Mackie DJ Mixer User manual

OWNER’S MANUAL
2-Channel DJ Production Console with FireWire
LR
MAIN
BA
OL
0
2
4
7
10
20
30
OL
0
2
4
7
10
20
30
OL
0
2
4
7
10
20
30
PGM 2
REVERSE
contact-free
cross-fader
infinium
PGM 1
LOW
MID
HIGH
PHONES
BOOTH
MAIN
SOURCE
EQ
FX
PAN BAL
LOW
MID
HIGH
LINE/
PHONO
CD
EQ
SIG
OL
MIC CONTROL
2PGM
LEVEL
PGM
MAIN
STEREO
MONO
+50+3
RL
U
+15-15
U
+15-15
U
+15-15
SOURCE
EQ
BAL
LOW
MID
HIGH
LINE/
PHONO
CD
1
PGM
RLRL
KILL +10
KILL +10
KILL +10
KILL +10
KILL +10
KILL +10
OFF
ON LEVEL
U
MAX
LEVEL
U
MAX
RETURN
SEND
LEVEL
MAX
LEVEL
MAX
LEVEL
MAX
MAX
MAX
PGM SOURCE
111 2
REVERSE REVERSE
48V
15
10
6
3
15
10
6
3
15
10
6
3
FX
ON FX
OFFOFF OFF
OFF
OFF
OFF
OFF
TRANSFORM
(CENTER = MUTE) (CENTER = MUTE)
TRANSFORM

2
d.2 Pro DJ Production Console
d.2 Pro DJ Production Console
1. Read these instructions.
2. Keep these instructions.
3. Heed all warnings.
4. Follow all instructions.
5. Do not use this apparatus near water.
6. Clean only with a dry cloth.
7. Do not block any ventilation openings. Install in accordance with the
manufacturer’s instructions.
8. Do not install near any heat sources such as radiators, heat registers,
stoves, or other apparatus (including amplifiers) that produce heat.
9. Do not defeat the safety purpose of the polarized or grounding-type
plug. A polarized plug has two blades with one wider than the other.
A grounding-type plug has two blades and a third grounding prong.
The wide blade or the third prong are provided for your safety. If the
provided plug does not fit into your outlet, consult an electrician for
replacement of the obsolete outlet.
10. Protect the power cord from being walked on or pinched particularly at
plugs, convenience receptacles, and the point where they exit from the
apparatus.
11. Only use attachments/accessories specified by the manufacturer.
12. Use only with a cart, stand, tripod, bracket, or
table specified by the manufacturer, or sold with
the apparatus. When a cart is used, use caution
when moving the cart/apparatus combination to
avoid injury from tip-over.
13. Unplug this apparatus during lightning storms or
when unused for long periods of time.
14. Refer all servicing to qualified service personnel. Servicing is required
when the apparatus has been damaged in any way, such as power-
supply cord or plug is damaged, liquid has been spilled or objects have
fallen into the apparatus, the apparatus has been exposed to rain or
moisture, does not operate normally, or has been dropped.
15. This apparatus shall not be exposed to dripping or splashing, and no
object filled with liquids, such as vases or beer glasses, shall be placed
on the apparatus.
16. This apparatus has been designed with Class-I construction and must
be connected to a mains socket outlet with a protective earthing con-
nection (the third grounding prong).
17. This apparatus has been equipped with an all-pole, rocker-style AC
mains power switch. This switch is located on the rear panel and
should remain readily accessible to the user.
18.NOTE: This equipment has been tested and found to comply with
the limits for a Class B digital device, pursuant to part 15 of the FCC
Rules. These limits are designed to provide reasonable protection
against harmful interference in a residential installation. This
equipment generates, uses, and can radiate radio frequency energy
and, if not installed and used in accordance with the instructions,
may cause harmful interference to radio communications. However,
there is no guarantee that interference will not occur in a particular
installation.
If this equipment does cause harmful interference to radio or
television reception, which can be determined by turning the
equipment off and on, the user is encouraged to try to correct the
interference by one or more of the following measures:
• Reorientorrelocatethereceivingantenna.
• Increasetheseparationbetweentheequipmentandthereceiver.
• Connecttheequipmentintoanoutletonacircuitdifferentfrom
that to which the receiver is connected.
• Consultthedealeroranexperiencedradio/TVtechnicianforhelp.
CAUTION: Changes or modifications to this device not expressly
approved by LOUD Technologies Inc. could void the user’s authority to
operate the equipment under FCC rules.
19. 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 réglement sur le brouillage
radioélectrique édicté par les ministere des communications du Canada.
20. 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 danger-
ous exposure to high sound pressure levels, it is recommended that all
persons exposed to equipment capable of producing high sound pres-
sure 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 permanent hearing
loss if exposure is in excess of the limits set forth here.
Important Safety Instructions
PORTABLE CART
WARNING
CAUTION
RISK OF ELECTRIC SHOCK. DO NOT OPEN
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK DO NOT REMOVE COVER (OR BACK)
NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL
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.
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.
WARNING — To reduce the risk of fire or electric shock, do not
expose this apparatus to rain or moisture.
Duration, per
day in hours Sound Level dBA,
Slow Response Typical 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 Fooyoung screaming at desTROYer about deadlines
0.5 110
0.25 or less 115 Loudest parts at a rock concert

Part No. SW0502 Rev. F 03/12
©2007-2012 LOUD Technologies Inc. All Rights Reserved.
(Loosely based on a dream sequence in which the d.2 Pro wins the big
stock car competition, and takes his girl to the senior prom.) 3
Owner’s Manual
Owner’s Manual
Contents
SAFETY INSTRUCTIONS ........................................... 2
INTRODUCTION ...................................................... 4
GETTING STARTED................................................... 5
HOOKUP DIAGRAMS............................................... 6
REAR PANEL FEATURES ......................................... 10
1. MIC INPUT................................................ 10
2. CD INPUTS ................................................ 10
3. LINE/PHONO INPUTS................................ 10
4. LINE/PHONO SWITCH ............................... 10
5. GND TERMINAL......................................... 10
6. STEREO FX SEND ....................................... 10
7. STEREO FX RETURN................................... 10
8. BOOTH OUTPUTS....................................... 10
9. XLR MAIN OUTS........................................ 11
10. LINE/MIC SWITCH................................... 11
11. RCA MAIN OUTS ..................................... 11
12. LIVE/RECORD SWITCH ............................ 11
13. POWER SWITCH...................................... 11
14. POWER RECEPTACLE................................ 11
15. FIREWIRE................................................ 11
MIC INPUT SECTION.............................................. 12
16. MIC LEVEL............................................... 12
17. MIC SIGNAL LED...................................... 12
18. MIC OL LED ............................................. 12
19. 48V PHANTOM POWER SWITCH.............. 12
20. HIGH EQ ................................................. 12
21. MID EQ................................................... 12
22. LOW EQ.................................................. 12
23. ON SWITCH............................................. 12
24. PAN........................................................ 12
PROGRAM INPUT SECTION ................................... 13
25. LEVEL...................................................... 13
26. SOURCE SELECT ....................................... 13
27. HIGH EQ ................................................. 13
28. MID EQ................................................... 13
29. LOW EQ.................................................. 13
30. FX SWITCH ............................................. 13
31. BAL......................................................... 13
CONTROL SECTION................................................ 14
32. MAIN LEVEL ............................................ 14
33. BOOTH LEVEL.......................................... 14
34. STEREO/MONO....................................... 14
35. FX SEND LEVEL........................................ 14
36. FX RETURN LEVEL.................................... 14
37. FIREWIRE FX RETURN.............................. 14
38. PHONES LEVEL ........................................ 14
39. PGM/MAIN ............................................ 14
40. PGM SOURCE CUE CROSSFADER............... 14
PROGRAM OUTPUT SECTION................................. 15
41. TRANSFORM........................................... 15
42. PROGRAM FADER.................................... 15
43. PGM LEVEL METERS................................. 15
44. REVERSE LED........................................... 15
45. MAIN LEVEL METERS ............................... 15
46. REVERSE LED........................................... 16
47. CROSSFADER........................................... 16
FRONT PANEL FEATURES ....................................... 17
48. CONTOUR ............................................... 17
49. REVERSE................................................. 17
50. HEADPHONES JACK ................................. 17
APPENDIX A: SERVICE INFORMATION.................... 18
APPENDIX B: CONNECTIONS.................................. 20
APPENDIX C: TECHNICAL INFO............................... 21
APPENDIX D: TRANSFORM SWITCH ROTATION
AND FADER REPLACEMENT.................................... 24
APPENDIX E: FIREWIRE......................................... 26
D.2 PRO LIMITED WARRANTY ............................... 31

4
d.2 Pro DJ Production Console
d.2 Pro DJ Production Console
Introduction
Thank you for choosing a Mackie d.2 Pro DJ produc-
tion console for scratch and club DJs. It contains all
your favorite features in a scratch mixer, along with
significant extras that you will come to appreciate.
The d.2 was the first DJ mixer made by Mackie. The
d.2 Pro builds upon the success of the d.2, making it
a truly professional product with the high-end perfor-
mance you’ve come to expect from Mackie. Features
like our “built like a tank” construction, premium analog
circuitry, infinium™contact-free crossfader, FireWire™
connectivity as standard, and “Planet Earth” power
supply add value to the d.2 Pro not found in any other
scratch mixer in its class.
FEATURES
• 2StereoprogramchannelswithFireWire,CD
and line/phono inputs.
• Built-inFireWire13x6interfaceprovideseasy
input from your computer to the program chan-
nels and FX return, and easy outputs to the
computer from: program channels (direct and
post-EQ), microphone, FX bus and the main
mix. It has 24-bit resolution, and 44.1, 48, 88.2,
and96kHzsamplerates.
• SendsthecrossfaderpositionoverFireWireto
your computer via a MIDI controller message.
• PremiumVCA-baseddesignoffersextremely
smooth fades and crossfades with very low
distortion characteristics.
• Programfadersandcrossfaderhavevariable
contour curves and reverse switches.
• 3-BandEQoneachchannel,withkillposition
and backlit blue knobs.
• User-replaceableopticalcrossfaderfrom
Infinium, with easily adjustable tension and
contour.
• Mackiemicpreampwith3-bandEQforpro-
quality vocals through the d.2 Pro.
• Mackiephonopreampliersoneachchannel.
• XLRmainoutputswithmic/lineswitch(mic
position allows stage connections with no D.I.
boxes required).
• RCAmainoutswithlive/recordswitch
(record position delivers a pre-main out).
• Ultrabrightmainmetersplusindividualpro-
gram meters for cueing and beat matching.
• Separatemono/stereoswitchableboothoutput
on balanced TRS connectors.
• StereoFXloopforoutboardeffects.
• Mightystrongconstructiontowithstandthe
rigors of DJ work.
• Integratedrackears(OdysseyBattleBridge™
compatible).
• Removabletoppanelprovidesaccesstothe
rotatable transform switches and to the
user-replaceable faders.
• “PlanetEarth”power-supplyoperatesonvolt-
agesbetween100and240VAC.
• StandardIECpowerreceptacleandpowercord.
• IncludesTracktion,ourprofessional, easy-to-
use,totally-amazingmusicproductionsoftware.
• CertiedforusewithTracktor®Scratch
DJ production software for live scratching.
HOW TO USE THIS MANUAL
Please read the safety instructions on page 2 first.
The getting started guide on page 5 will help you get the
mixer set up fast so you can start using it right away.
Right after that are the ever popular hook-up diagrams
that show you some typical setups.
The features section describes every knob, button,
and connection point on the d.2 Pro, roughly following
the signal flow through the mixer from top to bottom.
For more information about a feature, locate its number
in the appropriate illustration, and find it in the nearby
paragraphs.
This icon marks information that is critically
important or unique to the d.2 Pro. For your
own good, read them and remember them.
This icon leads you to in-depth explanations
of features and practical tips. They usually
have some valuable nuggets of information.
Appendix A shows service and repair information.
AppendixBisasectiononconnectors.
AppendixCshowsthespecsandablockdiagram.
Appendix D shows how to reposition the transform
switches, and replace the faders.
Appendix E shows details of the FireWire interface.
Please write your serial number here for future
reference (i.e., insurance claims, tech support,
return authorization, etc.)
Purchased at:
Date of purchase:

5
Owner’s Manual
Owner’s Manual
Getting Started
READ THIS PAGE!!
Even if you never read manuals, please
read and digest the safety instructions
on page 2, and this page before you
begin using the d.2 Pro mixer.
Zero the Controls
1. Turn the rear panel power switch off.
2. Turn down the level controls for mic, pgm 1 and
pgm 2, and center all EQ, pan, and bal controls.
3. Set all push button switches to their “out” positions.
4. In the control section (right hand side), turn all
the rotary knobs down, and the switches out.
5. Set the program faders fully down.
6. Onthefrontpanel,setthereverseswitchesout.
7. Centerthecrossfader.
Connections
If you already know how you want to connect the
d.2 Pro, go ahead and connect the inputs and outputs
the way you want them. If you just want to get sound
through the d.2 Pro, follow these steps:
1.
Plug a signal source to the d.2 Pro. This could be a:
• Microphoneintothemicinput
• Turntableintoaphonoinput(pushintherear
panel line/phono switch)
• Line-levelsourcesuchasaCDplayerintothe
phono input (push out the line/phono switch)
• Line-levelsourcesuchasaCDplayerintoaCD
input.
2. If you are using the phono input, make sure you set
the line/phono switch correctly.
3. Connectcordsfromthed.2Pro’smainouts(XLRor
RCAconnectorsontherearpanel)toyourpowered
speakers or amplifier.
4. Plug in the detachable linecord, connect it to a live
ACoutlet,andturnonthed.2Pro’spowerswitch.
5. If you have powered speakers, turn them on. Other-
wise, hook up your speakers to the amp and turn it
on. Adjust your powered speaker or amplifier level
controls to however the
manufacturer recommends.
(This is usually all the way up.)
Set the Levels
To set the level controls, it’s not even necessary to
hear what you’re doing at the outputs of the mixer. If
you want to listen while you work, plug headphones into
the phones jack on the front panel, then set the phones
knob up a little.
1. Select the input using the source switch.
2. Playsomethingintotheselectedinput.Besure
that the volume of the input source is the same as
it would be during normal use. If it isn’t, you might
have to readjust these levels during the middle of a
set.
3. Centerthetransformswitch.Therewillbenoout-
put, but the program meter will still work.
4. Adjust the channel’s rotary level control so that the
LEDs on the program meter stay around “0” and +3,
andnevergohigherthan“+6.”
5. Apply some EQ if needed, (return to step 4 if you
do, just to check the levels are still OK).
6. Repeatfortheotherchannel(ifyouwantto).
Set the Mic Levels
1. To level the microphone input, keep the on button
off, and talk or sing at your highest expected level.
2. Adjust the mic level until the OL LED next to it only
comes on occasionally.
Instant Mixing
1. To get sound out of the speakers, press the trans-
form switch up (the latched position), turn up the
program fader,
and slowly rotate the main control to a
comfortable listening level.
2. Singandplay.You’reastar!Bringintheother
channel, play with the crossfader, and generally
have fun.
FireWire
1. SeeAppendixE,page26fordetailsofgetting
started with FireWire.
Other Nuggets of Wisdom
• Alwaysturndownthemain,booth,andphone
knobs before making any connections.
• Whenyoushutdownyourequipment,turnoffthe
amplifiers first. When powering up, turn on the
amplifiers last.

6
d.2 Pro DJ Production Console
d.2 Pro DJ Production Console
Hookup Diagrams
Mobile DJ System: Rental, or Wedding
LINE
MIC
RR
PGM 2
MAIN OUT MIC
LLLLLR
PHONO CD
SEND R
BOOTH FX
GND
LINE
PHONO
RETURN
L(MONO) RR
L
R
LIVE
RECORD
~100-240 VAC 50-60Hz 20W
PGM 1
LINE
PHONO GND
PHONO CD
RR
LL
SERIAL / DATE CODE
Microphone
Headphones
Plug into
front panel
headphone jack
Effects Processor
Pro CD Player
Laptop Computer
SWA1501
Po wered Subwoofer SWA1501 Po wered Subwoofer
SRM450
Po wered Speaker
Main Left
Main Left Main Right
SRM450
Po wered Speaker
Main Right
This diagram shows a CD player and microphone connected, with an effects device in the FX loop, and
a laptop attached. Various popular DJ software such as Traktor™, PCDJ™, and MixVibes™, can be used
with the d.2 Pro via the Fire Wire connection. The main wonder mix can be recorded with software such
as Tracktion.

7
Owner’s Manual
Owner’s Manual
Radio Show Recording/Podcasting/having a good old time
LINE
MIC
RR
PGM 2
MAIN OUT MIC
LLLLLR
PHONO CD
SEND R
BOOTH FX
GND
LINE
PHONO
RETURN
L(MONO) RR
L
R
LIVE
RECORD
~100-240 VAC 50-60Hz 20W
PGM 1
LINE
PHONO GND
PHONO CD
RR
LL
cup of tea
(optional)
Microphone
Headphones
Plug into
front panel
headphone jack
Turntable with phono-level output
ground wire
Turntable with phono-level output
Laptop Computer
ground wire
This diagram shows two turntables and a microphone, with the laptop connected for recording and
playing.
The output from various software, such as Reason™, Live™, Tracktion™, and Logic™ can be sent to the
program channels for mixing, and the final mix recorded for broadcast/podcasting. This is also a nice
setup for recording your record collection for posterity.
You could play timecode vinyl and set up a virtual turntable on the laptop. In this way, you can use the
physical turntable to control any musical tracks added to the virtual turntable. (See page 27 for more
timecode information.)

8
d.2 Pro DJ Production Console
d.2 Pro DJ Production Console
Two-Turntable Portable System
LINE
MIC
RR
PGM 2
MAIN OUT MIC
LLLLLR
PHONO CD
SEND R
BOOTH FX
GND
LINE
PHONO
RETURN
L(MONO) RR
L
R
LIVE
RECORD
~100-240 VAC 50-60Hz 20W
PGM 1
LINE
PHONO GND
PHONO CD
RR
LL
SRM450
Po wered Speaker
Main Left
SWA1501
Po wered Subwoofer
Main Left Main Right
Microphone
Headphones
Plug into
front panel
headphone jack
SRM450
Po wered Speaker
Main Right
SWA1501
Po wered Subwoofer
Turntable with phono-level output
ground wire
Turntable with phono-level output
ground wire
Here we show the d.2 Pro being used at wild Mackie parties. Who said that project managers couldn’t
dance?

9
Owner’s Manual
Owner’s Manual
Club System
LINE
MIC
RR
PGM 2
MAIN OUT MIC
LLLLLR
PHONO CD
SEND R
BOOTH FX
GND
LINE
PHONO
RETURN
L(MONO) RR
L
R
LIVE
RECORD
~100-240 VAC 50-60Hz 20W
PGM 1
LINE
PHONO GND
PHONO CD
RR
LL
Microphone
Headphones
Plug into
front panel
headphone jack
Turntable (PGM 2)
with phono-level output
ground wire
Laptop Computer
Turntable (PGM 1)
with phono-level output
SRM450 Po wered Speaker
Booth Left
Booth Left Booth Right
Main Left Main Right
SRM450 Po wered Speaker
Booth Right
ground wire
SA1532z
Po wered Speaker
Main Left
SWA1801
Po wered
Subwoofers
SA1532z
Po wered Speaker
Main Right
SWA1801
Po wered
Subwoofers
CD Turntable (PGM 2) CD Turntable (PGM 1)
Here the d.2 Pro inputs are fed with conventional sources, and the FireWire connection is used to re-
cord the master mix output to computer, using the included Tracktion software (for example). The program
channels can also be recorded to the computer separately, for added flexibility later in working with the
recorded performance. The source select switch can be used to quickly select either the turntable, CD
deck, or FireWire as the input to program 1 or 2, without the need for repatching.
Note: The conventional turntables can be used with timecode vinyl, even when they are not selected
manually with the d.2 Pro source select switches.

10
d.2 Pro DJ Production Console
d.2 Pro DJ Production Console
Rear Panel Features
1. MIC Input
This is a Neutrik “combo” input connector that ac-
cepts either a balanced male XLR connector or a 1/4"
balanced or unbalanced connector. Professional mics
usually have XLR connectors, while consumer or semi-
pro mics often have 1/4" connectors.
The mic input signal is routed through the mic input
section, mic EQ, and then to the main mix bus.
2. CD Inputs
TheseRCAjacksacceptastereoline-levelsignalfrom
aCDplayerorotherline-levelplaybackdevice,suchas
an MP3 player.
3. LINE/PHONO Inputs
TheseRCAjacksacceptastereophono-levelsignal
from a turntable (when the line/phono [4] switch is
pushed in), or from a line-level playback device such as
aCDplayerorMP3player(whentheline/phono switch
isout).Checkthatyourturntablehasaphono-level
output and a moving-magnet cartridge.
4. LINE/PHONO Switch
If you connect a turntable with phono-level outputs
to the line/phono inputs [3], push this switch in to
select the phono-level input stage, which includes an
RIAApreampforproperre-equalizationoftheincoming
phono signal.
If you are connecting a line-level playback device like
aCDorMP3player,leavethisswitchouttoselectthe
line-level preamp.
Do not press it in if you have a line-level
signal connected.
5. GND Terminal
These terminals are provided to connect a ground
wire from your turntable(s) to the d.2 Pro. Most turn-
tables provide a ground wire to connect to the preamp
for the purpose of eliminating “hum” in the audio signal.
Simply turn the ground terminal on the d.2 Pro counter-
clockwise to loosen it, wrap the end of the ground wire
clockwise around the terminal, and hand-tighten the
ground terminal for a secure ground connection.
6. Stereo FX SEND
These 1/4" TRS jacks provide a balanced line-level
output signal from the stereo FX Send bus. Use these to
connect to the inputs of an external effects processor.
You can also use an unbalanced 1/4" TS connector.
7. Stereo FX RETURN
These 1/4" TRS jacks accept a balanced line-level
signal from an external effects processor. They will also
accept an unbalanced 1/4" TS connector.
If you are using a stereo effects processor, connect
its left and right outputs to the corresponding left and
right FX return jacks. If it is a mono effects processor,
connect its output signal to the left FX return jack, and
it will appear on both the left and right main mix bus.
8. BOOTH Outputs
These 1/4" TRS jacks provide a balanced line-level
signal from the main mix bus, prior to the rotary main
level control [32]. Use these to connect to a pair of
powered monitor speakers (or to the inputs of an ampli-
fier powering the monitor speakers in the booth). If you
only have one monitor speaker, just use one of the booth
outputs and push in the booth stereo/mono switch [34]
in the control section on the top panel.
LINE
MIC
RR
PGM 2
MAIN OUT MIC
LLLLLR
PHONO CD
SEND R
BOOTH FX
GND
LINE
PHONO
RETURN
L(MONO) R
R
L
R
LIVE
RECORD
~100-240 VAC 50-60Hz 20W
PGM 1
LINE
PHONO GND
PHONO CD
RR
LL

11
Owner’s Manual
Owner’s Manual
9. XLR MAIN OUTs
These male XLR connectors provide a balanced mic-
or line-level signal from the main level control [32]. The
line/mic switch [10] determines if it is a mic-level or
line-leveloutput.Connectthesetothebalancedinputs
of the active speakers, or power amplifier(s) powering
your main speakers.
If you are connecting the d.2 Pro main out to an un-
balancedinput,usetheRCAmainouts[11]instead.
Balancedconnectionsofferbetterimmunity
toexternalnoise(specically,humandbuzz)
thanunbalancedconnections.Becauseof
this, it is the preferred interconnect method,
especially in cases where very long lengths of cable are
being used. A long unbalanced cable carries with it more
opportunity for noise to get into the system — having
balanced cables means very little noise will enter the
system. If you must use an unbalanced connection, keep
the cable length to 10 feet or less (3 meters).
10. LINE/MIC Switch
If you are connecting the XLR main outs [9] to line-
level inputs like a power amplifier’s inputs, leave this
switch out, in the line position.
If you are using the d.2 Pro as a submixer and con-
necting the XLR main outs to the mic inputs of another
mixer, push this switch in to the mic position. This
insertsa30dBpadtoreducetheoutputsignaltoamic
level. This feature allows you to connect the d.2 Pro
output directly to a snake without using direct boxes.
11. RCA Main Outs
TheseRCAconnectorsprovideanunbalancedline-
level signal from the main out, either pre- or post-main
level control [32], depending on the setting of the
live/record switch [12].
12. LIVE/RECORD Switch
Whenthisswitchisout(liveposition),theRCAmain
outs provide the signal just after the main level control
[32], so it essentially provides the same signal as the
XLR main outs [9], except it is an unbalanced signal
rather than a balanced one.
When this switch is pushed in (record position), the
RCAmainoutsprovidethesignaljustpriortothemain
level control. This allows you to make a stereo recording
that is not affected by main out level changes during a
performance.
13. POWER Switch
When the power switch is turned on, power is sup-
plied to the d.2 Pro and the cool blue EQ knobs light up.
14. Power Receptacle
Thisisastandard3-prongIECpowerconnector.
Connectthedetachablelinecord(includedinthebox
with your d.2 Pro) to the power receptacle, and plug the
otherendofthelinecordintoanACoutlet.
The d.2 Pro has a universal power supply that can
acceptanyACvoltagefrom100VACto240VAC.Noneed
for voltage select switches. It will work virtually any-
where in the world. It is less susceptible to voltage sags
or spikes than conventional power supplies, providing
greater electromagnetic isolation and better protection
againstAClinenoise.
15. FIREWIRE Connections
FireWire (a.k.a. IEEE 1394) is a high-
speed serial I/O interface for connecting
digital devices. The d.2 Pro has two FireWire connectors
for transferring digital audio to and from the digital
audio workstation running on your laptop computer. Use
either connector.
The FireWire interface provides a total of 13 audio
outputs to your computer, including:
• MainmixoutputsL/R(2outputs)
• FXsendsL/R(2outs)
• Post-EQmicrophone(1out)
• Post-EQprogramchannelL/R(4outs)
• Line/phonodirectprogramL/R(4outs)
The main output signals are pre-main level control
[32], so they are independent of any adjustments made
to the main level control. This allows you to easily re-
cord your live performance directly to your laptop.
The FireWire interface also lets you use your com-
puter to playback six channels into the d.2 Pro:
• Program1L/R(2inputs)
• Program2L/R(2inputs)
• FXReturnsL/R(2inputs)
The FireWire program source for pgm 1 and pgm 2 is
selectedusingthesourceselectswitch[26].Twoother
FireWire channels can be returned to the main mix by
pressing the FireWire FX return switch [37].
SeeAppendixEonpage26formoreFireWiredetails.
The block diagram on page 23 shows the points where
FireWire signals enter and leave the mixer.
LINE
MIC
RR
PGM 2
MAIN OUT MIC
LLLLLR
PHONO CD
SEND R
BOOTH FX
GND
LINE
PHONO
RETURN
L(MONO) RR
L
R
LIVE
RECORD
~100-240 VAC 50-60Hz 20W
PGM 1
LINE
PHONO GND
PHONO CD
RR
LL

12
d.2 Pro DJ Production Console
d.2 Pro DJ Production Console
Top Panel Features
MIC Input Section
16. MIC LEVEL
This knob adjusts the gain of
the mic preamp for any micro-
phone plugged into the mic input
jack[1].Itrangesfrom+3dBto
+50dB,withaxedgainof
+10dB,givinganeffectivegain
rangeof+13dBto+60dB.Adjust
this so that the loudest speaking
or shouting that you do into the
microphone just barely lights the
OL LED [18]. This gives you the
best signal-to-noise ratio for the
mic preamp.
17. MIC SIGNAL LED
This green LED is a signal present indicator. It lights
whenthemicrophonesignalreaches–20dBu,togive
you a clue that the microphone is working.
18. MIC OL LED
This LED lights when the microphone signal reaches
6dBbelowclipping.It’sokayifthisLEDblinksocca-
sionally, but if it is blinking frequently or lit continu-
ously,turndownthemiclevelcontrol[16]untilitjust
blinks occasionally.
19. 48V Phantom Power Switch
If your microphone is a condenser design, it probably
requires phantom power to operate. Push in this switch
tosupply48VDCtopins2and3oftheXLRmicrophone
connector.
Dynamic microphones, like Shure’s SM57 and SM58,
donotrequirephantompower.However,phantom
power will not harm most dynamic microphones should
you accidentally plug one in while the phantom power
isturnedon.Checkyourmicrophone’suser’smanualif
you are not sure whether your microphone needs phan-
tom power or not.
20. HIGH EQ
Thisknobgivesyourmicsignalupto15dBofboost
andcutat12kHzandabove.Atthecenterpositionthe
high EQ has no effect on the signal.
LR
MAIN
BA
OL
0
2
4
7
10
20
30
OL
0
2
4
7
10
20
30
OL
0
2
4
7
10
20
30
PGM 2
REVERSE
contact-free
cross-fader
infinium
PGM 1
LOW
MID
HIGH
PHONES
BOOTH
MAIN
SOURCE
EQ
FX
PAN BAL
LOW
MID
HIGH
LINE/
PHONO
CD
EQ
SIG
OL
MIC CONTROL
2PGM
LEVEL
PGM
MAIN
STEREO
MONO
+50+3
RL
U
+15-15
U
+15-15
U
+15-15
SOURCE
EQ
BAL
LOW
MID
HIGH
LINE/
PHONO
CD
1
PGM
RLRL
KILL +10
KILL +10
KILL +10
KILL +10
KILL +10
KILL +10
OFF
ON LEVEL
U
MAX
LEVEL
U
MAX
RETURN
SEND
LEVEL
MAX
LEVEL
MAX
LEVEL
MAX
MAX
MAX
PGM SOURCE
111 2
REVERSE REVERSE
48V
15
10
6
3
15
10
6
3
15
10
6
3
FX
ON FX
OFFOFF OFF
OFF
OFF
OFF
OFF
TRANSFORM
(CENTER = MUTE) (CENTER = MUTE)
TRANSFORM
21. MID EQ
Thisknobgivesyouupto15dBofboostandcutat
2.5kHz.AtthecenterpositionthemidEQhasnoeffect
on the signal.
22. LOW EQ
Thisknobgivesyouupto15dBofboostandcutat
80Hzandbelow.AtthecenterpositionthelowEQhas
no effect on the signal.
23. ON
Press this switch in to send the microphone signal to
the main outputs, otherwise, your dulcet tones will not
be heard, and people will say “huh?”
24. PAN
This knob adjusts the amount of microphone signal
that is sent to the left versus the right main outputs.
When the knob is turned hard left, the signal feeds only
the left main out, and when the knob is turned hard
right, it only feeds the right main out. When the knob is
in the center, the microphone signal is sent equally to
the left and right main mix. The fiendish design of the
pan circuit allows “constant pan power,” where the aver-
age audio output level remains constant for all positions
of the pan control.

13
Owner’s Manual
Owner’s Manual
Program Input Section
25. LEVEL
This knob adjusts the gain of the program input
signals selected by the position of the source select
switch[26].Thisknobrangesfromoffto+13dBof
gain at maximum. Adjust this with your good eye on the
program meters [43], so the level is typically bouncing
betweenthe0and+6LEDs.
26. SOURCE Select
This switch selects one of three possible input sources
for the program channel:
FireWire: The signal coming in from the FireWire
interface is selected as the source.
Line/phono: The signal connected to the phono
input [3] is selected. This could be from a
turntable or from a line-level playback device,
depending on the setting of the line/phono
switch [4].
CD:ThesignalconnectedtotheCDinput[2]is
selected.
Using this heavy duty switch, you can have signals
coming in on all three inputs, and quickly change
from one input source to another, without the need for
repatching.
27. HIGH EQ
Thisknobgivesyouupto10dBofboostat4kHzand
above,andturnsoffthesignalat4kHzandabovewhen
the knob is turned to the kill position. At the center
position, the high EQ has no effect on the signal.
28. MID EQ
Thisknobgivesyouupto10dBofboostat1kHz,and
turnsoffthesignalat1kHzwhentheknobisturnedto
the kill position. At the center position, the mid EQ has
no effect on the signal.
29. LOW EQ
Thisknobgivesyouupto10dBofboostat300Hz
andbelow,andturnsoffthesignalat300Hzandbelow
when the knob is turned to the kill position. At the cen-
ter position, the low EQ has no effect on the signal.
When all three EQ knobs are turned to the kill posi-
tion, the signal is effectively muted and no signal passes
through to the output.
30. FX
Press this switch in to send the program signal to
theFXsendoutputs[6].Thisallowsyoutosendthe
signal to an external effects processor, or even provide
a direct feed for the program signal to another mixer.
This switch will route the program signal to the FX send
output connectors, interrupting the signal to the main
outputs. If there is no effects processor connected to the
FX send and returns, then the program signal is muted.
31. BAL
This knob works like the balance control on a home
stereo. Turning the knob to the left turns down the right
side, and turning the knob to the right turns down the
left side. When the control is in the center, the left and
right sides are equally as loud (assuming the left and
right inputs are equal loudness).

14
d.2 Pro DJ Production Console
d.2 Pro DJ Production Console
Control Section
32. MAIN LEVEL
This knob adjusts the
main output level at the
main out XLRs [9] (and
totheRCAmainouts
[11] when the live/re-
cord switch [12] is out).
(Remember, when the live
record switch is pushed in,
theRCAmainoutsarenot
affected by the main level
control.)
33. BOOTH LEVEL
This knob adjusts the
output level at the booth
outputs [8].
34. STEREO/MONO
With this switch up, the booth outputs [8] provide a
stereo left and right output of the main mix. Push the
switch in to combine the left and right signals to mono if
you only have one booth monitor speaker.
35. FX SEND LEVEL
This knob controls the amount of signal being sent
toFXsendoutputs[6].Adjustthisknobtoprovidean
appropriate input signal level to your external effects
processor (or whatever you have connected to the FX
sends).Itrangesfromoffto+13dBatmaximum.
Note: The FX sends are affected by the transform
switches [41], so if you mute a pgm channel with the
transform switch, the FX send for that pgm channel is
muted as well.
36. FX RETURN LEVEL
This adjusts the signal level coming from your exter-
nal effects processor via the FX return jacks [7]. Use
it to adjust the processed signal going to the main mix
bus.Itrangesfromoffto+13dBatmaximum.
37. FIREWIRE FX RETURN
Press this in if the FX return comes from your com-
puter via FireWire. For example, a processed (wet)
audio signal to add to the main mix.
LR
MAIN
BA
OL
0
2
4
7
10
20
30
OL
0
2
4
7
10
20
30
OL
0
2
4
7
10
20
30
PGM 2
REVERSE
contact-free
cross-fader
infinium
PGM 1
LOW
MID
HIGH
PHONES
BOOTH
MAIN
SOURCE
EQ
FX
PAN BAL
LOW
MID
HIGH
LINE/
PHONO
CD
EQ
SIG
OL
MIC CONTROL
2PGM
LEVEL
PGM
MAIN
STEREO
MONO
+50+3
RL
U
+15-15
U
+15-15
U
+15-15
SOURCE
EQ
BAL
LOW
MID
HIGH
LINE/
PHONO
CD
1
PGM
RLRL
KILL +10
KILL +10
KILL +10
KILL +10
KILL +10
KILL +10
OFF
ON LEVEL
U
MAX
LEVEL
U
MAX
RETURN
SEND
LEVEL
MAX
LEVEL
MAX
LEVEL
MAX
MAX
MAX
PGM SOURCE
111 2
REVERSE REVERSE
48V
15
10
6
3
15
10
6
3
15
10
6
3
FX
ON FX
OFFOFF OFF
OFF
OFF
OFF
OFF
TRANSFORM
(CENTER = MUTE) (CENTER = MUTE)
TRANSFORM
Leave it pressed out if the wet return signals come
into the FX return jacks [7] from an external processor.
38. PHONES LEVEL
This controls the volume of the phones output from
off to maximum gain.
Turn it to off before connecting and putting
on headphones. Increase it slowly to a safe
listening level. See headphone jack [50] on
page 17.
39. PGM/MAIN
Use this switch to select the source for the head-
phones signal. When the switch is up (pgm position),
the signal is tapped just after the bal control [31] on
the pgm channels. You can use the pgm source cross-
fader [40] to fade between pgm 1 and pgm 2.
When the switch is down (main position), the signal
is tapped from the main mix bus, just before the main
level control [32].
40. PGM SOURCE
When the pgm/main switch [39] is up (in the pgm
position), you can use this crossfader to listen to pgm 1
and pgm 2 in the headphones. When the crossfader is all
the way to the left, pgm 1 is heard in the headphones.
When the crossfader is all the way to the right, pgm 2
is heard in the headphones. When the knob is in the
center, the headphones get an even mix of pgm 1 and 2.
Note: When the pgm/main switch is down (main posi-
tion), this control has no effect on the phones output.

15
Owner’s Manual
Owner’s Manual
Program Output Section
41. TRANSFORM
The transform switch
has three positions: latch-
ing, center, and momen-
tary.
When the switch is
latched, this program’s
signal is on, and passes
through to the outputs.
When the switch is in
the center position, this
program’s signal is muted
at the outputs and FX
sends.
The other position is
a momentary version of
the latched position (in
other words, it won’t stay
there when you let go of
it), and allows the signal to pass as long as the switch is
held down. Let go of the switch, and the signal is muted
again. This lets you quickly use the transform switch for
“stutter” effects.
If you prefer, you can rotate the transform switch 45º
or90ºsotheswitchmovesdiagonallyorhorizontallyin-
stead of vertically. See Appendix D on page 24 for more
information.
Note: If this switch is in the center position, the
program can still be heard and cued in the headphones
if the pgm/main switch [39] is up.
42. PROGRAM FADER
This controls the volume for the pgm signal being
sent to the main mix bus. The characteristics of how the
fader affects the audio signal are determined by the cor-
responding front panel contour control [48] and reverse
switch [49].
These faders have a very light touch and are
designed to last the lifetime of the d.2 Pro.
No audio passes through these faders. Rather,
theysendacontrolvoltagetoapairofVCAs
(voltage-controlled amplifiers) that determine the gain
of the signal. This is a very good thing, by the way, as the
audio will not be affected by any scratchy electrical con-
tacts,andthedesignallowsforcustomizingthefader
action using the contour and reverse controls.
43. PGM LEVEL METERS
These meters have 12 LEDs, ranging from –30 to +20
(OL). They indicate the summed-mono signal strength
of the pgm signals just before the bal controls [31]. The
meters are not affected by the program faders [42].
Typically, you want to see these meters bouncing
betweenthe“0”andthe“+6”LEDs.ItisokayiftheOL
LED lights occasionally, but if it lights frequently or
continuously, turn down the pgm level control [25] until
the OL LED blinks occasionally or not at all.
44. REVERSE LED
These light when the front-panel reverse switches
[49] have been activated for pgm 1 or pgm 2 faders.
They show that the fader direction-of-action is reversed.
(The meters are not reversed, just the faders.)
45. MAIN LEVEL METERS
These meters are similar to the pgm level meters
[43], but indicate the signal strength of the main
outputs before the main level control. As with the other
meters, you want to see the signals bouncing between
the“0”andthe“+6”LEDs.ItisokayiftheOLLEDslight
occasionally, but if they light frequently or continuously,
turn down the program faders [42] until the OL LEDs
blink occasionally, or not at all.
LR
MAIN
BA
OL
0
2
4
7
10
20
30
OL
0
2
4
7
10
20
30
OL
0
2
4
7
10
20
30
PGM 2
REVERSE
contact-free
cross-fader
infinium
PGM 1
LOW
MID
HIGH
PHONES
BOOTH
MAIN
SOURCE
EQ
FX
PAN BAL
LOW
MID
HIGH
LINE/
PHONO
CD
EQ
SIG
OL
MIC CONTROL
2PGM
LEVEL
PGM
MAIN
STEREO
MONO
+50+3
RL
U
+15-15
U
+15-15
U
+15-15
SOURCE
EQ
BAL
LOW
MID
HIGH
LINE/
PHONO
CD
1
PGM
RLRL
KILL +10
KILL +10
KILL +10
KILL +10
KILL +10
KILL +10
OFF
ON LEVEL
U
MAX
LEVEL
U
MAX
RETURN
SEND
LEVEL
MAX
LEVEL
MAX
LEVEL
MAX
MAX
MAX
PGM SOURCE
111 2
REVERSE REVERSE
48V
15
10
6
3
15
10
6
3
15
10
6
3
FX
ON FX
OFFOFF OFF
OFF
OFF
OFF
OFF
TRANSFORM
(CENTER = MUTE) (CENTER = MUTE)
TRANSFORM

16
d.2 Pro DJ Production Console
d.2 Pro DJ Production Console
46. REVERSE LED
This LED lights when
the reverse switch [49]
has been activated
for the crossfader. For
more details, see the
discussion of the reverse
switches on the next
page.
47. CROSSFADER
The crossfader is used
to fade between the two
pgm signals in the main
outputs. When the cross-
fader is all the way to
the left, pgm 1 is heard
in the main outs. When
the crossfader is all the
way to the right, pgm
2 is heard. When the
crossfader knob is in the
center, the main outs get an even mix of pgm 1 and 2.
The characteristics of how the crossfader affects the
audio signal are determined by its corresponding con-
tour control [48] and the reverse switch [49].
The crossfader is a high-quality infinium con-
tact-free optical digital fader, designed to last
the lifetime of the d.2 Pro with no degradation
in quality.
You can adjust the tension of the fader movement to
your specific taste, by following these steps:
1. TurnofftheACpower,andremovethepower
cord from the mixer.
2. Move the crossfader all the way to the left.
3. Remove the fader cap (knob) by grasping it
firmly and pulling straight up.
4. Use a small slot-head screwdriver to turn the
screw located through the hole on the left side
of the crossfader slot.
Rotate the screw clockwise to tighten the ten-
sion, and rotate the screw counter-clockwise to
loosen the tension. You might need a flashlight
to make sure you are lined up on the screw.
5. Replace the fader cap, and you’re all done.
LR
MAIN
BA
OL
0
2
4
7
10
20
30
OL
0
2
4
7
10
20
30
OL
0
2
4
7
10
20
30
PGM 2
REVERSE
contact-free
cross-fader
infinium
PGM 1
LOW
MID
HIGH
PHONES
BOOTH
MAIN
SOURCE
EQ
FX
PAN BAL
LOW
MID
HIGH
LINE/
PHONO
CD
EQ
SIG
OL
MIC CONTROL
2PGM
LEVEL
PGM
MAIN
STEREO
MONO
+50+3
RL
U
+15-15
U
+15-15
U
+15-15
SOURCE
EQ
BAL
LOW
MID
HIGH
LINE/
PHONO
CD
1
PGM
RLRL
KILL +10
KILL +10
KILL +10
KILL +10
KILL +10
KILL +10
OFF
ON LEVEL
U
MAX
LEVEL
U
MAX
RETURN
SEND
LEVEL
MAX
LEVEL
MAX
LEVEL
MAX
MAX
MAX
PGM SOURCE
111 2
REVERSE REVERSE
48V
15
10
6
3
15
10
6
3
15
10
6
3
FX
ON FX
OFFOFF OFF
OFF
OFF
OFF
OFF
TRANSFORM
(CENTER = MUTE) (CENTER = MUTE)
TRANSFORM

17
Owner’s Manual
Owner’s Manual
Front Panel Features
48. CONTOUR
Use the contour controls to adjust how fast or slow
each fader responds to movement. In the slow position,
the faders respond in a linear fashion, increasing from
minimum to maximum at the same rate. In the fast posi-
tion, the faders respond logarithmically, increasing from
minimum to maximum very quickly, and then changing
very little for the remainder of the fader travel. Adjust
the contour controls between the two extremes to get
the fader response that works best for your application.
The contour control for the crossfader works in a
similar fashion, crossfading linearly with the contour
control in the slow position, and crossfading very
quickly with the contour control in the fast position. In
fact, in the fast position, the crossfading occurs within
the first 2 mm of fader travel. This is great for “crabbing”
techniques.
49. REVERSE
Normally (with these switches out) when you move
the pgm 1 or pgm 2 faders up, the volume will increase.
When you move the crossfader left to right, pgm 1 will
fade into pgm 2.
These switches let you reverse the direction of the
action of the program faders and the crossfader:
With the pgm 1 or pgm 2 reverse switches on, when
you move the pgm 1 or pgm 2 faders up, the volume will
now decrease.
With the crossfader reverse switch on, when you move
the crossfader left to right, pgm 2 will fade into pgm 1.
(This is sometimes called a hamster switch.)
Note: These switches and the contour controls do not
affect the meters, just the faders.
PGM 2 FADER
REVERSE
CROSS FADER
REVERSE
PGM 1 FADER
REVERSE
CONTOURCONTOURCONTOUR
SLOWFASTSLOWFAST SLOWFAST
50. Headphones Jack
This is where you plug in your stereo headphones. It is
a 1/4" TRS stereo jack.
If you have the pgm/main switch [39] up, you can
listen to the pgm 1 or pgm 2 signals, or a mix of both,
determined by setting the pgm source slider [40]. The
signals are taken just after the bal controls [31], but
before the program faders [42].
If you have the pgm/main switch [39] down, you can
listen to the main mix signals, taken just before the
main level control [32].
The headphone volume is controlled by the phones
level control [38], and the position of the pgm source
crossfader [40] if you are listening to pgm 1 or pgm 2.
Warning: The headphone amp is designed to
drive any standard headphones to a very loud
level. We’re not kidding! It can cause perma-
nent hearing damage. Even intermediate levels may be
painfullyloudwithsomeheadphones.Becareful!
Always start with the phones level control
[38] turned all the way down before connect-
ing headphones to the phones jack, or making
any connections. Keep it down until you’ve put on the
headphones. Set the pgm source slider [40] if you are
listening to pgm 1 or pgm 2, then turn up the phones
level control slowly. Why? Always remember: “Engineers
who fry their ears, find themselves with short careers.”

18
d.2 Pro DJ Production Console
d.2 Pro DJ Production Console
Appendix A: Service Information
If you think your Mackie product has a problem, please
check out the following troubleshooting tips and do your
besttoconrmtheproblem.VisittheSupportsectionof
our website (www.mackie.com/support) where you will
find lots of useful information such as FAQs, documenta-
tion, and user forums. You may find the answer to the
problem without having to send your Mackie product away.
Herearesomethingsyoucancheck:
Troubleshooting
No Power
• Makesurethepowercordissecurelyseatedinthe
IECsocket[14]andpluggedallthewayintothe
ACoutlet.
• MakesuretheACoutletislive(checkwithatester
or lamp).
• Makesuretherearpanelpowerswitch[13]isin
the on position (up).
• AretheEQcontrolsonthefrontpanelilluminated?
Ifnot,makesuretheACoutletislive.
• Areallthelightsoutinyourtown?Ifso,contact
your local power company to get power restored.
• IfnoLEDsareilluminated,andyouarecertainthat
theACoutletislive,itwillbe
necessary to have your
d.2 Pro serviced. There are no user serviceable parts
inside. Refer to “Repair” on the next page to find out
how to proceed.
Bad Channel
• Checkthetransformswitch[41]isnotinthecen-
ter position.
• IsafaderorcrossfaderreverseLED[46]on?
• Checkthechannel’sprogramfader[42]isnotfully
down.
• Arethatchannel’sEQcontrolsallturneddown?
• Isthesignalsourceturnedup?Makesurethe
signal level from the selected input source is high
enough to light up some of the program meter LEDs
[43].
•
Is the correct input chosen with the source select
switch[26],anditspgmlevel[25]turnedupenough?
• IftheFXbutton[30]ispressedonthatchannel,
make sure your effects processor is connected cor-
rectly and is working.
• Trythesamesourcesignalintheotherchannel,set
up exactly like the suspect channel.
Bad Output
• Istheassociatedlevelcontrol(ifany)turnedup?
• Ifit’soneofthemainoutputs,tryunpluggingthe
others. For example, if it’s the XLR left main out,
unplugtheRCAleftout.Iftheproblemgoesaway,
it’s not the mixer.
• 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.
Bad Sound
• Istheinputconnectorpluggedcompletelyintothe
jack?
• Isitloudanddistorted?Makesuretheinputlevel
control [25] is set correctly. Reduce the signal level
on the input source if possible.
• Ifpossible,listentothesignalwithheadphones
plugged into the input source device. If it sounds
bad there, it’s not the d.2 Pro causing the problem.
• Ifyouareusingaturntablewithaphono-level
output, and the sound is low and distorted, check
that the line/phono switch [4] is set to phono. Note
that the phono section requires your cartridge to be
a moving magnet type. It may be too low to amplify
the low levels of a moving coil type.
Noise/Hum
• TurndowntheFXreturnknob[36].Ifthenoise
disappears, it’s coming from whatever is plugged
into the FX returns [7].
• Checkthatyourturntable’saudiogroundwireis
connected to the gnd terminals [5].
• Turndowneachchannel,onebyone.Ifthenoise
disappears, it’s coming from whatever is plugged
intothatchannel.Checkyourwhatever.
• Checkthesignalcablesbetweentheinputsources
and the d.2 Pro. Disconnect them one by one. When
the noise goes away, you’ll know which input source
is causing the problem.
• Sometimesithelpstoplugalltheaudioequipment
intothesameACcircuitsotheyshareacommon
ground.

19
Owner’s Manual
Owner’s Manual
Repair
For warranty repair or replacement, refer to the war-
ranty information on page 31.
Non-warranty repair for Mackie products is available
atafactory-authorizedservicecenter.Tolocateyour
nearest service center, visit www.mackie.com, click
“Support”andselect“LocateaServiceCenter.”Service
for Mackie products living outside the United States can
be obtained through local dealers or distributors.
If you do not have access to our website, you can
call our Tech Support department at 1-800-898-3211,
Monday-Friday, 7 am to 5 pm Pacific Time, to explain the
problem. Tech Support will tell you where the nearest
factory-authorizedservicecenterislocatedinyourarea.
Recording to FireWire
• Ifyouarerecordingvinylmusictoyourcomputer,
and the level seems low, record using the FireWire
outputs(5,6,7,8)thatcomeaftertheEQsection.
This will give you the chance to boost the levels a
tad with the level controls [25]. Set the source se-
lectswitch[26]toline/phono,andtheline/phono
switch [4] to phono.
• IfyouareusingtimecodevinylortimecodeCD,
then use the Firewire outputs (1, 2, 3, 4) that come
directly after the phono section. In this way, you
can have the timecode flowing to your computer,
and use the source selector switch to play the com-
puter output in that same program channel.
Need help with your new d.2 Pro DJ Mixer?
• Visit www.mackie.com and click Support to find:
FAQs, manuals, addendums, and user forums.
• Email us at: t[email protected].
• Telephone [phone] to speak with one of our splendid
technical support representatives, (Monday through Friday,
from 7 a.m. to 5 p.m. PST).
Correct Disposal of this product: This symbol indicates that this product should not be disposed of with your household waste, according to the WEEE Directive
(2002/96/EC) and your national law. This product should be handed over to an authorized collection site for recycling waste electrical and electronic equipment (EEE). Improper handling
of this type of waste could have a possible negative impact on the environment and human health due to potentially hazardous substances that are generally associated with EEE. At the
same time, your cooperation in the correct disposal of this product will contribute to the effective usage of natural resources. For more information about where you can drop off your waste
equipment for recycling, please contact your local city office, waste authority, or your household waste disposal service.

20
d.2 Pro DJ Production Console
d.2 Pro DJ Production Console
Appendix B: Connections
XLR Connectors
The d.2 Pro mic combo input accepts 3-pin male XLR
connectors; the main outs accept 3-pin female XLR con-
nectors. These are wired as follows, according to stan-
dards specified by the AES (Audio Engineering Society).
2
2
31
1
SHIELD
COLD
HOT
SHIELD
COLD
HOT
3
SHIELD
COLD
HOT
3
2
1
XLRBalancedWiring:
Pin 1 = Shield
Pin2=Hot(+)
Pin3=Cold(–)
1/4" TRS Phone Plugs and Jacks
“TRS” stands for Tip-Ring-Sleeve, the three connection
points available on a stereo 1/4
" or balanced phone
jack or plug. TRS jacks and plugs are used for balanced
signals and stereo headphones:
Balanced Mono
SLEEVE
TIP
SLEEVE
TIP
RING
RING
TIP
SLEEVERING
1/4 " TRSBalancedMonoWiring:
Sleeve = Shield
Tip=Hot(+)
Ring=Cold(–)
Stereo Headphones
SLEEVE
TIP
SLEEVE
TIP
RING
RING
TIP
SLEEVERING
1/4 " TRS Stereo Unbalanced Wiring:
Sleeve = Shield
Tip = Left
Ring = Right
1/4" TS Phone Plugs and Jacks
“TS” stands for Tip-Sleeve, the two connection points
available on a mono 1/4
" phone jack or plug. They are
used for unbalanced signals.
SLEEVE
TIP
TIP
SLEEVE
TIP
SLEEVE
1/4 " TS Unbalanced Wiring:
Sleeve = Shield
Tip=Hot(+)
RCA Plugs and Jacks
RCA-typeplugs(alsoknownasphonoplugs)andjacks
are often used in home stereo and video equipment and
in many other applications. They are unbalanced and
electrically equivalent to a 1/4
" TS phone plug.
TI
P
SLEEVE
TIPSLEEVE
RCAUnbalancedWiring:
Sleeve = Shield
Tip=Hot(+)