Mackie HDA User manual

HDA
OWNER’S MANUAL
2-Way High-Definition
Arrayable Loudspeaker

Important Safety Instructions
Correct disposal of this product. This symbol indicates that this product should not be disposed of with your household waste, according to the WEEE Directive (2002/96/EC) and your national law. This product
should be handed over to an authorized collection site for recycling waste electrical and electronic equipment (EEE). Improper handling of this type of waste could have a possible negative impact on the environment and
human health due to potentially hazardous substances that are generally associated with EEE. At the same time, your cooperation in the correct disposal of this product will contribute to the effective usage of natural
resources. For more information about where you can drop off your waste equipment for recycling, please contact your local city office, waste authority, or your household waste disposal service.
1. Read these instructions.
2. Keep these instructions.
3. Heed all warnings.
4. Follow all instructions.
5. Do not use this apparatus near water.
6. Clean only with a dry cloth.
7. Do not block any ventilation openings. Install in accordance with the
manufacturer’s instructions.
8. Do not install near any heat sources such as radiators, heat registers,
stoves, or other apparatus (including amplifiers) that produce heat.
9. Do not defeat the safety purpose of the polarized or grounding-type
plug. A polarized plug has two blades with one wider than the other.
A grounding-type plug has two blades and a third grounding prong.
The wide blade or the third prong are provided for your safety. If the
provided plug does not fit into your outlet, consult an electrician for
replacement of the obsolete outlet.
10. Protect the power cord from being walked on or pinched particularly at
plugs, convenience receptacles, and the point where they exit from the
apparatus.
11. Only use attachments/accessories specified by the manufacturer.
12. Use only with a cart, stand, tripod, bracket, or
table specified by the manufacturer, or sold with
the apparatus. When a cart is used, use caution
when moving the cart/apparatus combination to
avoid injury from tip-over.
13. Unplug this apparatus during lightning storms or
when unused for long periods of time.
14. Refer all servicing to qualified service personnel. Servicing is required
when the apparatus has been damaged in any way, such as power-
supply cord or plug is damaged, liquid has been spilled or objects have
fallen into the apparatus, the apparatus has been exposed to rain or
moisture, does not operate normally, or has been dropped.
15. This apparatus shall not be exposed to dripping or splashing, and no
object filled with liquids, such as vases or beer glasses, shall be placed
on the apparatus.
16. Do not overload wall outlets and extension cords as this can result in a
risk of fire or electric shock.
17. This apparatus has been designed with Class-I construction and must
be connected to a mains socket outlet with a protective earthing
connection (the third grounding prong).
18. The AC Mains PowerCon®connector (the appliance coupler) is used as
the disconnect device. This connector shall remain readily accessible
and operable.
19.NOTE: This equipment has been tested and found to comply with
the limits for a Class B digital device, pursuant to part 15 of the FCC
Rules. These limits are designed to provide reasonable protection
against harmful interference in a residential installation. This equipment
generates, uses, and can radiate radio frequency energy and, if not
installed and used in accordance with the instructions, may cause
harmful interference to radio communications. However, there is no
guarantee that interference will not occur in a particular installation.
If this equipment does cause harmful interference to radio or television
reception, which can be determined by turning the equipment off and
on, the user is encouraged to try to correct the interference by one or
more of the following measures:
• Reorient or relocate the receiving antenna.
• Increase the separation between the equipment and the receiver.
• Connect the equipment into an outlet on a circuit different from
that to which the receiver is connected.
• Consult the dealer or an experienced radio/TV technician for help.
CAUTION: Changes or modifications to this device not expressly approved
by LOUD Technologies Inc. could void the user's authority to operate the
equipment under FCC rules.
20. This apparatus does not exceed the Class A/Class B (whichever is
applicable) limits for radio noise emissions from digital apparatus as set
out in the radio interference regulations of the Canadian Department of
Communications.
ATTENTION —
Le présent appareil numérique n’émet pas de bruits
radioélectriques dépassant las limites applicables aux appareils numériques
de class A/de class B (selon le cas) prescrites dans le réglement sur le
brouillage radioélectrique édicté par les ministere des communications du
Canada.
21. Exposure to extremely high noise levels may cause permanent hearing
loss. Individuals vary considerably in susceptibility to noise-induced hearing
loss, but nearly everyone will lose some hearing if exposed to sufficiently
intense noise for a period of time. The U.S. Government’s Occupational
Safety and Health Administration (OSHA) has specified the permissible
noise level exposures shown in the following chart.
According to OSHA, any exposure in excess of these permissible limits
could result in some hearing loss. To ensure against potentially dangerous
exposure to high sound pressure levels, it is recommended that all persons
exposed to equipment capable of producing high sound pressure levels
use hearing protectors while the equipment is in operation. Ear plugs or
protectors in the ear canals or over the ears must be worn when operating
the equipment in order to prevent permanent hearing loss if exposure is in
excess of the limits set forth here:
PORTABLE CART
WARNING
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 NOTREMOVE 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. WARNING — To reduce the risk of fire or electric shock, do not
expose this apparatus to rain or moisture.
Duration, per
day in hours Sound Level dBA,
Slow Response Typical Example
8 90 Duo in small club
692
4 95 Subway Train
397
2 100 Very loud classical music
1.5 102
1 105 Poonswang screaming at desTROYer about deadlines
0.5 110
0.25 or less 115 Loudest parts at a rock concert
2
HDA
HDA

How To Use This Manual
The first few pages after the Overview and Features
are the hookup diagrams. These show typical setups for
deploying HDA loudspeakers. Next is a detailed tour of
the entire loudspeaker. Throughout the manual are
illustrations with each feature numbered and described
in nearby paragraphs.
We cannot stress enough how important it is that you
read this entire manual. There are specific instructions
on rigging safety, power and signal connections, voicing
and more. These notes are all extremely important in
order to get the most out of your HDA loudspeaker(s),
as well as necessary to maintain the utmost safety. The
HDA Owner’s Manual: Learn it. Know it. Live it.
This icon marks information that is critically
important or unique to the HDA.
This icon leads to some explanations of
features and practical tips.
Contents
IMPORTANT SAFETY INSTRUCTIONS 2
HOW TO USE THIS MANUAL 3
CONTENTS 3
INTRODUCTION 4
OVERVIEW 5
FEATURES 5
HOOKUP DIAGRAMS 6
REAR PANEL FEATURES 13
1. MAIN INPUT 13
2. LOOP OUT 13
3. ARRAY MODE 13
1-2 13
3-4 13
3-4 LONG THROW 14
4. POWER LIGHT ON 14
5. SIG/LIMIT LED 14
6. THERMAL LED 14
7. ON LED 15
8. AC MAINS 15
9. AC LOOP 15
10. AC LOOP CIRCUIT BREAKER 15
BOTTOM SURFACE FEATURES 16
11 & 12. DUAL-ANGLE POLE CUP 16
13. COMPRESSION PAD 16
14. RUBBER RUNNERS 16
ARRAY USAGE 17
FLOOR MOUNTING 17
RIGGING 18
RIGGING DESIGN PRACTICES 18
RIGGING HARDWARE AND ACCESSORIES 18
A NOTE ON EYEBOLTS 18
RIGGING NOTES 19
ROOM ACOUSTICS 20
THERMAL CONSIDERATIONS 21
AC POWER 21
CARE AND MAINTENANCE 21
APPENDIX A: EAW RESOLUTION SOFTWARE 22
APPENDIX B: SERVICE INFORMATION 23
APPENDIX C: CONNECTIONS 24
APPENDIX D: TECHNICAL INFORMATION 25
HDA BLOCK DIAGRAM 27
HDA GRAPHS 28
HDA LIMITED WARRANTY 29
3
Owner’s Manual
Owner’s Manual
Part No. SW0872 Rev. A 12/10
©2010 LOUD Technologies Inc. All Rights Reserved.

Introduction
While traditional point-and-shoot systems are great
for venues such as coffee houses and small clubs, they
do not have the output or throw to cover larger venues.
In order to compensate, venues often combine
loudspeakers to get more output and cover more
ground. The problem is that the output of these
traditional loudspeakers overlap and interfere. This
interference is both constructive and destructive; it
varies depending upon the listening position. For many,
what they hear is less than desirable, and for no one it is
exactly the same.
A line array solves this problem by effectively
channeling these interferences, directing the sound
where it is desired, and removing it from where it is not.
Today, line arrays are the loudspeaker format of choice
for high-profile tours and large installs worldwide.
Unlike traditional point-and-shoot systems, line arrays
excel at providing high output, long throw and
directional coverage with good vertical pattern
control – all in a package that is highly configurable
and scalable.
But what is a line array system and how does it work?
In its simplest form, a line array is a group of closely
spaced loudspeakers arranged in a straight line. They
are designed such that constructive interference occurs
in front of the array of loudspeakers and destructive
interference occurs at the top and bottom. This is the
highly desirable vertical directivity for which line arrays
are known.
However, one shouldn’t place just any ‘ol loudspeaker
in a line and expect to get increased output and better
pattern control. In order to get good vertical pattern
control, a line array must be designed so the
transducers are positioned as close together as possible.
More specifically, the separation between the
transducers must be less than the wavelengths emitted
by them. This is easy to achieve for lower frequencies
with long wavelengths (e.g. 1 kHz is equal to
13.56 inches), but much more difficult with higher
frequencies (e.g. 10 kHz is equal to only 1.32 inches).
Line arrays achieve this tight spacing by using multiple
drivers and more complex mechanical designs. Even
then, it isn’t practical to place drivers only an inch
apart. Therefore, additional acoustical magic is
employed in the horn design to flatten the output of the
high frequency wave fronts so they combine
constructively. The result is high output and even
coverage.
Well, if line arrays are so awesome, why even use
traditional loudspeakers any more? Simply because
line arrays aren’t perfect for all situations. A line array
is best-suited to applications where broad horizontal
coverage is desired throughout a given space, combined
with long-throw and higher output. Small venues don’t
always need the added size and output of a line array,
and many meeting rooms, halls and restaurants are
better served by distributed systems comprised of many
small point-and-shoot loudspeakers. Plus, the added
cost for the more complex acoustical and mechanical
design of a line array puts them out of reach of many
customers...until now.
The Mackie HDA brings this technology to you at a
price point never seen before.
HDA is a constant curvature line array. This means
that the physical angle of the loudspeaker matches the
acoustical angle. There is only one way to rig together
multiple HDAs, so it’s easy to use. As more units are
added, the array provides additional vertical coverage
(plus more vertical directivity at lower frequencies)
and, of course, it’s louder. HDA’s integrated rigging
makes it perfect for use in large permanent installs,
tours and festivals where the system is flown, or as
a high-output pole-mounted portable PA. HDA is as
versatile as your shows and will scale to fit your needs
like no other system anywhere else.
There is a lot to digest, so grab a coffee, cozy up into
your favorite chair and learn all there is to know about
your new HDA system.
THE EVER-IMPORTANT INSTALLATION WARNING
WARNING: HDA loudspeakers are a wonderful
tool when utilized in installed and portable
PA systems. However, improper installation
may result in damage to the equipment, injury or even
death. Therefore, installation should only be done by
experienced, licensed professionals to ensure that the
loudspeakers are installed in a stable and secure way in
order to avoid any conditions that may be dangerous for
persons or structures.
4
HDA
HDA

Features
• 110˚ x 20˚ constant curvature powered
line array
• Scalable and arrayable with a multitude of
configuration options
• Fly up to 4 x HDA and 2 x HD1801
subwoofers
• Ground stack up to 3 x HDA on 1 or 2
HD1801 subwoofer(s) or the optional
flybar
• Pole mount up to 2 x HDA on HD1801
subwoofer or tripod using dual angle
pole cups
• 1200W of ultra-efficient Class-D Fast
Recovery™ amplification
• LF 500W RMS / 1000W peak
• HF 100W RMS / 200W peak
• Custom designed transducers by EAW®
• 12” neodymium woofer with 3” voice coil
• Dual Beyma®1.7” compression drivers with
heat-treated titanium diaphragms
• High-definition audio processing includes:
• Revolutionary patented acoustic correction
• Transducer time alignment and phase
correction
• Precision 2-way crossover
• Three-position voicing switch for simple
array voicing
• Integrated limiting and protection circuitry
• Proven rigging hardware:
• Four M10 flypoints
• Integrated flyware allows easy array setup
• Optional Flybar and HD1801 subwoofer
flyware kit
• Ultra-compact and lightweight (59 lb / 26.7 kg)
• Rugged all wood cabinet (15mm birch plywood)
• Supported by EAW Resolution prediction
software
Overview
The Mackie HDA High-Definition Arrayable Powered
Loudspeaker is a 110˚ x 20˚ constant curvature line
array ideal for installed and portable PA systems. The
HDA 2-Way High-Definition Powered Loudspeaker
delivers 1200W of peak system power via Class-D Fast
Recovery™ amplification.
Mackie’s patented HD audio processing provides
unmatched sonic accuracy and clarity. Mackie Active
technology includes a precision 2-way crossover,
transducer time alignment, and phase correction.
Acoustic correction algorithms, derived using
proprietary measurement tools to identify and correct
sonic anomalies, improve vocal intelligibility while
removing high frequency discord.
EAW custom-designed HD Series transducers
maximize efficiency and performance when matched
with the system’s internal amps. The 12-inch woofer
uses a neodymium magnet for reduced weight, and the
3-inch voice coil dissipates heat extremely well. The
dual Beyma®1.7-inch compression drivers are mounted
into a multi-cell horn.
The integrated Array Voicing mode switch allows the
user to custom-tailor the array for their application
simply by selecting the number of HDAs in use per side.
More advanced users may integrate EAW’s Resolution
software, which calculates array placement and flybar
pickpoints, showing the resulting coverage for the
venue. Full protection circuitry completes this
ultra-portable, powerful and arrayable HD system.
The 15mm birch plywood enclosure is rugged and
ready for install using the four integral fly points. The
integrated rigging channels allow for quick setup and
teardown of arrays. Use the flybar in conjunction with
up to two Mackie HD1801 subwoofers and up to four
HDAs. The lightweight design and the integrated dual
angle pole cup allows up to two HDAs to be
pole-mounted atop a subwoofer or on a tripod stand.
5
Owner’s Manual
Owner’s Manual

HDA: DAISY-CHAINING MULTIPLE LOUDSPEAKERS
Hookup Diagrams
One convenient feature of the Mackie HDA loudspeaker system is the ability to connect multiple loudspeakers
together easily, as shown in the illustration above.
If only one HDA is required, connect the mixer output to the HDA’s XLR MAIN INPUT using a balanced XLR
cable. The HDA is powered via the supplied Neutrik PowerCon®cable connected to the AC MAINS jack. See the
following page for details on this type of setup.
If multiple HDAs will be connected, start with the instructions as listed above. Next, connect the first HDA’s XLR
LOOP OUT jack to the second HDA’s XLR MAIN INPUT jack using a balanced XLR cable. A short 1-2 foot cable
is all that is necessary. Hook up the supplied loop Neutrik PowerCon®cable from the first HDA’s AC LOOP jack
to the second HDA’s AC MAINS jack. A maximum of four HDAs may be daisy-chained together in this fashion
from a single 20A source.
See pages 8-12 for systems utilizing multiple HDAs in various setups. See page 15 for more information
regarding powering the Mackie HDA loudspeaker.
To next
speaker’s
MAIN INPUT
To next
speaker’s AC
MAINS input
From
previous
speaker’s
LOOP OUT
or mixer/audio
source
From
previous
speaker’s AC
LOOP output
or wall AC
outlet
6
HDA
HDA

HDA: 2-WAY SYSTEM
This type of setup will typically be found at small indoor or outdoor gigs, weddings, parades, rental systems,
and/or used as vocal reinforcement. Another possibility is to place HDAs on the stage as front or side fills. This
helps provide sound to the fans near the stage where they may not be adequately covered by the PA.
The left and right main outputs from a mixer feed the MAIN INPUTS of the HDAs. Since only one HDA is used
per side, the Array Mode switch should be in the ‘1-2’ position on both speakers.
HDA MAIN INPUT
HDA
MAIN
INPUT
Mixing Console
(Mackie Onyx 1640i shown)
L/R
MAIN
OUT
48V 48V 48V 48V 48V 48V 48V 48V 48V 48V 48V 48V 48V 48V 48V 48V
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
EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
PREMIUMANALOG MIXER w/PERKINS EQ & FIREWIRE
7
Owner’s Manual
Owner’s Manual

HDA: POLE-MOUNTED WITH POWERED SUBWOOFER(S)
This type of setup will typically be found at small indoor or outdoor gigs, festivals, weddings, or parades
where a high output PA with wide coverage and throw is necessary. This is a great setup for local DIY
bands, too.
The left output from a mixer feeds INPUT A of a Mackie HD1801 powered subwoofer. The HIGH PASS
OUTPUT A of the subwoofer feeds the MAIN INPUT of a Mackie HDA powered loudspeaker. The LOOP OUT of
that Mackie HDA powered loudspeaker feeds the MAIN INPUT of the next Mackie HDA powered loudspeaker.
The HDAs reproduce the mid-to-high frequencies in mono, and the subs provide the low frequencies in mono.
The Array Mode switch should be in the ‘1-2’ position on both units.
Since two HDAs are in the array, it is possible to reproduce this exact same hookup in stereo. Simply utilize
the left and right main outputs from the mixer to feed the main inputs of each subwoofer and mirror the rest of
the system as identified above.
Another important aspect to keep in mind is the rigging setup of loudspeakers. In this diagram, the HDAs
are pole-mounted on a subwoofer, utilizing an SPM200 adjustable pole. Refer to page 17 to view a table listing
other configuration possibilities and pages 18 and 19 for more information about rigging.
Note that the HDAs AC power may be linked via the AC LOOP. Refer to page 6 for details on daisy-chaining
AC power.
01PLATEREVERB
02VOCALPLATE
03WARMROOM
04BRIGHTROOM
05WARMLOUNGE
06SMALLSTAGE
13CHORUS
14CHORUS+REVERB
15DOUBLER
16TAPESLAP
17DLY1BRIGHT(350ms)
18DLY1WARM(300ms)
19DLY2BRIGHT(250ms)
20DLY2WARM(200ms)
21DLY3BRIGHT(175ms)
22DLY3WARM(150ms)
23CHORUS+DLY(300ms)
24REVERB+DLY(200ms)
FXPRESETS
TAPTOEDIT
07WARMTHEATER
08BRIGHTSTAGE
09WARMHALL
10CONCERTHALL
11CATHEDRAL
12GATEDREVERB
GAIN
1
GAIN
2
GAIN
3
GAIN
4
GAIN
5
GAIN
6
GAIN
7
GAIN
8
GAIN
9
GAIN GAIN GAIN GAIN GAIN GAIN
10 11 12 13 14 15
GAIN GAIN GAIN GAIN GAIN GAIN
20 21/22 23/2417 18 19
GAIN
16
LOWCUT
100Hz
18dB/OCT
LOWCUT
100Hz
18dB/OCT
LOWCUT
100Hz
18dB/OCT
LOWCUT
100Hz
18dB/OCT
LOWCUT
100Hz
18dB/OCT
LOWCUT
100Hz
18dB/OCT
LOWCUT
100Hz
18dB/OCT
LOWCUT
100Hz
18dB/OCT
LOWCUT
100Hz
18dB/OCT
LOWCUT
100Hz
18dB/OCT
LOWCUT
100Hz
18dB/OCT
LOWCUT
100Hz
18dB/OCT
LOWCUT
100Hz
18dB/OCT
LOWCUT
100Hz
18dB/OCT
LOWCUT
100Hz
18dB/OCT
PAD
-20dB
PAD
-20dB
PAD
-20dB
PAD
-20dB
PAD
-20dB
PAD
-20dB
PAD
-20dB
PAD
-20dB
PAD
-20dB
PAD
-20dB
PAD
-20dB
PAD
-20dB
PAD
-20dB
PAD
-20dB PAD -20dB
LOWCUT
100Hz
18dB/OCT
LOWCUT
100Hz
18dB/OCT
LOWCUT
100Hz
18dB/OCT
LOWCUT
100Hz
18dB/OCT
PAD
-20dB
LOWCUT
100Hz
18dB/OCT
AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUXAUX
2404
M
M
UT
UTE
1
M
UT
UTE
2
M
UT
UTE
3
M
UT
UTE
4
M
UT
UTE
5
M
UT
UTE
6
M
UT
UTE
7
M
UT
UTE
8
M
UT
UTE
9
M
UT
UTE
10
10
M
UT
UTE
11
11
M
UT
UTE
12
12
M
UT
UTE
13
13
M
UT
UTE
14
14
M
UT
UTE
15
15
M
UT
UTE
18
18
M
UT
UTE
19
19
M
UT
UTE
20
20
M
UT
UTE
21/22
21/22
M
UT
UTE
23/24
23/24
M
UT
UTE
16
16
M
UT
UTE
17
17
EQ
PAN
EQ
PAN
EQ
PAN
EQ
PAN
EQ
PAN
EQ
PAN
EQ
PAN
EQ
PAN
EQ
PAN
EQ
PAN
EQ
PAN
EQ
PAN
EQ
PAN
EQ
PAN
EQ
PAN
EQ EQ EQ EQ EQ EQ
PAN PAN PAN PAN BAL BAL
EQ
PAN
RLRLRLRLRLRLRLRLRLRLRLRLRLRLRLRLRLRLRLRLRLRL
INTFX
AUX5/6
PRE
HI
12k
LOW
80Hz
MID
INTFX
AUX5/6
PRE
HI
12k
LOW
80Hz
MID
INTFX
AUX5/6
PRE
HI
12k
LOW
80Hz
MID
INTFX
AUX5/6
PRE
HI
12k
LOW
80Hz
MID
INTFX
AUX5/6
PRE
HI
12k
LOW
80Hz
MID
INTFX
AUX5/6
PRE
HI
12k
LOW
80Hz
MID
INTFX
AUX5/6
PRE
HI
12k
LOW
80Hz
MID
INTFX
AUX5/6
PRE
HI
12k
LOW
80Hz
MID
INTFX
AUX5/6
PRE
HI
12k
LOW
80Hz
MID
INTFX
AUX5/6
PRE
HI
12k
LOW
80Hz
MID
INTFX
AUX5/6
PRE
HI
12k
LOW
80Hz
MID
INTFX
AUX5/6
PRE
HI
12k
LOW
80Hz
MID
INTFX
AUX5/6
PRE
HI
12k
LOW
80Hz
MID
INTFX
AUX5/6
PRE
HI
12k
LOW
80Hz
MID
INTFX
AUX5/6
PRE
HI
12k
LOW
80Hz
MID
FREQFREQFREQFREQFREQFREQFREQFREQFREQFREQFREQFREQFREQFREQFREQ
INTFX
AUX5/6
PRE
SOLO
LEFT
TAP
DELAY
INTFX
MUTE
INTFX
AUX5/6
PRE
HI
12k
LOW
80Hz
MID
INTFX
AUX5/6
PRE
HI
12k
LOW
80Hz
MID
INTFX
AUX5/6
PRE
HI
12k
LOW
80Hz
MID
HI
12k
LOW
80Hz
MID
HI
12k
LOW
80Hz
HI
12k
LOW
80Hz
LOW
MID
400Hz
HI
MID
2.5k
LOW
MID
400Hz
HI
MID
2.5k
INTFX
AUX5/6
PRE
INTFX
AUX5/6
PRE
INTFX
AUX5/6
PRE
HI
12k
LOW
80Hz
MID
FREQFREQFREQFREQFREQ
1
2
3
4
PRE
PRE
5
6
FX1
FX2
1
2
3
4
PRE
PRE
5
6
FX1
FX2
1
2
3
4
PRE
PRE
5
6
FX1
FX2
1
2
3
4
PRE
PRE
5
6
FX1
FX2
1
2
3
4
PRE
PRE
5
6
FX1
FX2
1
2
3
4
PRE
PRE
5
6
FX1
FX2
1
2
3
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PRE
PRE
5
6
FX1
FX2
1
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PRE
5
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FX2
1
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PRE
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FX2
1
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PRE
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FX2
1
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PRE
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FX1
FX2
1
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PRE
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FX1
FX2
1
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PRE
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FX1
FX2
1
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PRE
5
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FX1
FX2
1
2
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PRE
PRE
5
6
FX1
FX2
1
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PRE
5
6
FX1
FX2
1
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PRE
5
6
FX1
FX2
1
2
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PRE
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FX1
FX2
1
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PRE
5
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FX1
FX2
1
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PRE
5
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FX1
FX2
1
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PRE
PRE
5
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FX1
FX2
1
2
3
4
PRE
PRE
5
6
FX1
FX2
PUSH
TOTALK
TALKBACKGROUPS
MAIN
RIGHT
AUX1-4
STEREO
RIGHT
SOLO
LEFT
TOAUX 1
TOAUX 2
SOLO
PHONES
MONITOR
TAP
DELAY
INTFX
MUTE
TOAUX 1
TOAUX 2
RIGHT
SOLO
STEREO
LEFT
RIGHT
SOLO
LEFT
SENDMASTERSENDMASTER
TOMAINTOMAIN
FX2 FX1
1234
MAINMIX
SOLO
1
SOLO
1
2
3
4
2
SOLO
SOLOMODE
MAIN
FX1
USB
STEREORETURNSAUX MASTERS
SOLO
SOLO
SOLO
SOLO +15
OO
+15
OO
+15 OO
SOLO
U
MAX
OO
U
U
MAX
OO
U
MAX
OO
FX2
U
MAX
OO
U
MAX
OO
SIG/OLSIG/OL
AUX
AUX
AUX
AUX
MAIN
MIX
0dB=0dBu
RUDESOLO
20
10
7
4
2
0
2
4
7
10
20
30
LEFT RIGHT
SOLO
MAX
OO
U
MAX
OO
U
MAX
OO
U
MAX
OO
U
MAX
OO
U
MAX
OO
U
+20
OO
TOMAIN
PFL
AFL
GRP1-2
CH1-2 CH3-4
AUX5-6
PWR
48V
TAPE
USB
2-TRACKRETURN USBOUT
GRP3-4
MAINL/R
LEVEL
SET
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
UU
MAX OO
OFF MAX
COMP
OFF MAX
COMP
OFF MAX
COMP
OFF MAX
COMP LEVEL
U
+15
OO
3
1
5
6
2
U
U
+15
OO
U
+15
OO
+15 OO
U
+15
OO
U
4U
U
+20-20
U
+20-20
12V
0.5A
50%
25% 75%
0% 100%
SUCK
OFF MAX OFF MAX OFF MAX OFF MAX
COMP COMP COMP COMP
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
SOLO
3-4
1-2
L/R
2k
060
-45dB+15dB
U
800
200
8k100
U
-15
U
+15
-15 +15
-15 +15
U
OL
SIGSIGSIGSIGSIGSIGSIGSIGSIGSIGSIGSIGSIGSIGSIG
U
U
M
I
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A
I
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-
1
0
d
B
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M
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A
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dB
30
20
10
OO
40
50
5
5
U
60
10
SOLO
3-4
1-2
L/R
OL
dB
30
20
10
OO
40
50
5
5
U
60
10
SOLO
3-4
1-2
L/R
OL
dB
30
20
10
OO
40
50
5
5
U
60
10
SOLO
3-4
1-2
L/R
OL
dB
30
20
10
OO
40
50
5
5
U
60
10
SOLO
3-4
1-2
L/R
OL
dB
30
20
10
OO
40
50
5
5
U
60
10
SOLO
3-4
1-2
L/R
OL
dB
30
20
10
OO
40
50
5
5
U
60
10
SOLO
3-4
1-2
L/R
OL
dB
30
20
10
OO
40
50
5
5
U
60
10
SOLO
3-4
1-2
L/R
OL
dB
30
20
10
OO
40
50
5
5
U
60
10
SOLO
3-4
1-2
L/R
OL
dB
30
20
10
OO
40
50
5
5
U
60
10
SOLO
3-4
1-2
L/R
OL
dB
30
20
10
OO
40
50
5
5
U
60
10
SOLO
3-4
1-2
L/R
OL
dB
30
20
10
OO
40
50
5
5
U
60
10
SOLO
3-4
1-2
L/R
OL
dB
30
20
10
OO
40
50
5
5
U
60
10
SOLO
3-4
1-2
L/R
OL
dB
30
20
10
OO
40
50
5
5
U
60
10
SOLO
3-4
1-2
L/R
OL
dB
30
20
10
OO
40
50
5
5
U
60
10
SOLO
3-4
1-2
L/R
OL
dB
30
20
10
OO
40
50
5
5
U
60
10
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
2k
060
-45dB+15dB
U
800
200
8k100
U
-15
U
+15
-15 +15
-15 +15
U
U
U
M
I
C
G
A
I
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-
1
0
d
B
V
M
I
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G
A
I
N
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
2k
060
-45dB+15dB
U
800
200
8k100
U
-15
U
+15
-15 +15
-15 +15
U
U
U
M
I
C
G
A
I
N
-
1
0
d
B
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M
I
C
G
A
I
N
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
2k
060
-45dB+15dB
U
800
200
8k100
U
-15
U
+15
-15 +15
-15 +15
U
U
U
M
I
C
G
A
I
N
-
1
0
d
B
V
M
I
C
G
A
I
N
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
2k
060
-45dB+15dB
U
800
200
8k100
U
-15
U
+15
-15 +15
-15 +15
U
U
U
M
I
C
G
A
I
N
-
1
0
d
B
V
M
I
C
G
A
I
N
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
2k
060
-45dB+15dB
U
800
200
8k100
U
-15
U
+15
-15 +15
-15 +15
U
U
U
M
I
C
G
A
I
N
-
1
0
d
B
V
M
I
C
G
A
I
N
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
2k
060
-45dB+15dB
U
800
200
8k100
U
-15
U
+15
-15 +15
-15 +15
U
U
U
M
I
C
G
A
I
N
-
1
0
d
B
V
M
I
C
G
A
I
N
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
2k
060
-45dB+15dB
U
800
200
8k100
U
-15
U
+15
-15 +15
-15 +15
U
U
U
M
I
C
G
A
I
N
-
1
0
d
B
V
M
I
C
G
A
I
N
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
2k
060
-45dB+15dB
U
800
200
8k100
U
-15
U
+15
-15 +15
-15 +15
U
U
U
M
I
C
G
A
I
N
-
1
0
d
B
V
M
I
C
G
A
I
N
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
2k
060
-45dB+15dB
U
800
200
8k100
U
-15
U
+15
-15 +15
-15 +15
U
U
U
M
I
C
G
A
I
N
-
1
0
d
B
V
M
I
C
G
A
I
N
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
2k
060
-45dB+15dB
U
800
200
8k100
U
-15
U
+15
-15 +15
-15 +15
U
U
U
M
I
C
G
A
I
N
-
1
0
d
B
V
M
I
C
G
A
I
N
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
2k
060
-45dB+15dB
U
800
200
8k100
U
-15
U
+15
-15 +15
-15 +15
U
U
U
M
I
C
G
A
I
N
-
1
0
d
B
V
M
I
C
G
A
I
N
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
2k
060
-45dB+15dB
U
800
200
8k100
U
-15
U
+15
-15 +15
-15 +15
U
U
U
M
I
C
G
A
I
N
-
1
0
d
B
V
M
I
C
G
A
I
N
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
2k
060
-45dB+15dB
U
800
200
8k100
U
-15
U
+15
-15 +15
-15 +15
U
U
U
M
I
C
G
A
I
N
-
1
0
d
B
V
M
I
C
G
A
I
N
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
2k
060
-45dB+15dB
U
800
200
8k100
U
-15
U
+15
-15 +15
-15 +15
U
U
U
M
I
C
G
A
I
N
-
1
0
d
B
V
M
I
C
G
A
I
N
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
2k
060
-45dB+15dB
U
800
200
8k100
U
-15
U
+15
-15 +15
-15 +15
U
U
U
M
I
C
G
A
I
N
-
1
0
d
B
V
M
I
C
G
A
I
N
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
2k
060
-45dB+15dB
U
800
200
8k100
U
-15
U
+15
-15 +15
-15 +15
U
U
U
M
I
C
G
A
I
N
-
1
0
d
B
V
M
I
C
G
A
I
N
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
2k
060
-45dB+15dB
U
800
200
8k100
U
-15
U
+15
-15 +15
-15 +15
U
2k
800
200
8k100
U
-15
U
+15
-15 +15
-15 +15
U
U
-15 +15
-15 +15
U
U
-15 +15
-15 +15
U
-15 +15
U
-15 +15
U
-15 +15
U
-15 +15
U
U
U
M
I
C
G
A
I
N
-
1
0
d
B
V
M
I
C
G
A
I
N
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
060
-45dB+15dB
U
U
U
M
I
C
G
A
I
N
-
1
0
d
B
V
M
I
C
G
A
I
N
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
U
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
SIG
SOLO
3-4
1-2
L/R
OL
dB
30
20
10
OO
40
50
5
5
U
60
10
SIG
SOLO
3-4
1-2
L/R
OL
dB
30
20
10
OO
40
50
5
5
U
60
10
SIG
SOLO
3-4
1-2
L/R
OL
dB
30
20
10
OO
40
50
5
5
U
60
10
SIG
SOLO
3-4
1-2
L/R
OL
dB
30
20
10
OO
40
50
5
5
U
60
10
SIG
SOLO
3-4
1-2
L/R
OL
dB
30
20
10
OO
40
50
5
5
U
60
10
SIG
SOLO
3-4
1-2
L/R
OL
dB
30
20
10
OO
40
50
5
5
U
60
10
SIG
SOLO
3-4
1-2
L/R
OL
dB
30
20
10
OO
40
50
5
5
U
60
10
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
2k
060
-45dB+15dB
U
800
200
8k100
U
-15
U
+15
-15 +15
-15 +15
U
U
U
M
I
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A
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-
1
0
d
B
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M
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A
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HIGH PASS
OUTPUT A
LEFT MAIN OUT
INPUT A
MAIN INPUT
MAIN INPUT
LOOP OUT
Mixing Console
(Mackie 2404-VLZ3 shown)
8
HDA
HDA

FB121 Flybar
This is the perfect setup for any venue where the audience is level with and above the stage. For example, a
bowl, a shed or a gym with bleachers.
The left output from a mixer feeds the MAIN INPUT of a Mackie HDA powered loudspeaker. The LOOP OUT
of that Mackie HDA feeds the MAIN INPUT of the next Mackie HDA. This daisy-chained array is repeated once
more to complete the tri-fecta.
Since three units are used, the Array Mode switches should be in the ‘3-4’ or ‘3-4 LONG THROW’ position.
See page 13 for more information about the Array Mode switch and the choices available.
It is possible to reproduce this exact same hookup in stereo. Simply utilize the left and right main outputs from
the mixer to feed the main inputs of the first HDA on each side of the stage and mirror the rest of the system as
described above.
Another important aspect to keep in mind is the rigging setup of loudspeakers. In this diagram, the HDAs are
ground stacked on the FB121 Flybar and the kickstand is included for additional support. This may be a
full-range system (as illustrated above) or add some subwoofers to the system for extra thump. You could even
mount the HDAs on top of the sub as shown on the next page. Refer to page 17 to view a table listing other
configuration possibilities and pages 18 and 19 for more information about rigging.
Note that the HDAs AC power may be linked via the AC LOOP. Refer to page 6 for details on daisy-chaining
AC power.
HDA: GROUND STACKED WITH FLYBAR ACCESSORY
9
Owner’s Manual
Owner’s Manual

ACC-R180S
Rigging Kit
Similar to the hook-up diagram on the previous page, this is the perfect setup for any venue where the
audience is level with and sloping upward from the stage and PA. For example, a bowl, a shed or a gym with
bleachers. However, a subwoofer is introduced to this setup, adding a lot more thump to the system.
The left output from a mixer feeds INPUT A of a Mackie HD1801 powered subwoofer. The HIGH PASS
OUTPUT A of the subwoofer feeds the MAIN INPUT of a Mackie HDA powered loudspeaker. The LOOP OUT of
that Mackie HDA powered loudspeaker feeds the MAIN INPUT of the next Mackie HDA powered loudspeaker.
The HDAs reproduce the mid-to-high frequencies in mono, and the sub provides the low frequencies in mono.
Since three HDAs are used, the Array Mode switches should be in the ‘3-4’ or ‘3-4 LONG THROW’ position.
It is possible to reproduce this exact same hookup in stereo. Simply utilize the left and right main outputs from
the mixer to feed INPUT A of each HD1801 and mirror the rest of the system as described above.
Another important aspect to keep in mind is the rigging setup of loudspeakers. In this diagram, the HDAs are
ground stacked on a subwoofer utilizing the ACC–R180S rigging kit for the HD1801. This system may also be
flown utilizing the FB121 Flybar, with the HD1801 powered subwoofer on top. See the next two pages for flying
HDAs, page 17 to view a table listing other configuration possibilities and pages 18 and 19 for more
information about rigging.
Note that the HDA’s AC power may be linked via the AC LOOP. Refer to page 6 for details on daisy-chaining
AC power.
HDA: GROUND STACKED ON SUBWOOFER(S)
10
HDA
HDA

HDA: 4 FLOWN HDA LOUDSPEAKERS
This setup is perfect for installs, touring systems, festivals and/or small stages...any venue requiring high
output with a 75–100 foot throw.
The left output from a mixer feeds the MAIN INPUT of the top HDA. The LOOP OUT of that HDA feeds the
MAIN INPUT of the next HDA. This daisy-chained array is repeated twice more to complete the quad HDA
setup. Here, the Array Mode switch should be in the ‘3-4’ position because four HDAs are in the array.
Alternatively, the top one or two HDAs may be set to the ‘3-4 Long Throw’ position if they have to cover an
audience at a substantially further distance than the bottom boxes. See the rear panel descriptions on page 13
for more information.
It is possible to reproduce this exact same hookup in stereo. Simply utilize the left and right main outputs from
the mixer to feed the main inputs of the top boxes and mirror the rest of the system as identified above.
Another important aspect to keep in mind is the rigging setup of loudspeakers. In this diagram, the HDAs are
flown utilizing an FB121 Flybar. In this array, subs may be on the stage to add more thump to the overall sound
system. Be sure to visit the next page if you are interested in flying subs. Refer to page 17 to view a table listing
other configuration possibilities and pages 18 and 19 for more information about rigging (and eyebolts).
Note that the HDAs AC power may be linked via the AC LOOP. Refer to page 6 for details on daisy-chaining
AC power.
Last, but not least, a VERY important warning: when the FB121 Flybar is used to suspend a system, it cannot
retain a 10:1 design factor at certain pick points for the largest systems. Please refer to the array usage and
rigging sections, starting on page 17 and Appendix A on page 22 to review and run the Resolution software.
This predictive software is an invaluable tool in determining safety issues, weights and angles involved, coverage
and much more.
11
Owner’s Manual
Owner’s Manual
FB121 Flybar

HDA: 2 HD1801 SUBWOOFERS AND 4 HDA LOUDSPEAKERS FLOWN
Similar to the hook-up diagram on the previous
page, this setup is perfect for installs, touring systems,
festivals and/or small stages...any venue requiring
a 75–100 foot throw. However, two subwoofers are
introduced to this setup, providing even low frequency
coverage for the flown subs.
As in the previous hook-up diagram, the Array Mode
switch should be in the ‘3-4’ position because four
HDAs are in the array. Again, the top one or two
HDAs may be set to the ‘3-4 Long Throw’ position
if they have to cover an audience at a substantially
further distance than the bottom boxes. See the rear
panel descriptions on page 13 for more information.
It is possible to reproduce this exact same hookup in
stereo. Simply utilize the left and right main outputs
from the mixer to feed the main inputs of the top
subwoofers to mirror the rest of the system as
identified above.
Another important aspect to keep in mind is the
rigging setup of loudspeakers. In this diagram, the
HDAs and HD1801 subwoofers are flown utilizing an
FB121 Flybar. Note that each subwoofer requires its
own ACC–R180S rigging kit, as well. Refer to page
17 to view a table listing other configuration
possibilities and pages 18 and 19 for more
information about rigging (and eyebolts).
Note that the HDAs AC power may be linked via the AC LOOP. Refer to page 6 for details on daisy-chaining
AC power.
Last, but not least, a VERY important warning: when the FB121 Flybar is used to suspend a system, it can not
retain a 10:1 design factor at certain pick points for the largest systems. Please refer to the array usage and
rigging sections, starting on page 17 and Appendix A on page 22 to review and run the Resolution software.
This predictive software is an invaluable tool in determining safety issues, weights and angles involved, coverage
and much more.
ACC-R180S
Rigging Kits
FB121 Flybar
12
HDA
HDA

1. MAIN INPUT
This is a female XLR-type connector that accepts
a balanced line-level signal from a mixing console or
other signal source. See Appendix C for more
information about this connector.
2. LOOP OUT
This is a male XLR-type connector that produces
exactly the same balanced line-level signal that is
connected to the main input jack. Use it to daisy-chain
several HDAs together off the same signal source. See
Appendix C for more information about this
connector and page 6 for instructions on how to
daisy-chain multiple loudspeakers.
3. ARRAY MODE
This 3-position voicing mode switch allows the HDA to
be tailored for any sound application. It voices the array
for a flat response depending on the number of HDAs in
use.
Rear Panel Features
POWER
LIGHT ON
MAIN
INPUT
LOOP
OUT
HDA
HIGH DEFINITION ARRAYABLE
POWERED LOUDSPEAKER
ARRAY MODE
1-2
3-4
3- 4 LONG THROW
SIG/LIMITTHERMAL
PARALLEL
PUSH TO RESET
AC MAINS
AC LOOP
CIRCUIT BREAKER
AC LOOP
ON
WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC
SHOCK, DO NOT EXPOSETHIS EQUIPMENT TO RAIN OR
MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE
PARTS INSIDE.REFER SERVICING TO QUALIFIED PERSONNEL.
AVIS: RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR
SERIAL NUMBER
REVISION
HDA = 27KG / 59LB
HDA RIGGING WORKING LOAD LIMIT (WLL):
FOUR (4) HDA IN SUCCESSION, 108KG / 236LB
1
2
3
4
6 7
10
8
9
5
As more HDAs are arrayed together, the boxes couple
and the low frequency energy increases. The array mode
EQ voices each box so the array, as a whole, is flat and
even sounding. [See the Frequency Response graph on
page 28 to view the different voicing for each setting.]
1-2
When configuring an array with one or two
HDAs per side, set the Array Mode Switch
on each unit to the ‘1-2’ position. The LED
below the switch will illuminate yellow when
‘1-2’ is the chosen array mode.
3-4
When configuring an array with three or four
HDAs per side, set the Array Mode Switch
on each unit to the ‘3-4’ position. The LED
below the switch will illuminate green when
‘3-4’ is the chosen array mode.
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Owner’s Manual
Owner’s Manual

3-4 LONG THROW
When configuring an array with three or four
HDAs per side, set the Array Mode Switch
on the top one or two boxes to the ‘3-4 LONG
THROW’ position. The LED below the switch
will illuminate red when ‘3-4 LONG THROW’ is
the chosen array mode.
The top box in a flown three or four box
array typically has to reach an audience that
is much further away than those covered by the
bottom boxes. Since high frequency energy
decreases as it travels, audience members
positioned towards the rear of the venue will
commonly perceive less high end than those
located closer. ‘3-4 LONG THROW’ compensates
for this by boosting the top end so the audio
sounds smooth and even when it reaches those
audience members.
Therefore, set the voicing mode switch to
‘3-4 LONG THROW’ on the top one or two boxes
in the array. In doing so, the high frequency
energy will reach the back of the venue, as
intended. Setting the bottom boxes to ‘3-4’ will
cover the audience converged more towards
the front.
Be sure to utilize the EAW Resolution software,
too, as it helps visualize the high frequency
energy in the venue’s coverage. Finally, listen
for consistency by using your ears while walking
around the room.
4. POWER LIGHT ON
Press this switch in to turn on the front panel power
LED if a visual indicator is preferred. The LED below
the switch will light as a reminder.
If this switch is disengaged [out], and the HDA is
powered on, the LED on the front of the cabinet will not
light, nor will the LED below the switch.
5. SIG/LIMIT LED
This bi-color LED illuminates green whenever there is
signal present at the MAIN INPUT connector.
The HDA has a built-in limiter that helps to
prevent the amplifier outputs from clipping or
overdriving the transducers. The SIG/LIMIT
indicator lights in yellow when the limiter is activated.
It’s okay for it to blink yellow occasionally, but if it
blinks frequently or lights continuously, turn down the
mixer’s main level until it only blinks occasionally.
Excessive limiting may lead to
overheating, which in turn trips the thermal
protect circuitry and interrupts the
performance. Pushing it too hard may also damage the
amplifier and/or transducers. See ‘Thermal
Considerations’ on page 21 for more information.
6. THERMAL LED
The HDA is equipped with a thermal protection
circuit that monitors the internal temperature of the
amplifiers and heatsink. If the temperature exceeds a safe
operating level, this indicator lights red and the input
signal is muted to allow the amplifiers to cool. When the
temperature cools to a safe level once again, the thermal
protection circuit deactivates, the THERMAL LED turns
off and the HDA returns to normal operation.
When the HDA is in thermal protect mode, the unit
is still powered on despite the lack of output. If POWER
LIGHT ON [4] is engaged, the front panel power LED
will go out when in thermal protect mode.
Activation of the thermal protection circuit
is an indication that steps need to be taken
to avoid continued thermal problems. See
‘Thermal Considerations’ on page 21 for more
information.
POWER
LIGHT ON
MAIN
INPUT
LOOP
OUT
HDA
HIGH DEFINITION ARRAYABLE
POWERED LOUDSPEAKER
ARRAY MODE
1-2
3-4
3- 4 LONG THROW
SIG/LIMITTHERMAL
PARALLEL
1
2
3
4
6 5
14
HDA
HDA

PUSH TO RESET
AC MAINS
AC LOOP
CIRCUIT BREAKER
AC LOOP
ON
WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC
SHOCK, DO NOT EXPOSETHIS EQUIPMENT TO RAIN OR
MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE
PARTS INSIDE.REFER SERVICING TO QUALIFIED PERSONNEL.
AVIS: RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR
SERIAL NUMBER
REVISION
HDA = 27KG / 59LB
HDA RIGGING WORKING LOAD LIMIT (WLL):
FOUR (4) HDA IN SUCCESSION, 108KG / 236LB
7
10
8
9
7. ON LED
This LED will illuminate when the HDA is connected
to a live AC mains outlet. The front panel LED will also
turn on, but only if the POWER LIGHT ON switch [4] is
engaged.
8. AC MAINS
There is no power switch on the HDA. When
connected to the AC mains, the loudspeaker will be
fully operational, with the output level controlled by the
signal source feeding it.
Connect the supplied AC mains cord to the AC
MAINS Neutrik PowerCon®jack on the rear of the HDA.
The PowerCon®system utilizes a locking connector. To
lock, twist 1/4 turn clockwise after fully inserting it into
the AC MAINS receptacle. Then connect the other end
of the cable to the AC mains supply receptacle.
The ON LED [7] will light when powered up. The
front panel LED will also illuminate, but only if the
POWER LIGHT ON switch [4] is engaged.
Ensure that the AC mains voltage matches
the voltage rating listed on the HDA below
the AC MAINS connector. Do not apply 230V
mains power if the voltage rating on the loudspeaker is
115V. Immediate and catastrophic damage to the HDA
will result and may cause a fire hazard, serious personal
injury, or even death.
Ensure that the AC power supply has a
properly grounded safety ground. Failure to
follow this warning could cause equipment
damage, serious personal injury, or even death.
The supplied 9.5 foot (2,896 mm) AC mains
plug may not be appropriate for local AC
mains receptacles. If not, have a qualified
electrician remove the existing AC mains plug and
install a plug appropriate for the AC mains supply
receptacle and following all local codes.
If an extension cord is used for the AC mains,
use only a cord with the appropriate wire size
and current rating for the required current
draw and extension cord length.
As a general guide, powered speakers should
be powered up last, after the mixer and other
sources. They should also be the first things
turned off. This will reduce the possibility of any
turn-on, or turn-off thumps in the loudspeakers.
9. AC LOOP
The Neutrik PowerCon®AC MAINS and AC LOOP
connectors are wired in parallel to provide an
AC MAINS inlet and outlet on each HDA.
A 1.5 foot (457 mm) AC LOOP cable is included with
the HDA. The white connector mates with the AC LOOP
outlet, while the blue connector mates with the
AC MAINS inlet. Therefore, to loop the AC MAINS from
enclosure to enclosure, connect the included AC MAINS
jumper cable from the AC LOOP output of one HDA to
the AC MAINS input of the next HDA as shown on page
6. Up to four HDAs may be looped in this fashion from a
single 20A service.
The maximum, continuous load from the
first HDA Loop output must not exceed 6A at
100–120V and 3A at 220–240V.
10. AC LOOP CIRCUIT BREAKER
The AC LOOP circuit breaker protects the AC LOOP
outlet. If the continuous load connected to the AC LOOP
outlet exceeds the rated load, the circuit breaker will
trip. For this situation, reduce the connected load and
then manually reset the circuit breaker.
As is the case with the AC LOOP, the
maximum, continuous load from the first HDA
Loop output must not exceed 6A at 100–120V
and 3A at 220–240V.
Yes, there are quite a few ‘Very Important’
hand symbol remarks on this page. Please
review them carefully, because they are
indeed ‘Very Important’! Ok, let’s move on to the bottom
surface features.
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Owner’s Manual
Owner’s Manual

Bottom Surface Features
11
12
13 1414
The HDA has three features on the bottom side of
each cabinet:
11 & 12. DUAL-ANGLE POLE CUP
The rear pole cup [11] is for use with a single unit on
a pole. It orients the HDA for output parallel to the floor.
The front pole cup [12] serves two purposes. It angles
the HDA downward 20˚ to aim at the audience below
the loudspeaker. It may also be utilized for use with
two HDAs arrayed on one pole as seen in the hook-up
diagram on page 8.
13. COMPRESSION PAD
The compression pad supports the weight of multiple
units in a flown array. It helps protect the wood cabinet
from damage.
14. RUBBER RUNNERS
The rubber runners provide traction when the HDA is
used as a front or side fill. They are also used as mating
grooves when arraying multiple HDAs.
16
HDA
HDA

Array Usage
Having memorized the rear panel features, fully
grasped the multiple hookup possibilities, and reviewed
the practices on proper rigging, you are nearly an expert
on the Mackie HDA. However, we need to discuss array
usage. In other words, where should the Mackie HDA be
placed and how do you do it safely?
Every possible HDA combination is listed in the table
below. It details the configuration, the number of HDA
loudspeakers and HD1801 subwoofers used in the
system and what position the Array Mode switch should
be in. Please refer to the table below when trying to
decipher your system setup. It’s gold!
Floor Mounting
The HDA loudspeaker is appropriate for multiple
purposes. Typically, line arrays are designed to be flown.
However, the HDA may also sit on the floor or stage as
the main PA or as a front (or side) fill. Additionally, it
may be pole-mounted via one of the two built-in sockets
on the bottom of the cabinet. Be sure the pole is capable
of supporting the weight of one or two HDA(s). The
Mackie SPM200 is a great option for this application.
Check to make sure that the support surface
(e.g., floor, etc.) has the necessary mechanical
characteristics to support the weight of the
loudspeaker(s).
When pole-mounting loudspeakers, be sure that they
are stabilized and secured from falling over or being
accidentally pushed over. Failure to follow these
precautions may result in damage to the equipment,
personal injury, or death.
Note that the Mackie HDA comes standard with two
pole-cups at different angles. The desired pole-cup
angle depends on many factors such as the height of the
stage, if one or two HDAs will be used, etc. We suggest
using a combination of the EAW Resolution software
(see Appendix A) and your ears to help determine
which pole cup to utilize.
Configuration Number of Mackie
HDA Loudspeakers
per side
Number of Mackie
HD1801 Subwoofers
per side
HDA Array Mode
Switch
Pole Mount 1 or 2
0 or 1
(use SPM200 loudspeaker
pole with HD1801)
1–2
Ground stack on FB121 Flybar 1 or 2 0 1–2
3 0 3–4*
Ground stack on
HD1801 subwoofer
1 or 2 1 or 2
(each HD1801 requires
its own ACC-R180S
Rigging Kit)
1–2
3 3–4*
Flown with FB121 Flybar
or PA-A2 Eyebolt Kit
1 or 2 0 to 2
(each HD1801 requires
its own ACC-R180S
Rigging Kit)
1–2
3 or 4 3–4*
*Selection of ‘3-4’ and ‘3-4 LONG THROW’ will depend upon the distance each box is required to cover.
For more information refer to Array Mode [3] starting on page 13 and be sure to utilize the prediction capabilities
of EAW Resolution software as described on page 22.
IMPORTANT INSTALLATION WARNING
Installation should only be done by experienced, licensed professionals. Improper installation may result in damage
to the equipment, injury or death. As described throughout this manual, make sure the loudspeakers are installed
in a stable and secure way in order to avoid any conditions that may be dangerous for persons or structures.
17
Owner’s Manual
Owner’s Manual

Rigging
HDAs may only be flown horizontally. Use
M10 x 1.5 x 37 mm forged shoulder eyebolts or the
optional FB121 Flybar.
WARNING: The cabinet is suitable for rigging
via its fly points or the integrated flyware only.
NEVER attempt to suspend the HDA by its
handles.
Rigging Design Practices
Rigging a loudspeaker requires determining:
1. The rigging methods and hardware that meet static,
shock, dynamic, and any other load requirements for
supporting the loudspeaker from structure.
2. The design factor for and the required WLL
(Working Load Limit) for this support.
Mackie strongly recommends the following rigging
practices:
1. Documentation: Thoroughly document the design
with detailed drawings and parts lists.
2. Analysis: Have a qualified professional, such as a
licensed Professional Engineer, review and approve the
design before its implementation.
3. Installation: Have a qualified professional rigger do
the installation and inspection.
4. Safety: Use adequate safety precautions and
back-up systems.
Rigging Hardware and Accessories
Rigging Mackie loudspeakers will invariably require
hardware not supplied by Mackie. Various types of
load-rated hardware are available from a variety of
third-party sources. There are a number of such
companies specializing in manufacturing hardware for,
designing, and installing rigging systems. Each one of
these tasks is a discipline in its own right. Because of
the hazardous nature of rigging work and the potential
liability, engage companies that specialize in these
disciplines to do the work required.
Mackie does offer certain accessory rigging items,
primarily for attachment to the hardware integral with
the loudspeaker. Some items, such as eyebolts and
flybars, may be used with a variety of products. While
these accessories are intended to facilitate installation,
the wide variety of possible installation conditions and
array configurations do not permit Mackie to determine
their suitability or load rating for any particular
application.
Mackie is not in the business of providing complete
rigging systems, either as designers, manufacturers, or
installers. It is the responsibility of the installer to
provide a properly engineered, load-certified rigging
system for supporting the loudspeaker from structure.
A note on eyebolts
Eyebolt working load limits are
significantly de-rated when angular lifts
are applied. If an application requires an
angular lift greater than 45˚, a swivel hoist
ring or similar fitting must be used – see
Figure A, for example. These fittings have
full swivel and pivot action which helps
avoid side loads.
4 Fly Points
Two each on the top and bottom (4 total)
MP
MP
MP
MP
MP MP
MP=Mounting Point
Figure A
IMPORTANT INSTALLATION WARNING
Installation should only be done by experienced, licensed professionals. Improper installation may result in damage
to the equipment, injury or death. As described throughout this manual, make sure the loudspeakers are installed
in a stable and secure way in order to avoid any conditions that may be dangerous for persons or structures.
18
HDA
HDA

Rigging Notes
A minimum of two rigging points must be used to
hang an HDA. More may be used for creating the desired
hanging angle as shown in the illustrations below.
The illustrations provided below is just one rigging
possibility. Refer to the hookup diagrams to view
additional rigging suggestions.
20˚
See ‘A note
on eyebolts’,
page 18
20˚
20˚
20˚
110˚
IMPORTANT INSTALLATION WARNING
Installation should only be done by experienced, licensed professionals. Improper installation may result in damage
to the equipment, injury or death. As described throughout this manual, make sure the loudspeakers are installed
in a stable and secure way in order to avoid any conditions that may be dangerous for persons or structures.
WARNING: When the FB121 Flybar is used
to suspend a system, it cannot retain a 10:1
design factor at certain pick points. In some
situations, suspended and installed arrays may be
configured with other design factors (e.g. 8:1 or 5:1),
Loud Technologies Inc only recommends using the
desired 10:1 design factor. Please refer to the table on
page 17 for the recommended setup for your system and
Appendix A on page 22 to review and run the
Resolution software. This predictive software is an
invaluable tool in determining safety issues, weights
and angles involved, coverage and much more.
19
Owner’s Manual
Owner’s Manual

• Highly reverberant rooms, like many
gymnasiums and auditoriums, are a
nightmare for sound system intelligibility.
Multiple reflections off the hard walls, ceiling,
and floor play havoc with the sound.
Depending on the situation, it is possible to
take some steps to minimize the reflections,
such as putting carpeting on the floors, closing
draperies to cover large glass windows, or
hanging tapestries or other materials on the
walls to absorb some of the sound.
However, in most cases, these remedies are not
possible or practical. What to do? Making the
sound system louder generally doesn’t work
because the reflections become louder, too.
The best approach is to provide as much direct
sound coverage to the audience as possible.
The farther away you are from the speaker, the
more prominent will be the reflected sound.
Use more speakers strategically placed so
they are closer to the back of the audience.
If the distance between the front and back
speakers is more than about 100 feet, use a
delay processor to time-align the sound. (Since
sound travels about 1 foot per millisecond, it
takes about 1/10 of a second to travel 100 feet.)
Keep in mind that the Array Mode (see pages 13-14)
is a great way to compensate for some of these issues.
Room Acoustics
The HDA loudspeakers are designed to sound
neutral; that is, to reproduce the input signal as
accurately as possible.
Room acoustics play a crucial role in the overall
performance of a sound system. Here are some
additional placement tips to help overcome some typical
room problems that might arise:
• Avoid placing loudspeakers in the corners of
a room. Doing so increases the low frequency
output and can cause the sound to be muddy
and indistinct.
• Avoid placing loudspeakers against a wall. This,
too, increases the low frequency output, though
not as much as corner placement. However, this
is a good way to reinforce the low frequencies,
if so desired.
• Avoid placing the speakers directly on a
hollow stage floor. A hollow stage can resonate
at certain frequencies, causing peaks and dips
in the frequency response of the room. It is
better to place the loudspeakers on a sturdy
table or stand designed to handle the weight of
the HDA.
• Position the loudspeakers so the high-
frequency drivers are 2 to 4 feet above ear level
for the audience (make allowances for a
standing/dancing in the aisles audience). High
frequencies are highly directional and tend to
be absorbed much easier than lower
frequencies. By providing direct line-of-sight
from the loudspeakers to the audience, the
overall brightness and intelligibility of the
sound system increase.
IMPORTANT INSTALLATION WARNING
Installation should only be done by experienced, licensed professionals. Improper installation may result in damage
to the equipment, injury or death. As described throughout this manual, make sure the loudspeakers are installed
in a stable and secure way in order to avoid any conditions that may be dangerous for persons or structures.
20
HDA
HDA