Mackie SR244 / SR324 User manual

SOUND REINFORCEMENT CONSOLES
Fast, easy, accurate
level-setting via Solo
4 Submix Buses
8•Bus-style mic preamps
with –129.5dBm
“Double-Bussed” sub
outs for 8-tk. recording
6 aux sends available
at all times
Globally-switchable
AFL/PFL
3 Band EQ on mono chs.:
• 80Hz Lo Shelving
• Sweepable, 100Hz to
8kHz Mid
• 12kHz Hi Shelving
AIR EQ Circuit for Extra
Sheen
Very Low Impedance (VLZ)
circuitry for low noise
Trim Control on each
channel for wide gain
range
Balanced Inputs and
Outputs
Tape Return to Main Mix
Mono Out with level
control
The SR24•4 and SR32•4
do for live sound what
Mackie’s already done for
studio recording. Like our
acclaimed 8•Bus series,
these professional grade
mixing consoles were built
to deliver the same kind of
useful features and pro
specifications as those found
on “bigger boards.” And to
stand up to continuous,
24-hr.-a-day use.
Many of today’s large
hotels, convention centers,
theaters and places of wor-
ship require mixers that can
handle advanced sound
reinforcement. At the same
time, they need to be por-
table and compact enough
to move around, flexible
enough to work in a variety
of applications, and be easy
to use. Of course, they must
be affordable. The SR24•4 &
32•4 mixing consoles are all
that. And they feature the
MORE INFORMATION
SR32•4/SR24•4
ARCHITECTS’ AND
ENGINEERS’
SPECIFICATIONS
“IN YOUR FACE”
ALL-PRODUCT BROCHURE
FEATURES
same high headroom
and ultra-low noise
components and cir-
cuitry as our 8•Bus
series, with many of the
same features.
24 or 32 in, 4 x 2 x 1 out.
The SR Series mixers are
true 4-bus consoles. Any
channel can be assigned
to any bus (or directly to
the main mix), and each
bus can be assigned to
the main L/R or mono
mixes, or fed out directly to,
for instance, an 8-track re-
corder. The SR24•4 and 32•4
each have 6 aux sends,
3-band EQ with sweepable
mids, and Mackie’s unique
“AIR” EQ circuit.
At a price that belies their
durability and features, the
SR24•4 and 32•4 are easily
affordable workhorses that’ll
be as welcome as live mix-
ing consoles as they are in a
recording studio.
Durability. A word
Mackie lives by.
The SR Series of mixing
consoles can take just about
any kind of punishment.
They’re built like tanks. Be-
cause we knew they would
be moved around and used
as both live and recording
consoles, we made them to
stand up to continuous duty.
Not only can they take active
abuse — they’re as rugged as
anything Mackie makes —
the SR24•4 and 32•4’s
insides are made to stand up
to more passive problems.
®

The SR Series have
amazingly high headroom.
Like the 8•Bus and the
CR-1604 before them, their
bus and main mix amplifi-
ers use Mackie’s distinctive
negative gain mix amplifier
architecture, for up to twice
as much extra headroom.
Since the mix amp is where
all the signals come
together, we built ours to
deal with lots of hot signals
and still supply astonishing
headroom and low noise.
VLZ — Very Low Imped-
ance — is another reason
that the SR24•4 and 32•4
are such low-noise mar-
vels. VLZ architecture
means minuscule noise
levels in both live and
recording situations. Ther-
mal noise is created in
every bit of circuitry inside
a console; Mackie’s VLZ
design reduces thermal
noise by making internal
console impedances as
low as possible, in as
many places as possible.
In the live arena, the
sound in the mains will
be as quiet as a church
mouse (when there’s no
other sound coming
through). And in record-
ing, VLZ’s low noise will
garner pristine tracks on
analog tape, digital tape,
hard disk — whatever the
medium, the SR Series con-
soles are incredibly quiet.
VLZ
VERY LOW IMPEDANCE DESIGN
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8kHz100 8kHz100 8kHz100 8kHz10 0 8kHz100 8kHz100 8kHz100
8
100
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PRE
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2
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12k
HI
MID
FREQ
80Hz
LOWCUT
75Hz
18dB/OCT
LOWCUT
75Hz
18dB/OCT
LOWCUT
75Hz
18dB/OCT
LOWCUT
75Hz
18dB/OCT
LOWCUT
75Hz
18dB/OCT
LOWCUT
75Hz
18dB/OCT
LOWCUT
75Hz
18dB/OCT
LOWCUT
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18dB/OCT
LOW
C
75
H
18dB/
O
LOW 80Hz LOW 80Hz LOW 80Hz LOW 80Hz LOW 80Hz 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
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3-4
L-R
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3-4
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2
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EQ
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PRE
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HI
MID
FREQ
TRIM
3
AUX
3
MUTE
EQ
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HI
MID
FREQ
TRIM
4
AUX
4
MUTE
EQ
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HI
MID
FREQ
TRIM
5
AUX
5
MUTE
EQ
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HI
MID
FREQ
TRIM
6
AUX
6
MUTE
EQ
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PRE
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HI
MID
FREQ
TRIM
7
AUX
7
MUTE
EQ
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1
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HI
MID
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TRIM
8
AUX
8
MUTE
EQ
9
MU
T
SOLO SOLO
MUTE/ SOLOMUTE/ SOLO MUTE/ SOLO MUTE/ SOLO MUTE/ SOLO MUTE/ SOLO MUTE/ SOLO MUTE/ SOLO M
U
SOLO SOLO SOLO SOLO SOLO SOLO
PAN PAN PAN PAN PAN PAN PAN PAN PA
N
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Recording flexibility.
Because the SR Series’
buses are “double-bussed,”
outputs to an 8-track re-
corder (like ADAT or
DA-88) are a snap and can
be achieved without
repatching. Plus, the
Phones/Control Room
switch and level control is
connected to two stereo
phone outputs and the
Control Room output, let-
ting you route the stereo
Tape Return to Phones/
Control Room for 2-track
recording and monitoring.
With the Tape Return fea-
ture, a stereo tape deck can
be monitored, whether it’s
being used to record a live
event, or for music playback.
Tape Return to Phones/C-R
routes the tape playback
signal into the monitor sys-
tem and meters, and the
Tape Return knob adjusts
the level of the tape play-
back. The playback signal
from the tape deck can be
listened to via headphones
and levels can be checked
via the SR24•4 or 32•4’s
meters. Of course, the
SR24•4 and 32•4 have RCA-
style Tape Outs for output to
conventional cassette decks,
as well as 1/4” balanced
outs. They also have XLR
outs for use with DAT re-
corders and other pro
equipment. Tape signals can
also be assigned directly to
the Main Mix, replacing its
usual signals, making it ideal
for playing “canned” music
between events.
Monitor mixes with effects
can be created by folding
back Aux Returns 1 & 2 into
Aux Sends 1 & 2, respectively.
This is great for shy vocalists
who “need” a little reverb on
their voice.
EQ’s no problem on the
SR24•4 and SR32•4. They
have three bands on their
mono channels, with 80Hz Lo
shelving, sweepable 100Hz to
8kHz mids, and 12kHz Hi
shelving EQ. (On the stereo
channels mid EQ is fixed at 3k
and 800Hz.) A low cut filter
with 18dB/octave roll-off at
75Hz severely lessens room
rumble, wind noise and mic
thumps. It allows Lo EQ to be
used safely on vocals because
the audible bass range is
boosted but the unwanted
frequencies below 75Hz get
cut off. No more using Mid
EQ for low frequency tasks.
Another Mackie break-
through is an EQ circuit we
call “AIR.” It works on the
top end of the mix (via the
submix buses), adding clar-
ity to the higher frequencies
without affecting the lower
treble octaves. The result is
positively brilliant, giving a
little atmosphere to the
vocals, making old guitar
strings sound new, and gen-
erally breathing life into the
whole mix.
®

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LAMP
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MID
LOW
EQ
STEREO
AUX RETURNS
AUX SEND
MASTERS
LEVEL
5
6
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HI
3k
MID
HI
800Hz
MID
AIR AIR AIR AIR
LOW
SOLO SOLO SOLO SOLO
EQ
LOW CUT
75 Hz
18dB/OCT
80Hz
LOW 80Hz LOW 80Hz LOW 80Hz LOW
1
2
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4
1
2
1
2
3
4
SOLO
SOLO
1-2
SUB SOLO
GLOBAL
AUX RETURN
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
1234
PHONES / C-R
LEVEL
MAIN MIX
SOLO
TO AUX
SEND
1-2
(EFX TO MONITOR)
SOLO
28
CLIP
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AUX
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AUX
PRE
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PRE
PRE
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AUX
20
MUTE
EQ
21 22
MUTE
23 24
TRACK
1
•
5
TRACK
2
•
6
TRACK
3
•
7
TRACK
4
•
8
MUTE
SOLO
MODE
SUBAUX
PRE FADER
IN PLACE AFL
LEVEL SET
SOLO SOLO
MUTE / SOLO MUTE / SOLO MUTE / SOLO
SOLO SOLO
PANPANPAN PANPAN PAN PAN
4444
POWERRUDE
SOLO
LIGHT
OPERATING LEVEL
0dB = 0dBu
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+15
PAN
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+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
+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
+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
+15-15
U
+15-15
U
+15-15
U
OO
+15
U
OO
+15
LR LR LR LR
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
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+15
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+15
U
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+15
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+15
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+15
U
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+15
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+15
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+15
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+15
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+15
-20 +20
8kHz 8kHz100 8kHz100 8kHz100 8kHz10 0 8kHz100 8kHz10 0 8kHz10 0 8kHz100 8kHz10 0 8kHz100 8kHz10 0
U
-20 +20
U
16kHz16kHz16kHz16kHz
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
W
CUT
5
Hz
B
/OCT
LOWCUT
75Hz
18dB/OCT
LOWCUT
75Hz
18dB/OCT
LOWCUT
75Hz
18dB/OCT
LOWCUT
75Hz
18dB/OCT
LOWCUT
75Hz
18dB/OCT
LOWCUT
75Hz
18dB/OCT
LOWCUT
75Hz
18dB/OCT
LOWCUT
75Hz
18dB/OCT
LOWCUT
75Hz
18dB/OCT
LOWCUT
75Hz
18dB/OCT
LOWCUT
75Hz
18dB/OCT
80Hz
LOW 80Hz LOW 80Hz LOW 80Hz LOW 80Hz LOW 80Hz LOW 80Hz LOW 80Hz LOW 80Hz LOW 80Hz LOW 80Hz LOW 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
1234
PHONES / C-R
LEVEL
MAIN MIX
SOLO
TO AUX
SEND
1-2
(EFXTO MONITOR)
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
3-4
L-R
1-2
3-4
L-R
1-2
3-4
L-R
1-2
3-4
L-R
1-2
3-4
L-R
1-2
3-4
L-R
1-2
3-4
L-R
1-2
3-4
L-R
1-2
3-4
L-R
1-2
3-4
L-R
1-2
3-4
L-R
1-2
-20
OL
PRE
1
PRE
PRE
2
3
5
6
12k
HI
MID
FREQ
TRIM
9
AUX
9
U
TE
EQ
-20
OL
PRE
1
PRE
PRE
2
3
5
6
12k
HI
MID
FREQ
TRIM
10
AUX
10
MUTE
EQ
-20
OL
PRE
1
PRE
PRE
2
3
5
6
12k
HI
MID
FREQ
TRIM
11
AUX
11
MUTE
EQ
-20
OL
PRE
1
PRE
PRE
2
3
5
6
12k
HI
MID
FREQ
TRIM
12
AUX
12
MUTE
EQ
-20
OL
PRE
1
PRE
PRE
2
3
5
6
12k
HI
MID
FREQ
TRIM
13
AUX
13
MUTE
EQ
-20
OL
PRE
1
PRE
PRE
2
3
5
6
12k
HI
MID
FREQ
TRIM
14
AUX
14
MUTE
EQ
-20
OL
PRE
1
PRE
PRE
2
3
5
6
12k
HI
MID
FREQ
TRIM
15
AUX
15
MUTE
EQ
-20
OL
PRE
1
PRE
PRE
2
3
5
6
12k
HI
MID
FREQ
TRIM
16
AUX
16
MUTE
EQ
-20
OL
PRE
1
PRE
PRE
2
3
5
6
12k
HI
MID
FREQ
TRIM
17
AUX
17
MUTE
EQ
-20
OL
PRE
1
PRE
PRE
2
3
5
6
12k
HI
MID
FREQ
TRIM
18
AUX
18
MUTE
EQ
-20
OL
PRE
1
PRE
PRE
2
3
5
6
12k
HI
MID
FREQ
TRIM
19
AUX
19
MUTE
EQ
-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
SUBAUX
PREFADER
INPLACE AFL
LEVEL SET
SOLO SOLO
M
UTE/ SOLO MUTE/ SOLO MUTE/ SOLO MUTE/ SOLO MUTE/ SOLO MUTE/ SOLO MUTE/ SOLO MUTE/ SOLO MUTE/ SOLO MUTE/ SOLO MUTE/ SOLO MUTE/ SOLO MUTE/ SOLO MUTE/ SOLO
SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO
PANPANPAN PAN
A
N PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN
44444 44444444
POWERRUDE
SOLO
LIGHT
OPERATINGLEVEL
0dB= 0dBu
VLZ – Very Low Impedance
circuitry for low noise
High headroom, low-noise mic
preamps (–129.5dBm E.I.N.)
3-Band EQ with Sweepable
Mids: 80Hz, 100Hz–8kHz
swept mid, 12kHz (Mids fixed
at 800Hz & 3kHz for 4-band
EQ on stereo channels)
60mm log-taper faders
with lip seal and long-
wearing
contact material
“AIR” high frequency EQ
circuit on sub tracks 1-8
6 aux sends
6 aux returns, 2 switchable
pre- or post-fader (2 fixed
pre- and 2 fixed post-fader)
4 submix buses
Phones/Control Room level
control for 2-track monitoring
PFL/AFL Solo (globally
switchable)
Constant-loudness pan pots
“Double-bussed” sub outs for
8-track recording
Balanced inputs & outputs
(except RCAs & channel inserts)
Trim control on each chan-
nel for wide gain range
The SR Series: The most
affordable, full-featured
mixing consoles available.
As you can see, there is
every reason that the
SR24•4 and 32•4 are fast
becoming the premier,
affordable 4-bus mixing
consoles. With their proven
durability, professional
features and specs, and
certainly not least, the low
cost — the SR Series is des-
tined to be a classic. There
are no other mixing con-
soles in their class, with all
these features, at such an
affordable price.
And that’s why people
from all professions, with
all kinds of different appli-
cations, prefer Mackie’s SR
Series. You’ll like them
because of the SR24•4 and
32•4’s low price, easy-to-
use features, and rugged
construction. That’s got to
sound good. And of
course, Mackie does.

protection from RF interfer-
ence. (As you well know,
many installations suffer
from such problems.)
Metal lockwashers make
electrical contact between
the jack and outer chassis,
and an internal shunting
capacitor is placed from
each input to ground. This
routes RF back through the
metal chassis, where it is
dissipated before it can
propagate via the SR24•4
or 32•4’s circuit boards.
The SR Series consoles
have built-in power sup-
plies (instead of a “wall
wart,” which takes up pre-
cious outlet spaces and can
get lost or damaged), so
you’re sure to have plenty
of power. We could go on
and on, but suffice to say
that people who have
hauled their SR24•4s and
32•4s all over the country
will attest to their durability.
They’ll hold up to years of
use with nary a problem.
The main chassis of the
SR24•4 and SR32•4 mixing
consoles is made of solid steel
monocoque construction.
Because the steel doesn’t flex,
the console itself is quite
sturdy. And at the same time,
the SR Series consoles don’t
weigh a ton, either.
Controls are designed to
withstand serious downward
impact. From a fistpounding to
a heavy box dropping, the
SR Series’ knobs can take it.
We also use sealed controls
rather than open-frame
potentiometers that eventually
deteriorate from airborne
contamination. Switches are
ultra-high duty-cycle. And
inside, impact-resistant,
double-thru-hole-plated fiber-
glass circuit boards, brass
standoffs, and gold-plated
interconnects abound.
The SR24•4 and 32•4’s
60mm faders are made with
the same precision log taper
as those on our 8•Bus con-
soles. Besides giving smooth,
consistent fades, these faders
were built to last. They have a
newly-developed, ultra-tight
lip seal made of a special
co-polymer membrane that
provides a continuously-
sealed barrier against dust
and liquid, yet doesn’t
interfere with fader travel.
There’s more. 1/4” jack
sleeves are metal, not
plastic. That’s part of the
reason why the SR24•4 and
32•4 have such exceptional
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3
TRIM: MIC GAIN-
+10 to +60 dB
LINE GAIN-
-10 to +40 dB
LO CUT
MUTE
INSERT -20 dB LED
EQ
LO MID HI
80 8k 12k
100-
GAIN
FREQ GAIN
FREQ
FADER
PAN
O/L LED ASSIGN
SWITCHES
1-2
3-4
L-R
SOLO IN
PLACE
PFL
LOGIC
MUTE LED
(STEADY)
SOLO LED
(FLASHING)
AUX 1
AUX 2
AUX 3
AUX 4
AUX 5
AUX 6
PRE
MONO
INPUT
CHANNEL
SR 24•4 (1 of 20)
SR32•4 (1 of 32)
BOLD LINES INDICATE
SIGNAL PATH FROM MIC
INPUT TO LEFT MAIN OUTPUT.
LEFT
(MONO)
RIGHT
TRIM
-20dB
LED
MUTE
LO LO- HI- HI
MID MID
LO LO- HI- HI
80 800 3k 12k
MID MID
O/L
LED
FADER
LINE GAIN-
-20 TO +20dB
+
-
+
-
+
-
MUTE LED
(STEADY)
SOLO LED
(FLASHING
AUX 1
AUX 2
AUX 3
AUX 4
AUX 5
AUX 6
PRE
STEREO
INPUT
CHANNEL
(1 OF 2)
MACKIE SR24•4/SR32•4
BLOCK DIAGRAM Rev. 1.5 5/11/95
STOPLIGHT EXIT 27B
316 GLENDALE
(KNOCK FIRST)
TALKBACK
XLR INPUT LEVEL TB TO AUX 1-2
TB TO L-R MIX
MIC
IN
LINE
IN
SUB 1 SUB 2 SUB 3 SUB 4
L MIX R MIX
•
Vp
•
•
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•
1-2
3-4
L-R
SOLO IN
PLACE
PFL
LOGIC
•
80 800 3k 12k
•
•
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•
PAN
•
PHANTOM POWER
(GLOBAL SWITCH)
MACKIE
MIC PREAMP
75Hz
HPF
®

Pro features even
amateurs can
understand.
“Most significant [about
the SR Series] is the large
degree of flexibility while
retaining ease of use. Typi-
cally these two factors are at
odds — the more something
does, the harder it is to make
it do what you want. Not so
with the SR24•4. Things are
laid out very logically, mak-
ing operation very intuitive.”
— J.H., Kathleen, GA
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1-23-4 L-R/SUBS LEVEL AUX RET 4 IN
AUX RET 3 IN
AUX RET 1 (2) IN
LEVEL
LEVEL
SOLO
SOLO LED
AUX
SEND
(1 OF 6)
AUX 1
OUTPUT
+
-
+
-
+
-
+
-
+
-
+
-
L
L
L
R
R
R
L
R
PHONES
OUTPUTS
PHONES
AMPS
RELAY
AUX SEND 1 (2)
SOLO
LEVEL
PFL/SIP
LEVEL RUDE SOLO LED
TAPE TO
MONITOR
L
R
CONTROL
ROOM OUT
SOLO RELAY
TAPE IN
R MIX
L MIX INSERTS FADER
RIGHT
XLR
OUT
LEFT
XLR
OUT
MONO
XLR
OUT
RIGHT
OUT
R
L
TAPE OUT
LEFT
OUT
MONO
LEVEL
SUB
OUT
1
SUB
OUT
5
FADER
SUB OUT 1 (1 OF 4)
ASSIGN
TO L-R
PAN
TAPE TO L-R
SOLO
PFL
LOGIC
GAIN
AIR
16kHz
+22
+10
+7
+4
+2
0
-2
-4
-7
-10
-20
-30
-40
METERS
AUX 1 AUX 2 AUX 3 AUX 4 AUX 5 AUX 6 SOLO L SOLO R PFL LOGIC
•
•
SOLO
•
∑
LEVEL
ØdBu=Ø VU
∑
∑
•
∑
∑
∑
∑
∑
•
•
∑
∑
MONITOR LEVEL
1
2
3
1
2
3
1
2
3
•
•
•
∑
∑
∑
•
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INSERT
•
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•
Mackie’s SR Series was
designed with professionals
— and amateurs — in mind.
That’s why they feature 4
submix buses — “double-
bussed” for 8-track recording,
6 aux sends on each input
channel, VLZ®Very Low
Impedance design, Mackie’s
brand new “AIR” EQ circuit,
high-headroom mic preamps,
constant-power pan pots, 4
aux returns, and more.
The SR Series mixing con-
soles are great for live music
festivals, theatrical revues, or
any event with lots of per-
formers. The SR24•4 has 24
inputs and the SR32•4 has
32 (the last two channel
strips on each are stereo, for
playback of tape decks or
CD players). With 20 and 28
mic preamps, respectively,
the SR Series consoles are
big enough to handle major-
sized acts or performances.
6 aux sends make the
SR24•4 and 32•4 very
adaptable to systems with
many effects. Pre-fader
auxes are great for monitor
sends — which you need
more of for live mixing. Post-
fader aux sends are for
effects, which you usually
want more of during studio
tracking and mixdown.
You get both with the
SR Series. Aux Sends 1 & 2
are pre-fader, Aux Sends 3 &
4 can be used either pre- or
post-fader, and Aux Sends
5 & 6 are post-fader. For live
mixing, you can have four
pre-fader auxes (Aux Sends
1-4), and therefore four dif-
ferent monitor mixes, as well
as two post-fader auxes for
effects. For studio recording,
you can have four post-fader
auxes (Aux Sends 3-6), for
use with all the effects pro-
cessors in your rack, plus
two pre-fader auxes for
headphone mixes.

MACKIE DESIGNS INC.
16220 Wood-Red Road NE
• Woodinville, WA 98072 USA
Toll-Free 800/258-6883 • FAX [phone]
Outside the U.S., Phone [phone] • FAX [phone]
• 6 Aux Send Solo switches
• Master Solo LED (“Rude Solo
Light”)
• 13-segment LED metering
• SOLO section: Level control
with 15dB max. gain, AFL
(SIP)/PFL switch, Aux & Sub
Solo LED indicators
• TALKBACK section: Level control,
Main Mix & Aux 1–2 assign
switches, Talkback LED indicator,
balanced dynamic mic XLR input
on rear panel
• Tape return level control, Tape
Return To Master switch
• Phones/Control Room level
control
• Submix buses: AIR HF peak-
ing EQ, Pan control, L/R assign
REAR PANEL
• All inputs and outputs
balanced/unbalanced (except
channel inserts & RCA jacks)
• INSERTS: all mono channels,
submix buses, main L/R mix
• INPUTS: balanced mono line &
mic (mono channels)/balanced
stereo line (stereo channels),
balanced stereo aux returns,
RCA-type stereo tape returns,
XLR talkback mic
• OUTPUTS: 1/4” TRS Main L/R,
XLR Main L/R, XLR Mono Main
with output level control, stereo
Control Room, Headphones (2),
Submix (double-
bussed for easy use
with 8-track
recorders), mono
Aux Sends, RCA-
type stereo Tape
Send
• Global phantom
power switching
(48V)
CONFIGURATIONS
• SR24•4: 24x4x2x1, 20 mono
channels with mic preamps
and line inputs, 2 stereo chan-
nels with line inputs only
• SR32•4: 32x4x2x1, 28 mono
channels with mic preamps
and line inputs, 2 stereo chan-
nels with line inputs only
CHANNEL STRIP
• Trim control: 10dB attenuation to
40dB gain, line inputs; 10-60dB
gain mic inputs
• 6 mono aux sends: 1 & 2 pre-
fader, 3 & 4 switchable pre/post,
5 & 6 post-fader
• Hi shelving EQ: 12kHz, ±15dB
• Midrange EQ (mono channels):
100Hz-8kHz swept peaking
mid, ±15dB
• Midrange EQ (stereo channels):
3k fixed Hi mid, 800Hz fixed Lo
mid, ±15dB
• Lo shelving EQ: 80Hz, ±15dB
• Lo cut filter: 75Hz cut-off, 18dB/
octave (mono channels only)
• Constant loudness Pan (mono
channels), Balance (stereo
channels)
• –20dB Signal Present LED, Over-
load LED, Mute/Solo LED
• Solo (AFL/PFL switchable via
master section)
• 1–2 & 3–4 Submix Assign and
L/R Main Mix Assign switches
• 60mm logarithmic-taper faders
MASTER SECTION
• 6 aux send masters with individual
Solo switches, 10dB max. gain
• 4 stereo aux returns, 20dB max.
gain. Aux 4 assignable to Subs
1–2 or 3–4
• Aux Return 1 & 2 foldback to Aux
Send 1 & 2, respectively (EFX TO
MONITOR), 15dB max. gain
• Global Aux Return Solo switch
DIMENSIONS
• SR24•4:H*xWxD:
5.65”x31”x19.2”
(143.5x787.4x487.7mm),
Weight: 31 lbs.
• SR32•4: H*xWxD:
5.75”x39.25”x19”
(146x997x483mm),
Weight: 40.7 lbs
* Maximum height at rear panel
31.00"
19.20"
5.60"
2.80"
18.90"
1.30"
1.80" 2.80" 0.50"
19.20"
SPECIFICATIONS
SR24•4
SR32•4
39.25"
19.20"
Mackie Designs Inc. is engaged in a continuous program of prod-
uct evaluation and improvement and reserves the right to change
product specifications at any time without notice.
©1996-1998 Mackie Designs Inc. All rights reserved. Rev. 2/98
“Mackie.,” VLZ, and the “Running Man” figure are registered
trademarks of Mackie Designs Inc.
®