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SOUND REINFORCEMENT CONSOLES
Fast, easy, accuratelevel-setting via Solo4 Submix Buses8•Bus-style mic preampswith –129.5dBm“Double-Bussed” subouts for 8-tk. recording6 aux sends availableat all timesGlobally-switchableAFL/PFL3 Band EQ on mono chs.:
• 80Hz Lo Shelving • Sweepable, 100Hz to 8kHz Mid • 12kHz Hi Shelving
AIR EQ Circuit for ExtraSheen
Very Low Impedance (VLZ)circuitry for low noise
Trim Control on eachchannel for wide gainrange
Balanced Inputs andOutputs
Tape Return to Main MixMono Out with levelcontrol
The SR24•4 and SR32•4do for live sound whatMackie’s already done forstudio recording. Like ouracclaimed 8•Bus series,these professional grademixing consoles were builtto deliver the same kind ofuseful features and prospecifications as those foundon “bigger boards.” And tostand up to continuous,24-hr.-a-day use.
Many of today’s largehotels, convention centers,theaters and places of wor-ship require mixers that canhandle advanced soundreinforcement. At the sametime, they need to be por-table and compact enoughto move around, flexibleenough to work in a varietyof applications, and be easyto use. Of course, they mustbe affordable. The SR24•4 &32•4 mixing consoles are allthat. And they feature the
MORE INFORMATIONSR32•4/SR24•4
ARCHITECTS’ ANDENGINEERS’
SPECIFICATIONS
“IN YOUR FACE”ALL-PRODUCT BROCHURE
FEATURES
same high headroomand ultra-low noisecomponents and cir-cuitry as our 8•Busseries, with many of thesame features.
24 or 32 in, 4 x 2 x 1 out.The SR Series mixers are
true 4-bus consoles. Anychannel can be assignedto any bus (or directly tothe main mix), and each
bus can be assigned tothe main L/R or mono
mixes, or fed out directly to,for instance, an 8-track re-corder. The SR24•4 and 32•4each have 6 aux sends,3-band EQ with sweepablemids, and Mackie’s unique“AIR” EQ circuit.
At a price that belies theirdurability and features, theSR24•4 and 32•4 are easilyaffordable workhorses that’llbe as welcome as live mix-ing consoles as they are in arecording studio.
Durability. A wordMackie lives by.
The SR Series of mixingconsoles can take just aboutany kind of punishment.They’re built like tanks. Be-cause we knew they wouldbe moved around and usedas both live and recordingconsoles, we made them tostand up to continuous duty.Not only can they take activeabuse — they’re as rugged asanything Mackie makes —the SR24•4 and 32•4’sinsides are made to stand upto more passive problems.
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The SR Series haveamazingly high headroom.Like the 8•Bus and theCR-1604 before them, theirbus and main mix amplifi-ers use Mackie’s distinctivenegative gain mix amplifierarchitecture, for up to twiceas much extra headroom.Since the mix amp is whereall the signals cometogether, we built ours todeal with lots of hot signalsand still supply astonishingheadroom and low noise.
VLZ — Very Low Imped-ance — is another reasonthat the SR24•4 and 32•4are such low-noise mar-vels. VLZ architecturemeans minuscule noiselevels in both live andrecording situations. Ther-mal noise is created inevery bit of circuitry insidea console; Mackie’s VLZdesign reduces thermalnoise by making internalconsole impedances aslow as possible, in asmany places as possible.In the live arena, thesound in the mains willbe as quiet as a churchmouse (when there’s noother sound comingthrough). And in record-ing, VLZ’s low noise willgarner pristine tracks onanalog tape, digital tape,hard disk — whatever themedium, the SR Series con-soles are incredibly quiet.
VLZVERY LOW IMPEDANCE DESIGN
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EQ
9MUT
SOLO SOLO
MUTE / SOLOMUTE / SOLO MUTE / SOLO MUTE / SOLO MUTE / SOLO MUTE / SOLO MUTE / SOLO MUTE / SOLO MU
SOLO SOLO SOLO SOLO SOLO SOLO
PAN PAN PAN PAN PAN PAN PAN PAN PAN
4 4 4 4 4 4 4 4
Recording flexibility.Because the SR Series’
buses are “double-bussed,”outputs to an 8-track re-corder (like ADAT orDA-88) are a snap and canbe achieved withoutrepatching. Plus, thePhones/Control Roomswitch and level control isconnected to two stereophone outputs and theControl Room output, let-ting you route the stereoTape Return to Phones/Control Room for 2-trackrecording and monitoring.
With the Tape Return fea-ture, a stereo tape deck canbe monitored, whether it’sbeing used to record a liveevent, or for music playback.Tape Return to Phones/C-Rroutes the tape playbacksignal into the monitor sys-tem and meters, and theTape Return knob adjuststhe level of the tape play-back. The playback signalfrom the tape deck can belistened to via headphonesand levels can be checkedvia the SR24•4 or 32•4’smeters. Of course, theSR24•4 and 32•4 have RCA-style Tape Outs for output toconventional cassette decks,as well as 1/4” balancedouts. They also have XLRouts for use with DAT re-corders and other proequipment. Tape signals canalso be assigned directly tothe Main Mix, replacing itsusual signals, making it idealfor playing “canned” musicbetween events.
Monitor mixes with effectscan be created by foldingback Aux Returns 1 & 2 intoAux Sends 1 & 2, respectively.This is great for shy vocalistswho “need” a little reverb ontheir voice.
EQ’s no problem on theSR24•4 and SR32•4. Theyhave three bands on theirmono channels, with 80Hz Loshelving, sweepable 100Hz to8kHz mids, and 12kHz Hishelving EQ. (On the stereochannels mid EQ is fixed at 3kand 800Hz.) A low cut filterwith 18dB/octave roll-off at75Hz severely lessens roomrumble, wind noise and micthumps. It allows Lo EQ to beused safely on vocals becausethe audible bass range isboosted but the unwantedfrequencies below 75Hz getcut off. No more using MidEQ for low frequency tasks.
Another Mackie break-through is an EQ circuit wecall “AIR.” It works on thetop end of the mix (via thesubmix buses), adding clar-ity to the higher frequencieswithout affecting the lowertreble octaves. The result ispositively brilliant, giving alittle atmosphere to thevocals, making old guitarstrings sound new, and gen-erally breathing life into thewhole mix.
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SUB SUB SUB SUB
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PRE FADERIN PLACE AFL
LEVEL SET
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MUTE / SOLO MUTE / SOLO MUTE / SOLO
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POWERRUDESOLOLIGHT
OPERATING LEVEL0dB = 0dBu
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AUX SENDMASTERS
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3kMIDHI
800HzMID
AIR AIR AIR AIR
LOW
SOLO SOLO SOLO SOLO
EQ
W CUT5 HzB/OCT
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18dB/OCT
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SOLO
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GLOBALAUX RETURN
ASSIGNTO SUB
SOLO
SOLO
TAPE RETURNTO PHONES / C R
TAPE RETURNTO MAIN MIX
LEFT/RIGHT
MAIN MIX
AUX 1-2
TALKBACK
LEVEL
TAPERETURN
3-4
LEFT RIGHT
L/R ASSIGN L/R ASSIGN L/R ASSIGN L/R ASSIGN
SUB SUB SUB SUB
1 2 3 4
PHONES / C-RLEVEL
MAIN MIX
SOLO
TO AUXSEND1-2
(EFX TO MONITOR)
SOLO
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L-R
1-2
3-4
L-R
1-2
3-4
L-R
1-2
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PRE1
PRE
PRE
2
3
5
6
12kHI
MID
FREQ
TRIM
9
AUX
9UTE
EQ
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PRE1
PRE
PRE
2
3
5
6
12kHI
MID
FREQ
TRIM
10
AUX
10MUTE
EQ
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PRE1
PRE
PRE
2
3
5
6
12kHI
MID
FREQ
TRIM
11
AUX
11MUTE
EQ
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OL
PRE1
PRE
PRE
2
3
5
6
12kHI
MID
FREQ
TRIM
12
AUX
12MUTE
EQ
-20
OL
PRE1
PRE
PRE
2
3
5
6
12kHI
MID
FREQ
TRIM
13
AUX
13MUTE
EQ
-20
OL
PRE1
PRE
PRE
2
3
5
6
12kHI
MID
FREQ
TRIM
14
AUX
14MUTE
EQ
-20
OL
PRE1
PRE
PRE
2
3
5
6
12kHI
MID
FREQ
TRIM
15
AUX
15MUTE
EQ
-20
OL
PRE1
PRE
PRE
2
3
5
6
12kHI
MID
FREQ
TRIM
16
AUX
16MUTE
EQ
-20
OL
PRE1
PRE
PRE
2
3
5
6
12kHI
MID
FREQ
TRIM
17
AUX
17MUTE
EQ
-20
OL
PRE1
PRE
PRE
2
3
5
6
12kHI
MID
FREQ
TRIM
18
AUX
18MUTE
EQ
-20
OL
PRE1
PRE
PRE
2
3
5
6
12kHI
MID
FREQ
TRIM
19
AUX
19MUTE
EQ
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OL
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OL
-20
OL
PRE1
PRE
PRE
2
3
5
6
12kHI
MID
FREQ
TRIM
20TRIM
2122
TRIM
2324
AUX
PRE1
PRE
PRE
2
3
5
6
AUX
PRE1
PRE
PRE
2
3
5
6
AUX
20MUTE
EQ
21 22MUTE
23 24
TRACK
1•5
TRACK
2•6
TRACK
3•7
TRACK
4•8
MUTE
SOLO
MODE
SUBAUX
PRE FADERIN PLACE AFL
LEVEL SET
SOLO 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
PANPANPAN PANAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN
4 4 4 4 4 4 4 4 4 4 4 4 4
POWERRUDESOLOLIGHT
OPERATING LEVEL0dB = 0dBu
VLZ – Very Low Impedancecircuitry for low noiseHigh headroom, low-noise micpreamps (–129.5dBm E.I.N.)3-Band EQ with SweepableMids: 80Hz, 100Hz–8kHzswept mid, 12kHz (Mids fixedat 800Hz & 3kHz for 4-bandEQ on stereo channels)60mm log-taper faderswith lip seal and long-wearingcontact material“AIR” high frequency EQcircuit on sub tracks 1-86 aux sends6 aux returns, 2 switchablepre- or post-fader (2 fixedpre- and 2 fixed post-fader)4 submix busesPhones/Control Room levelcontrol for 2-track monitoringPFL/AFL Solo (globallyswitchable)Constant-loudness pan pots“Double-bussed” sub outs for8-track recordingBalanced inputs & outputs(except RCAs & channel inserts)Trim control on each chan-nel for wide gain range
The SR Series: The mostaffordable, full-featured
mixing consoles available.As you can see, there is
every reason that theSR24•4 and 32•4 are fastbecoming the premier,affordable 4-bus mixingconsoles. With their provendurability, professionalfeatures and specs, andcertainly not least, the lowcost — the SR Series is des-tined to be a classic. Thereare no other mixing con-soles in their class, with allthese features, at such anaffordable price.
And that’s why peoplefrom all professions, withall kinds of different appli-cations, prefer Mackie’s SRSeries. You’ll like thembecause of the SR24•4 and32•4’s low price, easy-to-use features, and ruggedconstruction. That’s got tosound good. And ofcourse, Mackie does.
protection from RF interfer-ence. (As you well know,many installations sufferfrom such problems.)Metal lockwashers makeelectrical contact betweenthe jack and outer chassis,and an internal shuntingcapacitor is placed fromeach input to ground. Thisroutes RF back through themetal chassis, where it isdissipated before it canpropagate via the SR24•4or 32•4’s circuit boards.
The SR Series consoleshave built-in power sup-plies (instead of a “wallwart,” which takes up pre-cious outlet spaces and canget lost or damaged), soyou’re sure to have plentyof power. We could go onand on, but suffice to saythat people who havehauled their SR24•4s and32•4s all over the countrywill attest to their durability.They’ll hold up to years ofuse with nary a problem.
The main chassis of theSR24•4 and SR32•4 mixingconsoles is made of solid steelmonocoque construction.Because the steel doesn’t flex,the console itself is quitesturdy. And at the same time,the SR Series consoles don’tweigh a ton, either.
Controls are designed towithstand serious downwardimpact. From a fistpounding toa heavy box dropping, theSR Series’ knobs can take it.We also use sealed controlsrather than open-framepotentiometers that eventuallydeteriorate from airbornecontamination. Switches areultra-high duty-cycle. Andinside, impact-resistant,double-thru-hole-plated fiber-glass circuit boards, brassstandoffs, and gold-platedinterconnects abound.
The SR24•4 and 32•4’s60mm faders are made withthe same precision log taperas those on our 8•Bus con-soles. Besides giving smooth,consistent fades, these faderswere built to last. They have anewly-developed, ultra-tightlip seal made of a specialco-polymer membrane thatprovides a continuously-sealed barrier against dustand liquid, yet doesn’tinterfere with fader travel.
There’s more. 1/4” jacksleeves are metal, notplastic. That’s part of thereason why the SR24•4 and32•4 have such exceptional
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3TRIM: MIC GAIN- +10 to +60 dB LINE GAIN- -10 to +40 dB
LO CUT
MUTE
INSERT -20 dB LED
EQLO MID HI
80 8k 12k100-
GAIN
FREQ GAIN
FREQ
FADER
PAN
O/L LEDASSIGN
SWITCHES
1-2
3-4
L-R
SOLO INPLACE
PFL
LOGIC
MUTE LED(STEADY)SOLO LED
(FLASHING)
AUX 1
AUX 2
AUX 3
AUX 4
AUX 5
AUX 6
PREMONO INPUT
CHANNELSR 24•4 (1 of 20)SR32•4 (1 of 32)
BOLD LINES INDICATE SIGNAL PATH FROM MIC
INPUT TO LEFT MAIN OUTPUT.
LEFT(MONO)
RIGHT
TRIM
-20dBLED
MUTE
LO LO- HI- HIMID MID
LO LO- HI- HI
80 800 3k 12kMID MID
O/LLED
FADER
LINE GAIN--20 TO +20dB
+-
+-
+-
MUTE LED(STEADY)SOLO LED
(FLASHING
AUX 1
AUX 2
AUX 3
AUX 4
AUX 5
AUX 6
PRESTEREOINPUT
CHANNEL(1 OF 2)
MACKIE SR24•4/SR32•4BLOCK DIAGRAM Rev. 1.5 5/11/95
STOPLIGHTEXIT 27B
316 GLENDALE(KNOCK FIRST)
TALKBACKXLR INPUT LEVEL TB TO AUX 1-2
TB TO L-R MIX
MICIN
LINEIN
SUB
1S
UB 2
SUB
3S
UB 4
L M
IXR
MIX
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SOLO INPLACE
PFL
LOGIC
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MACKIEMIC PREAMP
75HzHPF
®
Pro features evenamateurs canunderstand.
“Most significant [aboutthe SR Series] is the largedegree of flexibility whileretaining ease of use. Typi-cally these two factors are atodds — the more somethingdoes, the harder it is to makeit do what you want. Not sowith the SR24•4. Things arelaid out very logically, mak-ing operation very intuitive.”— J.H., Kathleen, GA
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AUX RET 4 IN
AUX RET 3 IN
AUX RET 1 (2) IN
LEVEL
LEVELSOLO
SOLO LED
AUXSEND
(1 OF 6)
AUX 1OUTPUT
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+-
+-
+-
+-
+-
L
L
L
R
R
R
L
R
PHONESOUTPUTS
PHONESAMPS
RELAY
AUX SEND 1 (2)
SOLOLEVEL
PFL/SIP
LEVELRUDE SOLO LED
TAPE TOMONITOR
L
R
CONTROL ROOM OUT
SOLO RELAYTAPE IN
R MIX
L MIX INSERTS FADER
RIGHTXLROUT
LEFTXLROUT
MONOXLROUT
RIGHTOUT
R
LTAPE OUT
LEFTOUT
MONOLEVEL
SUBOUT
1
SUBOUT
5
FADER
SUB OUT 1 (1 OF 4)
ASSIGNTO L-R
PAN
TAPE TO L-R
SOLO
PFL
LOGIC
GAIN
AIR16kHz
+22+10+7+4+20-2-4-7-10-20-30-40
METERS
AUX
1A
UX 2
AUX
3A
UX 4
AUX
5
AUX
6
SOL
O L
SOL
O R
PFL
LOG
IC
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LEVEL
ØdBu=Ø VU∑
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Mackie’s SR Series wasdesigned with professionals— and amateurs — in mind.That’s why they feature 4submix buses — “double-bussed” for 8-track recording,6 aux sends on each inputchannel, VLZ® Very LowImpedance design, Mackie’sbrand new “AIR” EQ circuit,high-headroom mic preamps,constant-power pan pots, 4aux returns, and more.
The SR Series mixing con-soles are great for live musicfestivals, theatrical revues, orany event with lots of per-formers. The SR24•4 has 24inputs and the SR32•4 has32 (the last two channelstrips on each are stereo, forplayback of tape decks orCD players). With 20 and 28mic preamps, respectively,the SR Series consoles arebig enough to handle major-sized acts or performances.
6 aux sends make theSR24•4 and 32•4 veryadaptable to systems withmany effects. Pre-faderauxes are great for monitorsends — which you needmore of for live mixing. Post-fader aux sends are foreffects, which you usuallywant more of during studiotracking and mixdown.
You get both with theSR Series. Aux Sends 1 & 2are pre-fader, Aux Sends 3 &4 can be used either pre- orpost-fader, and Aux Sends5 & 6 are post-fader. For livemixing, you can have fourpre-fader auxes (Aux Sends1-4), and therefore four dif-ferent monitor mixes, as wellas two post-fader auxes foreffects. For studio recording,you can have four post-faderauxes (Aux Sends 3-6), foruse with all the effects pro-cessors in your rack, plustwo pre-fader auxes forheadphone mixes.
MACKIE DESIGNS INC.16220 Wood-Red Road NE • Woodinville, WA 98072 USA
Toll-Free 800/258-6883 • FAX 425/487-4337Outside the U.S., Phone 206/487-4333 • FAX 425/485-1152
• 6 Aux Send Solo switches
• Master Solo LED (“Rude SoloLight”)
• 13-segment LED metering
• SOLO section: Level controlwith 15dB max. gain, AFL(SIP)/PFL switch, Aux & SubSolo LED indicators
• TALKBACK section: Level control,Main Mix & Aux 1–2 assignswitches, Talkback LED indicator,balanced dynamic mic XLR inputon rear panel
• Tape return level control, TapeReturn To Master switch
• Phones/Control Room levelcontrol
• Submix buses: AIR HF peak-ing EQ, Pan control, L/R assign
REAR PANEL• All inputs and outputs
balanced/unbalanced (exceptchannel inserts & RCA jacks)
• INSERTS: all mono channels,submix buses, main L/R mix
• INPUTS: balanced mono line &mic (mono channels)/balancedstereo line (stereo channels),balanced stereo aux returns,RCA-type stereo tape returns,XLR talkback mic
• OUTPUTS: 1/4” TRS Main L/R,XLR Main L/R, XLR Mono Mainwith output level control, stereoControl Room, Headphones (2),Submix (double-bussed for easy usewith 8-trackrecorders), monoAux Sends, RCA-type stereo TapeSend
• Global phantompower switching(48V)
CONFIGURATIONS• SR24•4: 24x4x2x1, 20 mono
channels with mic preampsand line inputs, 2 stereo chan-nels with line inputs only
• SR32•4: 32x4x2x1, 28 monochannels with mic preampsand line inputs, 2 stereo chan-nels with line inputs only
CHANNEL STRIP• Trim control: 10dB attenuation to
40dB gain, line inputs; 10-60dBgain mic inputs
• 6 mono aux sends: 1 & 2 pre-fader, 3 & 4 switchable pre/post,5 & 6 post-fader
• Hi shelving EQ: 12kHz, ±15dB
• Midrange EQ (mono channels):100Hz-8kHz swept peakingmid, ±15dB
• Midrange EQ (stereo channels):3k fixed Hi mid, 800Hz fixed Lomid, ±15dB
• Lo shelving EQ: 80Hz, ±15dB
• Lo cut filter: 75Hz cut-off, 18dB/octave (mono channels only)
• Constant loudness Pan (monochannels), Balance (stereochannels)
• –20dB Signal Present LED, Over-load LED, Mute/Solo LED
• Solo (AFL/PFL switchable viamaster section)
• 1–2 & 3–4 Submix Assign andL/R Main Mix Assign switches
• 60mm logarithmic-taper faders
MASTER SECTION• 6 aux send masters with individual
Solo switches, 10dB max. gain
• 4 stereo aux returns, 20dB max.gain. Aux 4 assignable to Subs1–2 or 3–4
• Aux Return 1 & 2 foldback to AuxSend 1 & 2, respectively (EFX TOMONITOR), 15dB max. gain
• Global Aux Return Solo switch
DIMENSIONS• SR24•4: H*xWxD:
5.65”x31”x19.2”(143.5x787.4x487.7mm),Weight: 31 lbs.
• SR32•4: H*xWxD:5.75”x39.25”x19”(146x997x483mm),Weight: 40.7 lbs
* Maximum height at rear panel
31.00"
19.2
0"
5.60" 2.80"
18.90"
1.30" 1.80" 2.80" 0.50"
19.20"
SPECIFICATIONS
SR24•4
SR32•4
39.25"
19.2
0"
Mackie Designs Inc. is engaged in a continuous program of prod-uct evaluation and improvement and reserves the right to changeproduct specifications at any time without notice.©1996-1998 Mackie Designs Inc. All rights reserved. Rev. 2/98“Mackie.,” VLZ, and the “Running Man” figure are registeredtrademarks of Mackie Designs Inc.
®