Mackie SR24 4 User manual

1
SR24•4 &SR32•4
OWNER’S MANUAL
VERY LOW IMPEDANCE DESIGN
dB
30 20
10
OO
40
50
5 5
U
60
10
dB
30 20
10
OO
40
50
5
5
U
60
10
dB
30 20
10
OO
40
50
5
5
U
60
10
dB
30 20
10
OO
40
50
5
5
U
60
10
dB
30 20
10
OO
40
50
5
5
U
60
10
dB
30 20
10
OO
40
50
5
5
U
60
10
dB
30 20
10
OO
40
50
5
5
U
60
10
dB
30 20
10
OO
40
50
5
5
U
60
10
dB
30 20
10
OO
40
50
5
5
U
60
10
dB
30 20
10
OO
40
50
5
5
U
60
10
dB
30 20
10
OO
40
50
5
5
U
60
10
dB
30 20
10
OO
40
50
5 5
U
60
10
dB
30 20
10
OO
40
50
5
5
U
60
10
dB
30 20
10
OO
40
50
5 5
U
60
10
dB
30 20
10
OO
40
50
5
5
U
60
10
dB
30 20
10
OO
40
50
5 5
U
60
10
dB
30 20
10
OO
40
50
5
5
U
60
10
dB
30 20
10
OO
40
50
5
5
U
60
10
dB
30 20
10
OO
40
50
5 5
U
60
10
dB
30 20
10
OO
40
50
5 5
U
60
10
dB
30 20
10
OO
40
50
5 5
U
60
10
dB
30 20
10
OO
40
50
5
5
U
60
10
dB
30 20
10
OO
40
50
5 5
U
60
10
dB
30 20
10
OO
40
50
5
5
U
60
10
dB
30 20
10
OO
40
50
5
5
U
60
10
dB
30 20
10
OO
40
50
5 5
U
60
10
dB
30 20
10
OO
40
50
5
5
U
60
10
OO
U
OO
+15
U
OO
+15
OO
U
OO
+15
MAX
MAX
U
OO
+20
U
OO
+20
U
OO
+20
U
OO
+20
U
OO
+20
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
5
+100
5
+100
5
+100
5
+100
M
I
C
G
A
I
N
10
U
60
+10dB -40dB
-
1
0
LR LR LR LR LR LR LR LR LR LR LR LR LR LR LR LR LR LR LR LR LR LR
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
+15-15
U
+15-15
8kHz100
U
+15-15
U
OO
+15
U
OO
+15
M
I
C
G
A
I
N
10
U
60
+10dB -40dB
-
1
0
M
I
C
G
A
I
N
10
U
60
+10dB -40dB
-
1
0
M
I
C
G
A
I
N
10
U
60
+10dB -40dB
-
1
0
M
I
C
G
A
I
N
10
U
60
+10dB -40dB
-
1
0
M
I
C
G
A
I
N
10
U
60
+10dB -40dB
-
1
0
M
I
C
G
A
I
N
10
U
60
+10dB -40dB
-
1
0
M
I
C
G
A
I
N
10
U
60
+10dB -40dB
-
1
0
M
I
C
G
A
I
N
10
U
60
+10dB -40dB
-
1
0
M
I
C
G
A
I
N
10
U
60
+10dB -40dB
-
1
0
M
I
C
G
A
I
N
10
U
60
+10dB -40dB
-
1
0
M
I
C
G
A
I
N
10
U
60
+10dB -40dB
-
1
0
M
I
C
G
A
I
N
10
U
60
+10dB -40dB
-
1
0
M
I
C
G
A
I
N
10
U
60
+10dB -40dB
-
1
0
M
I
C
G
A
I
N
10
U
60
+10dB -40dB
-
1
0
M
I
C
G
A
I
N
10
U
60
+10dB -40dB
-
1
0
M
I
C
G
A
I
N
10
U
60
+10dB -40dB
-
1
0
M
I
C
G
A
I
N
10
U
60
+10dB -40dB
-
1
0
M
I
C
G
A
I
N
10
U
60
+10dB -40dB
-
1
0
M
I
C
G
A
I
N
10
U
60
+10dB -40dB
-
1
0
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
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
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
4
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
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
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
-20 +20
8kHz100 8kHz100 8kHz10 0 8kHz100 8kHz100 8kHz10 0 8kHz100 8kHz100 8kHz10 0 8kHz100 8kHz100 8kHz10 0 8kHz100 8kHz100 8kHz10 0 8kHz100 8kHz100 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
-20
OL
PRE
1
PRE
PRE
2 3 5 6
12k
HI
MID
FREQ
80Hz
LOW CUT
75 Hz
18dB/OCT
LOW CUT
75 Hz
18dB/OCT
LOW CUT
75 Hz
18dB/OCT
LOW CUT
75 Hz
18dB/OCT
LOW CUT
75 Hz
18dB/OCT
LOW CUT
75 Hz
18dB/OCT
LOW CUT
75 Hz
18dB/OCT
LOW CUT
75 Hz
18dB/OCT
LOW CUT
75 Hz
18dB/OCT
LOW CUT
75 Hz
18dB/OCT
LOW CUT
75 Hz
18dB/OCT
LOW CUT
75 Hz
18dB/OCT
LOW CUT
75 Hz
18dB/OCT
LOW CUT
75 Hz
18dB/OCT
LOW CUT
75 Hz
18dB/OCT
LOW CUT
75 Hz
18dB/OCT
LOW CUT
75 Hz
18dB/OCT
LOW CUT
75 Hz
18dB/OCT
LOW CUT
75 Hz
18dB/OCT
LOW CUT
75 Hz
18dB/OCT
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 80Hz
LOW 80Hz
LOW 80Hz
LOW 80Hz
LOW 80Hz
LOW 80Hz
LOW 80Hz
LOW 80Hz
LOW
TRIM
1
AUX
1
MUTE
EQ
1 2 3 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
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
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
2
AUX
2
MUTE
EQ
-20
OL
PRE
1
PRE
PRE
2 3 5 6
12k
HI
MID
FREQ
TRIM
3
AUX
3
MUTE
EQ
-20
OL
PRE
1
PRE
PRE
2 3 5 6
12k
HI
MID
FREQ
TRIM
4
AUX
4
MUTE
EQ
-20
OL
PRE
1
PRE
PRE
2 3 5 6
12k
HI
MID
FREQ
TRIM
5
AUX
5
MUTE
EQ
-20
OL
PRE
1
PRE
PRE
2 3 5 6
12k
HI
MID
FREQ
TRIM
6
AUX
6
MUTE
EQ
-20
OL
PRE
1
PRE
PRE
2 3 5 6
12k
HI
MID
FREQ
TRIM
7
AUX
7
MUTE
EQ
-20
OL
PRE
1
PRE
PRE
2 3 5 6
12k
HI
MID
FREQ
TRIM
8
AUX
8
MUTE
EQ
-20
OL
PRE
1
PRE
PRE
2 3 5 6
12k
HI
MID
FREQ
TRIM
9
AUX
9
MUTE
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
PRE FADER
IN PLACE AFL
LEVEL SET
SOLO SOLO SOLO
SOLO
MUTE / SOLOMUTE / 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 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 SOLO SOLO SOLO SOLO SOLO SOLO
PANPANPAN PANPAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN
4444444444444 44444444
POWERRUDE
SOLO
LIGHT
OPERATING LEVEL
0dB = 0dBu

2
CAUTION AVIS
RISK OF ELECTRIC SHOCK
DO NOT OPEN
RISQUE DE CHOC ELECTRIQUE
NE PAS OUVRIR
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK
DO NOT REMOVE COVER (OR BACK)
NO USER-SERVICEABLE PARTS INSIDE
REFER SERVICING TO QUALIFIED PERSONNEL
ATTENTION: POUR EVITER LES RISQUES DE CHOC
ELECTRIQUE, NE PAS ENLEVER LE COUVERCLE. AUCUN
ENTRETIEN DE PIECES INTERIEURES PAR L'USAGER. CONFIER
L'ENTRETIEN AU PERSONNEL QUALIFIE.
AVIS: POUR EVITER LES RISQUES D'INCENDIE OU
D'ELECTROCUTION, N'EXPOSEZ PAS CET ARTICLE
A LA PLUIE OU A L'HUMIDITE
The lightning flash with arrowhead symbol within an equilateral
triangle is intended to alert the user to the presence of uninsulated
"dangerous voltage" within the product's enclosure, that may be
of sufficient magnitude to constitute a risk of electric shock to persons.
Le symbole éclair avec point de flèche à l'intérieur d'un triangle
équilatéral est utilisé pour alerter l'utilisateur de la présence à
l'intérieur du coffret de "voltage dangereux" non isolé d'ampleur
suffisante pour constituer un risque d'éléctrocution.
The exclamation point within an equilateral triangle is intended to
alert the user of the presence of important operating and maintenance
(servicing) instructions in the literature accompanying the appliance.
Le point d'exclamation à l'intérieur d'un triangle équilatéral est
employé pour alerter les utilisateurs de la présence d'instructions
importantes pour le fonctionnement et l'entretien (service) dans le
livret d'instruction accompagnant l'appareil.
SAFETY INSTRUCTIONS
1. Read Instructions — Read all the safety and operation
instructionsbeforeoperatingtheSR24•4orSR32•4Audio
Mixer.
2. Retain Instructions — Keep the safety and operating
instructionsfor future reference.
3. HeedWarnings—Followall warnings on the SR24•4
andSR32•4Audio Mixersandinthese operatinginstructions.
4. Follow Instructions — Follow all operating and other
instructions.
5. Water and Moisture — Do not use the SR24•4 or
SR32•4AudioMixer near water — for example, near a
bathtub,washbowl,kitchensink,laundrytub,inawet
basement,intherain, near a swimming pool or salivating
St.Bernarddog,etc.
6. Heat — Locate the SR24•4 or SR32•4 Audio Mixer
awayfromheatsourcessuchasradiators,compostpitsor
otherdevicesthatproduceheat.
7. Power Sources — Connect the SR24•4 or SR32•4
AudioMixeronlyto a power supply of the type described in
theseoperationinstructionsorasmarkedontheSR24•4or
SR32•4AudioMixer.
8. Power Cord Protection — Route power supply cords so
thattheyarenotlikelyto be walked upon or pinched by
itemsplacedupon or against them, paying particular
attentiontocordsatplugs,convenience receptacles, and the
pointwheretheyexit the SR24•4 or SR32•4 Audio Mixer.
9. Object and Liquid Entry — Do not drop objects or spill
liquidsintotheinsideofthe SR24•4 or SR32•4 Audio
Mixer.
10. Damage Requiring Service — The SR24•4 and
SR32•4AudioMixersshouldbeservicedonlybyqualified
servicepersonnelwhen:
A. SR24•4 or SR32•4 Audio Mixer power-supply cord or
theplughasbeendamaged;or
B. Objects have fallen onto, or liquid has spilled into the
SR24•4orSR32•4AudioMixer;or
C. The SR24•4 or SR32•4 Audio Mixer has been
exposedtorain;or
D. The SR24•4 or SR32•4 Audio Mixer does not appear
tooperateorexhibits a marked change in performance;
or
E. The SR24•4 or SR32•4 Audio Mixer has been
dropped,oritschassisdamaged.
11. Servicing — Do not attempt to service the SR24•4 or
SR32•4Audio Mixer beyond those means described in this
operatingmanual.Allotherservicingshouldbereferredto
theMackie Tech Support Department.
12. To prevent electric shock, do not use the SR24•4 or
SR32•4AudioMixerpolarizedplugwith an extension cord,
receptacleorotheroutlet unless the blades can be fully
insertedtopreventbladeexposure.
Pourpréevenir les chocs électriques ne pas utiliser cette fiche
polariseéavec un prolongateur, un prise de courant ou une
autresortie de courant, sauf si les lames peuvent être
inséréesà fond sans laisser aucune pariie à découvert.
13. Grounding or Polarization — Do not defeat thegrounding
orpolarizationof theSR24•4or SR32•4 AudioMixer.
ThisapparatusdoesnotexceedtheClassA/ClassB
(whicheverisapplicable) limits for radio noise emissions
fromdigitalapparatusas set out in the radio interference
regulationsofthe Canadian Department of Communications.
ATTENTION—Le présent appareil numérique n’émet pas de
bruitsradioélectriques dépassant las limites applicables aux
appareilsnumériques de class A/de class B (selon lecas)
prescritesdans le règlement sur le brouillage radioélectrique
édictépar les ministere des communications du Canada.
WARNING—Toreducetheriskoffireorelectricshock,do
notexposethis appliance to rain or moisture.

1
PLEASE! SAVE THE
SHIPPING BOX!
Top Ten Reasons for
saving your shipping box:
10. It’s here.
9. It’s yours.
8. It’s paid for.
7. It’s strong and sturdy.
6. It fits your mixer perfectly.
5. You will need it if you ever ship your mixer.
4. We mayhavetosell youanotherone ifyou
needtoship yourmixerand youdon’thaveit.
3. It will impress your friends who have no
lives when they see it in your basement.
2. It’s the ecologically sound thing to do.
1. It’s the Mackie sound thing to do.
Top Ten Reasons for not saving
your shipping box:
10. Your cat has already used it.
9. You stole the mixer out of a Karaoke bar.
8. Your Mackie mixer will never break.
7. You will never move again.
6. You wrote a song on it and are consider-
ing framing it.
5. You have cut off the top and are using it
as an equipment rack.
4. You really hate planning ahead because it
never works out anyway.
3. It fits some other manufacturer’s product,
which is broken, perfectly.
2. You have kept all the boxes of all the other
equipment you have ever bought and you
have never used one of them ever.
1. You are afraid of corrugated products.
Purchased at:
Please put your serial number here for
future reference (i.e. insurance claims,
tech support, return authorization, etc.):
Date of purchase:
TABLE OF CONTENTS
Section 1: Introduction.................................. 2
Sensitivity Adjustment Procedure ................. 3
Section 2: Making sound come out right now .. 4
Hookup Diagrams ........................................... 7
Section 3: Panel layout.................................12
Front Panel ....................................................12
ChannelStrips1-20 ....................................12
StereoChannelStrips21/22&23/24...........18
OutputSection ...........................................20
Subs1-4 ................................................20
MasterLeftRightFader ........................22
Tape Return ..........................................22
AuxSendMasters .................................23
StereoAuxReturns ...............................23
SoloMasterSection...............................24
Talkback ...............................................25
Meters...................................................25
PowerIndicator.....................................26
RudeSoloLight.....................................26
LampConnector ...................................26
RearPanel.......................................................27
Input Connectors1-20 ...........................27
PhantomPower.....................................27
StereoInputConnectors21/22&23/24 ...28
SubOuts ...............................................29
SubInserts............................................29
MainMixOutputs .................................30
MainInserts ..........................................31
AuxSends .............................................31
StereoAuxReturns ...............................32
Tape Inand Out ....................................32
ControlRoomOut .................................33
Phones 1and 2 ......................................33
TalkbackMic ........................................33
Power....................................................33
Section 4: Applications
SoundReinforcement ......................................34
Recording ........................................................37
Appendix A:
General Information......................................39
Appendix B:
Glossary ..........................................................42
Appendix C:
Connections ...................................................50
Appendix D:
Grounding, phantom power, etc....................53
Appendix E:
Specifications and block diagram.................57
Appendix F:
Modifications...................................................60
Appendix G:
Service, freeT-shirt offer &Track Sheet ..........62
INTRODUCTION
MAKING SOUND COME
OUT RIGHT NOW
PANEL LAYOUT AND
FUNCTION
APPLICATIONS
APPENDICES
PartNo.820-029-00 Rev.C 4/97
©1997 Mackie Designs Inc., All Rights Reserved.
Printed in the U.S.A.
Introduction
Making
Sound Come
Out Right
Now
Layout
and Function
Applications
Appendices

2
Okay, it sounds patronizing and everyone
does it at the beginning of a manual, but here
goes our version anyway: “Thanks for buying
a Mackie Designs mixer. You’ve chosen well.”
NOTE: This manual covers both the
SR24•4 and the SR32•4. Since they are iden-
tical, — except, of course, that the SR24•4
has 24 inputs and the SR32•4 has 32 — we
will normally refer only to the SR24•4. When
there is a difference, it will be noted. You
SR32•4 owners should not feel so superior
(though you may very well be).
The Mackie SR24•4 is designed for use in
sound reinforcement (SR) or recording appli-
cations. The SR24•4 has four submix buses
plus Main L/R, and six auxiliary buses. It can
blend, combine and control a variety of audio
input sources, including microphones, elec-
tronic instruments and other audio devices
such as CD players and analog or digital
sound recorders. Through the mixer’s output
buses, these sounds can be routed to different
loudspeaker power amplifiers, recording
channels, effects units or other devices.
IF YOU IGNORE MANUALS...
So you want to jump right off into the
unknown, eh? Just bash on your SR24•4 (or
32•4) with your guitar for a while and see
what happens.
(All the blood has left the Warranty
Manager’s face as he reads these lines. Too
late, bud, we’ve already printed and shipped
thousands of manuals. We’ll put you on the
Manual Review Committee next time.)
But seriously now, we know that a lot of
people just plug things right in and wait un-
til something doesn’t work right before they
even take the manual out of the bag. Then
they only look up the 800 number and call
Customer Service.
Well, we can’t be your mother here… but if
you’ve gotten this far, at least turn to the next
section,Making Sound Come Out Right Now!,
’specially written for people in a big hurry. You
might also skim through the Guided Tour in
Section 3,lookattheblockdiagramand stop to
read the paragraphs markedVERYIMPORTANT.
We’ve put a few new twists and turns in the
signal routing that you should check out before
you hurt somebody.
This icon:
marks information which is absolutely critical
or is unique to the SR24•4 (or 32•4).
In addition, sections tagged with this icon:
include both in-depth information and
touching expressions of our sturdy Woodin-
ville philosphy of Audio-as-Bowling. They’re
not mandatory reading but can be instructive
and illuminating.
Andifyouareone of those people who
actually likes to read manuals, or at least feels
vaguelyguilty if you don’t, or whose boss made
youreadit, well then, march on! We love that!
Havewegotamanualforyou!We’ll trytomake
it accurate, fun, informative and, of course, safe.
SECTION 1: INTRODUCTION
Introduction

3
IMPORTANTSENSITIVITYADJUSTMENT
PROCEDURE!
ThisprocedureisSOIMPORTANTitgetstop
billing.Evenifyoudon’treadmanuals,readthis
page.(Thenagain,ifyoudon’treadmanuals,you
wouldn’tbereadingthiseither.)
To fullyachieve theSR24•4’simpressive
headroomandsonicspecs,DONOTusetheold
way:turningthingsupuntiltheyclipandthen
backingoff.DO use the followingSensitivity
AdjustmentProcedure.
FOLLOW THIS PROCEDURE FOR EACH
CHANNEL IN USE
1. SetALLfadersallthewayoff.
Setthe
PHONES/CR LEVEL abouthalf
wayup(12:00).
Setthe
SOLO LEVEL tothecenter“U”
detent.
Setthe
SOLO MODE switchtotheUP
position(PRE-FADER).
2. Ifyou’dliketohearwhatyou’redoing,plug
yourheadphonesintoeitherofthe
PHONES
OUT
jacks,orhookupyourcontrolroom
ampsystemtothe
CONTROL ROOM
OUTPUTS
.
3. Setthechannelstripyou’vechosenasfollows:
TRIM controlfullydown.
MUTE switchup.(Thatchannel’s
MUTE/SOLO LED shouldbeoff.)
SOLO switchdown.(Nowthatchannel’s
MUTE/SOLO LED shouldbeflashing.)
EQ controlsatcenterdetents.
TRIM controlsfullycounterclockwise(off).
4. Applyanaudiosignaltothatchannel’sinput.
Theaudiocontentandlevelyouuseshouldbe
representativeofwhatyouwillreallybedoing
whenthetapestartsrolling,orthecrowd
startsdancing.(Forinstance,makesure
vocalistsdon’twhisperduringthesound
check,forcingyoutosetthegainhigh,onlyto
havethemscreamduringtheshow,causing
anoverloademergency.)
5. Thatchannel’s
–20dB LED shouldflicker.
TheL/R meterswillshowtheactuallevelof
thatchannel’saudiosignal.Nowit’stimeto
optimizethatlevel.
Adjustthatchannel’s
TRIM controluntilthe
peakshitaround0dBontheL/Rmeters.
For“+4”line-levelaudiosources,youmaynot
needtoturnitupatall.For“–10”sources,
you’llprobablyadjustthe
TRIM abithigher.
Formicrophonesources,the
TRIM control
maywindupneartheclockwiseend(fullgain).
6. Ifyouplantousethe
EQ onthischannel,set
the
EQ controlsroughlywhereyou’llwant
themandrepeatStep5.
7. Returnthatchannel’s
SOLO switchtothe
upposition.
8. Repeatsteps 1–7onallchannelsthat
you’reusing.
9. Whenyou’redonesettinglevels,youcanput
allyourcontrolsbackthewayyouwantthem,
orhaveasandwichfirst.Butdon’tchopoffthe
crust—it’sgoodforyou.
Introduction

4
Thisisthefasttrack,plug-it-inandring-it-out
sectionforthefranticallybehindandthetermi-
nallyimpatient.We’veevenincludedsometypical
applicationsdiagrams(pgs.9–13)forthosewho
onlyreadmanualsforthepictures.Thoseofyou
withalittletimeandself-controlcanmoseyon
throughtherestofthelavishlyillustratedmanual
atyourleisure.Runners,onyourmarks.
FIRST, NORMALIZE THE MIXER
Ineveryinput strip,
Setthe TRIM and AUX controlstominimum
(fullycounterclockwise).
Setallthe EQ and PAN knobsstraightup.
Besureeveryswitchisup: PRE,LO-CUT,
MUTE,SOLO
andalloftheassignment
switchesnexttothefaders.
Pullallthefadersallthewaydowntothe
(infinityoroff)mark.
IntheOutput/Monitor Section,
Besureeveryswitchisup(notpushedin).
Besureeveryknobisturnedfullycounter-
clockwise(exceptthefoursub
PAN
controls;theyshouldbesetstraightup).
PulltheSUBandMASTERfadersalltheway
down.
SECTION 2: MAKING SOUND COME
OUT RIGHT
NOW!
60 SECONDS TO
AMPLIFIED SOUND
Afteryou’venormalized
yourmixer…grabyour
stopwatchandgo.
Thisprocedurewillrequireasetofheadphones.
1. PlugintheSR24•4(or32•4)andturniton.
2. Setthe
SOLO mastercontrolto“U.”This
contolisthesmallwhiteknobontheright
underthemeters.
3. Plugyourheadphonesintothe
PHONES 1
jackontheback.
4. Plugamicrophoneintothe
MIC 1 connector
ontheback.Onthefront,makethefollowing
settingsonchannelstrip1:
•
MUTE buttonup(thered MUTE/
SOLO
LEDshouldnotbelit)
•
SOLO buttonpushed(nowthe MUTE/
SOLO
and RUDE SOLO LEDsshould
startblinking).
5. Makesurethatthe
PFL/AFL SoloMode
switchisintheupposition.
6. Puttheheadphonesonandcarefullyturnup
the
PHONES/C-R LEVEL controltoabout
half.Youwillprobablyhearverylittle.
7. Nowadjustthe
TRIM knobonchannelstrip1
clockwisewhileyou(oryourappointed
assistant)speakintothemicrophone.You
shouldhearthisintheheadphones,seethe
green“–20”LEDintheinputchannelstrip
flicker,andobservethelevelindicatedinthe
main
LEFT and RIGHT meters.Yes?
OK,yourSR24•4(or32•4)works andyou
havepumped soundthroughit. Takechannel1
outofsolo soyouwon’t forgetaboutit andcon-
fuseyourselflater.
Gotothenextpage forthenext“can’twait”
sequence.
Making
Sound Come
Out Right
Now

5
SOUND
REINFORCEMENT: THE
FIVE-MINUTE MIXER
First,dothe60-Second
Exerciseontheprevious
page.Thiswillassureyouthatyourmixerworks
andhasnohumorbuzzcominginonthewiring.
Nowresetyourstopwatchandbegin.
1. Makesureallthefadersandcontrolsand
switchesarestillnormalled.Basically,this
meansallcontrolsandfadersoff,all
switchesup.Leavethe
SOLO masterand
the
PHONES/C-R LEVEL controlswhere
theyweresetinthe60-SecondExercise.
2. Connecttheoutputsofthe
RIGHT MAIN
MIX
andthe LEFT MAIN MIX totheinputs
ofyourmainhouseamplifier;
— or —
ifyouhaveamonauralmainhouseamplifier,
connectthe
MONO MAIN MIX outputto
theamp.
3. Connectthespeakerstotheamplifier,turn
onthemixerandtheampandgolistentoone
ofthespeakers.Youshouldnothearbuzz,
hum,aradiostationoranultimatumfrom
orbitingspacealiens.Ifyoudohearanything
morethanalittlepristinehissorwhitenoise,
youhaveawiringorgroundingproblem.
Sorry;godirectlytoAppendices A–D.Donot
collect$200.
4. Nowweneedsomethingtolistentowhilewe
proceed.Herearetwochoices:themicrophone
youpluggedintoinputchannelstrip1forthe
60-SecondExercise,orsomesourceofmusic
likeacassettedeckoraCDplayer.
Let’spretendyouhaveaCDplayer:plugthe
outputsoftheCDplayerintotheSR24•4
inputslabeled23and24(or32•4inputs31
and32).PutinaCDandpressPlay.Turnthe
23–24
TRIM knobupuntilyouseethegreen
“–20”LEDflicker.YoucanlistentotheCDin
yourheadphonesandseethesignalonthe
mainmetersbypushingthechannel
SOLO
switch.OK?Nowdepress SOLO .
Fortherestofthissection,whenweaskyouto
turnupyoursoundsource,ormuteitor
something,youcanuseeitherthemicrophone
inyourSR24•4’schannelstrip1ortheCDor
cassetteplayerinchannelstrip23–24(31–32
onthe32•4),whicheveryou’vechosen.We
thinkyoushouldusethetapeorCDandthat
youputonsomemusicyoureallyloveand
whichwillalwaysremindyouofwhata
positiveexperienceyouhadonyourfirstday
withyourSR24•4.Meanwhile…
5. PushtheSR24•4channelstripfaderthat
hastheCDinputuptothe“U”mark.Engage
the
L/R buttononthechannelstrip.
6. Nowpushupthe
MAIN MIX faderslowly.
Dependinguponthegainofyourhouse
amplifier,itcouldbereallyloud.Youshould
hearyoursourcecomingclearlythroughthe
mainhousespeakers.OK?Nowpulldownthe
MAIN MIX fader.
7. Next,ifyouhavestagemonitors,connectthe
inputofyourstagemonitoramplifierto
AUX
SEND 1
onthebackoftheSR24•4.Connect
themonitorspeakerstotheamplifier,turnthe
amponandlistenforthedreadedhumor
buzz.Ifit’squietandclean,moveon.Ifnot,it’s
timeforAppendices A–D.
8. Turnthe
AUX 1 controlonthechannelstrip
tothe“U”mark.
9. Nowturnupthe
AUX SEND MASTER
controlslowly.Dependinguponthegainof
yourmonitoramplifier,itcouldbereallyloud.
Youshouldhearyoursourcecomingclearly
throughthestagemonitorspeakers.OK?Now
turndown
AUX SEND MASTER 1 .
Ifyouwanttouseasecondsetofstage
monitorswithadifferentmonitormix,repeat
thepreviousstepswiththesecondsystem
usingAUXSEND2.
10. Ifyouwanttouseanauxiliaryeffectsuchas
areverbunit,patch
AUX SEND 5 intothe
inputofthereverb.Connecttheoutputsof
thereverbto
STEREO AUX RETURN 1
L
and R .
11. Set
AUX SEND MASTER 5 and STEREO
AUX RETURN 1
to“U”andthenturnupthe
sourcechannelstrip’s
AUX 5 untilyouhear
theamountofreverbyoulike.
12.Stopyourstopwatchandnotetime,repeat
steps1–11untilyoubreakthe30-second
mark.
Making
Sound Come
Out Right
Now

6
STEREO MIXDOWN:
THE FIVE-MINUTE
MUSIC MASTER
Besureyoudothe60-Sec-
ond Exercisefirsttoset
everythingup.Thiswillassureyouthatyour
mixerworksandhasnohumorbuzzcomingin
onthewiring.Resetyourstopwatchonelasttime
andbegin.
1. Itispreferabletoplugthepowercordsofall
yourgear–Mixer,DAT,PowerAmp,etc.into
thesamepowerstrip.Makesurethe
powerstripisproperlygrounded.
2. Makesureallthefadersandcontrolsand
switchesarestillnormalled.Leavethe
SOLO
mastercontrolup,whereitwassetinthe60-
SecondExercise,butturnthe
PHONES/
C-R LEVEL
controldown.
3. Connecttheoutputsofthe
RIGHT MAIN
MIX
andthe LEFT MAIN MIX totheinputs
ofyourstereotapedeckorDATrecorder.
4. Connecttheoutputsofyourstereotapedeck
orDATrecordertothe
TAPE IN L and
TAPE IN R RCAjacksontherearofthe
SR24•4.
5. Connect
CONTROL ROOM OUT L and R
totheleftandrightinputsofyourcontrol
roommonitorpoweramplifier.
6. Connectthemonitorspeakerstotheamplifier,
turntheampon,andgolistentooneofthe
speakers.Youshouldnothearbuzz,humortiny
voicesurgingyoutoimmediatelygooutandbuy
severalhotfudgesundaes.Ifyoudohear
anythingmorethanalittlepristinehissor
whitenoise,youhaveawiringorgrounding
problem.Sorry;godirectlytoAppendices A–
D.
7. Now,let’sassumeyouaremixingdowna
recordingmadeonaneight-trackrecorder.
Connecttheeightoutputsoftherecorderto
thefirsteightLINEINjacksontheSR24•4
rearpanel.
8. Engagethe
L/R buttonsandsetthefadersin
channelstrips1–8.Thenadjustthe
MAIN
MIX
fadertoapproximate“Unity”onthe
mixdowndecklevelindicators.
9. Startyourtapemachineandplaythesession
you’dliketomix.
10.Decidewhichtapetrackisthebusiest;which
trackhasthemostconstantactivityand
highestlevels.Now,onthechannelstripfor
thattrack,pressthe
SOLO buttonandturn
the TRIM controlclockwiseuntilyougeta
goodlevelontheSR24•4mainmeters.(A
“goodlevel”mightbeaveragemeterreadings
ofperhaps–7dBto0dB,withoccasionalpeak
readingsof+4dBto+7dB.SeeSensitivity
AdjustmentProcedure,page5.)Now
releasethe
SOLO switch.
11.Setthe
TRIM controlsontheotherseven
activechannelstripstothesamepointon
theirdials.
12.Nowturnupthe
PHONES/C-R LEVEL
controlslowly.Dependinguponthegainof
yourcontrolroommonitoramplifier,itcould
bereallyloud.Youshouldhearyourtape
track(s)comingclearlythroughthemonitor
speakers.OK?
13.Foranalogrecordersputyourtwo-track
recorderinSourceorRecordReady,setthe
recordinputlevelcontrolssothatthetape
machine’smetersreadthesameasthe
SR24•4meters.Fordigitalrecordersusethe
24•4meteringtomakesureyourDATis
receivingenoughsignal.
14.Ifyouwanttouseanauxiliaryeffectsuchasa
reverbunit,patch
AUX SEND 5 intothe
inputofthereverb.Connecttheoutputsofthe
reverbto
STEREO AUX RETURN 1 L and
R .
15.Set
AUX SEND MASTER 5 LEVEL and
STEREO AUX RETURN 1 LEVEL to“U”
andthenturnupthesourcechannelstrip
AUX 5 untilyouheartheamountofreverb
youlike.
16.Nowtryamix:setthechannelstripfaders,
PAN potsand EQ controlswhereverit
soundsgood,watchyourlevelsonthemain
metersandputyourtwo-trackrecorderinto
Record.
17.Tocheckthetwo-trackplayback,pressthe
TAPE RETURN TO PHONES/CR switch,
andadjusttheplaybacklevelwiththe
TAPE
RETURN
control(locatedupbythemain
meters).
Thisconcludesour“express”instructionsfor
thechronicallyimpatient.Weresumeournor-
mally-paced,lavishlyillustratedmanualonthe
nextpage.
Making
Sound Come
Out Right
Now

7
ch. device input insert assignment
1 kick mic gate submix 1
2 snare mic gate submix 1
3 hi hat mic submix 1
4 tom 1 mic gate submix 1
5 tom 2 mic gate submix 1
6 tom 3 mic submix 1
7 drum overhead mic L mic submix 1
8 drum overhead mic R mic compressor submix 1
ch. device input insert assignment
9 bass mic line submix 2
10 bass direct line submix 2
11 guitar mic mic compressor submix 3
12 guitar direct line compressor submix 3
13 Acoustic guitar mic submix 3
14 piano low mic L/R bus
15 piano high mic L/R bus
ch. device input insert assignment
16 keyboard submix L line L/R bus
17 keyboard submix R line L/R bus
18 vocal mic 1 mic Submix 4
19 vocal mic 2 mic Submix 4
20 vocal mic 3 mic Submix 4
21–22
*
stereo reverb L/R mix
23–24
†
stereo delay Submix 4
PHONES MAIN OUTS MAIN OUTS AUX RETURNS SUB INSERTS
TAPE IN
STEREO CHANNELS TAPE OUT
SUB
OUTS
MAIN INSERTS
TALKBACK
2LR L 1234
LRLR
12
LR LR
LR
22
LR
24
21
23
LRLR
34
56 LR
R
LR
MONO
112 12
34
34
5678
AUX SENDS CNTRL RMOUT
Right PA Speaker
Zone Speaker
Left PA Speaker
Sonic Maximizer Stereo Digital Delay
Harmonizer
Stereo
Compressor
Stereo Reverb #2
Stereo Reverb #1
Stereo
EQ
Stereo EQ
Power AmplifierPower Amplifier
Power AmplifierPower Amplifier
Power Amplifier
Stereo EQ
Tape
Cassette
2-track Recorder
NOTE: For input level control,
use Control Room Outs
instead of Tape Outs.
,
Stage Monitor
,
,
Stage Monitor
Band in a Club
CH
1
CH
2
FULLSYMMETRYDUAL DIFFERENTIAL HIGH CURRENT DESIGN
CH
1
CH
2
FULLSYMMETRYDUAL DIFFERENTIAL HIGH CURRENT DESIGN
CH
1
CH
2
FULLSYMMETRYDUAL DIFFERENTIAL HIGHCURRENT DESIGN
CH
1
CH
2
FULLSYMMETRYDUAL DIFFERENTIAL HIGH CURRENT DESIGN
CH
1
CH
2
FULLSYMMETRYDUAL DIFFERENTIAL HIGH CURRENT DESIGN
See page 35 for details
* 29–30 on the SR32•4 † 31–32 on the SR32•4

8
PHONES MAIN OUTS MAIN OUTS AUX RETURNS SUB INSERTS
TAPE IN
STEREO CHANNELS TAPE OUT
SUB
OUTS
MAIN INSERTS
TALKBACK
2LR L 1234
LRLR
12
LR LR
LR
22
LR
24
21
23
LRLR
34
56 LR
R
LR
MONO
112 12
34
34
5678
AUX SENDS CNTRL RMOUT
Right PA Speaker
Zone Speaker
Left PA Speaker
Effects Device
Effects Device
Harmonizer
Cassette
or DAT
Playback Only
(DAT, CD, etc.)
,
,
Stage Monitor
,,
Stage Monitor
,,
Stage Monitor Infrared
Transmitter 4-track Recorder
Stereo Compressor/
Limiter
Church Installation
Power Amplifier
CH
1
CH
2
FULLSYMMETR Y DUAL DIFFERENTIAL HIGH CURRENT DESIGN
Power Amplifier
CH
1
CH
2
FULLSYMMETRYDUAL DIFFERENTIAL HIGH CURRENT DESIGN
Power Amplifier
CH
1
CH
2
FULLSYMMETRYDUAL DIFFERENTIAL HIGH CURRENT DESIGN
Power Amplifier
CH
1
CH
2
FULLSYMMETRYDUAL DIFFERENTIAL HIGHCURRENT DESIGN
Power Amplifier
CH
1
CH
2
FULLSYMMETRYDUAL DIFFERENTIAL HIGH CURRENT DESIGN
Power Amplifier
CH
1
CH
2
FULLSYMMETRYDUAL DIFFERENTIAL HIGH CURRENT DESIGN
Power
Amplifier
Studio Monitors
CH
1
CH
2
FULLSYMMETRYDUAL DIFFERENTIAL HIGH CURRENT DESIGN
OL
PWR
HIGHRESOLUTION
STUDIOMONITOR
ON
OFF
,
OL
PWR
HIGHRESOLUTION
STUDIOMONITOR
ON
OFF
,
ch. device input insert assignment
1 kick mic all optional submix 1–2
2 snare mic submix 1–2
3 drum overhead mic L mic submix 1–2
4 drum overhead mic R mic submix 1–2
5 bass direct line submix 1–2
6 guitar mic mic submix 1–2
7 piano PZM mic mic submix 1–2
8 synth direct line submix 1–2
ch. device input insert assignment
9 worship team vocal 1 mic all optional submix 3–4
10 worship team vocal 2 mic submix 3–4
11 worship team vocal 3 mic submix 3–4
12 choral L mic submix 3–4
13 choral center mic submix 3–4
14 choral R mic submix 3–4
ch. device input insert assignment
15 wireless lavalier mic 1 line all optional L/R bus
16 wireless lavalier mic 2 line L/R bus
17 wireless hand-held mic 1 line L/R bus
18 lectern mic 1 mic L/R bus
19 lectern mic 2 mic L/R bus
20 alter mic mic L/R bus
21–22
*
CD player L/R bus
23–24
†
digital effect stereo return L/R bus
See page 36 for details
* 29–30 on the SR32•4 † 31–32 on the SR32•4

9
PHONES MAIN OUTS MAIN OUTS AUX RETURNS SUB INSERTS
TAPE IN
STEREO CHANNELS TAPE OUT
SUB
OUTS
MAIN INSERTS
TALKBACK
2LR L 1234
LRLR
12
LR LR
LR
22
LR
24
21
23
LRLR
34
56 LR
R
LR
MONO
112 12
34
34
5678
AUX SENDS CNTRL RMOUT
Headphone Amplifier
Harmonizer
Stereo Reverb #1
Stereo Reverb #2
Stereo Reverb #3
Stereo EQ
DAT Player
Tape
Cassette
8-track Recorder
Keyboard, or other line level input
Keyboard, or other line level input
NOTE: for recording
more than 4 tracks at
once, use either the
channel inserts as
direct outs or use
aux sends.
8-Track Recording
Stereo Compressor/
Limiter
Power
Amplifier
Studio Monitors
CH
1
CH
2
FULLSYMMETRYDUAL DIFFERENTIAL HIGH CURRENT DESIGN
OL
PWR
HIGHRESOLUTION
STUDIOMONITOR
ON
OFF
,
OL
PWR
HIGHRESOLUTION
STUDIOMONITOR
ON
OFF
,
ch. device input insert assignment
1 kick mic gate submix 1–2
2 snare mic gate submix 1–2
3 hi hat mic submix 1–2
4 hi tom mic gate submix 1–2
5 lo tom mic gate submix 1–2
6 drum overhead mic L mic submix 3
7 drum overhead mic R mic submix 3
ch. device input insert assignment
8 bass mic EQ submix 4
9 bass direct line compressor submix 4
10 guitar close mic mic gate aux 6 or dir.
11 guitar distant mic mic gate L/R bus
12 scratch vocal mic L/R bus
13 digital multitrack 1 line L/R bus
14 digital multitrack 2 line L/R bus
ch. device input insert assignment
15 digital multitrack 3 line L/R bus
16 digital multitrack 4 line L/R bus
17 digital multitrack 5 line L/R bus
18 digital multitrack 6 line L/R bus
19 digital multitrack 7 line L/R bus
20 digital multitrack 8 line L/R bus
21–22
*
MIDI keyboard 1 (stereo) line L/R bus
23–24
†
MIDI keyboard 2 (stereo) line L/R bus
See page 37 for details
* 29–30 on the SR32•4 † 31–32 on the SR32•4

10
PHONES MAIN OUTS MAIN OUTS AUX RETURNS SUB INSERTS
TAPE IN
STEREO CHANNELS TAPE OUT
SUB
OUTS
MAIN INSERTS
TALKBACK
2LR L 1234
LRLR
12
LR LR
LR
22
LR
24
21
23
LRLR
34
56 LR
R
LR
MONO
112 12
34
34
5678
AUX SENDS CNTRL RMOUT
Effects Device
Effects Device
Video Deck #2
Video Deck #1
W/8 Ch. Audio Card
Time Code
Time Code
Audio/Video Production
Stereo Compressor/
Limiter
Stereo Compressor/
Limiter
DAT player
Power
Amplifier
Studio Monitors
CH
1
CH
2
FULLSYMMETRYDUAL DIFFERENTIAL HIGH CURRENT DESIGN
OL
PWR
HIGHRESOLUTION
STUDIOMONITOR
ON
OFF
,
OL
PWR
HIGHRESOLUTION
STUDIOMONITOR
ON
OFF
,
ch. device input insert assignment
1 mic 1 mic compressor all optional
2 mic 2 mic compressor
3 keyboard L
4 keyboard R
5 sampler L
6 sampler R
7 synth module L
8 synth module R
ch. device input insert assignment
9 VTR L all optional
10 VTR R
11 CD player L
12 CD player R
13 Computer 1 out
14 Computer 2 out
ch. device input insert assignment
15 Computer 3 out all optional
16 Computer 4 out
17 Computer 5 out
18 Computer 6 out
19 Computer 7 out
20 Computer 8 out

11
PHONES MAIN OUTS MAIN OUTS AUX RETURNS SUB INSERTS
TAPE IN
STEREO CHANNELS TAPE OUT
SUB
OUTS
MAIN INSERTS
TALKBACK
2LR L 1234
LRLR
12
LR LR
LR
22
LR
24
21
23
LRLR
34
56 LR
R
LR
MONO
112 12
34
34
5678
AUX SENDS CNTRL RMOUT
Side Fills
,
,
Stage Monitor
,
Stage Monitor
Stereo EQ
Stereo EQ
Stereo EQ
,
,
Stage Monitor
,
Stage Monitor
Stereo EQ Stereo EQ
,,
Stage Monitor
Stereo EQ
,,
,
Stage Monitor
Stereo EQ
,
,
Stage Monitor
Stereo EQ
,
Stage Monitor
Stereo EQ
Split output from
FOH fx processor
Aux Sends 1 & 2 need to be modified
to post/post (see mod. 2). Set Aux
Sends 3 & 4 to post.
NOTE:
Monitor Mix Configuration
Power Amplifier
CH
1
CH
2
FULLSYMMETRYDUAL DIFFERENTIAL HIGH CURRENT DESIGN
Power Amplifier
CH
1
CH
2
FULLSYMMETRYDUAL DIFFERENTIAL HIGH CURRENT DESIGN
Power Amplifier
CH
1
CH
2
FULLSYMMETRYDUAL DIFFERENTIAL HIGH CURRENT DESIGN
Power Amplifier
CH
1
CH
2
FULLSYMMETRYDUAL DIFFERENTIAL HIGHCURRENT DESIGN
Power Amplifier
CH
1
CH
2
FULLSYMMETRYDUAL DIFFERENTIAL HIGHCURRENT DESIGN
Power Amplifier
CH
1
CH
2
FULLSYMMETRYDUAL DIFFERENTIAL HIGH CURRENT DESIGN
Power Amplifier
CH
1
CH
2
FULLSYMMETR Y DUAL DIFFERENTIAL HIGH CURRENT DES IGN
Power Amplifier
CH
1
CH
2
FULLSYMMETRYDUAL DIFFERENTIAL HIGHCURRENT DESIGN
Power Amplifier
CH
1
CH
2
FULLSYMMETRYDUAL DIFFERENTIAL HIGH CURRENT DESIGN
ch. device input insert assignment
1 talk back mic mic
2 from splitter snake line
3 from splitter snake line
4 from splitter snake line
5 from splitter snake line
6 from splitter snake line
7 from splitter snake line
ch. device input insert assignment
8 from splitter snake line
9 from splitter snake line
10 from splitter snake line
11 from splitter snake line
12 from splitter snake line
13 from splitter snake line
14 from splitter snake line
ch. device input insert assignment
15 from splitter snake line
16 from splitter snake line
17 from splitter snake line
18 from splitter snake line
19 from splitter snake line
20 from splitter snake line

12
FRONT PANEL
Most of the Mackie SR24•4 front panel
consists of the 22 channel strips for the mixer
inputs (30 on the 32•4). You’ll notice that
Channel Strips 1–20 (or 1–28) are identical
(MOTTO:Learn one and you learn them
all) and that the strips numbered 21–22 and
23–24 (or 29–30 and 31–32) are almost the
same, but in stereo (MOTTO: Learn one and
you learn both). You can already see this
promises to be painless.
To the right of the channel strips is an area
which we can call the Monitor/Output Section
and be right most of the time. This is where
you set and meter the overall volume level,
make adjustments to solo, auxiliary and
headphone levels and accomplish other
miscellaneous essential tasks.
CHANNEL STRIPS 1–20
The channel strip (also called the input
channel or input module) is where most of
the work of sound mixing is done. The first 20
channel strips on the Mackie SR24•4 (28 on
the SR32•4) contain all of the level, assign-
ment and equalization controls for each mono
input channel. This section describes the con-
trols and functions of each feature on a
channel strip in detail.
NOTE: Remember, Stereo Channel Strips
are slightly different from the rest. We’ll look
at the differences later in the tour.
CHANNEL FADER
The SR24•4 channel fader [1] is 60 milli-
meters long, with a precise logarithmic taper
and channel gain or attenuation markings
screened along the slot for precise and repeat-
able level adjustments. The “log taper” part
refers to the fact that gain increase and re-
duction are smooth along the fader’s travel. It
doesn’t go silent at about –30dB the way
cheaper D-taper faders do. When you fade
Those of you with a lot of sound mixing
experience can see that the Mackie SR24•4
(and 32•4, obviously) has a pretty straightfor-
ward layout, and you may not need to take the
detailed Guided Tour which follows. However,
we’ve built a few tricks into the SR24•4, and
you might want to take particular notice of
the solo mode switch, the various EQ curves
and some of the special switching in the
Monitor/Output Section. Check for the VERY
IMPORTANT icons.
Everyoneelse,the tourleavesatthe nextpara-
graphinabout 5seconds.Shirtsand shoesare
recommendedbut notmandatory;camerasand
recordersareallowed. Please, pleasedonotfeed
theChihuahua,no matter howmuchit begs.
SECTION 3: OFFICIAL GUIDED TOUR —
PANEL LAYOUT & FUNCTION
VERY LOWIMPEDANCE DESIGN
VERY LOWIMPEDANCE DESIGN
dB
30
20
10
OO
40
50
5
5
U
60
10
dB
30
20
10
OO
40
50
5
5
U
60
10
dB
30
20
10
OO
40
50
5
5
U
60
10
dB
30
20
10
OO
40
50
5
5
U
60
10
dB
30
20
10
OO
40
50
5
5
U
60
10
dB
30
20
10
OO
40
50
5
5
U
60
10
dB
30
20
10
OO
40
50
5
5
U
60
10
dB
30
20
10
OO
40
50
5
5
U
60
10
OO
U
OO
+15
U
OO
+15
OO
U
OO
+15
MAX
MAX
U
OO
+20
U
OO
+20
U
OO
+20
U
OO
+20
U
OO
+20
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
5
+100
5
+100
5
+100
5
+100
LR LR LR LR
M
I
C
G
A
I
N
10
U
60
+10dB -40dB
-
1
0
LR LR LR
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
+15-15
U
+15-15
8kHz100
U
+15-15
U
OO
+15
U
OO
+15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
-20 +20
U
-20 +20
U
16kHz16kHz16kHz16kHz
LAMP
STEREO
AUX RETURNS
AUX SEND
MASTERS
LEVEL
5
6
AIR AIR AIR AIR
SOLO SOLO SOLO SOLO
1
2
3
4
1
2
1
2
3
4
SOLO
SOLO
1-2
SUB SOLO
GLOBAL
AUXRETURN
ASSIGN
TOSUB
SOLO
SOLO
TAPERETURN
TOPHONES / C R
TAPERETURN
TOMAIN MIX
LEFT/RIGHT
MAINMIX
AUX1-2
TALKBACK
LEVEL
TAPE
RETURN
3-4
LEFT RIGHT
L/R ASSIGN L/R ASSIGN L/R ASSIGN L/RASSIGN
SUB SUB SUB SUB
1234
PHONES/ C -R
LEVEL
MAIN MIX
SOLO
TOAUX
SEND
1-2
(EFXTO MONITOR)
SOLO
28
CLIP
10
7
4
2
2
0
4
7
10
20
30
40
TRACK
1
•
5
TRACK
2
•
6
TRACK
3
•
7
TRACK
4
•
8
SOLO
MODE
SUBAUX
PREFADER
INPLACE AFL
LEVEL SET
PANPANPAN PAN
POWERRUDE
SOLO
LIGHT
OPERATINGLEVEL
0dB= 0dBu
12k
HI
3k
MID
HI
800Hz
MID
LOW
EQ
12k
HI
3k
MID
HI
800Hz
MID
LOW
EQ
-20
OL
PRE
1
PRE
PRE
2
3
5
6
12k
HI
MID
FREQ
80Hz
LOWCUT
75Hz
18dB/OCT
LOW 80Hz LOW 80Hz LOW
TRIM
1
AUX
1
MUTE
EQ
3-4
L-R
1-2
3-4
L-R
1-2
3-4
L-R
1-2
-20
OL
-20
OL
TRIM
21
22
TRIM
23
24
PRE
1
PRE
PRE
2
3
5
6
AUX
PRE
1
PRE
PRE
2
3
5
6
AUX
21 22
MUTE
23 24
MUTE
SOLO SOLO SOLO
MUTE/ SOLO MUTE/ SOLO MUTE/ SOLO
PAN PAN PAN
444
LINE ONLY CHANNELS 21-24
MIC/LINE CHANNELS 1-20 (IDENTICAL)
MASTER INPUT/OUTPUT
Layout
and Function

13
down, there’s still sound until just before you
reach the infinity (off) marking.
About
2
/ 3 of the way up the slot you will see
a “U” on the panel which stands for unity gain.
The fader markings are calibrated in dB (deci-
bels) from 10dB above unity gain to 60dB
below unity gain, and finally to infinity (or off).
VERY IMPORTANT: Unitygainisthe
point at which no level is
added to or subtracted
from the nominal signal.
Many level controls on a
Mackie mixer have a unity
gain “U” mark and a detent, a little “bump” in
the otherwise silky-smooth travel of the con-
trol. The unity gain point can be very helpful
in setting levels throughout the SR24•4 for
best headroom and noise figures. SeeImpor-
tant Sensitivity Adjustment Procedure!inthe
IntroductionandSetting Levels With Solo
later in this section.
The channel fader
is your main mixing
tool, like the brush
in an artist’s hand.
Everything which
passes through the
channel strip (with
the exception of
pre-aux sends) is
controlled by the
channel fader.
THE MUTE SWITCH
Next up is the
MUTE switch[2],
which lives up to its
name by muting its
channel strip. When
the
MUTE switchis
depressed, the signal
in that channel strip
is removed from the
main left/right mix
buses and the submix
buses, the solo buses
(both PFL and AFL)
and from any aux
buses selected.
Even though the channel is muted, there
can still be audio within the channel strip. The
–20 LED might light and signal will still be
availableattheoutputofthe
INSERT jack.
The red
MUTE/SOLO LED just below the
MUTE switch will glow steadily when the
MUTE switch is depressed.
OL AND –20 LEDs
The red LED [3] above the MUTE switch
is marked
OL , and that stands for OverLoad.
The channel strip overload circuit constantly
checks at a critical point in the channel strip,
just after the EQ circuit. If the channel strip
amplifiers are being driven too loud into over-
load, the
OL light will flash bright red.
This is to be avoided. Overloading a mixer
circuit forces the audio signal to clip and seri-
ously distort the sound. When the
OL light
flashes, it means something is too loud. It
could be the level from the microphone or
tape track plugged into the SR24•4 input
connection or a device you plugged into the
INSERT jack; maybe you have the TRIM con-
trol turned too high or an extreme amount of
EQ (which lifts the gain in certain frequency
ranges). You need to find out which source is
too high and make things right. Start by turn-
ing down the
TRIM control until the OL LED
no longer lights. That will lower the level of all
the circuitry that follows. Also, if you have a
processor plugged into that channel’s
INSERT
jack, temporarily unplug it. The level should
remain about the same. If not, the processor’s
level needs to come down, too.
The green LED is marked
–20 , and it will
light whenever there is a signal level in the
channel strip that has a level at or more than
20dB below the nominal circuit level (0dBu).
In practice, this LED will flicker or light al-
most constantly when there is activity in that
channel, and it basically serves as a conve-
nient indicator for you, a way of figuring out
who’s singing now or what’s plugged into
where. Whether it lights rarely or is on all the
time is not really important; it’s just to reas-
sure you that there is some audio in the
channel. Some days that may be all the reas-
surance you get.
dB
30
20
10
OO
40
50
5
5
U
60
10
LR
3-4
L-R
1-2
-20
OL
2
MUTE
SOLO
MUTE / SOLO
PAN
dB
30
20
10
OO
40
50
5
5
U
60
10
M
I
C
G
A
I
N
10
U
60
+10dB -40dB
-
1
0
LR
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
+15-15
U
+15-15
8kHz100
U
+15-15
U
OO
+15
U
OO
+15
-20
OL
PRE
1
PRE
PRE
2
3
5
6
12k
HI
MID
FREQ
80Hz
LOW CUT
75 Hz
18dB/OCT
LOW
TRIM
1
AUX
1
MUTE
EQ
3-4
L-R
1-2
SOLO
MUTE / SOLO
PAN
4

14
NOTE: There is a much more accurate way
to measure your channel strip levels: see
InputSensitivityProcedure:Setting Levels
With Solo a little further on.
PAN
The PAN control[4] (orPAN pot,asthe
moretimeworn among us areusedtosaying)de-
termines where the channel strip signal ends up
in the left-to-right stereo image (or soundstage)
you are creating. It works in conjunction with
the
SOLO , 1–2 , 3–4 and L–R bus assignment
switches next to the fader below.
When turned fully to the left (counter-
clockwise), the
PAN pot routes the signal
completely to the left or odd-numbered bus
assigned: bus 1, bus 3 or the L (left) mix bus,
depending on the assignment switch selection.
Likewise, when turned fully to the right
(clockwise), the
PAN pot routes the signal
completely to the
right or even-num-
bered bus assigned:
bus 2, bus 4 or the R
(right) mix bus.
When centered at
thedetentorinsome
other intermediate
position,the
PAN pot
sendsthe signal to
both of the selected
pairsofbuses,and the
sound in the stereo
image seems to come
from a point between
left and right.
The
PAN pot also
pans the signal
across the
SIP (Solo-
In-Place) solo buses
in the same way.
NOTE: Asignal
panned hard left (or
right), measuring
0dB at a left (or
right) output, will
drop about 4.5dB when the
PAN pot is turned
to the center. That’s the whole idea behind
the concept of “constant loudness.”
MIX AND SUBMIX BUS ASSIGN
In conjunction with the PAN pot, the bus
assignment switches [5] next to the fader
route the signal out of the channel strip.
With no assignment switches depressed, it
doesn’t make any difference which way you
have the signal panned. It doesn’t go any-
where (unless you have some Aux sends
turned up). Sometimes this is a good thing, if
you are using the
INSERT jack as a direct
output and want to keep the signal out of the
main mix, for example.
But most of the time, you will want the sig-
nal to go to either the Main Mix or one (or
more) of the submix buses. For stereo, you
will want to depress the assignment switch on
the subgroups you want and then pan the sig-
nal to its rightful place on the soundstage.
You may want to operate the four
submixes as four mono buses. In that case,
use the assign switches with the
PAN pot
panned completely to the
L or R mark. This
will allow you to select submix buses 1, 2, 3
or 4 independently.
SOLO
A solo function on a mixer allows you to lis-
ten to (and on a Mackie mixer, to observe on
the meters) any input or combination of in-
puts without affecting the main or auxiliary
outputs of the mixer. In other words, you can
push a solo button to check something out
just about any time without ruining your
sound reinforcement or recording feed.
IntheSR24•4,each
SOLO switch[6]assigns
itssignalto two different typesofsolocircuits
(PFLandSIP) atthesame time.Usingthe solo
MODE switch(whichisintheMonitor/Output
Sectionandwhich we’ll talkaboutlater) you can
choosetheone you’dliketolisten to.
dB
30
20
10
OO
40
50
5
5
U
60
10
LR
3-4
L-R
1-2
-20
OL
2
MUTE
SOLO
MUTE / SOLO
PAN
Layout
and Function

15
MODE
SUBAUX
PRE FADER
IN PLACE AFL
PFL SOLO
(When the Solo
MODE button in the
Monitor/Output section
is up.) PFL stands for
pre-fade listen, also
referred to as
PRE
FADER
on the solo
MODE switch in the
Monitor/Output Section.
The channel strip
SOLO switch routes the
channel audio to the PFL solo bus from a
point in the circuit after the EQ and
MUTE
switch but before the fader. PFL is handy for
checking a signal at its full level, before it’s
affected by the fader and pan control.
Remember, pressing a
SOLO switch does
not affect any of the SR24•4 main or auxiliary
outputs. It is safe to use at any time.
SOLO IN PLACE (SIP)
(When the Solo MODE button in the
Monitor/Output section is pressed in.) Solo-
in-place signals are taken at the channel’s
output; after the EQ, Mute switch, fader and
pan pot. Some mixers call this AFL (After-
Fade-Listen) which is why we added that to
the graphics.
In addition to the routing for PFL men-
tioned above, the
SOLO switch on each
SR24•4 channel strip also assigns the signal
in that channel to the stereo solo-in-place
buses. This solo signal is tapped off after the
pan control, the channel fader and the EQ cir-
cuits, and will be affected by all these settings.
Once again, pressing a
SOLO switch does
not affect any of the SR24•4 main or auxiliary
outputs. It is safe to use at any time.
MUTE/SOLO LED
When a SOLO switch is pressed, the chan-
nel
MUTE/SOLO LED [7] will blink to
indicate the channel’s solo status. So, steady
on
MUTE/SOLO LED means mute; blinking
MUTE/SOLO LED means solo. OK? As an
additional clue, soloing a channel will also
start the
RUDE SOLO LIGHT in the Moni-
tor/Output Section to blinking madly. More
explicit details about the
RUDE SOLO
LIGHT
later.
NOTE: The channel’s MUTE switch must
be in the up position for the
SOLO switch
to function.
SETTING LEVELS WITH SOLO
Each SOLO switch also triggers circuitry
which disconnects the meters and the control
room and phones outputs from their normal
duties and reconnects them all to the output
of the solo buses. Not only can you listen to
the soloed tracks but you can measure them
precisely on the 13-segment main meters.
Infact,this is the recommended way to
adjust input levels.Asyouare initially set-
ting up an input, put the SR24•4 into PFL
mode and push the SOLO button. Now set the
input level to the range you want (probably by
tweaking TRIM, since your other controls
should start out around unity gain) simply by
checking out the main meters.
And, of course, depressing any SOLO switch
anywhere on the mixer will set in motion a
complicated chain of events deep in the
unfathomable silicon heart of the SR24•4
involving multivibrators and algorithms and
Mandelbrot sets and who knows what else —
culminating in the grave and solemn pulsing
illumination of… the
RUDE SOLO LIGHT .
NOTE: AlsoseeImportant Sensitivity Ad-
justment Procedure!repeated several times
in this manual.
Layout
and Function

16
M
I
C
G
A
I
N
10
U
60
+10dB -40dB
-
1
0
U
U
OO
+15
U
OO
+15
PRE
1
PRE
2
TRIM
2
AUX
TRIM CONTROL
The white
knob at the top of
the channel strip
isthe
TRIM con-
trol[8].
TRIM
sets the gain
(volume level) of
the SR24•4 input
amplifier, and is
labeled with gain
sensitivity mark-
ings for both
LINE (the outer
circle) and MIC
inputs (theinner circle marked
MIC GAIN ).
Proper setting of the
TRIM control is essential
for good noise and headroom performance.
Since you might be using your SR24•4 to
mix dynamic or condenser microphones, elec-
tronic keyboards or even guitar amplifier
heads, the signals connected to the channel
inputs could vary from extremely small to very
large. With the
TRIM level adjusted correctly,
the Mackie input amplifier can accept a wide
range of input levels. See Setting Levels With
Solojustabove,andImportant Sensitivity
Adjustment Procedure!inthe Introduction.
EQ SECTION
Channels 1–20 (1–28 on the SR32•4) each
have a three-band EQ (Equalizer) plus a switch-
able
LOW CUT filter.
When any
HI , MID or LOW EQ knob is
set at its Unity Gain “U” detent, it does not
affect the signal.
HI EQ
The HI
section [9] is
a fixed 12kHz
shelving EQ
with ±15dB of
equalization
available.This is a great treble control, with
the same range as the HI EQ in the Mackie
8•Bus console.
Shelving equalizers work on a very broad
range of frequencies and consequently are very
“musical.” In a 12kHz shelf like this section, that
meansthatallthe upper harmonics of a sound
are raised evenly, basically keeping their original
musical relationship to each other. A high-
frequency shelving EQ is great for putting
shimmer into acoustic guitar and piano tracks or
sizzle into vocals and recordings of eggs frying.
MID EQ
The MID section [10] is a sweepable peak-
ing/dipping EQ with a fixed bandwidth of 1.5
octaves(Q=0.9).The
FREQ knobsweepsthe
EQ over a range from 100Hz to 8kHz, and the
MID knob selects up to ±15dB of equalization.
It’s true you
can’t get along
very well with-
out high or low
EQ, but mid-
range EQ often
seems to be
the most pow-
erful. Much of
the essential
character of a
voice or in-
strument is
determined by
U
+15-15
U
+15-15
U
+15-15
8kHz100
LOW CUT
75 Hz
18dB/OCT
80Hz
LOW
12k
HI
MID
FREQ
EQ
–15
–10
–5
0
+5
+10
+15
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
Layout
and Function

17
the blend of the frequencies in the midrange,
where most of the fundamental frequencies
and most of the stronger harmonics lie.
Be subtle with midrange EQ. A small boost
or dip is often all you’ll need; too much will
completely change the sound. Of course, if
what you want is to completely change the
sound, go for it.
Since the
MID EQ on the SR24•4 is vari-
able across a range of frequencies, you must
decide which area you would like to adjust.
Here’s an idea: set the peak or dip to maxi-
mum (±15dB) and sweep the frequency knob
across its range. What you will hear may not
be pleasant, but it will often show you what
tones you hate (so dip them) or love (so boost
them, but perhaps not this much).
Try combinations of EQ on different inputs.
A small boost at the particular frequency on
one instrument combined with a small dip in
the same area on a second instrument can
greatly help blend the mix (similar to volume
adjustments).
LOW EQ
The LOW section[11] is afixed80Hzshelv-
ing EQ with ±15dB of equalization available. It’s
afinebasscontrol,withthesamerangeasthe
LOEQin the Mackie 8•Bus console.Alowfre-
quency shelving
equalizer will
addorremove
bassin a
smooth, musi-
cal fashion.
Goodforwork-
ingonbass drumandbass guitar,fatteningup (or
thinningout)a piano orcontouringan entiremix.
LO CUT
The LO CUT switch [12] inserts an 18dB/
octave low-cut (high-pass) filter with a cut-off
frequency of 75Hz into the signal path.
A low-cut
filter is handy
to get rid of
room rumble,
traffic noise,
wind noise,
P-popping and
other un-
wanted very-low-frequency sounds. It also
saves amplifier power, which might be useful
if you don’t have a 100,000-watt quint-ampli-
fied PA system. LO CUT can also be combined
with LO EQ boosts to produce interesting bass
curves, as shown above.
It is highly recommended that this switch
be engaged for closely held vocal micro-
phones, especially in a live SR situation. It will
minimize the bassy “proximity effect” of many
cardioid microphones, and also reduce han-
dling noise and breath noise.
AUX SENDS
The auxiliary (aux) sends tap off the chan-
nel signal to an aux send bus in order to route
it to one or more auxiliary devices. Aux sends
are generally used to provide mixes for stage
monitors, headphone cueing duties, and for
effects sends. Aux send settings do not di-
rectly affect the signal routed to the main and
submix buses. (See Aux Returns.)
The SR24•4 has six mono AUX Send con-
trols (routed to six Aux Send buses) on every
channel strip. NOTE: All of the SR24•4
AUX sends have a very
wide range of gain. The
first half of the control’s
rotation reaches from
the off position to unity gain (“U”). This
first half of the control’s range corre-
sponds to the full range of most
non-Mackie mixers. The second half of the
control’s rotation provides you with even more
gain, from unity to +15dB. For example, when
you want a sound very “wet” (mostly reverb),
this extra gain allows you to bring the channel
fader down (and the AUX send way up) so
that the sound is composed of predominantly
reverb with just a touch of “dry” signal.
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
Layout
and Function

18
dB
30
20
10
OO
40
50
5
5
U
60
10
dB
30
20
10
OO
40
50
5
5
U
60
10
LR LR
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
+15-15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
-20 +20
U
-20 +20
U
12k
HI
3k
MID
HI
800Hz
MID
LOW
EQ
12k
HI
3k
MID
HI
800Hz
MID
LOW
EQ
80Hz
LOW
80Hz
LOW
3-4
L-R
1-2
3-4
L-R
1-2
-20
OL
-20
OL
TRIM
21
22
TRIM
23
24
PRE
1
PRE
PRE
2
3
5
6
AUX
PRE
1
PRE
PRE
2
3
5
6
AUX
21 22
MUTE 23 24 MUTE
SOLO SOLO
MUTE / SOLO MUTE / SOLO
PAN PAN
44
AUX sends 1 & 2 are both wired
pre-fader, with the channel signal
tapped off after the input amplifier,
INSERT jack and MUTE switch but
before the equalizer and fader.
Sends 5 & 6 are wired post-fader,
with the signal coming from a point in
the circuit just after the channel
fader.
AUX sends 3 & 4 are normally
post-fader (like Sends 5 & 6), but
can be switched as a pair to pre-fader
(like Sends 1 & 2) by depressing the
PRE switch [13] in the AUX section
of the channel strip.
Pre-fader sends are generally more
useful as monitor or headphone
sends, while post-fader sends are usu-
ally routed to reverb, echo and other
effects devices. Don’t worry about
having mono
effects sends: most
effects units, mono
or stereo, have
mono inputs. Even
if there are two input jacks on the
effects unit labeled “LEFT” and
“RIGHT,” they are often combined
into mono. In the cases when an
effect actually has true stereo inputs it is
often more convenient to ignore that and treat
it as mono anyway. If you really need to send
in stereo, just use two aux sends from the
SR24•4. For example, use Aux 5 to send the
stereo instrument’s left channel to the effects
unit’s left input and Aux 6 for the right chan-
nel. Then adjust the stereo perspective by
favoring one send or the other. Presto!
STEREO CHANNEL STRIPS
21–22 and 23–24
You’ll remember we promised to talk about
the differences between channel strips 1–20
and channel strips 21–22 and 23–24. The pri-
mary difference is that while Strips 1–20 are
mono (one input channel per strip), Strips
21–22 and 23–24 are stereo: they each have
two input channels. Also, the stereo channel
stripshaveonly line-level inputs.(On the
SR32•4, channel 1–28 are mono and 29–30
and 31–32 are stereo.)
+10dB 40dB
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
PRE
1
PRE
PRE
2
3
5
6
AUX
4