Mackie 16-8 BUS User manual

7/1/95
RELATED PRODUCTS
MORE INFORMATION
FEATURES
8•BUS MIDI AUTOMATION
METER BRIDGES
FLOOR STANDS & SIDE CAR
8•BUS ARCHITECTS’ AND
ENGINEERS’ SPECIFICATIONS
8•BUS COLOR
TABLOID BROCHURE
RECORDING AND PA CONSOLES
Since its
introduction, Mackie
Designs’ 8•Bus Series con-
soles have proven that
excellent sonic quality,
practical features and ex-
treme durability needn't
mandate a premium price.
In hundreds of SR and
recording installations, the
32•8, 24•8 and 16•8 deliver
performance previously
only found in consoles
costing far more.
Instead of offering
dozens of mix-and-match
input and output module
options, we have put more
of what most users need
into a single console de-
sign — enabling us to make
them in quantities which
can bring costs down.
All three 8•Bus consoles
and the 24•E expander offer
extensive monitoring, 4-band
EQ, accurate, logarithmic
taper faders and expansive,
forgiving headroom. Equally
as important, they are built
to withstand the rigors of the
environment and the casual,
untrained user. 8•Bus con-
soles have withstood
hundreds of thousands of
■Each channel includes
Mackie’s famous mic
preamp and a –10/+4
switchable tape return
■Eight assignable sub-
masters and a L/R mix
master
■4-band EQ with true
paramatric (3-control)
HI MID, LO CUT filter
■Extensive routing
capabilities
■Available in 16, 24 and
32 channel versions
■Optional Meter Bridges
available
■Optional 24•E Expander
console available
(for 24•8 and 32•8 only)
■Rugged all-metal
chassis
■In-line monitoring
effectively doubles your
input channels
miles of
touring,
toppling
monitors
during major
earthquakes, and every
possible liquid that ever got
near a mixing board.
A complete system
The 8•Bus console line
consists of three in-line
consoles, the 32x8x2 32•8,
the 24x8x2 24•8 and the
16x8x2 16•8.
The 24•8 and 32•8 are
expandable with Mackie's
24•E Expander console. The
24•E consists of 24 input
channels and tape returns.
It connects to the 32•8 or
24•8 via a proprietary cable.
Multiple 24•E expanders
may be daisy chained to
provide 128 or more total
input channels. The 24•E's
outputs are pre-mixed in
the expander to reduce line
noise, thermal noise and to
maintain sonic quality at
the main console.
All three consoles and
the 24•E are shipped with
Mackie's rugged 220-watt
triple-regulated power
supply. Meter bridges and
®

steel stands are available for
each console.
In addition, a “side car”
stand is available. The SideCar
has 11 rack spaces for patch
bays, external processors or
console power supplies.
Mackie Designs also offers
an external MIDI automation
system consisting of a 34-
channel VCA gain cell that
connects to the 8•Bus con-
sole via insert points, a fader
pack and Macintosh™ auto-
mation software.
Quality construction
throughout
Mackie Designs mixers have
a well-established reputation
for reliability. The road-rugged
8•Bus console series is no
exception.
The console chassis em-
ploys a monocoque design
with seamless main front
and bottom panels. Besides
eliminating the bulky frame
that holds modules in a
conventional console, the
8•Bus's design resists twist-
ing forces that can plague
many consoles. The less
twisting, the less potential
service problems.
Channel strip circuitry is
located on 8-channel,
fiberglass, double-sided
through-hole-plated
circuit boards. The
circuit boards are
firmly attached
to the control surface sheet
metal via brass standoffs. A
special impact-absorbing knob
design limits downward travel
in the event of impact. Any fur-
ther stress is spread across the
circuit board. The result is a
design that is virtually impervi-
ous to the kind of damage that
is common with vertical chan-
nel module circuit boards.
During the 1994 Los Angeles
earthquake, scores of Mackie
8•Bus consoles received the
full force of falling monitors.
Most survived with little more
than a few shattered knobs.
All rotary potentiometers are
sealed to prevent liquid and
particle contamination. Internal
interconnects are gold-plated.
All 1/4" input jack sleeves are
solid metal and create a firm
electrical contact with the main
chassis. In combination with an
internal shunting capacitor, this
configuration keeps RFI away
from the console's main circuit
boards where it can add noise.
XLR inputs use ferrite beads to
achieve the same purpose.
Mic preamps that can
handle any input
The latest version of our very
low impedance preamplifier
design provides high head-
room with a verifiable E.I.N.
spec of –129dBm and 10Hz to
300kHz bandwidth.
In-lineFLIPreversestapeandmic/line
inputsbetweenchannelstripandMix-B/
Monitorsection.
AUXSENDS1-2—PREbuttonselects
pre-fader/postEQorpost-fader/postEQ.
AUX3-4/5-6—SHIFTchanges3-4to
5-6.SOURCEselectssignalsourceofAUX
3-4/5-6fromchannelstriporchannel’s
MixB/Monitorsendsoyoucanbuildan
effectsmix(preorpost-MIX-Blevel)to
assigntophonesduringtracking.
Trueparametric,3-controlHIMIDEQthat
hasseasonedengineersswooning
(quotesandravesonfile…we’renot
kidding).Ultra-wide500-18kfrequency
sweeprange;bandwidthcanbeadjusted
fromaverywide3-octavewidthtoavery
narrow
1
/ 12 -octavewidth.15dBboost/cut.
LOMIDEQwithultra-wide45Hz-3Ksweep,
15dBboost/cut.
± 15dBshelvingHI(12kHz)&LO(80Hz)EQ.
Multipurpose18dB/oct.LOCUTfilter
@75Hz.Cleansup“mixmud,”cutsPA
rumble,createsa“neo-peaking”bass
controlwhenusedwithLOshelvingboost.
IndependentMIX-B(Monitor)sectionwith
pan,level&source.Duringmixdown,useas
extrapre-faderstereoAUXsendordouble
yourinputs.
Mix-BSPLITEQassignsHI&LOEQtoMix-B.
MIX-BSOURCEselectsfromflipswitchor
channelstrip(pre-fader)forin-line
monitoringwhilerecordingorprovidesan
extrastereoauxbus.
Constantpower,bufferedPAN potforrock-
solidpanning.
OverloadLEDandHyperactive–20dBSignal
PresentLED
SelectableSOLOwithCHANNELMETER-
INGallowssoloinginfullstereoperspec-
tive;displayssoloedchanneloperating
levelonmasterL/Rmeterssoinputtrims
canbeadjustedforoptimumlevels.
24•E8•BusExpander

7/1/95
All 8•Bus preamps use
conjugate-pair, large-emitter-
geometry transistors instead of
off-the-shelf integrated circuits.
At any gain setting, you get the
additional headroom and ultra-
low noise previously only found
in far more expensive consoles.
They can handle virtually any
live source — including scream-
ing singers and loud drum kits
— without overload.
The 8•Bus channel strip
The 8•Bus input channels'
physical layout and features are
detailed on the next pages of this
product information sheet. Note
that, although each channel strip
is relatively dense, all controls are
easily accessible. Knobs are large
enough — and sufficiently far
apart — for even the largest fin-
gers. Markings are legible, even
in low-light situations.
The four-band EQ section is
placed lower on the strip than
the AUX sends for easy access
during sessions. Within the EQ
section, the high and low shelv-
ing controls have been placed
next to MIX-B, since their op-
eration can be transferred to
the monitor section. A sharp Hi
pass filter is included for PA
applications.
Within the MIX-B monitor
section, is a Source switch. In
the Channel (down) position,
MIX-B is connected to the
same point in the circuit as the
channel fader input. It provides
a second, independent stereo
mix from the main channel
signal that is handy for broad-
cast feeds, 2-track recording,
routing to another zone in a
church or club, or an extra set
of aux sends.
8•Bus channel and bus fad-
ers are a special design that
provides true logarithmic taper.
These smooth, 100mm faders
use a complex network of addi-
tive resistive elements that
combine at various points
6STEREOAUXRETURNS.Allhave20dB
gain,Soloandcanbeusedinstereo&
mono.1&2arepannable&bussable.
3&4areassignabletothephonesfor
“wet”monitoring.
6AUXSENDSwithSoloandSoloLED.
TALKBACKassignstoallsubmasters,
mainmix,AUX1,AUX2orPhones1&2.
SOLOleveladjustandultra-rudeLED.
MONITORsectionwithseparateControl
Room&Studiolevels.Sourceselection
betweenL/Rmix,Mix-B,Tape&External.
CanbeswitchedtoMono.
TWOSEPARATEHEADPHONE
SECTIONScanbeusedtotallyindepen-
dentofeachother.Eachfeaturessource
selectionbetweenControlRoom&any
combinationofAUX3/4,AUX5/6,Mix-B
orExternalsource.Soloallowscontrol
roomtohearwhatmusiciansare
hearingintheirheadphones.
MIXB/MONITORsectioncanbeusedas
anindependentstereooutforPA
monitormix,2-trackrecording,video/
broadcastfeedorassignedtoL/Rmix.
–40to+10bargraphLEDDISPLAYSfor
eachsub-master&Solo/Main(with
mainL/R+22dBCLIPLEDs).
EXPANSIONCONSOLESletyouadd
channelsinbanksof24toeitherthe
24•8or32•8.Expandershavetheirown
internalmixampssothemainboard
only“sees”oneextrachannelper
expansionconsole.
TrickBUSSOLOswitchessendodd-
numberedbusestotheleftspeakerand
even-numberedbusestotheright
speaker—unlessyou’vepressedthe
respectiveMONOL&Rbutton.Whena
bushasbeenmono-ed,SOLOsendsthe
bustobothspeakers.
LMIX/RMIX&MONOL&Rbuttonsassign
busestomainL/Rstereobus.
Built-intalkbackMIC.

7/1/95
The SideCar
For fixed installations,
you can add the
Mackie SideCar.
It is designed
to fit on
either
side of an
8•Bus console
or Expander and
provides 11 standard
rack spaces with in-
tegral tapped rails
for outboard proces-
sors, patch bays or
power supplies.
Horizontal circuit
boards versus
vertical circuit
modules
By avoiding individual,
vertical circuit modules,
we increase parts density
which means fewer wir-
ing harnesses and ribbon
cables, shorter signal
paths and less assembly
time. Yet our 8-channels-
per-card circuit boards
can be repaired easily
and are far less prone to
damage in the first place,
thanks to a special knob
design and mounting
method that withstands
all but the most brutal
impacts.
along the faders' travel to
achieve an absolutely
even, predictable fade
rate, from the very top all
the way to the bottom
(where you get absolute
attenuation, just like on
more expensive consoles).
The 8•Bus output section
We have provided excep-
tional monitoring flexibility
by providing two separate
headphone sections. Each
lets you build a custom mix
using any combination of
Monitor, Mix-B, AUX 3 & 4,
AUX 5 & 6 and External
(cue/click track) inputs.
Control room and stu-
dio/stage monitor levels
are controlled via individual
stereo level controls. Select
any combination of L/R
Mix, Mix-B, 2-Tk. and
External inputs.
An additional Talkback
section can be routed to any
combination of AUX 1, AUX
2, Tape/Submasters (L/R
mix) and Phones/Studio.
The 8•Bus power supply
Our 220-Watt Triple-Regu-
lated Power Supply is
designed to withstand high
environmental tempera-
tures and direct sunlight. It
can produce rated output
from as little as 100 volts
(a serious consideration
when running SR at the
end of a long extension
cable). The power supply
has sufficient output to run
both the console and a
meter bridge. Compare it
to what you get with other
consoles in the same price
range. You'll see one more
example of just how “over-
engineered” the 8•Bus
series is.
The 8•Bus meter bridge
MB32, MB24 and MB16
meter bridges provide
12-segment LED ladders
for each input channel
and quality, lighted VU
meters for master Left/
Right output (the MB•E
Meter bridge for the 24•E
Expander console does
not include VU meters).
Input buttons allow you to
globally switch between
Tape Return input and
Channel Strip Post Fader
output. Each meter as-
sembly attaches in
minutes and can be tilted
as desired. The meter
bridges also tilt down fully
to save road case depth.
AllchannelshaveMackie’srenowneddiscrete,wide-bandwidthMICPREAMPcircuitforultrahigh
headroom&lownoise.AllmicinputshaveRFIchoking,ferritebeadsand+48Vphantompower
(switchableinbanksof8channels).
8•BusSideCar
(notincluded)
ThreeTAPE OUTPUTjacksper
bus(totalof 24). Balanced
outputs,switchablefrom
+4/–10.
+4dBubalancedTAPERETURNS,
switchableto –10dBVinbanks
of8returns.
BalancedMIC,bal./unbal.
LINEIN,MIC/LINE switch,
DIRECTOUT&CH.INSERTon
everychannel.

MackieDesigns8•BusConsole
BlockDiagram6/95
GAIN
HI
BUS 1 BUS 2
BUS 3 BUS 4
BUS 5 BUS 6
BUS 7 BUS 8
L-BUS
R-BUS
L-SOLO R-SOLO
AUX 1 AUX 2
AUX 3 AUX 4
AUX 5 AUX 6
L-MIX-B R-MIX-B
L/R MIX
MIX-B
2-TK
EXTERNAL
SUB MASTER 1 & 2
AUX SEND 1
SOLO
CONTROL
PHANTOM POWER
MIC IN
LINE
IN
TAPE
IN
FLIP
POST
SOURCE
AUX 1
AUX 2 AUX 3
AUX 5
AUX 4
AUX 6
CHAN
FADER
TRIM
EQ
IN/OUT PAN
LEVEL
PAN
1-2
3-4
5-6
7-8
L/R
SOLO
INPUT
1 OF 16 (24) (32)
STEREO AUX RETURN 1
LEVEL
BALANCE
1-2
3-4
5-6
7-8
L/R
SOLO
LEVEL LEVEL
PHONES 1
PHONES 2
L/R
2-TK IN
L
2-TK IN
R
SUB MSTR
FADER
(#3 - 8 IDENTICAL)
(#2 IDENTICAL)
LEVEL
LEVEL
AUX OUT
SOLO
MIX B
MASTER
MIX-B
TO
L/R MIX
L
R
L/R
MIX
FADER
MIC
MIC LEVEL TO AUX 1
R BAL OUTPUT
SOLO
LEVEL
MONO
CONTROL ROOM
PAD LOGIC
L
STUDIO
OUTPUT
STUDIO
LEVEL
CNTRL RM
LEVEL
PHONES 2
LEVEL
SOLO
PHONES 2
SOURCE
PHONES 1
LEVEL
MONITOR
MIX-B EXTERNAL
AUX 3/4
AUX 5/6
SOLO
EXTERNAL MIX-B
MONITOR
PHONES 1
OUTPUT
PHONES 1
SOURCE
FREQ
PRE
POST
LEFT
(MONO)
RIGHT
RIGHT
LEFT
(MONO)
LEFT
(MONO)
RIGHT
(PER 8 CH'S)
+4dBU/–10dBV Select
+
-
+
-
(PER 8 CHANNELS)
•
•
MIC/LINE INSERT
•
•
•
•
PRE
POST
PRE
•
•
•
PARAMETRIC
EQ SHELVING
EQ
MID
"Q"
MIDLO LOHI
GAIN FREQ
•
•
•
HI/LO EQ
TO MIX B
SPLIT
PRE EQ
TO AUX MOD
•
•
•• ••
•
•
•
•
• •
•
• •
•
•• •
•
•
•
•
••
•
• • • •
• • • • ••
•
• •
•
•
••
••
•
SOLO
•
•
••
•
•
•
SOLO
•
•
•
•
•
•••
• •
•
TO AUX 2
TO TAPE/
SUBMASTER
TO PHONES
(AND STUDIO)
••••••••
•
•
MONITOR
SOURCE
•
•
•
•
•
•
•
•
•
•
•
•
•
INSERT
•
•
•
•
••
••
•
•
••
•
•
•
• •
•
•
••
•
•
•
•
•
•
•
•
•
•
•
•
SUB MSTR
FADER
INSERT
•
•
SOLO
•
•
• •
• •
L + R
••
•
•
••
SOLO
L + R
•
•
•
L METER
R METER
•
•
•
•
••
•
•
••
••
R
STUDIO
OUTPUT
L
CNTRL RM
OUTPUT
R
CNTRL RM
OUTPUT
•
•
•
•
•
•
•
•
•
(DEFEATED WHEN
CNTRL RM SOURCE
IS SELECTED)
(DEFEATED WHEN
CNTRL RM SOURCE
IS SELECTED)
•
•
• • • ••
• • •
•
•
••
••
•
•
•
•
AUX OUT
•
•
AUX SEND 3
(#4, 5, 6 IDENTICAL) SOLO
•
NOTE: ALL SWITCHES SHOWN IN DISENGAGED (UP) POSITION
•
75Hz
HPF
0L
MUTE
MIX-B
SOURCE
•
PFL MOD
•
TALKBACK:
MIX-B OUTPUT
L MIX
R MIX
LO CUT
IN/OUT
•
••••••••••••••••••••
OPTIONAL 24•E
24-CHANNEL MACKIE 8•BUS
EXPANDER CONSOLE
To on-ramp #257
of the Santa Ana Freeway
–20dB
•
•
PRE
POST
•
•
•
•
•
•
SUB OUTS 1, 9 & 17
METER
•
•
1
2
3
•
•
•
DIRECT
OUT
(#2 IDENTICAL)
STEREO AUX RETURN 3
(#4 IDENTICAL)
STEREO AUX RETURN 5
(#6 IDENTICAL)
L/R
•
•
• •
vu
• • ••
• •
•
•
1
2
3
1
2
3
+
-
+
-
INSERT
vu
GLOBAL
SELECT
CH. OUT
•
•
• • •
• • • •
••
•
•
•
•
INSERT
-
+
-
METER
•
•
•
• •
+4/-10 +4/-10
SHIFT
•
•
•••
•
•
•
+
-
•
••
•
•
•
FLIP SW
CHANNELMIX-B SOURCE MOD
R UNBAL OUTPUT
L BAL OUTPUT
L UNBAL OUTPUT
OPTIONAL METER BRIDGE
PHONES 2
OUTPUT
L
R
L
R
•
•
•
•
• •
•
••
•
••••
•
+
•
•
•
• •
EXTERNAL
IN L
EXTERNAL
IN R
INSERT
•
•• •
SUB OUTS 2, 10 & 18
•
•• •
TAPE IN
•
AUX 5/6
AUX 3/4

27.17"
29.17"
1.00"
1.00"
4.78"
0.54"
28.74"
V. 1.5 6/95
16x8x2 8-BUS MIXING CONSOLE
©1995 MACKIE DESIGNS INC. *exclusive
of
meter
bridge
16•8
console
WEIGHT*
50 lbs.
6.00"
3.38"
29.20"
MB16•8 Optional Meter Bridge
5.50"
35.02"
37.02"
1.00"
1.00"
4.78"
6.00"
3.38"
37.00"
0.54"
28.74"
MB24•8 Optional Meter Bridge
24x8x2 8-BUS MIXING CONSOLE
©1995 MACKIE DESIGNS INC. *exclusive
of
meter
bridge
24•8
console
WEIGHT*
64 lbs.
V. 1.4 4/4/94
5.50"
2.65"
28.58"
2.50"
Note: add 3.75" to depth for
power supply cable clearance
0.69"
4.25"
6.00"9.00"
4.78"
25.24"
28.74"
2.70"
5.50"
3.67"
26.80"
28.40"
22.50"
29.00"
V. 1.0 4/4/94
STAND FOR 24•8 & 32•8 CONSOLES
©1995 MACKIE DESIGNS INC.
Stand
WEIGHT
44 lbs.

7/1/95
27.17"
29.17"
1.00"
1.00"
4.78"
0.54"
28.74"
V. 1.0 4/4/94
24-CH. EXPANSION CONSOLE FOR 24•8 & 32•8
©1995 MACKIE DESIGNS INC. *exclusive
of
meter
bridge
24•E
console
WEIGHT*
50 lbs.
6.00"
3.20"
29.15"
MB•E Optional Meter Bridge
5.50"
43.82"
45.82"
1.00"
1.00"
4.77"
0.54"
28.74"
V. 1.4 4/4/94
32x8x2 8-BUS MIXING CONSOLE
©1995 MACKIE DESIGNS INC. *exclusive
of
meter
bridge
32•8
console
WEIGHT*
78 lbs.
6.00"
3.38"
45.80"
MB32•8 Optional Meter Bridge
5.50"
level up +20 level up +15 level up +15
0000000
00000000
0000000
max out +22
max out +22
max out +22
+14 max in
-10 trim dn
MIC INPUT AUX RETURN CH. LEVEL MIX O/P LEVEL OUTPUT
OUTPUT
OUTPUT
MIX
MIX O/P LEVEL
-50 trim up
+22 max in
trim dn
-40 trim up
+22 max in
switch @+4
-12.3 @-10
LINE INPUT
TAPE INPUT
to point (B)
gain up +15 fader up +10 (A) (B)
pan center -3
gain dn -15 (C)
INSERT EQ FADER PAN SUB INSERT
-6 -6
gain up +15 level up +15 level up +15
gain dn -15
SPLIT EQ CH. LEVEL
MIX B
1-8 from point (C)
L/R from point (d) -4
to meters
METER FEED (+4 @ O/P = 0 @ METERS)
SUBMASTER or MAIN MIXCHANNEL FADER CONTROL ROOM
(D) level up
fader up +10
L/R bal max out +28
max out +22
1-8 bal/unbal
L/R unbal
from point (A)
AUX SEND
3.50"
(2 rack spaces)
19.00"
V. 1.2 4/4/94
220-WATT POWER SUPPLY FOR
8•BUS CONSOLES & EXPANDER
©1995 MACKIE DESIGNS INC.
19.00"
10.10"
220-W
Power Supply
WEIGHT
24 lbs.

SPECIFICATIONS
CHANNEL STRIP
Mic In
Electronically balanced;
discrete input configuration
Noise, Mic E.I.N. (20Hz–20kHz)
–129.0 dBm, 150Ωsource
–136.0 dBV, input shorted
Mic Preamp Distortion
0.001% 20Hz–20kHz
Mic Preamp Bandwidth
10Hz to 300kHz ±3dB
Mic Gain Range
+10dB to +50dB
Mic Max Input
+14dBu
Line In
Electronically balanced
Line in Gain Range
Unity to +40dB
Line in Max Input
+22dBu
Noise (Ch. @ Unity Gain)
–94dBu
Channel Fader
log taper using 100mm
precision network design
Channel Fader Range
off to Unity to +10dB
Aux Send Gain Range
off to Unity to +15dB
Mix B Gain Range
off to Unity to +15dB
Hi Mid EQ
full parametric, ±15dB freq.
sweep from 500Hz–18kHz
bandwidth variable from
1/12 octave to 3 octaves
Lo Mid EQ
sweep from 45Hz–3kHz
±15dB
Hi Shelving EQ
12kHz ±15dB
Lo Shelving EQ
80Hz ±15dB
Lo Cut EQ (HPF)
75Hz 18dB/octave
(Tchebechev)
Channel Direct Out
Max Output +22dBu
Output Impedance
120Ω(60Ω@ XLR out)
HI MID–2 oct. bandwidth
boost/cut
20 Hz 100 Hz 1k Hz 10k Hz 20k Hz
–15
–10
–5
0
+5
+10
+15
20Hz 100Hz 1kHz 10kHz 20kHz
–15
–10
–5
0
+5
+10
+15
HI MID–3 oct. bandwidth boost/cut
20 Hz 100 Hz 1k Hz 10k Hz 20k Hz
–15
–10
–5
0
+5
+10
+15
LO MID–boost/cut
20Hz 100Hz 1kHz 10kHz 20kHz
–15
–10
–5
0
+5
+10
+15
LO SHELF
20 Hz 100 Hz 1k Hz 10k Hz 20k Hz
–15
–10
–5
0
+5
+10
+15
LO CUT (HI PASS)
HI MID–1/12 oct. bandwidth
boost/cut
20 Hz 100 Hz 1k Hz 10k Hz 20k Hz
–15
–10
–5
0
+5
+10
+15
20 Hz 100 Hz 1k Hz 10k Hz 20k Hz
–15
–10
–5
0
+5
+10
+15
Interaction of LO CUT with
LO SHELF boost
20 Hz 100 Hz 1k Hz 10k Hz 20k Hz
–15
–10
–5
0
+5
+10
+15
HI SHELF
LO MID–sweeps
20Hz 100Hz 1kHz 10kHz 20kHz
–15
–10
–5
0
+5
+10
+15
HI MID–3 oct. sweeps
20 Hz 100 Hz 1k Hz 10k Hz 20k Hz
–15
–10
–5
0
+5
+10
+15
HI MID–2 oct. sweeps
20 Hz 100 Hz 1k Hz 10k Hz 20k Hz
–15
–10
–5
0
+5
+10
+15
20Hz 100Hz 1kHz 10kHz 20kHz
–15
–10
–5
0
+5
+10
+15
HI MID–1/12 oct. sweeps
Tape Returns
Bal./unbal. 1/4” jacks,
globally switchable from
+4dBu to –10dBV
Ch. Insert Max In/Out
+22dBu
Ch.-to-Ch. Crosstalk
–85dB
SUBMASTER SECTION
Noise
–90dB re +4dBu 16 chs.
assigned & set @ Unity
Gain
Submaster Output
Max Out
+22dBu
Submaster Insert
Max In/Out
+22dBu
Submaster Fader
log taper using 100mm
precision network design
Fader Range
off to Unity to +10dB
MAIN SECTION
Working S/N ratio
90 dBu (ref: +4 dBu), all
channels assigned, all
faders @ Unity Gain.
Max Output
+28dBu balanced XLR,
+22dBu unbalanced 1/4"
Aux Returns Gain Range
off to Unity to +20dB
Aux Sends Max Out
+22dBu
GENERAL
Distortion
Better than 0.01%, any
input to any output
Frequency Response
20Hz-40kHz ±1dB any
input to any output;
10Hz-120kHz ±3dB
Max Gain mic in to bal.
main out
+76dB
AC Power Consumption
200 watts typical 300
watts max (32•8 w/
Meter Bridge)
MACKIEDESIGNSINC. •16220 WOOD-RED RD. N.E.
WOODINVILLE • WA • USA • PHONE TOLLFREE 800/258-6883
FAX [phone] • OUTSIDE THE U.S., PHONE [phone]
Mackie Designs Inc. is engaged in a continuous program of
product evaluation and improvement and reserves the right to
change product specifications at any time without notice.
©1995 Mackie Designs Inc. All rights reserved. “Mackie.” is a
registered trademark of Mackie Designs Inc. Printed in USA.
12022951.2
®