SOLO SOLO
PAN PAN
4 4
MUTE/
SOLO
MUTE/
SOLO
MUTE/
SOLO
MUTE/
SOLO
20Hz 100Hz 1kHz 10kHz 20kHz
–15
–10
–5
0
+5
+10
+15
LOWMID
20Hz 100Hz 1kHz 10kHz 20kHz
–15
–10
–5
0
+5
+10
+15
HI MID
20Hz 100Hz 1kHz 10kHz 20kHz
–15
–10
–5
0
+5
+10
+15
HI
20Hz 100Hz 1kHz 10kHz 20kHz
–15
–10
–5
0
+5
+10
+15
MID
FREQ
20Hz 100Hz 1kHz 10kHz 20kHz
–15
–10
–5
0
+5
+10
+15
LOW
20Hz 100Hz 1kHz 10kHz 20kHz
–15
–10
–5
0
+5
+10
+15
LOW
Mono
channels
Stereo
channels
21
35. THIS OL’ LED
This LED represents a bad thing: If a
channel’s OL LED lights up, its signal is too
hot, and subsequent circuitry may overload
(clip). To correct this, perform the SET THE
LEVELS procedure on page 8.
36. -20 LED
This LED represents a good thing: This LED
will flicker in time with a channel’s signal
when its level peaks at -20dB or higher. Also
known as a “signal present indicator,” it con-
firms an adequate signal level.
37. PAN
PAN adjusts the amount of channel signal
sent, left versus right, to the MAIN OUTS (12)
(16) and SUB OUTS (8). On mono channels,
the knob places the signal somewhere between
hard left and hard right. On stereo channels, it
works as a balance control, by attenuating one
side or the other.
With the PAN knob hard left, the signal will
feed LEFT MAIN, SUB 1 or SUB 3, depending
on the channel’s L-R (41) and 1-2 & 3-4 (40)
assignment settings.
With the PAN knob hard right, the signal
will feed RIGHT MAIN, SUB 2 or SUB 4, also
depending on the channel assignment settings.
With the PAN knob set somewhere in be-
tween, the signal will be shared across both
sides of the mix(es).
The PAN circuits employ a design called
“constant loudness.” As the knob is rotated
from left to center to right, the sound will re-
main at the same apparent volume. To attain
this, both sides of the signal must dip down
about 4 dB when panned center, to account for
the “doubling” of the signal.
38. MUTE
Engaging a channel’s mute switch severs its
signal from all subsequent outputs. Addition-
ally, the adjacent MUTE/SOLO LED will glow.
Note: A muted channel can still be soloed
(set MODE (63) to PFL).
Note: The mixer’s pre-fader aux sends, typi-
cally used for stage monitors, follow this mute
switch. To effectively mute the signal sent to
the main mix without muting monitor feeds,
use that channel’s fader instead of the mute
switch.
39. SOLO
Engaging this switch isolates the as-
sociated channel’s signal and sends it
to the control room, phones and
meters. See RUDE SOLO LIGHT (61)
and MODE (63) for more information.
Note: A muted channel can still be
soloed (set MODE (63) to PFL).
40. 1-2 & 3-4
Used in conjunction with the PAN
(37) knob, these switches allow a
channel signal to be sent to the sub-
groups in stereo pairs. Typically, if a
channel signal is routed to the sub-
groups, it will not be directly assigned
to the main mix via the L-R (41)
switch.
For live sound, subgroups allow a
group of channels to be controlled by
one or two subgroup faders. For multi-
track recording, subgroups can be used
to route groups of channels to specific
tracks of a multi-track recorder.
See PAN (37), L/R ASSIGN (59) and
SUBGROUP FADER (60) for more in-
formation.
41. L-R
Used in conjunction with the PAN
(37) knob, this switch allows a channel
signal to be sent directly to the stereo
main mix. Typically, an active channel
will always have this switch engaged,
unless its signal is being sent to a sub-
group, via the 1-2 and 3-4 (40)
switches.
See PAN (37) and MAIN MIX
FADER (72) for more information.
42. CHANNEL FADER
The fader is the master level control
for the channel’s signal output. If the
TRIM (25) is set correctly, the fader
position will be best positioned some-
where between -20dB and 0dB (U).
If a fader is set all the way up,
thereby adding 10dB of gain, that’s a
sign that the TRIM (25) is set too low.
Conversely, if the fader is set way down,
the TRIM may be set too high.
dB
30
20
10
OO
40
50
5
5
U
60
10
dB
30
20
10
OO
40
50
5
5
U
60
10
L R L R
U
OO+15
U
OO+15
U
OO+15
U
OO+15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 -15
U
OO+15
U
OO+15
U
OO+15
U
OO+15
U
OO+15
U
OO+15
U
OO+15
U
OO+15
-20 +20
U
POST POST
POST POST
+15dB -45dB
M
ICGAIN
0
U
60
-10dBV
600
1.5k 150
8k 100
12k
HI
3k
MID
HI
800Hz
MID
LOW
EQ
LOWCUT
75 Hz
18dB/OCT
80Hz
LOW
80Hz
LOW
3-4
L-R
1-2
3-4
L-R
1-2
-20
OL
-20
OL
PRE
1
PRE
PRE
2
3
5
6
12k
HI
MID
FREQ
TRIM
20
TRIM
21
22
AUX
PRE
1
PRE
PRE
2
3
5
6
AUX
20
MUTE
EQ
21 22
MUTE
SOLO SOLO
PAN PAN
4 4
MUTE/
SOLO
MUTE/
SOLO
MUTE/
SOLO
MUTE/
SOLO
Mono
channels
Stereo
channels
22
MASTER SECTION FEATURES
In the master section, signals leaving the
channel strips are mixed, manipulated and
sent to the outputs in the patchbay. Addition-
ally, there are four more stereo inputs here,
used to add effects to the main mix or other
destinations.
45. LAMP
This female BNC connector provides 12
volts on its center pin. Connect any quality
gooseneck lamp here.
AUX SEND MASTER: (46 and 47)
46. AUX SEND MASTERS
Aux send signals originate at each channel’s
AUX (26) knobs, are mixed together, sent
through these controls, and exit at the
patchbay’s AUX SENDS (10). Turned fully up,
these controls provide 15 dB of additional gain,
the center “U” label is unity gain and fully down
is off.
When an aux send is used for monitors,
these knobs can be used to raise or lower indi-
vidual monitor mixes to suit the performer’s
taste. For recording work, these knobs are typi-
cally set near unity and left alone; most
adjustments are made per channel.
47. SOLO
Engaging any of these switches will isolate
the associated signal and send it to the control
room, phones and meters. See RUDE SOLO
LIGHT (61) and MODE (63) for more informa-
tion.
dB
30
20
10
OO
40
50
5
5
U
60
10
dB
30
20
10
OO
40
50
5
5
U
60
10
dB
30
20
10
OO
40
50
5
5
U
60
10
dB
30
20
10
OO
40
50
5
5
U
60
10
dB
30
20
10
OO
40
50
5
5
U
60
10
OO
U
OO+15
U
OO+15
OO
U
OO+15
MAX
MAX
U
OO+20
U
OO+20
U
OO+20
U
OO+20
U
OO+20
U
OO+15
U
OO+15
U
OO+15
U
OO+15
U
OO+15
U
OO+15
5
+10 0
5
+10 0
5
+10 0
5
+10 0
L R L R L R L R
16kHz 16kHz 16kHz 16kHz
LAMP
STEREO
AUX RETURNS
AUX SEND
MASTERS
LEVEL
5
6
AIR AIR AIR AIR
SOLO SOLO SOLO SOLO
1
2
3
4
1
2
1
2
3
4
SOLO
SOLO
1-2
SUB SOLO
GLOBAL
AUXRETURN
ASSIGN
TO SUB
SOLO
SOLO
TAPE RETURN
TO PHONES / C R
TAPE RETURN
TO MAIN MIX
LEFT/RIGHT
MAIN MIX
AUX 1-2
TALKBACK
LEVEL
TAPE
RETURN
3-4
LEFT RIGHT
L/R ASSIGN L/R ASSIGN L/R ASSIGN L/R ASSIGN
SUB SUB SUB SUB
1 2 3 4
PHONES / C-R
LEVEL
MAIN MIX
SOLO
TO AUX
SEND
1-2
(EFXTOMONITOR)
SOLO
28
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10
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4
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10
20
30
40
TRACK
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TRACK
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TRACK
3

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TRACK
4

8
SOLO
MODE
SUB AUX
PREFADER
INPLACEAFL
LEVEL SET
PAN PAN PAN PAN
POWER RUDE
SOLO
LIGHT
OPERATINGLEVEL
0dB=0dBu
23
STEREO AUX RETURNS: (48 to 52)
48. STEREO AUX RETURNS
Having entered through the STEREO AUX
RETURNS (9) jacks, effects returns are con-
trolled by these knobs, and typically continue
on to the MAIN MIX FADER (72). Effect re-
turns are the “wet” signals, to be combined
with the channels’ original “dry” signals in the
main mix.
Turned fully up, these controls provide
20 dB of additional gain; the center “U” label is
unity gain and fully down is off. These knobs
are typically set near unity and left alone.
49. TO AUX SEND 1-2
These knobs work just like the channel
strip’s AUX (26) 1 and 2 knobs; but here, the
source signal is the STEREO AUX RETURNS
(9) 1 and 2. Typically, these knobs are used to
add effects to the stage monitors.
Via these knobs, aux return 1 combines its
left and right sides to feed aux send 1; stereo
aux return 2 combines to feed aux send 2.
Turned fully up, these controls provide 15 dB of
additional gain, the center “U” label is unity
gain and fully down is off.
50. ASSIGN TO SUB and 51. SUB
These switches allow stereo aux return 4 to
be sent to pairs of subgroups, instead of being
sent directly to the main mix. Engage ASSIGN
TO SUB (50) to divert aux return 4 to the sub-
groups; use SUB (51) to choose the subgroup
pair, 1-2 (switch up) or 3-4 (switch down).
For live sound, subgroups allow a group of
channel levels (and aux return 4) to be con-
trolled by one or two subgroup faders. For
multi-track recording, subgroups can be used
to route groups of channels (and aux return 4)
to specific tracks of a multi-track recorder.
See L/R ASSIGN (59) and SUBGROUP
FADER (60) for more information.
52. SOLO
Engaging this switch isolates the associated
signal and sends it to the control room, phones
and meters. See RUDE SOLO LIGHT (61) and
MODE (63) for more information.
Note: In PFL mode, aux returns are not
soloed before their master level controls, but
are instead summed after the controls into a
mono signal and sent to the PFL mix.
53. TAPE RETURN
Having entered through the TAPE IN (6)
jacks, tape returns are controlled by this knob,
and then sent to TAPE RETURN TO PHONES/
C-R (69) and TAPE RETURN TO MAIN MIX
(71).
Turned fully up, this provides 20dB of addi-
tional gain, the center “U” label is unity gain
and fully down is off. This knob is typically set
near unity and left alone.
54. METERS
The mixer’s peak metering system is made
up of two columns of thirteen LEDs each, with
thresholds ranging from -40dB up to “CLIP”
(+22dBu at TRS MAIN OUTS (12), +28dBu at
the XLR MAIN OUT (16)).
The meters display the main mix, post
MAIN MIX FADER (72). However, when a
SOLO (39) (47) (52) (57) switch is engaged,
the meters will instead display the solo infor-
mation.
A good mix will show the meter’s peaks
flashing anywhere between -10 and +10dB. Re-
member that most amplifiers clip at about
+10dB, and some recorders aren’t so forgiving
either. For best real-world results, try to keep
your peaks between “0” and “+7.”
ZERO EQUALS ZERO
You may already be fa-
miliar with “+4” and “-10”
operating levels. Basically,
what determines an operat-
ing level, besides available
headroom, is the relative
0dB VU chosen for the meters. A “+4” mixer,
with a +4dBu output signal, will actually dis-
play 0dB on its meters. A “-10” mixer, with a
-10dBV output signal, will also display 0dB.
To eliminate that confusion, Mackie’s com-
pact mixers use a simpler method, where zero
equals zero: 0dBu (0.775V) at the output
shows as 0dB VU on the meters. If a “+4” out-
put is desired, set the mix levels so the meters
“average” at +4dB. If a “-10” output is desired,
set the mix levels so the meters “average” at -
10dB.
55. POWER LED
This LED glows when the POWER (20)
switch is turned on.
24
SUBGROUPS: (56 through 60)
56. AIR
AIR is a high frequency peaking EQ cen-
tered at 16kHz. Turned fully up, these controls
provide 10dB of boost and fully down effec-
tively bypasses the circuit. Use AIR to provide a
crystalline effect to subgroups, helping them
stand out in the overall mix.
57. SOLO
Engaging this switch isolates the associated
signal and sends it to the control room, phones
and meters. See RUDE SOLO LIGHT (61) and
MODE (63) for more information.
Note: To solo a subgroup in AFL mode, L/R
ASSIGN (59) must be engaged.
58. PAN
When a mono subgroup signal is assigned to
the main mix via L/R ASSIGN (59), it effec-
tively becomes another channel signal and can
be panned from left to right. This knob then
adjusts the amount of signal sent, left versus
right, to the MAIN OUTS (12) (16).
The mixer’s pan circuits employ a design
called “constant loudness.” As the knob is ro-
tated from left to center to right, the sound will
remain at the same apparent volume. To attain
this, both sides of the signal must dip down
about 4 dB when panned center, to account for
the “doubling” of the signal.
59. L/R ASSIGN
This switch allows a subgroup signal to be
sent to the main mix. Engaging this switch will
not interrupt signal at the SUB OUTS (8) jack.
For live sound, subgroups allow a group of
channels to be controlled by one or two sub-
group faders, and then sent to the main mix
using this switch and its associated PAN (58)
control.
For multi-track recording, subgroups can be
used to route groups of channels to specific
tracks of a multi-track recorder via the SUB
OUTS (8). In this case, L/R ASSIGN should not
be used.
dB
30
20
10
OO
40
50
5
5
U
60
10
dB
30
20
10
OO
40
50
5
5
U
60
10
dB
30
20
10
OO
40
50
5
5
U
60
10
dB
30
20
10
OO
40
50
5
5
U
60
10
dB
30
20
10
OO
40
50
5
5
U
60
10
OO
U
OO+15
U
OO+15
OO
U
OO+15
MAX
MAX
U
OO+20
U
OO+20
U
OO+20
U
OO+20
U
OO+20
U
OO+15
U
OO+15
U
OO+15
U
OO+15
U
OO+15
U
OO+15
5
+10 0
5
+10 0
5
+10 0
5
+10 0
L R L R L R L R
16kHz 16kHz 16kHz 16kHz
LAMP
STEREO
AUX RETURNS
AUX SEND
MASTERS
LEVEL
5
6
AIR AIR AIR AIR
SOLO SOLO SOLO SOLO
1
2
3
4
1
2
1
2
3
4
SOLO
SOLO
1-2
SUB SOLO
GLOBAL
AUXRETURN
ASSIGN
TO SUB
SOLO
SOLO
TAPE RETURN
TO PHONES / C R
TAPE RETURN
TO MAIN MIX
LEFT/RIGHT
MAIN MIX
AUX 1-2
TALKBACK
LEVEL
TAPE
RETURN
3-4
LEFT RIGHT
L/R ASSIGN L/R ASSIGN L/R ASSIGN L/R ASSIGN
SUB SUB SUB SUB
1 2 3 4
PHONES / C-R
LEVEL
MAIN MIX
SOLO
TO AUX
SEND
1-2
(EFXTOMONITOR)
SOLO
28
CLIP
10
7
4
2
2
0
4
7
10
20
30
40
TRACK
1

5
TRACK
2

6
TRACK
3

7
TRACK
4

8
SOLO
MODE
SUB AUX
PREFADER
INPLACEAFL
LEVEL SET
PAN PAN PAN PAN
POWER RUDE
SOLO
LIGHT
OPERATINGLEVEL
0dB=0dBu
20Hz 100Hz 1kHz 10kHz 100kHz
–15
–10
–5
0
+5
+10
+15
AIR
25
60. SUBGROUP FADERS
These faders provide 10dB of gain fully up,
unity gain at the “U” label and are effectively
muted fully down. Each fader is the master
level control for a subgroup’s signal, affecting
both the SUB OUTS (8) and the main mix, via
L/R ASSIGN (59).
SOLO: (61 through 65)
61. RUDE SOLO LIGHT
Engaging any SOLO switch (39),(47),(52)
or (57) has this result: The CONTROL ROOM
OUT (11), PHONES (18) and METERS (54),
which ordinarily receive the main mix signals,
will instead receive the solo signal. The MAIN
OUTS (12) (16) and MONO MAIN OUT (14)
are not affected by a solo condition.
Additionally, an LED associated with the
solo switch and the RUDE SOLO LIGHT will
blink obnoxiously.
The solo signal will be mono in PFL or ste-
reo in AFL, as determined via the MODE (63)
switch. Any number of solo switches may be si-
multaneously engaged.
62. LEVEL
This is the master level control for all solo
signals, regardless of MODE (63). It can be set
as desired, as it only affects the CONTROL
ROOM OUT (11) and PHONES (18). It does
not affect the solo levels sent to the METERS
(54).
63. MODE
With this switch up, solo signals are PFL
(pre-fader listen). With this switch down, solo
signals are AFL (after-fader listen).
In PFL mode, the solo signal is tapped
(mono) before a circuit’s associated level con-
trol (except aux return SOLO (52)). PFL is
popular for live sound applications; providing
quick inspections of individual or multiple
channels, even if their level controls are turned
fully down.
Note: In PFL mode, when engaging a solo
switch whose associated level control is set
well below “U” (unity gain), turn down solo
LEVEL (62) to compensate for the difference.
In AFL mode, the solo signal is tapped (ste-
reo) after a circuit’s associated controls (trim,
EQ, pan, fader, mute, etc.). It’s the equivalent
of muting all the other channels. AFL is popu-
lar for studio recording applications; providing
the actual outputs of individual or multiple
channels.
64. AUX LED
Along with the RUDE SOLO LIGHT (61),
this LED blinks when any aux send master
SOLO (47) or the global aux return SOLO (52)
is engaged.
65. SUB LED
Along with the RUDE SOLO LIGHT (61),
this LED blinks when any subgroup SOLO (57)
is engaged.
TALKBACK: (66 through 68)
66. LEVEL
Having entered through the TALKBACK
MIC (17) jacks, talkback level is controlled by
this knob, and then sent to the MAIN MIX (67)
and AUX 1-2 (68) switches. It can be set as de-
sired by the engineer.
67. MAIN MIX
Engaging this switch sends the talkback sig-
nal to the main mix, allowing the user to speak
to the audience (live sound), or to slate a
song’s start (studio recording).
To prevent the possibility of feedback, en-
gaging this switch will attenuate control room
output levels by 20dB.
68. AUX 1-2
Engaging this switch sends the talkback sig-
nal to aux sends 1 and 2, allowing the user to
speak to the talent, providing that they are us-
ing those aux sends for monitoring.
To prevent the possibility of feedback, en-
gaging this switch will attenuate control room
output levels by 20dB.
69. TAPE RETURN TO PHONES/C-R
Ordinarily, the main mix (or solo) stereo
signal is sent to the control room and phones.
Engaging this switch will replace that with ste-
reo signal from the TAPE IN (6) jacks, via the
TAPE RETURN (53) level control.
It’s typically used for studio recording, to
patch a mixdown deck’s outputs directly to the
control room and phones; thereby always lis-
tening to the mixdown deck, whether it’s in
playback or input mode.
26
70. PHONES/C-R LEVEL
After the MAIN MIX FADER (72), the main
mix is sent to the MAIN OUTS (12) (16) and
MONO MAIN OUT (14). It is also sent through
this control, and exits at CONTROL ROOM
OUT (11) and PHONES (18).
This knob allows engineer’s listening levels
to be set as desired without disturbing the
main mix outputs. Engaging TAPE RETURN
TO PHONES/C-R (69) or TAPE RETURN TO
MAIN MIX (71) will replace the main mix sig-
nal at the control room and phones outputs
with the TAPE IN (6) signal.
When a channel’s SOLO (39) is engaged,
the main mix signal will be replaced by the solo
signal(s), allowing the engineer to audition
channels without disturbing the main mix.
To prevent the possibility of feedback, en-
gaging either talkback switch (67) (68) will
attenuate control room output levels by 20dB.
71. TAPE RETURN TO MAIN MIX
Ordinarily, the main mix (or solo) stereo
signals are sent to CONTROL ROOM OUT (11),
MAIN OUTS (12) (16), MONO MAIN OUT
(14), PHONES (18) and METERS (54). En-
gaging this switch will replace these signals
with stereo signals from the TAPE IN (6) jacks,
via the TAPE RETURN (53) level control.
Also known as a “break switch,” this switch
is useful for live sound, to play recorded enter-
tainment between sets. It can also serve as a
global mute switch simply by patching nothing
into the TAPE IN (6) jacks.
72. MAIN MIX FADER
This fader controls the main mix levels sent
to CONTROL ROOM OUT (11), MAIN OUTS
(12) (16), MONO MAIN OUT (14), PHONES
(18) and METERS (54). The stereo main mix
can be processed before this fader by patching
an effects device into the MAIN INSERTS
(13).
The fader turned fully up provides 10 dB of
additional gain, the “U” label is unity gain and
fully down is effectively muted. Typically, this
fader is set near the “U” label and left alone,
but it can be used for song fade-outs or quick
system-wide mutes.
dB
30
20
10
OO
40
50
5
5
U
60
10
dB
30
20
10
OO
40
50
5
5
U
60
10
dB
30
20
10
OO
40
50
5
5
U
60
10
dB
30
20
10
OO
40
50
5
5
U
60
10
dB
30
20
10
OO
40
50
5
5
U
60
10
OO
U
OO+15
U
OO+15
OO
U
OO+15
MAX
MAX
U
OO+20
U
OO+20
U
OO+20
U
OO+20
U
OO+20
U
OO+15
U
OO+15
U
OO+15
U
OO+15
U
OO+15
U
OO+15
5
+10 0
5
+10 0
5
+10 0
5
+10 0
L R L R L R L R
16kHz 16kHz 16kHz 16kHz
LAMP
STEREO
AUX RETURNS
AUX SEND
MASTERS
LEVEL
5
6
AIR AIR AIR AIR
SOLO SOLO SOLO SOLO
1
2
3
4
1
2
1
2
3
4
SOLO
SOLO
1-2
SUB SOLO
GLOBAL
AUXRETURN
ASSIGN
TO SUB
SOLO
SOLO
TAPE RETURN
TO PHONES / C R
TAPE RETURN
TO MAIN MIX
LEFT/RIGHT
MAIN MIX
AUX 1-2
TALKBACK
LEVEL
TAPE
RETURN
3-4
LEFT RIGHT
L/R ASSIGN L/R ASSIGN L/R ASSIGN L/R ASSIGN
SUB SUB SUB SUB
1 2 3 4
PHONES / C-R
LEVEL
MAIN MIX
SOLO
TO AUX
SEND
1-2
(EFXTOMONITOR)
SOLO
28
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10
7
4
2
2
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4
7
10
20
30
40
TRACK
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5
TRACK
2

6
TRACK
3

7
TRACK
4

8
SOLO
MODE
SUB AUX
PREFADER
INPLACEAFL
LEVEL SET
PAN PAN PAN PAN
POWER RUDE
SOLO
LIGHT
OPERATINGLEVEL
0dB=0dBu
27
Impedances
Mic preamp input 1.5kΩ
All other inputs >10kΩ
All outputs 120Ω
Equalization
Lo EQ Shelving 80Hz ±15dB
Mid EQ(mono ch)Peak 100–8kHz ±15dB
Hi EQ Shelving 12kHz ±15dB
Microphone Preamp
E.I.N. (150Ω terminated, max gain): –129.5dBm
Power Requirements
110 watts
Weight
24•4-VLZ PRO 31 lbs. (14 kg.)
32•4-VLZ PRO 40.7 lbs. (18.8 kg.)
Since we are always striving to make our
products better by incorporating new and im-
proved materials, components, and
manufacturing methods, we reserve the right
to change these and other specifications at
any time without notice.
SPECIFICATIONS
24•4-VLZ PRO and 32•4-VLZ PRO
Noise (20Hz to 20kHz bandwidth, Line inputs to Main
L/R outputs, all channels assigned, panned L/R):
Master fader down, Ch. gains down –94.7dBu
Master fader @ unity, Ch. gains down –87.4dBu
Master fader @ unity, Ch. gains @ unity –83.5dBu
Total Harmonic Distortion
(1KHz @ +14dBu 20Hz–20kHz):
Mic input to insert output <0.0007%
Other outputs < 0.004%
Crosstalk (1kHz @ 0dBu, 20Hz to 20Khz bandwidth,
channel in to Main Left outputs):
Channel fader down, channels at Unity –89.5dB
Channel muted, channels 2–16 at Unity –88.7dB
Frequency Response (any input to any output):
20Hz to 50KHz +0/–1dB
20Hz to 100KHz +0/–3dB
Maximum Levels
Mic preamp input +22dBu
All other inputs +22dBu
Balanced XLR outputs +28dBu
All other outputs +22dBu
31.00"
5.60"
2.80"
18.90"
1.30"
1.80"
2.80"
0.50"
19.20"
1
9
.
2
0
"

24•4
WEIGHT
31 lbs.
39.25"
1
9
.
2
0
"

32•4
WEIGHT
41 lbs.
28



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BLOCK DIAGRAM
29
GAIN PATH DIAGRAM — (all levels in dBu)
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30
REPAIR
Service for the 24•4-VLZ PRO and the
32•4-VLZ PRO is available at our factory, lo-
cated in sunny Woodinville, Washington.
Service for Mackie mixers living outside the
United States can be obtained through local
dealers or distributors.
If your mixer needs service, follow these
instructions:
1. Review the preceding troubleshooting
suggestions. Please.
2. Call Tech Support at 1-800-898-3211, 7 am
to 5 pm PST, to explain the problem and
request an RA (Return Authorization)
number. Have your mixer’s serial number
ready.
You must have an RA number before you
can obtain service at the factory.
3. Keep this owner’s manual. We don’t need it
to repair the mixer.
4. Very Important: Move all Faders to their
UP position as this will help prevent
damage to the faders during shipping.
5. Pack the mixer in its original package,
including endcaps and box. This is very
important. When you call for the RA
number, please let Tech Support know if
you need new packaging. Mackie is not
responsible for any damage that occurs
due to non-factory packaging.
6. Include a legible note stating your name,
shipping address (no P.O. boxes), daytime
phone number, RA number, and a detailed
description of the problem, including how
we can duplicate it.
7. Write the RA number in BIG PRINT on
top of the box.
8. Ship the mixer to us. We suggest insurance
for all forms of cartage. Ship to this
address:
MACKIE
SERVICE DEPARTMENT
16220 Wood-Red Rd. NE
Woodinville, WA 98072
9. Ask Tech Support for the latest turn-
around times when you call for your RA
number. We normally send everything back
prepaid using three-day shipping. However,
if you rush your mixer to us by next day air,
we’ll treat it in kind by shipping it back the
same way in which it was received. This
paragraph does not necessarily apply to
non-warranty service.
TROUBLESHOOTING
If you think your Mackie product has a prob-
lem, please do everything you can to confirm it
before calling for service. Doing so might save
you from the deprivation of your mixer and the
associated suffering. Here’s a few troubleshoot-
ing suggestions:
No channel signal
• Is the 1-2 & 3-4 (40) or L-R (41) switch set
correctly?
• Is the CHANNEL FADER (42) turned up?
• Try soloing that channel. Does it appear on
the METERS (54)?
• On mono channels, try unplugging any
INSERT (3) effects devices.
• Try the same signal in another channel, set
up exactly like the suspect channel.
No Output
• Are the L/R ASSIGN (59) switches set
correctly?
• Are the MAIN MIX FADER (72) or SUB-
GROUP FADERs (60) turned up?
• Try unplugging any insert (7) (13) effects
devices.
• If it’s one of the MAIN OUTS (12) (16), try
unplugging the other. For example, if it’s
the MAIN OUTS (TRS) (12), unplug the
associated MAIN OUT (XLR) (16) output.
If the problem goes away, it’s not the mixer.
• If it’s one bad side of a stereo pair, try switch-
ing them around. For example, if a left output
is presumed dead, switch the left and right
cords, at the mixer end. If the problem stays
on the left side, it’s not the mixer.
Noise
• Turn the CHANNEL FADERs (42) and
STEREO AUX RETURNS (48) down, one
by one. If the sound disappears, it’s either
that channel or whatever is plugged into it,
so unplug whatever that is. If the noise
disappears, it’s from your whatever.
Power
• Our favorite question: Is the POWER (20)
switch on?
• Turn off the power from the wall, unplug
the power cord and check the fuse (22).
SERVICE INFORMATION
31
© 2004 LOUD Technologies Inc.
All Rights Reserved.
SR24•4/SR32•4 LIMITED WARRANTY
4. 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.
5. Contact the Authorized Mackie Service Center
to arrange service or bring the product to them.
F. LOUD Technologies and Authorized Mackie Service
Centers reserve the right to inspect any products
that may be the subject of any warranty claims be-
fore repair or replacement is carried out. LOUD
Technologies and Authorized Mackie Service Centers
may, at their option, require proof of the original date
of purchase in the form of a dated copy of the original
dealer’s invoice or sales receipt. Final determination
of warranty coverage lies solely with LOUD Tech-
nologies or its Authorized Service Centers.
G. Any Mackie product deemed eligible for repair or
replacement under the terms of this warranty will be
repaired or replaced within thirty days of receipt by
LOUD Technologies. LOUD Technologies may use
refurbished parts for repair or replacement of any
product. Products returned to LOUD Technologies
that do not meet the terms of this Warranty will be
repaired and returned C.O.D. with billing for labor,
materials, return freight, and insurance. Products re-
paired under warranty at the factory will be returned
freight prepaid by LOUD Technologies to any loca-
tion within the boundaries of the USA.
H. LOUD Technologies warrants all repairs performed
for 90 days or for the remainder of the original war-
ranty period. LOUD Technologies assumes no
responsibility for the quality or timeliness of repairs
performed by Authorized Mackie Service Centers.
I. This warranty is extended to the original purchaser
and to anyone who may subsequently purchase this
product within the applicable warranty period. A copy
of the original sales receipt is required to obtain
warranty repairs.
J. This is your sole warranty. LOUD Technologies does
not authorize any third party, including any dealer or
sales representative, to assume any liability on behalf of
LOUD Technologies or to make any warranty for
LOUD Technologies Inc..
K. THE WARRANTY GIVEN ON THIS PAGE IS
THE SOLE WARRANTY GIVEN BY LOUD
TECHNOLOGIES INC. AND IS IN LIEU OF ALL
OTHER WARRANTIES, EXPRESS AND IMPLIED,
INCLUDING THE WARRANTIES OF MER-
CHANTABILITY AND FITNESS FOR A
PARTICULAR PURPOSE. THE WARRANTY
GIVEN ON THIS PAGE SHALL BE STRICTLY
LIMITED IN DURATION TO THREE YEARS
FROM THE DATE OF ORIGINAL PURCHASE
FROM AN AUTHORIZED MACKIE DEALER.
UPON EXPIRATION OF THE APPLICABLE
WARRANTY PERIOD, MACKIE SHALL HAVE
NO FURTHER WARRANTY OBLIGATION OF
ANY KIND. LOUD TECHNOLOGIES INC. SHALL
NOT BE LIABLE FOR ANY INCIDENTAL,
SPECIAL, OR CONSEQUENTIAL DAMAGES
THAT MAY RESULT FROM ANY DEFECT IN
THE MACKIE PRODUCT OR ANY WARRANTY
CLAIM. Some states do not allow exclusion or
limitation of incidental, special, or consequential
damages or a limitation on how long warranties
last, so some of the above limitations and
exclusions may not apply to you. This warranty
provides specific legal rights and you may have
other rights which vary from state to state.
Please keep your sales receipt in a safe place.
A. LOUD Technologies warrants all materials, work-
manship and proper operation of this product for a
period of three years from the original date of pur-
chase. If any defects are found in the materials or
workmanship or if the product fails to function prop-
erly during the applicable warranty period, LOUD
Technologies, at its option, will repair or replace the
product. Labor for replacing all potentiometers is
covered for the first year, after which it is excluded
from warranty coverage and may be billed to you.
This warranty applies only to equipment sold
and delivered within the U.S. by LOUD Tech-
nologies or its authorized dealers.
B. Failure to register online or return the product
registration card will not void the three-year warranty.
C. Service and repairs of Mackie products are to be
performed only at the factory (see D below) OR at an
Authorized Mackie Service Center (see E below).
Unauthorized service, repairs, or modification will
void this warranty.
D. To obtain factory service:
1. Call LOUD Technologies at 800/898-3211,
7 am to 5 pm Monday through Friday (Pacific
Time) to get a Return Authorization (RA). Products
returned without an RA number will be refused.
2. Pack the product in its original shipping car-
ton. If you do not have the carton, just ask for
one when you get your RA number, and we’ll
send a shipping carton out promptly. More infor-
mation on packing can be found in the Service
section of this manual. Do not use “packing pea-
nuts,” shredded newspapers, or other material
with small particles, old underwear, or socks.
Please seal the Mackie product in a plastic bag.
3. Also include a note explaining exactly how to
duplicate the problem, a copy of the sales receipt
with price and date showing, and your return
street address (no P.O. boxes or route numbers,
please!). If we cannot duplicate the problem or
establish the starting date of your Limited Warranty,
we may, at our option, charge for service time.
4. Ship the product in its original shipping car-
ton, freight prepaid to:
MACKIE
SERVICE DEPARTMENT
16220 Wood-Red Rd. NE
Woodinville, WA 98072 USA
IMPORTANT: Make sure that the RA number is
plainly written on the shipping carton.
E. To obtain service from an Authorized Mackie
Service Center:
1. Call LOUD Technologies at 800/898-3211,
7 am to 5 pm Monday through Friday (Pacific
Time) to get:
1) The name and address of your nearest Autho-
rized Mackie Service Center and 2) A return
authorization (RA). You must have an RA num-
ber before taking your unit to a service center.
2. Make sure that you have a copy of your
product’s sales receipt from the store where you
bought the product. It is necessary to establish
purchase date and thus determine whether or not
your product is still under warranty. If you can’t
find it, the Authorized Service Center may charge
you for repairs even if your product is still covered
by Mackie’s Three-Year Limited Warranty.
3. Make sure that the problem can be duplicated.
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.
LOUD Technologies Inc.
16220 Wood-Red Road NE • Woodinville, WA 98072 • USA
US and Canada: 800.258.6883
Europe, Asia, Central and South America: 425.487.4333
Middle East and Africa: 31.20.654.4000
Fax: 425.487.4337 • www.mackie.com
E-mail: sales@mackie.com