Mackie SR40•8 Owner's Manual

SR40•8/SR56•8 OWNER’S MANUAL INSERT RETURN INSERT SEND DIRECT OUT MIC 40 LINE IN 40 6 5 7 1 2 3 4 8 HI HI 12k 3-4 5-6 7-8 1-2 L-R MID MID EQ 80Hz 40 FREQ FREQ FREQ LOW LOW EQ IN AUX TRIM +48 PH CENTER 6k 350 700 220 3k 40 0 800 PRE 15k IN +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 E +15

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O 150 M L 250 O O O O O O O 2.5k GAIN PRE FDR PRE POST EQ O O O O O O O O PAN LR 060 30 45 SOLO -15 -15 -15 O -15 500 MUTE 20dB +40dB 40 INSERT RETURN – 75 O INSERT SEND 40 HPF 70 DIRECT OUT 5 5 60 50 40 45 20 30 dB U 7 4 2 2 4 7 10 10 700 0 MIC 39 10 20 30 22 10 LINE IN 39 6 5 7 1 2 3 4 8 HI HI 12k 3-4 5-6 7-8 1-2 L-R MID MID EQ 80Hz 39 FREQ FREQ FREQ LOW LOW EQ IN AUX TRIM +48 PH CENTER 6k 350 700 220 3k 39 0 800 PRE 15k IN +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 E +15

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O 150 M L 250 O O O O O O O 2.5k GAIN PRE FDR PRE POST EQ O O O O O O O O PAN LR 060 30 45 SOLO -15 -15 -15 O -15 500 MUTE 20dB +40dB 39 INSERT RETURN – 75 O 39 INSERT SEND HPF 70 5 5 60 50 40 45 DIRECT OUT 20 30 dB U 7 4 2 2 4 7 10 10 700 0 10 20 30 22 10 MIC 38 LINE IN 38 6 5 7 1 2 3 4 8 HI HI 12k 3-4 5-6 7-8 1-2 L-R MID MID EQ 80Hz 38 FREQ FREQ FREQ LOW LOW EQ IN AUX TRIM +48 PH CENTER 6k 350 700 220 3k 38 0 800 PRE 15k IN +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 E +15

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O 150 M L 250 O O O O O O O 2.5k GAIN PRE FDR PRE POST EQ O O O O O O O PAN O LR 060 30 45 SOLO -15 -15 -15 O -15 500 MUTE 20dB +40dB 38 – 75 O INSERT RETURN 38 HPF INSERT SEND 70 5 5 60 50 40 45 20 30 dB U 7 4 2 2 4 7 10 10 DIRECT OUT 700 0 10 20 30 22 10 MIC 37 LINE IN 37 6 5 7 1 2 3 4 8 HI HI 12k 3-4 5-6 7-8 1-2 L-R MID MID EQ 80Hz 37 FREQ FREQ FREQ LOW LOW EQ IN AUX TRIM +48 PH CENTER 6k 350 700 220 3k 37 0 800 PRE 15k IN +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 E +15

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O 150 M L 250 O O O O O O O 2.5k GAIN PRE FDR PRE POST EQ O O O O O O O O PAN LR 060 30 45 SOLO -15 -15 -15 O -15 500 MUTE 20dB +40dB 37 – 75 O INSERT RETURN 37 HPF 70 INSERT SEND 5 5 60 50 40 45 20 30 dB U 7 4 2 2 4 7 10 10 700 0 DIRECT OUT 10 20 30 22 10 MIC 36 LINE IN 36 6 5 7 1 2 3 4 8 HI HI 12k 3-4 5-6 7-8 1-2 L-R MID MID EQ 80Hz 36 FREQ FREQ FREQ LOW LOW EQ IN AUX TRIM +48 PH CENTER 6k 350 700 220 3k 36 0 800 PRE 15k IN +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 E +15

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O 150 M L 250 O O O O O O O 2.5k GAIN PRE FDR PRE POST EQ O O O O O O O O PAN LR 060 30 45 SOLO -15 -15 -15 O -15 500 MUTE 20dB +40dB 36 – 75 O INSERT RETURN 36 HPF 70 5 5 60 50 40 45 20 30 dB U INSERT SEND 7 4 2 2 4 7 10 10 700 0 DIRECT OUT 10 20 30 22 10 MIC 35 LINE IN 35 6 5 7 1 2 3 4 8 HI HI 12k 3-4 5-6 7-8 1-2 L-R MID MID EQ 80Hz 35 FREQ FREQ FREQ LOW LOW EQ IN AUX TRIM +48 PH CENTER 6k 350 700 220 3k 35 0 800 PRE 15k IN +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 E +15

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O 150 M L 250 O O O O O O O 2.5k GAIN PRE FDR PRE POST EQ O O O O O O O O PAN LR 060 30 45 SOLO -15 -15 -15 O -15 500 MUTE 20dB +40dB 35 – 75 O 35 INSERT RETURN HPF 70 5 5 60 50 40 45 20 30 dB U 7 4 2 2 4 7 10 10 700 INSERT SEND 0 10 20 30 DIRECT OUT 22 10 MIC 34 LINE IN 34 6 5 7 1 2 3 4 8 HI HI 12k 3-4 5-6 7-8 1-2 L-R MID MID EQ 80Hz 34 FREQ FREQ FREQ LOW LOW EQ IN AUX TRIM +48 PH CENTER 6k 350 700 220 3k 34 0 800 PRE 15k IN +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 E +15

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O 150 M L 250 O O O O O O O 2.5k GAIN PRE FDR PRE POST EQ O O O O O O O PAN O LR 060 30 45 SOLO -15 -15 -15 O -15 500 MUTE 20dB +40dB 34 – 75 O 34 HPF INSERT RETURN 70 5 5 60 50 40 45 20 30 dB U 7 4 2 2 4 7 10 10 700 0 INSERT SEND 10 20 30 22 10 DIRECT OUT MIC 33 LINE IN 33 6 5 7 1 2 3 4 8 HI HI 12k 3-4 5-6 7-8 1-2 L-R MID MID EQ 80Hz 33 FREQ FREQ FREQ LOW LOW EQ IN AUX TRIM +48 PH CENTER 6k 350 700 220 3k 33 0 800 PRE 15k IN +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 E +15

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O 150 M L 250 O O O O O O O 2.5k GAIN PRE FDR PRE POST EQ O O O O O O O O PAN LR 060 30 45 SOLO -15 -15 -15 O -15 500 MUTE 20dB +40dB 33 – 75 O 33 HPF 70 5 5 INSERT RETURN 60 50 40 45 20 30 dB U 7 4 2 2 4 7 10 10 700 0 INSERT SEND 10 20 30 22 10 DIRECT OUT MIC 32 LINE IN 32 6 5 7 1 2 3 4 8 HI HI 12k 3-4 5-6 7-8 1-2 L-R MID MID EQ 80Hz 32 FREQ FREQ FREQ LOW LOW EQ IN AUX TRIM +48 PH CENTER 6k 350 700 220 3k 32 0 800 PRE 15k IN +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 E +15

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O 150 M L 250 O O O O O O O 2.5k GAIN PRE FDR PRE POST EQ ™ O O O O O O O O PAN LR 060 30 45 SOLO -15 -15 -15 O -15 500 MUTE 20dB +40dB 32 – 75 O 32 HPF 70 5 5 60 50 40 45 20 30 dB U INSERT RETURN 7 4 2 2 4 7 10 10 700 0 10 20 30 22 10 INSERT SEND DIRECT OUT MIC 31 LINE IN 31 6 5 7 1 2 3 4 8 HI HI 12k 3-4 5-6 7-8 1-2 L-R MID MID EQ 31 80Hz FREQ FREQ FREQ LOW LOW EQ IN AUX TRIM +48 PH CENTER 6k 350 700 220 3k 31 0 800 PRE 15k IN +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 E +15

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O 150 M L 250 O O O O O O O 2.5k GAIN PRE FDR PRE POST EQ O O O O O O O O PAN LR 060 30 45 SOLO -15 -15 -15 O -15 500 MUTE 20dB +40dB 31 – 75 O 31 HPF 70 5 5 60 50 40 45 20 30 dB U 7 4 2 2 4 7 10 10 700 INSERT RETURN 0 10 20 30 22 10 INSERT SEND DIRECT OUT MIC 30 LINE IN 30 6 5 7 1 2 3 4 8 HI HI 12k 3-4 5-6 7-8 1-2 L-R MID MID EQ 80Hz 30 FREQ FREQ FREQ LOW LOW EQ IN AUX TRIM +48 PH CENTER 6k 350 700 220 3k 30 0 800 PRE 15k IN +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 E +15

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O 150 M L 250 O O O O O O O 2.5k GAIN PRE FDR PRE POST EQ O O O O O O O O PAN LR 060 30 45 SOLO -15 -15 -15 O -15 500 MUTE 20dB +40dB 30 – 75 O 30 HPF 70 5 5 60 50 40 45 20 30 dB U 7 4 2 2 4 7 10 10 700 0 INSERT RETURN 10 20 30 22 10 INSERT SEND DIRECT OUT MIC 29 LINE IN 29 6 5 7 1 2 3 4 8 HI HI 12k 3-4 5-6 7-8 1-2 L-R MID MID EQ 80Hz 29 FREQ FREQ FREQ LOW LOW EQ IN AUX TRIM +48 PH CENTER 6k 350 700 220 3k 29 0 800 PRE 15k IN +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 E +15

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O 150 M L 250 O O O O O O O 2.5k GAIN PRE FDR PRE POST EQ O O O O O O O O PAN LR 060 30 45 SOLO -15 -15 -15 O -15 500 MUTE 20dB +40dB 29 – 75 O 29 HPF 70 5 5 60 50 40 45 20 30 dB U 7 4 2 2 4 7 10 10 700 0 10 20 30 INSERT RETURN 22 10 INSERT SEND DIRECT OUT MIC 28 LINE IN 28 6 5 7 1 2 3 4 8 HI HI 12k 3-4 5-6 7-8 1-2 L-R MID MID EQ 80Hz 28 FREQ FREQ FREQ LOW LOW EQ IN AUX TRIM +48 PH CENTER 6k 350 700 220 3k 28 0 800 PRE 15k IN +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 E +15

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O 150 M L 250 O O O O O O O 2.5k GAIN PRE FDR PRE POST EQ O O O O O O O O PAN LR 060 30 45 SOLO -15 -15 -15 O -15 500 MUTE 20dB +40dB 28 – 75 O 28 HPF 70 5 5 60 50 40 45 20 30 dB U 7 4 2 2 4 7 10 10 700 0 10 20 30 22 10 INSERT RETURN INSERT SEND DIRECT OUT MIC 27 LINE IN 27 6 5 7 1 2 3 4 8 HI HI 12k 3-4 5-6 7-8 1-2 L-R MID MID EQ 80Hz 27 FREQ FREQ FREQ LOW LOW EQ IN AUX TRIM +48 PH CENTER 6k 350 700 220 3k 27 0 800 PRE 15k IN +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 E +15

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O 150 M L 250 O O O O O O O 2.5k GAIN PRE FDR PRE POST EQ O O O O O O O O PAN LR 060 30 45 SOLO -15 -15 -15 O -15 500 MUTE 20dB +40dB 27 – 75 O 27 HPF 70 5 5 60 50 40 45 20 30 dB U 7 4 2 2 4 7 10 10 700 0 10 20 30 22 10 INSERT RETURN INSERT SEND DIRECT OUT MIC 26 LINE IN 6 26 5 7 1 2 3 4 8 HI HI 12k 3-4 5-6 7-8 1-2 L-R MID MID EQ 80Hz 26 FREQ FREQ FREQ LOW LOW EQ IN AUX TRIM +48 PH CENTER 6k 700 350 220 3k 0 15k IN 800 PRE +15 +15 +15 +15

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M L 250 O 150 2.5k O O O O O O O GAIN PRE FDR PRE POST EQ O O O O O O O O PAN LR 060 45 30 SOLO -15 -15 -15 O -15 500 20dB +40dB MUTE 26 – 75 O 26 HPF 70 5 5 60 50 40 45 20 30 dB U 700 7 4 2 2 4 7 10 10 0 10 20 30 22 10 INSERT RETURN INSERT SEND DIRECT OUT MIC 25 LINE IN 6 5 7 1 2 3 4 8 25 HI HI 12k 3-4 5-6 7-8 1-2 L-R MID MID EQ 80Hz 25 FREQ FREQ FREQ LOW LOW EQ IN AUX TRIM +48 PH CENTER 6k 700 350 220 3k 25 26 0 15k IN 800 PRE +15 +15 +15 +15

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M L 250 O 150 2.5k O O O O O O O GAIN PRE FDR PRE POST EQ O O O O O O O O PAN LR 060 45 30 SOLO -15 -15 -15 O -15 500 20dB +40dB MUTE 25 – 75 O 25 HPF 70 5 5 60 50 40 45 20 30 dB U 700 10 10 (MACKIE 400-WATT POWER SUPPLY !) SET (AFL) LEVEL SUB SUB L/R ON 5 1 DC POWER IN 400Hz AUX 1-4 AUX 5-8 PINK NOISE EXTERNAL MAX MAX MAX MAX MAX 7 4 2 4 7 2 0 10 20 30 22 10 O O O O O CALL O O O O O LEVEL IGNORE RECEIVE ASSIGN PHONES PHONES RIGHT TALKBACK SOLO LEVEL OSCILLATOR TALKBACK LEVEL TALKBACK PHANTOM POWERED INTERCOM TALKBACK MIC MATRIX B MATRIX C MATRIX D MATRIX A COMMUNICATIONS SUB SUB 6 2 +10 +10 +10 +10 +10 +10 +10 +10 +10 +10 +10 +10 SOLO MUTE U U U U U U U U U U U U O O O O O O O O O O O O D SUB OUTPUTS O O O O O O O O O O O O O MATRIX D O MASTER 5 5 60 50 40 20 30 dB U 10 10

L & R R = L/R LEFT FADER LINK +10 +10 +10 +10 +10 +10 +10 +10 +10 +10 +10 +10 SOLO MUTE U U U U U U U U U U U U O O O O O O O O O O O O C III MIDI OUT MIDI IN SOLO SOLO O O O O O O O O O O O O O LEFT RIGHT SUB O SUB MATRIX 5 5 60 50 40 20 30 dB 3 U 7 10 10 C SET (PFL) LEVEL DATA +10 +10 +10 +10 +10 +10 +10 +10 +10 +10 +10 +10 SOLO MUTE U U U U U U U U U U U U O O O O O O O O O O O O B O O O O O O O O O O O O MATRIX MASTER MASTER MASTER B SUB SUB 8 4 O O 5 5 60 50 40 20 30 dB U 10 10 7 4 2 2 4 7 CENTER 0 CENTER 10 20 30 +10 +10 +10 +10 +10 +10 +10 +10 +10 +10 +10 +10 22 10 SOLO MUTE U U U U U U U U U U U U ABCD O O O O O O O O O O O O A O O O O O O O O O O O O MATRIX MASTER A 40•8•2 AUDIO MIXING CONSOLE CLIP CLIP CLIP PHANTOM POWERED AKBC MIC TALK BACK 2 8 1 7 3 4 5 6 EDRETURN SEND RETURN SEND RETURN SEND RETURN SEND SUB SUB CTR SUB SUB SUB SUB SUB SUB LEFT RIGHT FLIP 4 3 2 1 +10 +15 MUTE INPUTS 5 U OUTPUTS 8 9 L-R O 0-9 RUDE 16kHz PAN O LR 0 O CENTER DO IT PFL PFL O AFL AFL SOLO LIGHT 5 5 60 50 40 20 30 dB U 10 10 MUTE SUB INSERTS 7 4 2 2 4 7 0 10 20 30 22 10 (BAL/UNBAL) INTERCOM 8 FLIP SOLO SOLO +10 +15 +15 CLEAR MUTE 5 U U 7 O O L-R 16kHz MUTE O O PAN LR 0 O CENTER EDRETURN SEND RETURN SEND RETURN SEND RETURN SEND LINE OUT O 5 5 MONITOR SOLO 60 50 40 20 30 dB U 10 10 7 4 2 2 4 7 0 10 20 30 22 10 STORE 8 7 6 5 FLIP SOLO SOLO MUTE +10 +15 +15 MUTE 5 U U 6 O O L-R 16kHz O O PAN LEVEL LR 0 O CENTER TAPE B O LEFT 5 5 60 50 40 20 30 dB U 10 10 MUTE 7 4 2 2 4 7 0 10 20 30 22 10 PREVIEW STATUS FLIP V.- 5 V 12 V 48 V SOLO SOLO MUTE +10 RIGHT SEND +15 +15 CNTR SEND LEFT SEND MUTE 5 U U TAPE RETURNS -NETR-INSERT L-INSERT 5678 POWER SUPPLY 5 L-R O O 16kHz PAN LEVEL O O LR 0 O CENTER MAIN INSERTS TAPE A V.+ MAIN OUTPUTS O SYSTEM BY PASS 5 5 60 50 40 20 30 dB U 10 10 (BAL/UNBAL) 7 4 2 2 4 7 0 10 20 30 22 10 RIGHT RIGHT RETURN CNTR RETURN LEFT RETURN FLIP SOLO MUTE +10 +15 +15 MUTE 4 PFL AFL 5 U U ™ 4 O O L-R B 16kHz O PAN O LEVEL LR CENTER O 0 AUX SEND MASTERS CENTER OUTPUT SECTION O ASSIGNED TO 5 5 60 50 40 20 30 dB U 10 10 7 4 2 2 4 7 0 10 20 30 22 10 HEADPHONES MONITOR CENTER (BAL/UNBAL) FLIP TALKBACK SOLO MUTE +10 +15 +15 MUTE PFL AFL 3 5 U U 3 O O L-R R L B 16kHz O PAN O INPUT LEVEL LR 0 O CENTER SECTION O 5 5 60 50 40 20 30 dB U ULTRA MUTE 10 10 7 4 2 2 4 7 0 10 20 30 22 10 MODE FLIP SOLO SOLO SOLO SOLO MUTE +15 +10 +15 MAX MUTE AUX RETURNS 2 5 U U 2345678 2 O O L-R 4 3 2 1 B 16kHz O O PAN LEVEL LR METER 0 O CENTER AUX SEND MATRIX A O LOW (BAL/UNBAL) 5 5 60 50 40 20 30 dB U 10 10 MUTE MUTE MUTE MUTE MUTE MUTE 7 4 2 2 4 7 0 10 20 30 22 10 DIMMER METERING FLIP SOLO SOLO MUTE +10 +15 +15 MAX MUTE 1 5 GRP SNAP 8 7 5 U 6 U 1234 1 1 O O L-R AIR AIR AIR AIR AIR AIR AIR AIR 01234567 16kHz B LEVEL O LAMP PAN O LR SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO 0 O CENTER ASSIGN ASSIGN ASSIGN ASSIGN ASSIGN ASSIGN ASSIGN ASSIGN O LOW 12345678 5 5 60 50 40 20 30 dB U 10 10 MUTE MATRIX B (MONO) (MONO) (MONO) (MONO) CLIP "B" AUX RETURNS ARXOTUSMATRIX INPUTS MATRIX OUTPUTS L L L L 4 (BAL/UNBAL) 5 6 1 2 3 4 7 8 HI HI 12k 7-8 3-4 5-6 1-2 3.5k MID EQ L-R MID 80Hz LOW LOW 800Hz AUX A TRIM CENTER 4 3 1 2 PRE A4 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 EQ IN U U U U U U U U U U U U U O O O O O O O O 150 Hz PRE FDR PRE POST EQ MATRIX C O O O O O O O PAN O LOW CUT R R R R 18dB/OCT LR 20 +20 - SOLO O -15 -15 -15 -15 A4 O MUTE A4 5 5 60 50 40 20 30 dB U 10 10 7 4 2 2 4 7 0 10 20 30 22 10 3 5 6 1 2 3 4 7 8 HI HI 12k 3-4 5-6 7-8 R R 1-2 3.5k L L L-R MID EQ MID 80Hz LOW LOW 800Hz AUX A TRIM CENTER NU OUTPUT INPUT OUTPUT INPUT TAPE AETAPE TAPE PRE A3 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 EQ IN U U U U U U U U U U U U U O O O O O O O O 150 Hz PRE FDR PRE TAPE A TAPE B POST EQ TAPE O PAN O O O MATRIX D O O O O LOW CUT 18dB/OCT LR 20 +20 - SOLO O -15 -15 -15 -15 A3 O MUTE A3 5 5 60 50 40 20 30 dB U 10 10 MATRIX C&D MASTER L-R SOURCE = 7 4 2 2 4 7 SOURCE = 0 10 20 30 TAPE 22 10 2 5 6 1 2 3 4 7 8 HI HI 12k 3-4 5-6 7-8 1-2 3.5k MID EQ L-R MID 80Hz LOW LOW 800Hz AUX A TRIM CENTER L R R L PRE A2 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 (MONO) (MONO) (MONO) (MONO) C A EQ IN U U U U U U U U U U U U U O O O O O O O O 150 Hz PRE FDR PRE POST EQ MAIN AUX RETURNS O PAN O O O O O O O LOW CUT 18dB/OCT LR 20 +20 - SOLO -15 O -15 -15 -15 A2 O MUTE L L L L A2 5 5 60 50 40 20 30 dB U 10 10 7 4 2 2 4 7 0 10 20 30 22 10 1 A4 A3 A2 A1 5 6 1 2 3 4 7 8 HI HI 12k 5-6 3-4 7-8 1-2 3.5k MID EQ L-R MID 80Hz LOW LOW AUX 800Hz A TRIM CENTER PRE A1 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 R R R R EQ IN U U U U U U U U U U U U U O O O O O O O O 150 Hz PRE FDR PRE POST EQ O PAN O O O O O O O LOW CUT 18dB/OCT LR 20 +20 - SOLO O -15 -15 -15 -15 A1 O D B MUTE A1 5 5 60 50 40 20 30 dB U 10 10 CLIP INSERT RETURN 6 5 7 1 2 3 4 8 HI HI INSERT SEND 12k 3-4 5-6 7-8 1-2 L-R MID MID EQ DIRECT OUT 80Hz 24 FREQ FREQ FREQ LOW LOW EQ IN AUX TRIM MIC 24 +48 PH CENTER LINE IN 24 6k 350 700 220 3k 0 15k 800 800 PRE 24 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15

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M 150 L O 250 O O O O O O O 2.5k GAIN PRE FDR PRE POST EQ O O O O O O O O PAN LR 060 30 30 45 SOLO -15 -15 -15 O -15 500 20dB +40dB MUTE 24 – 75 O 24 HPF 70 5 5 60 50 45 40 20 30 dB U 10 10 700 7 4 2 2 4 7 0 10 20 30 22 10 INSERT RETURN 6 5 7 1 2 3 4 8 HI HI 12k 3-4 5-6 INSERT SEND 7-8 1-2 L-R MID MID EQ 80Hz 23 FREQ FREQ DIRECT OUT FREQ LOW LOW EQ IN AUX TRIM MIC 23 +48 PH CENTER LINE IN 6k 23 350 700 220 3k 0 15k 800 PRE 23 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15

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M 150 L O 250 O O O O O O O 2.5k GAIN PRE FDR PRE POST EQ O O O O O O O O PAN LR 060 30 800 30 45 SOLO -15 -15 -15 O -15 500 20dB +40dB MUTE 23 – 75 O 23 HPF 70 5 5 60 45 50 40 20 30 dB U 10 10 700 7 4 2 2 4 7 0 10 20 30 22 10 6 5 INSERT RETURN 7 1 2 3 4 8 HI HI 12k 3-4 5-6 7-8 1-2 INSERT SEND L-R MID MID EQ 80Hz 22 FREQ FREQ FREQ LOW LOW EQ IN DIRECT OUT AUX TRIM MIC 22 +48 PH CENTER LINE IN 6k 22 350 700 220 3k 0 15k 800 PRE 22 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15

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M 150 O L 250 O O O O O O O 2.5k GAIN PRE FDR PRE POST EQ O O O O O O O O PAN LR 060 30 800 30 45 SOLO -15 -15 -15 O -15 500 20dB +40dB MUTE 22 – 75 O 22 HPF 70 5 5 60 50 45 40 20 30 dB U 10 10 700 7 4 2 2 4 7 0 10 20 30 22 10 6 5 7 1 2 3 4 8 HI HI INSERT RETURN 12k 3-4 5-6 7-8 1-2 L-R MID MID EQ INSERT SEND 80Hz 21 FREQ FREQ FREQ LOW LOW EQ IN AUX DIRECT OUT TRIM +48 PH MIC 21 CENTER 6k LINE IN 21 350 700 220 3k 0 15k 800 PRE 21 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15

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M 150 L O 250 O O O O O O O 2.5k GAIN PRE FDR PRE POST EQ O O O O O O O O PAN LR 060 30 800 30 45 SOLO -15 -15 -15 O -15 500 20dB +40dB MUTE 21 – 75 O 21 HPF 70 5 5 60 50 45 40 20 30 dB U 10 10 700 7 4 2 2 4 7 0 10 20 30 22 10 6 5 1 7 2 3 4 8 HI HI INSERT RETURN 12k 3-4 5-6 7-8 1-2 L-R MID MID EQ 80Hz 20 FREQ FREQ FREQ INSERT SEND LOW LOW EQ IN AUX TRIM DIRECT OUT +48 PH MIC 20 CENTER 6k LINE IN 350 700 20 220 3k 0 15k 800 PRE 20 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15

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M 150 L O 250 O O O O O O O 2.5k GAIN PRE FDR PRE POST EQ O O O O O O O O PAN LR 060 30 800 30 45 SOLO -15 -15 -15 O -15 500 20dB +40dB MUTE 20 – 75 O 20 HPF 70 5 5 60 50 45 40 20 30 dB U 10 10 700 7 4 2 2 4 7 0 10 20 30 22 10 6 5 7 1 2 3 4 8 HI HI 12k 3-4 5-6 INSERT RETURN 7-8 1-2 L-R MID MID EQ 19 80Hz FREQ FREQ FREQ LOW LOW EQ IN INSERT SEND AUX TRIM DIRECT OUT +48 PH CENTER MIC 19 6k LINE IN 350 700 19 220 3k 0 15k 800 PRE 19 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15

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M 150 L O 250 O O O O O O O 2.5k GAIN PRE FDR PRE POST EQ O O O O O O O O PAN LR 060 30 800 30 45 SOLO -15 -15 -15 O -15 500 20dB +40dB 19 MUTE – 75 O 19 HPF 70 5 5 60 50 45 40 20 30 dB U 10 10 700 7 4 2 2 4 7 0 10 20 30 22 10 6 5 7 1 2 3 4 8 HI HI 12k 3-4 5-6 7-8 1-2 INSERT RETURN L-R MID MID EQ 18 80Hz FREQ FREQ FREQ LOW LOW EQ IN AUX TRIM INSERT SEND DIRECT OUT +48 PH CENTER MIC 18 6k 350 700 LINE IN 18 220 3k 0 15k 800 PRE 18 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15

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M 150 L O 250 O O O O O O O 2.5k GAIN PRE FDR PRE POST EQ O O O O O O O O PAN LR 060 30 800 30 45 SOLO -15 -15 -15 O -15 500 20dB +40dB 18 MUTE – 75 O 18 HPF 70 5 5 60 45 50 40 20 30 dB U 10 10 700 7 4 2 2 4 7 0 10 20 30 22 10 6 5 7 1 2 3 4 8 HI HI 12k 3-4 5-6 7-8 1-2 L-R MID MID EQ 17 INSERT RETURN 80Hz FREQ FREQ FREQ LOW LOW EQ IN AUX TRIM INSERT SEND +48 PH DIRECT OUT CENTER MIC 17 6k 350 700 LINE IN 220 17 3k 0 15k 800 PRE 17 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15

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M 150 L O 250 O O O O O O O 2.5k GAIN PRE FDR PRE POST EQ O O O O O O O O PAN LR 060 30 800 30 45 SOLO -15 -15 -15 O -15 500 20dB +40dB MUTE 17 – 75 O 17 HPF 70 5 5 60 50 45 40 20 30 dB U 10 10 700 7 4 2 2 4 7 0 10 20 30 22 10 6 5 7 1 2 3 4 8 HI HI 12k 3-4 5-6 7-8 1-2 L-R MID MID EQ 16 80Hz FREQ FREQ FREQ INSERT RETURN LOW LOW EQ IN AUX TRIM INSERT SEND +48 PH DIRECT OUT CENTER MIC 16 6k 350 700 LINE IN 220 16 3k 0 IN 15k 800 PRE 16 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15

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M 150 L O 250 O O O O O O O 2.5k GAIN PRE FDR PRE POST EQ O O O O O O O O PAN LR 060 30 800 30 45 SOLO -15 -15 -15 O -15 500 20dB +40dB 16 MUTE – 75 O 16 HPF 70 5 5 60 50 45 40 20 30 dB U 10 10 700 7 4 2 2 4 7 0 10 20 30 22 10 6 5 7 1 2 3 4 8 HI HI 12k 3-4 5-6 7-8 1-2 L-R MID MID EQ 15 80Hz FREQ FREQ FREQ LOW LOW EQ IN INSERT RETURN AUX TRIM +48 PH INSERT SEND CENTER DIRECT OUT MIC 15 6k 350 700 LINE IN 220 15 3k 0 IN 15k 800 PRE 15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15

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M 150 L O 250 O O O O O O O 2.5k GAIN PRE FDR PRE POST EQ O O O O O O O O PAN LR 060 30 800 30 45 SOLO -15 -15 -15 O -15 500 20dB +40dB 15 MUTE – 75 O 15 HPF 70 5 5 60 50 45 40 20 30 dB U 10 10 700 7 4 2 2 4 7 0 10 20 30 22 10 6 5 7 1 2 3 4 8 HI HI 12k 3-4 5-6 7-8 1-2 L-R MID MID EQ 14 80Hz FREQ FREQ FREQ LOW LOW EQ IN AUX TRIM INSERT RETURN +48 PH INSERT SEND CENTER DIRECT OUT 6k MIC 14 350 700 220 LINE IN 14 3k 0 IN 15k 800 PRE 14 +15 +15 +15 +15 +15 +15 +15 +15 +15

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M 150 L O 250 O O O O O O O 2.5k GAIN PRE FDR PRE POST EQ O O O O O O O O PAN LR 060 30 800 30 45 SOLO -15 O -15 500 -15 -15 20dB +40dB 14 MUTE – 75 O 14 HPF 70 5 5 60 45 50 40 20 30 dB U 10 10 700 7 4 2 2 4 7 0 10 20 30 22 10 6 5 7 1 2 3 4 8 HI HI 12k 3-4 5-6 7-8 1-2 L-R MID MID EQ 13 80Hz FREQ FREQ FREQ LOW LOW EQ IN AUX TRIM INSERT RETURN +48 PH INSERT SEND CENTER DIRECT OUT 6k MIC 13 350 700 220 LINE IN 3k 13 0 IN 15k 800 PRE 13 +15 +15 +15 +15 +15 +15 +15 +15 +15

E +15 +15 +15

N I U

I U

U U U U U U U U U

M 150 L O 250 O O O O O O O 2.5k GAIN PRE FDR PRE POST EQ O O O O O O O O PAN LR 060 30 800 30 SOLO -15 O -15 -15 -15 500 20dB +40dB 13 MUTE – 75 O 13 HPF 70 5 5 60 45 50 40 20 30 dB U 10 10 700 7 4 2 2 4 7 0 10 20 30 22 10 6 5 7 1 2 3 4 8 HI HI 12k 3-4 5-6 7-8 1-2 L-R MID MID EQ 12 80Hz FREQ FREQ FREQ LOW LOW EQ IN AUX TRIM INSERT RETURN +48 PH CENTER INSERT SEND DIRECT OUT 6k 350 700 MIC 12 220 LINE IN 3k 0 IN 12 15k 800 PRE 12 +15 +15 +15 +15 +15 +15 +15 +15 +15

E +15 +15 +15

N I U

U I U U U U U U U

U U

M 150 L O 250 O O O O O O O 2.5k GAIN PRE FDR PRE POST EQ O O O O O O O O PAN LR 060 30 800 30 SOLO -15 O -15 500 20dB +40dB 12 -15 -15 MUTE – 75 O 12 HPF 70 5 5 60 50 45 40 20 30 dB U 10 10 700 7 4 2 2 4 7 0 10 20 30 22 10 6 5 7 1 2 3 4 8 HI HI 12k 3-4 5-6 7-8 1-2 L-R MID MID EQ 80Hz 11 FREQ FREQ FREQ LOW LOW EQ IN AUX TRIM +48 PH INSERT RETURN CENTER INSERT SEND DIRECT OUT 6k 350 700 MIC 11 220 3k LINE IN 0 IN 15k 800 PRE 11 11 +15 +15 +15 +15 +15 +15 +15 +15 +15

E +15 +15 +15

N I U

U I U

U U U U U U

U U U

M 150 L O 250 O O O O O O O 2.5k GAIN PRE FDR PRE POST EQ O O O O O O O O PAN LR 060 30 800 30 SOLO -15 O -15 500 11 -15 -15 20dB +40dB MUTE – 75 O 11 HPF 70 5 5 60 50 45 40 20 30 dB U 10 10 700 7 4 2 2 4 7 0 10 20 30 22 10 6 5 7 1 2 3 4 8 HI HI 12k 3-4 5-6 7-8 1-2 L-R MID MID EQ 80Hz 10 FREQ FREQ FREQ LOW LOW EQ IN AUX TRIM +48 PH INSERT RETURN CENTER INSERT SEND 6k DIRECT OUT 350 700 MIC 10 220 3k IN 0 LINE IN 15k 800 PRE 10 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15

E +15

N I U

I U

U U U U U U U U U

M 150 L O 250 O O O O O O O 2.5k GAIN PRE FDR PRE POST EQ O O O O O O O O PAN LR 060 30 800 30 SOLO -15 O -15 -15 -15 500 20dB +40dB 10 MUTE – 75 O 10 HPF 70 5 5 60 50 45 40 20 30 dB U 10 10 700 7 4 2 2 4 7 0 10 20 30 22 10 6 5 7 1 2 3 4 8 9 HI HI 12k 3-4 5-6 7-8 1-2 L-R MID MID EQ 80Hz FREQ FREQ FREQ LOW LOW EQ IN AUX TRIM +48 PH CENTER INSERT RETURN INSERT SEND 6k DIRECT OUT 350 700 220 MIC 9 910 3k IN 0 15k 800 PRE LINE IN +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15

E +15

C I

9 N U

I U U U

U U U U U U U

M 150 L O 250 O O O O O O O 2.5k GAIN PRE FDR PRE POST EQ O O O O O O O O PAN LR 9 060 30 800 30 SOLO -15 O -15 -15 -15 500 20dB +40dB MUTE – 9 75 O HPF 70 5 5 60 50 45 40 20 30 dB U 10 10 700 7 4 2 2 4 7 0 10 20 30 22 10 6 5 7 1 2 3 4 8 8 HI HI 12k 3-4 5-6 7-8 1-2 L-R MID MID EQ 80Hz FREQ FREQ FREQ LOW LOW EQ IN AUX TRIM +48 PH CENTER INSERT RETURN 6k INSERT SEND 350 700 DIRECT OUT 220 8 3k MIC 8 IN 0 15k 800 PRE LINE IN +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15

E +15

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U U U

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U U U U U U U

M 150 L O 250 O O O O O O O 2.5k GAIN PRE FDR PRE POST EQ O O O O O O O O PAN LR 8 060 30 800 30 SOLO -15 -15 -15 O -15 500 20dB +40dB MUTE – 8 75 O HPF 70 5 5 60 45 50 40 20 30 dB U 10 10 700 7 4 2 2 4 7 0 10 20 30 22 10 6 5 7 1 2 3 4 8 7 HI HI 12k 3-4 5-6 7-8 1-2 L-R MID MID EQ 80Hz FREQ FREQ FREQ LOW LOW EQ IN AUX TRIM +48 PH CENTER INSERT RETURN 6k INSERT SEND 350 700 DIRECT OUT 220 7 3k IN 0 MIC 7 15k 800 PRE LINE IN +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15

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M 150 L O 250 O O O O O O O 2.5k GAIN PRE FDR PRE POST EQ O O O O O O O O PAN LR 7 060 30 800 30 SOLO -15 O -15 -15 -15 500 20dB +40dB MUTE – 7 75 O HPF 70 5 5 60 50 45 40 20 30 dB U 10 10 700 7 4 2 2 4 7 0 10 20 30 22 10 6 5 7 1 2 3 4 8 6 HI HI 12k 3-4 5-6 7-8 1-2 L-R MID MID EQ 80Hz FREQ FREQ FREQ LOW LOW EQ IN AUX TRIM +48 PH CENTER INSERT RETURN 6k INSERT SEND 350 700 DIRECT OUT 220 6 3k IN 0 15k 800 PRE MIC 6 LINE IN +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15

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M 150 L O 250 O O O O O O O 2.5k GAIN PRE FDR PRE POST EQ O O O O O O O O PAN LR 6 060 30 800 30 SOLO -15 O -15 -15 -15 500 20dB +40dB MUTE – 6 75 O HPF 70 5 5 60 50 45 40 20 30 dB U 10 10 700 7 4 2 2 4 7 0 10 20 30 22 10 6 5 7 1 2 3 4 8 5 HI HI 12k 3-4 5-6 7-8 1-2 L-R MID MID EQ 80Hz FREQ FREQ FREQ LOW LOW EQ IN AUX TRIM +48 PH CENTER INSERT RETURN 6k 350 700 INSERT SEND DIRECT OUT 220 5 3k IN 0 15k 800 PRE MIC 5 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15

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5 M 150 L O 250 O O O O O O O 2.5k GAIN PRE FDR PRE POST EQ O O O O O O O O PAN LR 5 060 30 800 30 SOLO -15 O -15 -15 -15 500 20dB +40dB MUTE – 5 75 O HPF 70 5 5 60 50 45 40 20 30 dB U 10 10 700 7 4 2 2 4 7 0 10 20 30 22 10 6 5 7 1 2 3 4 8 4 HI HI 12k 3-4 5-6 7-8 1-2 L-R MID MID EQ 80Hz FREQ FREQ FREQ LOW LOW EQ IN AUX TRIM +48 PH CENTER 6k INSERT RETURN 350 700 INSERT SEND 220 DIRECT OUT 4 3k IN 0 15k 800 PRE MIC 4 +15 +15 +15 +15 +15 +15 +15 +15 +15

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M 150 L O 250 O O O O O O O 2.5k 4 GAIN PRE FDR PRE POST EQ O O O O O O O PAN O LR 4 060 30 800 30 SOLO -15 O -15 500 20dB +40dB MUTE -15 -15 – 4 75 O HPF 70 5 5 60 50 45 40 20 30 dB U 10 10 700 7 4 2 2 4 7 0 10 20 30 22 10 6 5 7 1 2 3 4 8 3 HI HI 12k 3-4 5-6 7-8 1-2 L-R MID MID EQ 80Hz FREQ FREQ FREQ LOW LOW EQ IN AUX TRIM +48 PH CENTER 6k INSERT RETURN 350 700 INSERT SEND 220 DIRECT OUT 3 3k IN 0 15k 800 PRE MIC 3 +15 +15 +15 +15 +15 +15 +15 +15 +15

E +15 +15 +15 LINE IN C

N I U

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M 150 L O 250 O O O O O O O 2.5k 3 GAIN PRE FDR PRE POST EQ O O O O O O O O PAN LR 3 060 30 800 30 SOLO -15 O -15 500 20dB +40dB MUTE -15 -15 – 3 75 O HPF 70 5 5 60 45 50 40 20 30 dB U 10 10 700 7 4 2 2 4 7 0 10 20 30 22 10 6 5 7 1 2 3 4 8 2 HI HI 12k 3-4 5-6 7-8 1-2 L-R MID MID EQ 80Hz FREQ FREQ FREQ LOW LOW EQ IN AUX TRIM +48 PH CENTER 6k INSERT RETURN 350 700 INSERT SEND 220 DIRECT OUT 2 3k IN 0 15k 800 PRE +15 +15 +15 +15 +15 +15 +15 +15 +15

E +15 +15 +15 MIC 2

C LINE IN

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M 150 O L 250 O O O O O O O 2.5k GAIN PRE FDR PRE 2 POST EQ O O O O O O O O PAN LR 2 060 30 800 30 SOLO -15 O -15 -15 -15 500 20dB +40dB MUTE – 2 75 O HPF 70 5 5 60 50 45 40 20 30 dB U 10 10 700 7 4 2 2 4 7 0 10 20 30 22 10 6 5 7 1 2 3 4 8 1 HI HI 12k 3-4 5-6 7-8 1-2 L-R MID MID EQ 80Hz FREQ FREQ FREQ LOW LOW EQ IN AUX TRIM +48 PH CENTER 6k 350 700 INSERT RETURN 220 INSERT SEND 1 DIRECT OUT IN 3k 0 IN IN IN IN IN IN IN IN IN IN IN IN IN IN IN IN IN IN IN IN IN IN IN IN 15k 800 PRE +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15

E +15 MIC 1

C LINE IN N I U

U U U

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U U U U U U U

M 150 L O 250 O O O O O O O 2.5k GAIN PRE FDR PRE POST EQ 1 O O O O O O O O PAN LR 1 060 30 800 30 45 45 45 45 45 45 45 45 45 45 45 45 45 SOLO -15 -15 -15 O -15 500 20dB +40dB MUTE – 1 75 O HPF 70 5 5 60 50 45 40 20 30 dB U 10 10 700 10. Damage Requiring Service — This Mackie product CAUTION AVIS should be serviced only by qualified service personnel when: RISK OF ELECTRIC SHOCK DO NOT OPEN A. The power-supply cord or the plug has been RISQUE DE CHOC ELECTRIQUE damaged; or NE PAS OUVRIR

CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK B. Objects have fallen, or liquid has spilled into DO NOT REMOVE COVER (OR BACK) NO USER-SERVICEABLE PARTS INSIDE this Mackie product; or REFER SERVICING TO QUALIFIED PERSONNEL ATTENTION: POUR EVITER LES RISQUES DE CHOC C. This Mackie product has been exposed to rain; ELECTRIQUE, NE PAS ENLEVER LE COUVERCLE. AUCUN or ENTRETIEN DE PIECES INTERIEURES PAR L'USAGER. CONFIER L'ENTRETIEN AU PERSONNEL QUALIFIE. AVIS: POUR EVITER LES RISQUES D'INCENDIE OU D. This Mackie product does not appear to operate D'ELECTROCUTION, N'EXPOSEZ PAS CET ARTICLE A LA PLUIE OU A L'HUMIDITE normally or exhibits a marked change in performance; or 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 E. This Mackie product has been dropped, or its of sufficient magnitude to constitute a risk of electric shock to persons. chassis damaged. 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 11. Servicing — The user should not attempt to service this suffisante pour constituer un risque d'éléctrocution. Mackie product beyond those means described in this The exclamation point within an equilateral triangle is intended to alert the user of the presence of important operating and maintenance operating manual. All other servicing should be referred to the (servicing) instructions in the literature accompanying the appliance. Le point d'exclamation à l'intérieur d'un triangle équilatéral est Mackie Service Department. employé pour alerter les utilisateurs de la présence d'instructions importantes pour le fonctionnement et l'entretien (service) dans le 12. To prevent electric shock, do not use this polarized plug livret d'instruction accompagnant l'appareil. with an extension cord, receptacle or other outlet unless the blades can be fully inserted to prevent blade exposure. SAFETY INSTRUCTIONS 1. Read Instructions — All the safety and operation Pour préevenir les chocs électriques ne pas utiliser cette fiche instructions should be read before this Mackie product is polariseé avec un prolongateur, un prise de courant ou une operated. autre sortie de courant, sauf si les lames peuvent être insérées à fond sans laisser aucune pariie à découvert. 2. Retain Instructions — The safety and operating instructions should be kept for future reference. 13. Grounding or Polarization — Precautions should be taken so that the grounding or polarization means of this 3. Heed Warnings — All warnings on this Mackie product and Mackie product is not defeated. in these operating instructions should be followed. 14. This apparatus does not exceed the Class A/Class B 4. Follow Instructions — All operating and other instructions (whichever is applicable) limits for radio noise emissions from should be followed. digital apparatus as set out in the radio interference 5. Water and Moisture — This Mackie product should not be regulations of the Canadian Department of Communications. used near water – for example, near a bathtub, washbowl, ATTENTION —Le présent appareil numérique n’émet pas de kitchen sink, laundry tub, in a wet basement, near a bruits radioélectriques dépassant las limites applicables aux swimming pool, swamp or salivating St. Bernard dog, etc. appareils numériques de class A/de class B (selon le cas) 6. Heat — This Mackie product should be situated away prescrites dans le règlement sur le brouillage radioélectrique from heat sources such as radiators, or other devices which édicté par les ministere des communications du Canada. produce heat. 15. To prevent hazard or damage, ensure that only 7. Power Sources — This Mackie product should be microphone cables and microphones designed to IEC 268-15A connected to a power supply only of the type described in are connected. these operation instructions or as marked on this Mackie WARNING — To reduce the risk of fire or electric shock, do product. not expose this appliance to rain or moisture. 8. Power Cord Protection — Power supply cords should be routed so that they are not likely to be walked upon or pinched by items placed upon or against them, paying This equipment has been tested and found to comply with the particular attention to cords at plugs, convenience receptacles, limits for a Class A digital device, pursuant to part 15 of the and the point where they exit this Mackie product. FCC rules. These limits are designed to provide reasonable protection against harmful interference when the equipment is 9. Object and Liquid Entry — Care should be taken so that operated in a commercial environment. This equipment objects do not fall into and liquids are not spilled into the generates, uses, and can radiate radio energy and, if not inside of this Mackie product. installed properly and used in accordance with the instruction manual, may cause harmful interference to radio communications. Operation of this equipment in a residential area is likely to cause harmful interference in which case the user will be required to correct the interference at his own expense. READ THIS PAGE!!!

We realize that you must have a powerful Alternate Method hankerin’ to try out your new SR40•8. Or you This method results in the faders being in a might be one of those people who never read straight line across the board. manuals. Either way, all we ask is that you 1. Set the METERING: INPUT SECTION read this page now, and the rest can wait until switch to PFL mode so your Fader you’re good and ready. But do read it — you’ll settings won’t affect your input meter be glad you did. readings. LEVEL-SETTING PROCEDURE 2. Set the METERING: OUTPUT SECTION There isn’t too much to setting levels. No switch to AFL mode so that the Meters rocket science here (well… maybe a bit). reflect the actual output levels. Here’s what you need to do: 3. While the musicians are playing, watch each Channel Meter and adjust the TRIM Hyper-Quick-Turbo Method control so that level is near 0dB as read 1.Set the TRIM controls on the Channel’s Meter. at minimum (fully counter- 4. After setting the Channel EQ, you will clockwise). probably want to readjust the TRIM control 2. Set the METERING: INPUT SECTION slightly to bring the Meter back to near the switch to PFL mode so your Fader 0dB reading. settings won’t affect your input meter 5. As the mix comes together, readjust the TRIM readings. control down so that the Channel Fader can 3. Set the METERING: OUTPUT SECTION be set at its “U” (unity gain) setting. switch to AFL mode so that the Meters 6. You can also SOLO the Channel and reflect the actual output levels. monitor its level via the LEFT, RIGHT, and 4. Set all of the Faders to their “U” markings. CENTER Meters in the output section. 5. Ask the musicians to start playing. 6. Set a rough mix, using the TRIM controls. Other Nuggets of Wisdom The goal is to get Meter readings at or Before plugging or unplugging a cord from a around 0dB for all of the inputs. Channel or a MAIN AUX RETURN (A1–A4), be 7. Once you’ve adjusted the input levels, use sure to engage the MUTE switch first. the Channel Faders to set the Channel If you shut down your equipment, turn off levels, and leave the TRIM controls alone. your amplifiers first. When powering up, turn 8. If the overall level gets too loud, bring the on your amplifiers last. overall LEFT and RIGHT level down a bit, Save the shipping boxes! We’re sure that 10dB at the most. You may need to reduce you can find an empty airport hanger or boat the TRIM settings further. moorage to store them. You may need them someday, and you don’t want to have to pay for them again.

Please write your serial numbers here for future reference (i.e., insurance claims, tech support, return authorization, etc.):

Console Power Supply Purchased at:

Date of purchase:

Thank you! You have voted with your wal- Feature Descriptions: Mind-boggling Details let for the folks in Woodinville who specialize Each and every knob, button and connector in mixing. The SR40•8 and SR56•8 Large on the SR40•8 is explained in depth here in- Format Sound Reinforcement Consoles are cluding the points before and after in the designed to fulfill the mixing needs of almost signal chain. This is to give you a better sense any type of sound reinforcement application, of exactly where in the signal path a particular and it boasts a wealth of features for which control or connector is located. Each feature is you’d expect to pay a lot more. Although you described in order of where it is physically lo- may be familiar with these features, your in- cated on the console’s top or rear panel. These vestment will pay for itself much faster if you descriptions are divided into three sections, take the time to read this manual. (If reading just as your mixer is organized into three dis- manuals is not your style, please do it anyway, tinct zones: just don’t tell anyone you did.) 1. PATCH PANEL: The zillion jacks on the HOW TO USE THIS MANUAL back “pod.” 2. CHANNEL: The 40 Channel strips on the In order to simplify things throughout the left and right. The Main Aux Return strips rest of the manual we refer to the console as contain many similiar features. the SR40•8, but rest assured that all the features described herein are identical to the 3. OUTPUT SECTION: The output section in features you will find on the SR56•8. the center.

Overview: The SR40•8 In A Nutshell If you’re new to mixing, or unfamiliar with some of the features on the SR40•8, check out the Overview section and Hookup Diagrams. They provide a quick summary of the basic functions of your SR40•8.

PATCH PANEL

CHANNELS CHANNELS MAIN “A” AUX RETS. OUTPUT

4 Special Icons The Glossary: A Haven Of Non-techiness For The Throughout these chapters you’ll find illus- Neophyte trations, with each feature numbered. If you’re Just in case you’re new to the audio world, curious about a feature, simply locate it on the we’ve included a fairly comprehensive dictio- appropriate illustration, note the number at- nary of pro audio terms. If terms like tached to it, and find that number in the “clipping,” “noise floor,” or “unbalanced” leave nearby paragraphs. you blank, flip to the glossary at the back of this manual for a quick explanation.

A Plug For The Connectors Section Also at the back of this manual is a section on connectors: XLR, TRS and RCA connectors, This icon marks information that is criti- balanced connectors, unbalanced connectors, cally important or unique to the SR40•8. For special hybrid connectors. If you plan on wir- your own good, read these sections and ing your own cables, please visit this section remember them. before you start. Arcane Mysteries Illuminated Last but not least, we’ve included an appendix titled “Balanced Lines, Phantom Powering, Grounding and Other Arcane Mysteries.” This section discusses some of the down ’n’ dirty This icon will lead you to in-depth explanations practical realities of microphones, fixed instal- of features and practical tips. While not mandatory, lations, grounding and balanced versus they’ll have some valuable information. unbalanced lines. It’s a gold mine for the neophyte, and even the seasoned pro might learn a thing or two.

5 CONTENTS

READ THIS PAGE!!! ...... 3 EQ ...... 21 LEVEL-SETTING PROCEDURE ...... 3 HI 12K ...... 21 HYPER-QUICK-TURBO METHOD...... 3 HI MID AND FREQ ...... 21 ALTERNATE METHOD ...... 3 LOW MID AND FREQ ...... 22 OTHER NUGGETS OF WISDOM ...... 3 LOW 80HZ ...... 22 INTRODUCTION ...... 4 EQ IN ...... 22 SR40•8 HOOKUP EXAMPLES ...... 8 HPF AND FREQ ...... 22 OVERVIEW: THE SR40•8 IN A NUTSHELL ...... 10 CHANNEL OUTPUT CONTROLS ...... 23 MIXING ...... 10 MUTE ...... 23 MATRIX ...... 10 FADER ...... 24 STAGE MONITORS & EFFECTS...... 10 A CLEAN FADE ...... 24 MONITORING, SOLO & METERING ...... 11 PAN ...... 24 TALKBACK & INTERCOM ...... 11 CONSTANT LOUDNESS...... 24 ULTRA MUTE™ ...... 11 1-2, 3-4, 5-6, 7-8, L-R (ASSIGN) ...... 24 SWITCH POSITIONS ...... 11 CENTER (ASSIGN) ...... 25 PATCH PANEL ...... 12 SOLO ...... 25 E-Z INTERFACE...... 12 METER ...... 26 MIC INPUT ...... 12 AUX SEND ...... 26 LINE IN ...... 13 PRE switch (AUX 1–4) ...... 26 INSERT SEND AND RETURN ...... 13 PRE FDR/POST EQ (AUX SENDS 5–8) ...27 DIRECT OUT ...... 13 MAIN AUX RETURNS (A1–A4) ...... 27 MAIN AUX RETURNS (A1–A4) ...... 14 TRIM ...... 27 “B” AUX RETURNS ...... 14 HPF ...... 27 TAPE INPUT ...... 15 EQ ...... 27 TAPE A OUTPUT ...... 15 PAN ...... 28 TAPE B OUTPUT ...... 15 1-2, 3-4, 5-6, 7-8, L-R (ASSIGN) ...... 28 AUX SEND ...... 15 CENTER (ASSIGN) ...... 28 MAIN OUTPUTS ...... 16 SOLO ...... 28 MAIN INSERTS...... 16 METER ...... 28 SUB OUTPUTS...... 16 AUX SEND ...... 28 SUB INSERTS ...... 17 OUTPUT SECTION ...... 29 HEADPHONES ...... 17 LEFT/RIGHT/CENTER MIXES ...... 29 L-INSERT, R-INSERT (HEADPHONES) ...... 17 LEFT FADER ...... 29 MONITOR ...... 18 RIGHT FADER ...... 29 TALKBACK ...... 18 FADER LINK...... 29 TALKBACK MIC INPUT ...... 18 CENTER FADER ...... 30 INTERCOM...... 19 SOLO ...... 30 MATRIX OUTPUTS ...... 19 SUBS (SUB 1-8 MIXES) ...... 31 MATRIX INPUTS ...... 19 FADER ...... 31 DC POWER IN ...... 19 MUTE ...... 31 MIDI IN/OUT...... 19 PAN ...... 31 DATA ...... 19 L-R (ASSIGN) ...... 31 CHANNEL ...... 20 CENTER (ASSIGN) ...... 31 “U” LIKE UNITY GAIN ...... 20 SOLO ...... 32 CHANNEL INPUT CONTROLS ...... 20 AIR ...... 32 +48 PH (PHANTOM POWER) ...... 20 METERS...... 32 TRIM ...... 20 “B” AUX RETURNS and TAPE RETURNS ...33 Ø (POLARITY REVERSAL)...... 20 LEVEL ...... 33 MUTE ...... 33 SOLO ...... 33

6 AUX SEND MASTERS ...... 34 ULTRA MUTE™ AUTOMATION ...... 42 FLIP ...... 34 TYPICAL APPLICATIONS ...... 42 LEVEL ...... 34 IMPORTANT TIDBITS AND TITTLES ...... 43 MUTE ...... 35 OPERATION ...... 44 SOLO ...... 35 GROUP MODE ...... 44 SOLO MASTER CONTROLS...... 35 NUMERIC DISPLAY ...... 44 INPUTS PFL/AFL ...... 35 SNAPSHOT MODE ...... 46 OUTPUTS PFL/AFL ...... 35 ULTRA MUTE SUMMARY ...... 48 SOLO LEVEL ...... 36 MODE ...... 48 RUDE SOLO LIGHT ...... 36 ARROW UP/DOWN BUTTONS ...... 48 PHONES LEVEL...... 36 SYSTEM BYPASS ...... 48 MONITOR ...... 37 MUTE PREVIEW ...... 48 LINE OUT (LEVEL) ...... 37 STORE ...... 49 MUTE ...... 37 CLEAR ...... 49 LEFT/RIGHT/CENTER METERS ...... 37 DO IT ...... 49 METERING ...... 37 NUMBER BUTTONS (0-9) ...... 49 INPUT SECTION PFL/AFL ...... 37 MIDI IMPLEMENTATION...... 50 OUTPUT SECTION PFL/AFL ...... 38 MIDI SYSEX NUMBERS ...... 51 DIMMER ...... 38 MIDI IMPLEMENTATION SUMMARY .....52 LAMP ...... 38 MIDI IMPLEMENTATION CHART...... 53 METER ...... 38 TABLE OF MIDI NOTE MESSAGES ....54 POWER SUPPLY STATUS ...... 38 SR40•8 BLOCK DIAGRAM ...... 56 TALKBACK SECTION ...... 38 SR40•8 GAIN STRUCTURE DIAGRAM ...... 58 TALKBACK...... 38 SPECIFICATIONS ...... 60 TALKBACK LEVEL ...... 38 APPENDIX A: Service Info ...... 62 ASSIGN ...... 39 TROUBLESHOOTING...... 62 OSCILLATOR SECTION ...... 39 APPENDIX B: Glossary ...... 63 400HZ/PINK NOISE...... 39 APPENDIX C: Connections ...... 72 LEVEL ...... 39 APPENDIX D: Balanced Lines, Phantom Powering, ON ...... 40 Grounding, and Other Arcane Mysteries ...... 75 COMMUNICATIONS ...... 40 APPENDIX E: Track Sheets ...... 80 INTERCOM ...... 40 RECEIVE LEVEL ...... 40 IGNORE ...... 40 CALL ...... 40 MATRIX ...... 41 INPUT LEVEL ...... 41 MUTE ...... 41 MASTER LEVEL ...... 41 SOLO ...... 41

7 SR40•8 HOOKUP EXAMPLES

Stage Stage Stage Stage Monitor Monitor Monitor Monitor

Reverb #1 Power Amp Power Amp Power Amp Power Amp mono mode mono mode mono mode mono mode Reverb #2 Delay Harmonizer PFL Monitor Power Amp mono mode

Stereo EQ and Compressor Reverb Vocal Maximizer DAT Recorder

SUB INSERTS MAIN INSERTS MONITOR AUX SEND "B" AUX RETURNS TAPE MAIN AUX RETURNS (BAL/UNBAL) (BAL/UNBAL) (BAL/UNBAL) (BAL/UNBAL) (BAL/UNBAL) 24 23 SEND1 RETURN SEND5 RETURN LEFT SEND LEFT RETURN L 1 5 (MONO) L 1 R TAPE A (MONO) L A1 R DIRECT OUT DIRECT OUT

L L

SEND2 RETURN SEND6 RETURN RIGHT SEND RIGHT RETURN R 2 6 (MONO) L 2 R (MONO) L A2 R INSERT SEND INSERT SEND R R

TAPE TAPE INPUT OUTPUT SOURCE = MASTER L-R SEND3 RETURN SEND7 RETURN CNTR SEND CNTR RETURN TALKBACK 3 7 (MONO) L 3 R TAPE B (MONO) L A3 R INSERT RETURN INSERT RETURN

L L

SEND4 RETURN SEND8 RETURN L-INSERT R-INSERT HEADPHONES 4 8 (MONO) L 4 R (MONO) L A4 R LINE IN LINE IN R R

TAPE TAPE INPUT OUTPUT SOURCE = MATRIX C&D

TALK BACK MIC INTERCOM MAIN OUTPUTS MATRIX OUTPUTS MATRIX INPUTS PHANTOM POWERED LEFT RIGHT CENTER MATRIX A MATRIX B MATRIX C MATRIX D A B MIC 24 MIC 24

C D

Power Amp stereo mode Power Amp Power Amp mono mode mono mode Click Track for Drummer Power Amp mono mode Drummer Monitor

Bar P.A. Speaker

Right P.A. Left P.A. Speaker Speaker Balcony P.A. Speaker

SR40•8/SR56•8 BAND IN A CLUB

8 Stage Stage Reverb #1 Monitor Monitor Reverb #2 Stage Stage Delay Power Amp Monitor Power Amp Monitor mono mode mono mode Harmonizer

Power Amp Power Amp mono mode mono mode Cassette Recorder

Vocal Compressor DAT Recorder

L L

SEND2 RETURN SEND6 RETURN RIGHT SEND RIGHT RETURN R 2 6 (MONO) L 2 R (MONO) L A2 R INSERT SEND INSERT SEND R R

TAPE TAPE INPUT OUTPUT SOURCE = MASTER L-R SEND3 RETURN SEND7 RETURN CNTR SEND CNTR RETURN TALKBACK 3 7 (MONO) L 3 R TAPE B (MONO) L A3 R INSERT RETURN INSERT RETURN

L L

SEND4 RETURN SEND8 RETURN L-INSERT R-INSERT HEADPHONES 4 8 (MONO) L 4 R (MONO) L A4 R LINE IN LINE IN R R

TAPE TAPE INPUT OUTPUT SOURCE = MATRIX C&D

TALK BACK MIC INTERCOM MAIN OUTPUTS MATRIX OUTPUTS MATRIX INPUTS PHANTOM POWERED LEFT RIGHT CENTER MATRIX A MATRIX B MATRIX C MATRIX D A B MIC 24 MIC 24

C D

Power Amp mono mode Power Amp Audio Snake mono mode Power Amp mono mode Direct Power Amp boxes mono mode

Power Amp mono mode Nursery Zone Keyboard or other line level input

Right P.A. Nursery Zone Speaker Left P.A. Speaker Assistive Listening Center Cluster DAT Recorder Infrared Transmitter

SR40•8/SR56•8 HOUSE OF WORSHIP

9 OVERVIEW: THE SR40•8 IN A NUTSHELL

This section provides a quick summary of the STAGE MONITORS & EFFECTS SR40•8’s major features. It is not intended to be Every channel, as well as each of the four a dissertation on how to use a mixer, especially main aux returns (A1–A4), has eight aux send the SR40•8, where the possibilities are endless. controls. Per channel, aux sends 1–4 can be Just the same, it’s a good place to get started. switched to be post-fader (for effects sends) or pre-EQ/pre-fader (for stage monitors). Aux MIXING sends 5–8 have a similar switch, post-fader (for Channel controls manipulate mic/line effects sends) or post-EQ/pre-fader (for stage signals in this order: phantom power, trim, po- monitors with EQ). larity, low cut filter, insert, EQ, mute, fader, In the output section, aux sends can be pan, and assignment switches. These signals routed in one of two ways. Normally, these aux are then assigned to the left, right and/or cen- mixes are controlled by the rotary master level ter mix, or to one of the eight subs. control and mute switch, and then sent to TRS The main mix (left, right and center) typi- output jacks. This method is fine for effects cally feeds the main sound system. The left/ sends or small applications. Larger installa- right mix can be controlled by individual fad- tions may demand more flexibility for the stage ers or switched to share one fader. Subs 1-8 mixes. Enter the flip switch. can be assigned to the left/right or center mix, Each aux send master has a flip switch. enabling them to be used as master faders for This removes an aux mix from its dedicated submixes of channels. Alternatively, the subs mute switch and level control, and diverts it can be used for secondary speaker systems. to the like-numbered sub routing. This way, More output routing options involve the an aux send designated for stage cueing will matrix, discussed below. have its own dedicated 100mm fader, “Air” EQ, insert, and balanced XLR output. Mean- MATRIX while, a flipped aux send also diverts the sub The SR40•8 has 11 primary mix buses: left, signal to the original aux send master con- right, center, and 8 subs. Via the channel’s as- trols and TRS output, ensuring that sub signment switching, signals can be distributed assignments can still be used. among these buses. If a situation demands a When used for effects, aux sends are unique destination for each mix, the dedicated patched into the inputs of parallel effects de- outputs for each of these mixes will suffice. vices, like reverb and delay units. The outputs More likely, a situation will demand that of these devices are the origin of aux return these 11 mixes be recombined in some way, to signals. Aux return signals, or any stereo line- feed off-site systems, delay towers, assistive lis- level signals, can be injected into either the tening systems, or special mixes for recording main aux returns or the “B” aux returns (or or broadcast. Enter the Matrix. into pairs of channels). The main aux returns The matrix is simply four separate 12 x 1 provide most of the controls present in the mixers. Its inputs include: left, right, center, channels: trim, high-pass filter, EQ, mute, pan, subs 1-8 and an external input at the patch and assign. “B” aux returns B1, B2, and B3 are panel. Each matrix strip has a level control for dedicated to the left/right mix and offer only each of the eleven internal inputs as well as rotary level and mute switch controls. (Aux master level, solo and mute controls. return B4 is dedicated to the center mix.) Additionally, there are two stereo line-level RCA tape returns, dedicated to the left/right mix, with level control and mute switch.

10 MONITORING, SOLO, & METERING having to toggle between send and receive. Usually an engineer listens to the left/right The Mackie SR40•8 takes that a step farther mix (with the center mix blended in), just as by allowing the engineer to join in at his/her the audience is hearing it. Signals available for discretion using the talkback microphone and monitoring by the engineer are available via ei- phones outputs: No separate intercom headset ther of the high-powered headphone outputs, is required for the engineer. with level control, or a line-level monitor (con- ™ trol room) output, also with level control. ULTRA MUTE There is a stereo insert dedicated to the Almost every signal path in the SR40•8 phones mix, to allow a delay device to synchro- has an electronically-controlled mute switch, nize the distance delay present in large halls. including the channels, main aux return, sub- To audition individual signals or groups of groups, aux sends, and matrices. These mutes signals, there are solo switches on every chan- may be activated in four ways: By pressing the nel, main aux return, aux send master, matrix local mute switch included for each path, by A–D, tape return, and sub 1–8, as well as the assigning paths to a mute group, by assigning left/right/center faders. The engineer behind an paths to a mute snapshot, or by external MIDI SR40•8 can listen to any signal, individually or and RS232 commands. Using just the local in groups, without disturbing the content of any switches and mute groups, an engineer can of the console’s primary outputs. Input signals quickly mute or un-mute large groups of signal (channels, main aux returns, “B” aux returns, paths. Using an external sequencer to generate tape A, and tape B) can be globally switched MIDI muting commands, complicated muting PFL (pre-fader-listen) or AFL (after-fader-lis- moves can be made automatically, with no ten, stereo-in-place). Output signals (main/left/ user intervention. right, subs 1–8, aux send masters, and matrix When a channel or main aux return is A–D) have a similar switch. muted, the entire channel is muted, including There are 59 twelve-segment LED-ladder the assign outputs, pre- and post-fader aux meter displays on the SR40•8, one for each sends, and direct out. The insert send remains channel and sub, two for each stereo main aux active, as do the channel’s PFL meters and return, and one each for the left/right/center PFL solo outputs. main mixes. Input and output meters can each be globally switched PFL or AFL. During solo, SWITCH POSITIONS described earlier, the left/right/center meters You may have noticed the white lines automatically display the solo levels: AFL on printed just above most of the push-button the left/right meters and PFL on the center. switches on your SR40•8. We’ve put them there to make it easier for you to see if the switch is TALKBACK & INTERCOM engaged (down). Here’s how they work: The SR40•8’s extensive talkback section al- Assuming you are sitting in front of the con- lows the engineer to speak into several outputs sole, when a switch is disengaged (up), its via a master talkback switch, with assignment button hides the white line from your field of switches for aux 1–4, aux 5–8, L/R mix, an vision. When you engage the switch, the line external talkback output, and one switch for suddenly appears. Although it may not seem each matrix (A–D). Talkback microphones are obvious at first, you’ll soon find that the indica- patched into either of the two phantom pow- tor line really helps you determine switch ered XLR inputs and regulated by a level positions at a glance. Clever, ain’t it? control. Additionally, the talkback signal may be replaced by a 400Hz sine wave for checking levels, or pink noise for quickly checking frequency response. The Clear-Com® Intercom System is already standard equipment in most large facilities. It allows all crew members to share a “party line,” so they may communicate at will, without

11 PATCH PANEL

At the risk of stating the obvious, this is All we ask is that you perform the Level- where you plug everything in: microphones, Setting Procedure every time you patch in instruments, effects, headphones, and the ulti- a new sound source. So stop worrying, and mate destination for your sound: PA system, start mixing! tape recorder and the like. MIC INPUT E-Z INTERFACE Point Before: Balanced microphone-level Concerned about levels, cable with male XLR connector (pin 2 = hot, balancing, impedances, pin 3 = cold, pin 1 = shield). polarity, or other interface Point After: Channel . goblins? Don’t be. On your The female XLR input can accept almost SR40•8, you can patch anything almost any- any type of microphone — dynamic, con- where, with nary a care. Here’s why: denser, ribbon or tube condenser. +48 PH • Every input and output is balanced (except (phantom power) is switchable per Chan- single-jack inserts, phones and RCA jacks), nel. Radio frequency interference (RFI) is using close-tolerance components to eliminated by means of close-tolerance bal- ensure noise-free performance. anced circuitry, input filtering and the • Every input and output will also accept SR40•8’s steel chassis. Mic-level signals can be unbalanced lines (except floating-ring boosted by as much as 60dB. cables into XLR inputs — just tie the Do not use this input simultaneously with cable’s ring to the shield first). its associated LINE IN . Turn TRIM down • Every input is designed to accept virtually and engage MUTE before inserting or re- any output impedance. moving mic cables. Do not insert unbalanced • The XLR outputs can deliver 28dBu into a single-ended cables (signal on pin 2, pin 3 600 ohm load. open) unless pin 3 is first tied to ground (pin • All the other outputs can deliver 22dBu 1), and the +48 PH is switched off. into a 600 ohm load. • All the outputs are polarity-correct with the inputs.

SUB OUTPUTS SUB INSERTS 25 (BAL/UNBAL) DIRECT OUT SUB SUB SUB SUB SEND1 RETURN SEND5 RETURN 1 2 3 4

INSERT SEND SEND2 RETURN SEND6 RETURN

INSERT RETURN SUB SUB SUB SUB SEND3 RETURN SEND7 RETURN 5 6 7 8

LINE IN SEND4 RETURN SEND8 RETURN

DC POWER IN MIDI IN MIDI OUT TALK BACK MIC INTERCOM PHANTOM POWERED MIC 25 (MACKIE 400-WATT POWER SUPPLY !) LEFT

DATA

12 LINE IN the INSERT RETURN jack’s normalling pins. Point Before: Balanced or unbalanced mic- or With nothing plugged into the INSERT line-level cable with 1⁄4" TRS or TS connector, RETURN jack, the (dry) send signal will be (tip = hot, ring = cold, sleeve = shield). passed along to the rest of the channel path (this is called half-normalled). Point After: Channel . To insert a serial effects device, simply patch This input is similar to the MIC input, from the INSERT SEND jack to the effect’s in- but without phantom power. Both signals mix put, and from the effect’s output to the INSERT together at the mic preamp. Mic-level signals RETURN jack, using either balanced TRS or can be accommodated here with up to 40dB of unbalanced TS cables. gain. The LINE IN is 20dB less sensitive than Since using the INSERT SEND jack by it- the MIC input. self does not interrupt the channel’s signal Do not use this input simultaneously with its path, it may also be used as a pre-EQ/pre- associated MIC input. Turn TRIM down Fader direct output, in addition to the and engage MUTE before inserting or re- post-Fader DIRECT OUT . moving line cables. Do not use open-ended TRS cables (signal on tip, ring open) unless the ring DIRECT OUT is first tied to ground (sleeve). It won’t hurt Point Before: Channel signal, EQ , Chan- anything, it will just work better if you ground nel Fader , MUTE . the sleeve. Although you can connect a micro- Point After: Balanced or unbalanced cable phone to this input, there will be less noise with 1⁄4" TRS or TS connector. when connected to the MIC input jack. The DIRECT OUT’s signal is the same as the INSERT SEND AND RETURN output of the Channel, except that the PAN Point Before: Channel mic/line preamp, TRIM control has no effect. , 0/ (Polarity Reversal) ,HPF . These jacks can be used to feed multitrack recorder inputs, as a one-channel effects send, Point After: EQ . as a secondary sound source’s trigger com- Both the INSERT SEND and INSERT mand, or for any other purpose that requires RETURN jacks are balanced, and can also the post-Fader signal of an individual Channel. accommodate unbalanced TS cables. Signal Using this jack does not interrupt the feeding the INSERT SEND jack is also sent to Channel’s signal path to the output section.

MAIN INSERTS MONITOR AUX SEND "B" AUX RETURNS TAPE MAIN AUX RETURNS (BAL/UNBAL) (BAL/UNBAL) (BAL/UNBAL) (BAL/UNBAL) 24 LEFT SEND LEFT RETURN L 1 5 (MONO) L 1 R TAPE A (MONO) L A1 R DIRECT OUT

L L

RIGHT SEND RIGHT RETURN R 2 6 (MONO) L 2 R (MONO) L A2 R INSERT SEND R R

TAPE TAPE INPUT OUTPUT SOURCE = MASTER L-R CNTR SEND CNTR RETURN TALKBACK 3 7 (MONO) L 3 R TAPE B (MONO) L A3 R INSERT RETURN

L L

L-INSERT R-INSERT HEADPHONES 4 8 (MONO) L 4 R (MONO) L A4 R LINE IN R R

TAPE TAPE INPUT OUTPUT SOURCE = MATRIX C&D

MAIN OUTPUTS MATRIX OUTPUTS MATRIX INPUTS RIGHT CENTER MATRIX A MATRIX B MATRIX C MATRIX D A B MIC 24

C D

13 MAIN AUX RETURNS (A1–A4) “B” AUX RETURNS Point Before: Balanced or unbalanced line- Point Before: Balanced or unbalanced line- level cable with 1⁄4" TRS or TS connector, level cable with 1⁄4" TRS or TS connector, (tip = hot, ring = cold, sleeve = shield). (tip = hot, ring = cold, sleeve = shield). Point After: MAIN AUX RETURNS (A1–A4) . Point After: “B” AUX RETURNS . The left jack’s signal is normalled to the right The left jack’s signal is normalled to the right jack — a mono signal, patched into the left jack jack — a mono signal, patched into the left jack only, appears on the left and right sides. only, will appear on the left and right sides. Since the MAIN AUX RETURNS (A1–A4) are Since AUX RETURNS B1, B2 and B3 can be actually stereo channels with full routing and assigned only to the LEFT/RIGHT mix, and B4 EQ, patch in the outputs of your essential only to the CENTER mix, patch the outputs of ef- effects devices (or any line-level signals) here. fects devices (or any line-level signals) that need These signals can be sent to any mix, including to go only to these destinations. If you need full the AUX SEND MASTERS , making them routing but you’ve already used all four of the ideal for sending effects to the stage monitors. MAIN AUX RETURNS (A1–A4), you can also Similarly, essential mono effects outputs (one patch into two Channels, panning one left and cable) should be patched into a mono Channel. the other right.

SUB OUTPUTS SUB INSERTS 25 (BAL/UNBAL) DIRECT OUT SUB SUB SUB SUB SEND1 RETURN SEND5 RETURN 1 2 3 4

INSERT SEND SEND2 RETURN SEND6 RETURN

INSERT RETURN SUB SUB SUB SUB SEND3 RETURN SEND7 RETURN 5 6 7 8

LINE IN SEND4 RETURN SEND8 RETURN

DC POWER IN MIDI IN MIDI OUT TALK BACK MIC INTERCOM PHANTOM POWERED MIC 25 (MACKIE 400-WATT POWER SUPPLY !) LEFT

DATA

14 TAPE INPUT TAPE B OUTPUT Point Before: Unbalanced line-level cable with Point Before: MATRIX OUTPUTS , left from RCA connector. MATRIX C output, right from MATRIX D output. Point After: TAPE RETURNS . Point After: Unbalanced line-level cable with RCA jacks, bless their little hearts, have no RCA connector. normalling — if you need a mono signal to ap- These jacks have a 3kΩ output impedance, pear on both sides, that will require a Y-splitter enabling you to combine the left and right out- so that both jacks can be patched. puts (using a Y-cord adapter), thereby creating This is a good place to patch in a tape a mono signal. Do not attempt this on any of deck or CD player intended for music be- the SR40•8’s TRS or XLR outputs. tween sets. TAPE RETURNS are dedicated to Patch these outputs to the inputs of a the LEFT and RIGHT mix . 2-track recording device and you’ll record exactly the same signals present at the MATRIX TAPE A OUTPUT OUTPUTS’ C and D XLR jacks. Point Before: MAIN OUTPUTS . Point After: Unbalanced line-level cable with AUX SEND RCA connector. Point Before: AUX SEND MASTERS . These jacks have a 3kΩ output impedance, Point After: Balanced or unbalanced cable enabling you to combine the left and right out- with 1⁄4" TRS or TS connector. puts (using a Y-cord adapter), thereby creating Patch these outputs to the inputs of your a mono signal. Do not attempt this on any of effects devices or stage monitor amps. Remem- the SR40•8’s TRS or XLR outputs. ber that if FLIP is engaged, these outputs Patch these outputs to the inputs of a deliver the like-numbered SUB OUTPUTS 2-track recording device and you’ll record ex- instead of AUX SEND outputs. actly the same signals present at the left and right MAIN OUTPUTS .

MAIN INSERTS MONITOR AUX SEND "B" AUX RETURNS TAPE MAIN AUX RETURNS (BAL/UNBAL) (BAL/UNBAL) (BAL/UNBAL) (BAL/UNBAL) 24 LEFT SEND LEFT RETURN L 1 5 (MONO) L 1 R TAPE A (MONO) L A1 R DIRECT OUT

L L

RIGHT SEND RIGHT RETURN R 2 6 (MONO) L 2 R (MONO) L A2 R INSERT SEND R R

TAPE TAPE INPUT OUTPUT SOURCE = MASTER L-R CNTR SEND CNTR RETURN TALKBACK 3 7 (MONO) L 3 R TAPE B (MONO) L A3 R INSERT RETURN

L L

L-INSERT R-INSERT HEADPHONES 4 8 (MONO) L 4 R (MONO) L A4 R LINE IN R R

TAPE TAPE INPUT OUTPUT SOURCE = MATRIX C&D

MAIN OUTPUTS MATRIX OUTPUTS MATRIX INPUTS RIGHT CENTER MATRIX A MATRIX B MATRIX C MATRIX D A B MIC 24

C D

15 MAIN OUTPUTS To insert a serial processor (such as a Point Before: LEFT/RIGHT/CENTER mixes , graphic equalizer or compressor/limiter), simply MAIN INSERTS ,LEFT/RIGHT/CENTER patch from the SEND jack to the effect’s input, Faders . and from the effect’s output to the RETURN jack, using either balanced TRS or unbalanced Point After: Balanced or unbalanced cable TS cables. Since using the SEND jack by itself with female XLR connector (pin 2 = hot, pin 3 does not interrupt the mix signal path, it may = cold, pin 1 = shield). also be used as a pre-Fader direct output. Unless you’ve created an elaborate main mix using the MATRIX , patch these outputs SUB OUTPUTS to your primary sound system’s amplifier in- Point Before: SUBS (SUB 1-8 mixes) , SUB puts. Be aware that if you have no Channels INSERTS , Subgroup Fader . or MAIN AUX RETURNS (A1–A4) Point After: Balanced or unbalanced cable assigned to the CENTER mix, patching the with female XLR connector (pin 2 = hot, pin 3 CENTER output jack is unnecessary. = cold, pin 1 = shield). MAIN INSERTS If necessary, patch these outputs to the Point Before: LEFT/RIGHT/CENTER mix . amplifier inputs of secondary speaker systems, unless you’ve chosen to use the MATRIX Point After: LEFT/RIGHT/CENTER Faders OUTPUTS for this task. The Subgroups are . also essential for recording to multitrack. Both the SEND and RETURN jacks are bal- In the event that you have engaged any FLIP anced, but can accommodate unbalanced TS switches, the signals at these outputs will cables. Signal feeding the SEND jack is also not be the Subgroup signals — they will be the sent to the RETURN jack’s normalling pins. like-numbered AUX SEND ouputs. (For in- With nothing plugged into the RETURN jack, stance, if the FLIP switch on AUX SEND the (dry) SEND signal gets passed along to the MASTER 1 is engaged, AUX SEND 1’s output rest of the mix output’s path. will appear at Subgroup 1’s output jack, and vice versa.)

SUB OUTPUTS SUB INSERTS 25 (BAL/UNBAL) DIRECT OUT SUB SUB SUB SUB SEND1 RETURN SEND5 RETURN 1 2 3 4

INSERT SEND SEND2 RETURN SEND6 RETURN

INSERT RETURN SUB SUB SUB SUB SEND3 RETURN SEND7 RETURN 5 6 7 8

LINE IN SEND4 RETURN SEND8 RETURN

DC POWER IN MIDI IN MIDI OUT TALK BACK MIC INTERCOM PHANTOM POWERED MIC 25 (MACKIE 400-WATT POWER SUPPLY !) LEFT

DATA

16 SUB INSERTS WARNING: The Point Before: SUB 1–8 mixes , AIR , SR40•8’s stereo phones FLIP . jack will drive any standard headphone to very Point After: SUBS 1–8 Faders . loud levels. When we say Both the SEND and the headphone amp is loud, we’re not kid- RETURN jacks are balanced, ding. It can cause permanent ear damage. but can accommodate unbal- Even intermediate levels may be painfully anced TS cables. Signal O O MAX loud with some earphones. BE CAREFUL! TALKBACK LEVEL feeding the SEND jack is also Always turn the PHONES level all the sent to the RETURN jack’s normalling pins. way down before connecting headphones. Keep With nothing plugged into the RETURN jack, it down until you’ve put the phones on. Then MATRIX A AUX 1-4 the (dry) SEND signal gets passed along to the turn it up slowly. Why? “Engineers who fry their MATRIX B AUX 5-8 rest of the mix output’s path. (The jacks are ears find themselves with short careers.” half-normalled.) The SR40•8’s headphone amplifiers will MATRIX C EXTERNAL To insert a serial processor (such as a drive headphones of any impedance, but for graphic equalizer or compressor/limiter), simply best results (loudest volume), use 60-ohm MATRIX D L/R patch from the SEND jack to the effect’s input, headphones. ASSIGN and from the effect’s output to the RETURN TALKBACK jack, using either balanced TRS or unbalanced L-INSERT, R-INSERT (HEADPHONES) TS cables. Since using the SEND jack by itself Point Before: PHONES level . does not interrupt the mix signal path, it may O O MAX Point After: HEADPHONES and also be used as a pre-Fader direct output. SOLO LEVEL MONITOR outputs . HEADPHONES Per side, these unbalanced inserts share the Point Before: INSERT (HEADPHONES) . send and return on the same jack; tip = send O O MAX (to device), ring = return (from device), PHONES Point After: Your favorite headphones (one set sleeve = common ground. only per jack, conventionally wired: tip = left, This particular pair of insert points has only ring = right, sleeve = shield.) one function: Patch in a digital delay here and adjust the delay time so it matches the delay INTERCOM caused by the distance between the console and the stage speakers. This eliminates the slap-back effect of hearing the console first and then the speakers. TALKBACK MAIN INSERTS MONITOR AUX SEND COMMUNICATIONS (BAL/UNBAL) (BAL/UNBAL) (BAL/UNBAL) LEFT SEND LEFT RETURN L 1 5

RIGHT SEND RIGHT RETURN R 2 6

CNTR SEND CNTR RETURN TALKBACK 3 7

L-INSERT R-INSERT HEADPHONES 4 8

PHONES

MAIN OUTPUTS RIGHT CENTER MATRIX A M

17 MONITOR You can use the EXTERNAL switch Point Before: INSERT (HEADPHONES) . (ASSIGN ) to deliver the TALKBACK (and OSCILLATOR) signal to a second console, such Point After: Balanced or unbalanced cable as a monitor console. Simply patch from the with 1⁄4" TRS or TS connector. FOH (front-of-house) console’s TALKBACK Patch these outputs to an amp’s inputs, and output to a line-level Channel input of the patch the amp’s outputs to speakers mounted monitor console. Then use that Channel’s AUX at the console. Alternatively, the MONITOR sends to deliver the TALKBACK signals to the outputs can deliver the FOH (front-of-house) stage monitors. headphone mix to an engineer operating a secondary stage monitor console. TALKBACK MIC INPUT If you want to drive several pairs of head- Point Before: Balanced microphone-level cable phones via an outboard amplifier, patch these with male XLR connector (pin 2 = hot, pin 3 = outputs to that amp. cold, pin 1 = shield). This connector has 48-volt If the console is in a soundproof room, as in phantom power permanently engaged. live sound-studio work or studio recording/mix- Point After: section . down, patch these outputs to your control room TALKBACK amplifier and speakers. Be aware: the intercom Patch one dynamic or condenser microphone signals do not appear at these jacks. to either jack to enable the TALKBACK functions (there is no built-in microphone). The two TALKBACK phantom-powered jacks are wired in parallel, Point Before: ASSIGN (EXTERNAL) feeding a balanced mic preamp, then controlled by the TALKBACK LEVEL control. Point After: Balanced or unbalanced cable with Since these jacks are wired in parallel, only 1⁄4" TRS or TS connector. one should be used at a time. If you want the TALKBACK signal to be routed somewhere other than the AUX SEND MASTERS, LEFT/RIGHT mix, or MATRIX A–D, patch this output to that device. Similar to the MONITOR outputs, this jack is generally not required, but can be a lifesaver in unusual situations.

SUB OUTPUTS SUB INSERTS 25 (BAL/UNBAL) DIRECT OUT SUB SUB SUB SUB SEND1 RETURN SEND5 RETURN 1 2 3 4

INSERT SEND SEND2 RETURN SEND6 RETURN

INSERT RETURN SUB SUB SUB SUB SEND3 RETURN SEND7 RETURN 5 6 7 8

LINE IN SEND4 RETURN SEND8 RETURN

DC POWER IN MIDI IN MIDI OUT TALK BACK MIC INTERCOM PHANTOM POWERED MIC 25 (MACKIE 400-WATT POWER SUPPLY !) LEFT

DATA

18 INTERCOM DC POWER IN Point Before: Externally supplied Clear- Arguably the most important connector on

Com™ or compatible party-line intercom any console, the SR40•8 will not work until O O MAX line, with power. you’ve connected its power cable here. RECEIVE POWER SUPPLY STATUS LEDs in the out- Point After: SR40•8 intercom interface, IGNORE headphone amplifiers, and talkback system. put section will confirm that the console is fully powered. This connector accepts a 3-pin male XLR connector connected to a Clear-Com or com- CALL MIDI IN/OUT COMMUNICATIONS patible party-line intercom system. This system This is where you interface the SR40•8 with uses the following wiring: pin 1 = ground/0V, an external sequencer or other MIDI device, to Pin 3 = audio + DC signalling, pin 2 = 28–30VDC. enable ULTRA MUTE™ to perform complex O O MAX The ground pin of this connector is isolated LEVEL automated muting moves. Connect the MIDI from the SR40•8’s ground system. OUT of the sequencer to the MIDI IN of the ON MATRIX OUTPUTS SR40•8, and the MIDI OUT of the SR40•8 to the MIDI IN of the sequencer. 400Hz Point Before: MATRIX , MASTER level . PINK NOISE OSCILLATOR Point After: Balanced or unbalanced cable DATA with female XLR connector (pin 2 = hot, pin 3 This connector allows you to connect the = cold, pin 1 = shield). SR40•8 with an external computer via an If necessary, patch these outputs to the ampli- RS-232 connector, to enable remote control of fier inputs of additional speaker systems or use the ULTRA MUTE™ system. If your for other applications requiring composite mixes. application requires RS-422, use an external protocol adapter. TALKBACK MIC MATRIX INPUTS Point Before: Balanced or unbalanced line- level cable with 1⁄4" TRS or TS connector, (tip = hot, ring = cold, sleeve = shield). Point After: MATRIX . Signals injected into these jacks are fed directly to their respective MATRIX outputs, governed only by the MATRIX section’s MASTER levels .

MAIN INSERTS MONITOR AUX SEND "B" AUX RETURNS TAPE MAIN AUX RETURNS (BAL/UNBAL) (BAL/UNBAL) (BAL/UNBAL) (BAL/UNBAL) 24 LEFT SEND LEFT RETURN L 1 5 (MONO) L 1 R TAPE A (MONO) L A1 R DIRECT OUT

L L

RIGHT SEND RIGHT RETURN R 2 6 (MONO) L 2 R (MONO) L A2 R INSERT SEND R R

TAPE TAPE INPUT OUTPUT SOURCE = MASTER L-R CNTR SEND CNTR RETURN TALKBACK 3 7 (MONO) L 3 R TAPE B (MONO) L A3 R INSERT RETURN

L L

L-INSERT R-INSERT HEADPHONES 4 8 (MONO) L 4 R (MONO) L A4 R LINE IN R R

TAPE TAPE INPUT OUTPUT SOURCE = MATRIX C&D

MAIN OUTPUTS MATRIX OUTPUTS MATRIX INPUTS RIGHT CENTER MATRIX A MATRIX B MATRIX C MATRIX D A B MIC 24

C D

19 LINE CHANNEL MIC +48 PH TRIM 40 060 –20dB +40dB The forty Channel strips placed on either TRIM GAIN 0 side of the console look alike and function Point Before: MIC and LINE IN jacks, U AUX identically. They’re loaded with professional summed at mic preamp input. 1 features. Let’s start at the top of a Channel and Point After: Channel path, at 0/ (polarity O O +15 work our way down, but save the AUX send U reversal) switch. section for later. 2 Have you read the Level-Setting Procedure O O +15 “U” LIKE UNITY GAIN yet? If not, go to item right now and read it U — it’s at the beginning of this manual. That 3 Mackie consoles have a “U” symbol on almost every procedure is basically “How to Use the Trim O O +15 Control.” We ask that you commit that proce- U level control. This “U” stands dure to memory. You’ll be glad you did — it 4 for “unity gain,” meaning no boost or cut in sig- assures your incoming signal of being treated to O O +15 nal level. Once you have performed the PRE Level-Setting Procedure , you can set every the highest headroom and lowest noise possible. U control at “U” and your signals will travel Signals entering through the MIC XLR 5 through the mixer at optimal levels. What’s jack have unity gain (no level boost or attenu- O O +15 ation) with the knob fully down, and a 60dB U more, all the labels on our controls are measured in decibels (dB), so you’ll know what boost fully up. 6 Through the LINE IN TRS jack, there is O O +15 you’re doing level-wise if you choose to change U a control’s settings. 20dB of attenuation fully down and a 40dB boost 7 Be aware that unity gain is also reliant on fully up, with a “U” (unity gain) mark at 9:00. This 20dB of attenuation can be very handy O O +15 the position of the PAN knob. When U panned center, there will be about 4dB of at- when you are inserting a signal that is very hot, 8 tenuation on each side to preserve “constant or adding a lot of EQ gain, or both. Without O O +15 this “virtual pad,” a scenario like this might PRE FDR loudness” . POST EQ lead to clipping (which is an automatic 15 yard CHANNEL INPUT CONTROLS penalty in the NFL). A Channel’s input controls manipulate the Ø (POLARITY REVERSAL) signal just after the MIC and LINE IN . From there, a line-level signal is sent on to the Point Before: MIC and LINE IN preamp Channel output controls . output. Point After: HPF , Channel INSERT SEND +48 PH (PHANTOM POWER) and RETURN , EQ . Point Before: 48VDC power supply for Engaging this switch inverts the polarity of condenser microphones. the incoming MIC or LINE IN signal. Although Point After: MIC input . you’ll want to start off with this switch disen- This one’s easy. If you have a condenser mi- gaged (up), there’s no right way or wrong way crophone plugged in, or any mic that requires to set this switch — it’s all based on which way 48VDC phantom power, engage this switch. If sounds better, especially when auditioning the you have a dynamic microphone, or any mic signal with its partner signals. that does not require phantom power, leave For instance, by engaging the SOLO this switch up, although it won’t do any harm if switches on all the drum Channels, you can exit’s down (as long as you’re using good quality periment with polarity reversal of the overhead balanced cables). The LED next to the switch mics, the snare drum’s underside mic, and so glows when the power is on. forth until you hit upon the right combination of settings. You’ll want to make the “up” position the default setting for this switch so all the signals will have correct polarity (also known as “in phase”) — and only reverse the polarity of Channels that you deem necessary.

20 EQ HI 12K Point Before: Channel mic/line preamp, The HI EQ provides up to 15dB boost or cut Channel INSERT SEND and RETURN . at 12kHz, and is flat (no boost or cut) at the de- Point After: MUTE , PFL feed to Channel tent. Use it to add sizzle to cymbals, an overall Meter and SOLO . sense of transparency, or an edge to keyboards, vocals, guitar, and bacon frying. Turn it down a U The SR40•8 has a 4-band, dual-mid-sweep EQ little to reduce sibilance, minimize high fre- HI equalization: HI shelving at 12kHz; HI-MID 12k quency leakage, or to mask hiss caused by a -15 +15 bandpass, swept from 500Hz to 15kHz; LOW- U frugal client’s fifty-cent cassette tape. MID bandpass, swept from 45Hz to 3kHz; and HI MID +15 LOW shelving at 80Hz. Chances are, it’s all -15 +15 the equalization you’ll ever need. Shelving +10 2.5k means that the circuitry boosts or cuts all +5 700 6k FREQ frequencies past the specified frequency. For 0 500 15k U example, the SR40•8’s LOW shelving EQ –5 LOW boosts (or cuts) bass frequencies starting at MID –10 -15 +15 80Hz, and all frequencies below. Bandpass 250 –15 means that gain levels form a “hill” around Hz Hz Hz Hz Hz 20 100 1k 10k 20k 70 700 FREQ the center frequency. 45 3k With too much equalization, you can screw HI MID and FREQ U LOW things up royally. We’ve designed a lot of boost The HI-MID EQ has a fixed bandwidth of 1.5 80Hz and cut into each equalizer circuit because we octaves. The HI-MID knob sets the amount of -15 +15 know everyone will occasionally need that. But boost or cut up to 15dB, and is flat at the center HPF 150 EQ IN if you max the EQ on every Channel, you’ll get detent. The FREQ knob sets the center fre- 75 220 45 350 FREQ mix mush. Equalize subtly and use the left sides quency, sweepable from 500Hz to 15kHz. of the knobs (cut), as well as the right (boost). 30 800 If you find yourself repeatedly using full boost or +15 cut, consider altering the sound source, such as +10 placing a mic differently, trying a different kind +5 0 L R of mic, changing the strings, or gargling. PAN Be aware: The and fre- –5 HI-MID LOW-MID 40 quencies can be set to the same frequencies as –10 MUTE the HI and LOW shelving EQs. This is usually –15 not a problem, but it is unnecessary by virtue 20Hz 100Hz 1kHz 10kHz 20kHz dB of being redundant, and can sometimes cause +15 clipping. For instance, if you fully boost the +10 LOW-MID, with the FREQ set at 80Hz, and 5 1-2 +5 fully boost the LOW shelving, preset at 80Hz, 0 you’ll be asking for 30dB of gain at 80Hz! If you U 3-4 started out with signal with a 0dB level at that –5 –10 5-6 frequency, you’d be clipping for sure. 5 –15

20Hz 100Hz 1kHz 10kHz 20kHz 7-8 Most of the root and lower harmonics that define a sound are located in the 100Hz–

10kHz frequency range, and you can create CENTER drastic changes with these four midrange knobs. Many engineers use mid EQ to cut mid- L-R range frequencies, not boost them. One

popular trick is to set mid gain fully up, turn 50 the associated FREQ knob until you find a 60 point where it sounds just terrible, then back O O the mid down into the cut range, causing those terrible frequencies to disappear. Sounds silly, but it works. Sometimes.

SOLO

21 LOW MID and FREQ EQ IN The LOW-MID EQ has a fixed bandwidth of Point Before: INSERT RETURN (switch 1.5 octaves. The LOW-MID knob sets the amount up), EQ output (switch down) of boost or cut up to 15dB, and is flat at the cen- Point After: MUTE switch, PFL to Channel ter detent. The FREQ knob sets the center Meter and SOLO . U frequency, sweepable from 45Hz to 3kHz. EQ If the switch is up, the EQ won’t work. If it’s HI 12k +15 engaged (down), the EQ will work. The favor- -15 +15 U +10 ite use of an EQ switch is to compare a signal

HI +5 modified by EQ to the unmodified signal, to MID -15 +15 0 determine if your EQ settings are taking you 2.5k –5 where you want to go. As mentioned earlier, 700 6k FREQ the EQ boost/cut controls are all flat (no boost –10 500 15k or cut) at their center detents, so this switch U –15

20Hz 100Hz 1kHz 10kHz 20kHz could actually be engaged all the time. LOW MID Be aware that the HPF feature is -15 +15 +15 250 switched independently of this EQ IN switch. +10 70 700 FREQ +5 HPF and FREQ 45 3k U 0 Point Before: Channel mic/line preamp, 0/ LOW 80Hz –5 (polarity reversal) . -15 +15 –10 Point After: Channel path at INSERT SEND HPF –15 , PRE switch (AUX 1–4) . 150 EQ IN 75 220 20Hz 100Hz 1kHz 10kHz 20kHz

45 350 FREQ Be aware that signal path placement of the HPF circuit is not as it might appear by looking 30 800 LOW 80HZ at the console’s controls. It’s actually right after The LOW EQ provides up to 15dB boost or the MIC/LINE IN preamp and before the INSERT cut at 80Hz and is flat at the center detent po- (outboard gear also appreciates the effects of sition. This frequency represents the punch in HPF), but we feel strongly about using HPF as L R bass drums, bass guitar, fat synth patches, and PAN part of your EQ arsenal. That’s why the HPF some really serious male singers. 40 controls are in the EQ section. MUTE Used in conjunction with HPF , you can boost the LOW EQ without injecting a ton of +15 infrasonic debris into the mix. In fact, we rec- +10 dB ommend using the HPF feature on all +5 Channels at all times. 0 5 1-2 +15 –5

+10 –10 U 3-4 +5 –15 20Hz 100Hz 1kHz 10kHz 20kHz 5-6 0 5 The HPF (high pass filter) switch, often –5 referred to as a low cut filter, cuts bass fre- 7-8 –10 quencies at a rate of 12dB per octave below a –15 swept-select point, ranging from 30Hz–800Hz. 20Hz 100Hz 1kHz 10kHz 20kHz Using HPF will clean out the “mud” in your CENTER mix, can help reduce the possibility of feedback in live situations, and help to conserve L-R amplifier power. We recommend that you use low cut on 50 every sound source, and adjust the frequency 60 point to match the characteristics of the sig- O O nal. For instance, if the signal is a kick drum, bass guitar, bassy synth patches, or recordings of earthquakes, set the FREQ knob fully down at 30Hz. The difference will be virtually inau- dible and your amplifiers will love you for it. SOLO

22 Almost all other signals call for higher HPF CHANNEL OUTPUT CONTROLS frequency points (at least 80Hz). With these Now that we’ve made it through the signals, there isn’t much below 80Hz that you Channel’s input controls, we have a signal that want to hear, and filtering it out gives the low has been level-corrected, polarity-adjusted, stuff you do want much more definition. HPF-ized, and beautifully shaded with EQ. It’s With HPF, you can safely boost LOW EQ U ready to go out and meet the audience. The EQ and LOW-MID EQ. Many times bass shelving HI Channel output controls offer many ways to 12k EQ can really benefit voices. Trouble is, adding get this signal out of the console. Just to get a -15 +15 LOW shelving EQalso boosts the infrasonic de- handle on things, we’ll stick to the basic tried- U HI bris: stage rumble, mic handling clunks, wind and-true methods and leave the wild routing MID noise, and breath pops. HPF removes all that -15 +15 schemes up to you. 2.5k debris so you can boost the LOW EQ without frying a woofer. MUTE 700 6k FREQ 500 15k Point Before: EQ IN switch . U LOW Point After: Fader , PRE switch (AUX 1–4) . MID -15 +15 Muting a Channel removes the signal from 250 these output paths: LEFT/RIGHT/CENTER 70 700 FREQ mixes and ( mixes) , SUBS SUB 1–8 45 3k AUX SEND MASTERS , AFL SOLO, and U LOW AFL Channel Meters. The INSERT SEND, PFL 80Hz

SOLO, and PFL Meter paths are not affected. -15 +15

Unlike the “latching” switches, which live HPF 150 EQ IN in an up-or-down position, the MUTE switch 75 220 is “momentary” — when you press it, it comes 45 350 FREQ right back up. Pressing the switch toggles the 30 800 electronic mute relay in the signal path’s circuitry. If the Channel is muted, pressing the switch un-mutes it, and vice versa. An LED L R adjacent to the switch glows when a Channel PAN is muted. 40 The reason this switch is of the momentary MUTE persuasion is to enable you to change mute settings by other means, namely ULTRA dB MUTE™ . With ULTRA MUTE™, up to 100 different mute groups can be configured, enabling you to mute several signals at once. Not 5 1-2 only that, but you can automate the muting of

Channels (and other signal paths) via an ex- U 3-4 ternal MIDI sequencer or the DATA port. 5-6 We’ll discuss all this in excruciating detail 5 later on . 7-8

CENTER

L-R

O O

SOLO

23 FADER feeds the RIGHT mix, SUBs 2, 4, 6, and 8, and the Point Before: MUTE . right AFL SOLO. With the PAN knob set somewhere in between left and right, the signal is Point After: PAN , CENTER (ASSIGN) , divided between the left and right buses. DIRECT OUT , AUX (with PRE switch Be aware: Since CENTER assignment up), AFL CHANNEL METER . U occurs before the PAN control, it will receive EQ The Fader is almost the last control in a HI the same level as the Fader output, regardless 12k Channel’s signal path. It’s placed after the EQ -15 +15 of the PAN position. U and the MUTE controls but before the PAN With stereo sources your life will be easier if HI control. The “U” mark, about three-quarters of MID you follow this standard convention: When the way up, indicates unity gain, meaning no -15 +15 patching stereo sound sources into Channels, 2.5k increase or decrease of signal level. All the way always plug the left signal into an “odd” Chan- 700 6k FREQ up provides an additional 10dB, should you nel (1, 3, 5, etc.) and the right signal into the 500 15k need to boost a section of a song. If you find U adjacent “even” Channel (2, 4, 6, etc.). Then that the overall level is too quiet or too loud LOW PAN the odd Channel hard left and the even MID with a Fader near unity, you’ll want to confirm Channel hard right. -15 +15 250 the trim setting by keeping an eye on the Channel Meter (with the 70 700 FREQ METERING: CONSTANT LOUDNESS INPUT SECTION PFL/AFL switch in the 45 3k The SR40•8’s PAN controls U “up” position), or performing the Level-Setting employ a design called LOW 80Hz Procedure . “constant loudness”. It has -15 +15 nothing to do with living A CLEAN FADE HPF 150 EQ IN next to a freeway. As you 75 220 Fader mechanics are not turn the PAN knob from left to right (thereby 45 350 FREQ rocket science — a Fader causing the sound to move from left to center 30 800 operates by dragging a metal to right), you want the sound to move, but the pin (the wiper) across a volume (loudness) must stay the same. To ac- carbon-based strip (the complish this trick, the SR40•8 has a constant track). Despite the elaborate dust barriers loudness pan circuit, meaning the signal level L R built into the SR40•8’s Faders, it is still remotely PAN dips down about 4dB on each side when possible for airborne crud to land on the track. 40 panned center. Without this trick, the sound MUTE Should that happen, you may hear scratchy would appear louder when panned center. noises or signal dropouts as the wiper stumbles over the crud. Do all you can to keep airborne dB 1-2, 3-4, 5-6, 7-8, L-R (assignment switches) crud out of your profession. Avoid smoking Point Before: PAN . near the mixer, keep food and drink away from Point After: LEFT/RIGHT mixes and SUB 5 1-2 the mixer, and for pity’s sake, never put the mixes . mixer in the kitchen! We also recommend 1–8

U 3-4 “exercising” the Faders — give them a few Alongside each Channel Fader are five but- full-travel excursions once a week or so, and tons labeled 1-2, 3-4, 5-6, 7-8, and L-R. These 5-6 are collectively referred to as stereo assign- 5 that will help scare the crud away. We do not recommend spray cleaners. ment switches. 1, 3, 5, 7, and L are the left 7-8 sides of these stereo pairs, and 2, 4, 6, 8, and R PAN are the right sides. Used in conjunction with Point Before: Channel Fader . the Channel’s PAN control, these switches CENTER determine the destination of a Channel’s sig- Point After: 1-2, 3-4, 5-6, 7-8 (assignment nal: With the PAN knob set at the center switches) , SOLO (in AFL mode) . L-R detent, the left and right sides receive equal PAN adjusts the amount of Channel signal signal levels. To feed only one side or the other, sent to the left versus the right outputs. PAN 50 turn the PAN knob accordingly. determines the fate of the mix, 60 LEFT/RIGHT If you’re doing a conventional stereo mix O O Subgroups, and SOLO (in AFL mode). With the (with no center Channel), simply engage the PAN knob hard left, the signal feeds the LEFT L-R switch on each Channel that you want to mix, SUBs 1, 3, 5 and 7, and the left AFL SOLO hear and they’ll be sent to the main (assuming their assignment switches are engaged). With the PAN knob hard right, the signal

SOLO

24 LEFT/RIGHT mix . If you want to create a SOLO allows you to audition signals Subgroup of certain Channels, engage one of through your headphones without having to the numbered switches instead of the L-R, and assign them to any of the LEFT/RIGHT/CEN- the signals from those Channels are sent to the TER mixes or Subgroup (SUB 1–8 mixes) appropriate Subgroup Fader . From there, . You can simultaneously SOLO as many the Subgroups can be sent back to the main Channels (and other signals) as you like. The U EQ LEFT/RIGHT mix , allowing you to use the SR40•8 features nondestructive solo: Engaging HI 12k

Subgroup Faders as a master control for those SOLO does not interrupt any of the other -15 +15 Channels. Channels, buses, or outputs. Not only that, via U HI the INPUTS PFL/AFL and OUTPUTS PFL/ MID CENTER (assignment) AFL switches in the output section, the -15 +15 2.5k Point Before: Fader . SOLO system comes in two flavors: PFL (Pre- 700 6k FREQ Point After: CENTER mix . Fader-Listen) and AFL (After-Fader-Listen, solo-in-place). 500 15k This switch works the same way as the other U PFL is the key player in the all-important LOW assignment switches — engage the switch and MID Level-Setting Procedure . It’ll send the that Channel’s signal is sent to that mix — but -15 +15 Channel’s actual internal levels to the HEAD- 250 it is not a stereo destination. Since the CENTER PHONES , Channel Meters and 70 700 FREQ assignment occurs before the PAN control, it SOLO LEFT/RIGHT/CENTER Meters so 45 3k will receive the same level as the Fader output, U you’ll know just what’s going on level-wise. regardless of the PAN position. LOW This procedure should be performed every 80Hz Be aware: If you’re using the LEFT/RIGHT time a new sound source is patched into a -15 +15 MAIN OUTPUTS but not the CENTER OUT- HPF Channel’s MIC or LINE IN jacks. 150 EQ IN PUT, and you want a Channel’s signal to 75 220 PFL is often the preferred mode in SR appear in the center of the main LEFT/RIGHT 45 350 FREQ (Sound Reinforcement, or live sound), to pre- mix, engage the L-R switch and set the PAN 30 800 view Channels before they are assigned into the control to the center. Don’t use the CENTER mix. It won’t give you stereo placement, but will assignment switch — it won’t go anywhere, give you signal even if the Fader is pulled down. but it will appear in the PHONES mix, and Remember, PFL taps the Channel signal be- that could mislead you into thinking it actually L R fore the Fader. If you have a Channel’s Fader set PAN is in the main LEFT/RIGHT mix. way below “U” (unity gain), the SOLO mix won’t If you want to create a LEFT/RIGHT/CENTER 40 know that and will send a unity gain signal to MUTE mix for your main feed, and also a LEFT/RIGHT the HEADPHONES and Meters. That may re- mix with CENTER blended in for a secondary sult in a startling level boost at these outputs, dB feed, you’ll want to use the MATRIX section. depending on the position of SOLO LEVEL . Use MATRIX A for the LEFT and MATRIX B for In AFL mode, the soloed Channel’s signal is the RIGHT secondary mix outputs. Turn MA- sent directly to the HEADPHONES and Meters 5 1-2 TRIX A’s LEFT knob and MATRIX B’s RIGHT just as it would sound to the Channel’s stereo knob to their “U” markings. On MATRIX A and 3-4 assignment switches: post-EQ, post-Fader and U B, turn their CENTER knobs about one-third of post-PAN. AFL works regardless of the the way up (10:00 position). 5-6 Channel’s assignment settings, and that makes 5 it handy for auditioning a Channel before you SOLO 7-8 assign it to a mix. PFL Point Before: EQ IN switch. AFL is the preferred mode during mixdown: PFL Point After: PFL mix (mono) SOLO (of If the Channel has some midrange boost at CENTER LEFT/RIGHT/CENTER Faders) . 4.26kHz, is panned 20.3 degrees to the left, and AFL Point Before: PAN . its Fader is at –5.38dB, that’s exactly what L-R AFL Point After: AFL mix (stereo) SOLO (of you’ll hear if you solo during AFL-SIP mode. LEFT/RIGHT/CENTER Faders) . It’s just as if you took the time to mute all the other signals. 50 60

Be aware: INPUTS SOLO has precedence O O over OUTPUTS SOLO — you can’t combine these signals. For instance, if you have SUB 1 (an output signal) in SOLO, then you engage SOLO on Channel 15 (an input signal), the SUB 1 signal will be removed and replaced by the Channel 15 signal. SOLO 25 Be further aware: If this happens, remem- AUX SEND ber that you still have the Subgroup 1 SOLO LINE These eight rotary controls tap a portion of MIC +48 PH TRIM switched engaged, even though you can’t hear each Channel’s signal, mix them together, and 40 it. In this situation, to get out of SOLO mode 060 send them to the AUX SEND outputs out- –20dB +40dB GAIN you’ll have to disengage all the SOLO switches, 0 puts (or the SUB OUTPUTS if FLIP is even the ones you can’t hear. engaged). They are off when turned fully U AUX down, deliver unity gain at the center detent, 1 METER and provide 15dB of gain turned fully up. O O +15 U Point Before: EQ IN switch (with METER- The AUX SEND outputs are then patched 2 ING: INPUT SECTION PFL/AFL switch to stage monitor amp inputs (pre-Fader) or up), Channel Fader (with O O +15 METERING: parallel effects processor inputs (post-Fader). U INPUT SECTION PFL/AFL switch down). In the output section, overall levels are ad- 3 These individual Channel Meters give you justed by the AUX SEND MASTERS’ level O O +15 constant visual information about the signal (or Subgroup Fader if is engaged). U FLIP level in that Channel. In fact, with the METER- AUX sends can also be used to generate 4 ING: INPUT SECTION PFL/AFL switch set separate mixes for recording or “mix-minuses” O O +15

PRE to PFL (up), you may use these Meters for a for broadcast. By using AUX sends in the PRE U quick signal check without even engaging modes , these mix levels can be obtained 5 SOLO. With that switch down, the Meters will independently of a Channel’s Fader settings.

O O +15 display the post-MUTE/post-Fader/pre-PAN We recommend going into a stereo reverb in U output of the Channel. mono and returning in stereo. We have found 6 You may already be an expert in the world that most “stereo” reverbs’ second input just ties O O +15 U of “+4” (+4dBu=1.23V) and “–10” up an extra aux send and adds nothing to the (–10dBV=0.32V) operating levels. Basically, sound. There are exceptions, so try it both ways. 7 what makes a mixer one or the other is the O O +15 U relative 0dB VU (or 0VU) chosen for the PRE switch (AUX 1–4)

8 Meters. A “+4” mixer, with a +4dBu signal Point Before: Channel Fader (switch up),

O O +15 pouring out the back, will actually read 0VU on HPF (switch down). PRE FDR POST EQ the Meters. A “–10” mixer, with a –10dBV sig- Point After: AUX sends 1–4 . nal trickling out, will also read 0VU on its This switch determines the tap point of Meters. So when does 0VU actually equal AUX sends 1–4. Generally, post sends are used 0dBu? Right now! to feed effects devices, and pre sends are used At the risk of creating another standard, to feed your stage monitors. Mackie has done away with the two standards In post mode (switch up), AUX sends 1–4 just mentioned in favor of a simpler one: 0dBu will follow the EQ, HPF, Fader and MUTE set- at the output equals 0VU on the Meters. What tings. If you fade the Channel, you fade the could be easier? (By the way, the most wonder- AUX send. This is a must for effects sends, ful thing about standards is that there are so since you want the levels of your “wet” signals many to choose from.) to follow the level of the “dry” signal. In PRE mode (switch down), AUX sends 1–4 follow the TRIM, 0/ (polarity), HPF and MUTE settings only. EQ, PAN and Fader settings have no effect on the PRE sends. This is a popu- 21 22 23 24 lar method for setting up 22 22 22 C stage monitor feeds — 10 10 10 7 7 7 they’ll be controlled inde- 4 4 4 pendently of the Fader 2 2 2 moves. 0 0 0 2 2 2 4 4 4 7 7 7 10 10 10 20 20 20 30 30 30

26 PRE FDR/POST EQ (AUX SENDS 5–8) MAIN AUX RETURNS (A1–A4) Point Before: Fader (switch up), EQ IN You’ve no doubt noticed that the MAIN AUX U TRIM (switch down). RETURNS (A1–A4) look suspiciously like the A 4 Point After: AUX sends 5–8 . Channels. That’s because they are Channels, -10 +10 but they’re stereo instead of mono, with full This switch has one difference from the PRE routing to the LEFT/RIGHT/CENTER and Sub- U AUX switch for AUX sends 1–4: In the PRE mode group mixes, AUX sends and SOLO. we’ll just 1 (named POST EQ), the tap point is still before cover the things that are different. O O +15 the Channel Fader, but after the EQ, instead of U before. If you prefer that your stage monitor TRIM 2 mixes have EQ, use these AUX sends with this O O +15 The only difference between the Channel switch down. If you prefer no EQ, use AUX U TRIM and this one is the gain range (and sends 1–4 with the PRE switch down. 3 the fact that this one is stereo). With the control O O +15 U Main Aux +15 fully down there will be 10dB of attenuation. Returns With the control fully up, 10dB of boost. 4 (A1–A4) +10 Perform the Level-Setting Procedure O O +15 Top to bottom: +5 every time you patch in a new sound source to A4 PRE High Shelving, 0 U High-Mid these stereo Channels, to assure maximum Peaking, Low- –5 headroom and minimum noise. 5 Mid Peaking, –10 O O +15 Low Shelving, U –15 High Pass HPF 20Hz 100Hz 1kHz 10kHz 20kHz 6 Filter. This operates the same way as it does on O O +15 U +15 the Channels — engage the switch to activate

+10 the HPF (high pass filter). The difference is 7 that the frequency is not adjustable — it’s pre- O O +15 +5 set at 150Hz, with a 18dB per octave curve. U 0 We recommend that you leave the HPF 8 –5 O O +15 engaged at all times unless the signal has im- PRE FDR –10 portant ultra-low-frequency content that would POST EQ U –15 be diminished by using a 150Hz HPF. However, EQ 20Hz 100Hz 1kHz 10kHz 20kHz HI these stereo Channels are designed to handle 12k -15 +15 +15 AUX return signals, and those signals rarely U

+10 have this ultra-low-frequency content. HI MID 3k +5 -15 +15 EQ U 0 LOW The MAIN AUX RETURNS (A1–A4) have MID –5 800Hz 4-band EQ, but the two midrange bands do not -15 +15 –10 have frequency sweep controls. The U LOW –15 frequencies are fixed at 12kHz (HI shelving), 80Hz 20Hz 100Hz 1kHz 10kHz 20kHz 3kHz (HI-MID bandpass), 800Hz (LOW-MID -15 +15

+15 bandpass), and 80Hz (LOW shelving). EQ IN Using with allows you to boost +10 HPF EQ LOW CUT the LOW EQ without boosting the subsonic 150 Hz +5 debris, cleaning up your mix and conserving 18dB/OCT 0 amplifier power. We highly recommend its use. –5

–10

–15

20Hz 100Hz 1kHz 10kHz 20kHz

+15

+10

–5

–10

–15 20Hz 100Hz 1kHz 10kHz 20kHz 27 U AUX PAN SOLO 1 Being that these are stereo Channels, their This works just like the Channel SOLO ,

O O +15 PAN controls are similar to a balance control with one exception: In PFL mode, the LEFT U on a home stereo — if you turn it to the right, and RIGHT signals are mixed together to form 2 you attenuate the left signal and if you turn a combined mono PFL signal. O O +15 U left, you attenuate the right signal. The only Be aware: Just as INPUTS SOLO has prece- difference is that when PAN is centered, there dence over OUTPUTS SOLO, so do aux 3 is 4dB of attenuation on each side to maintain returns have precedence over aux sends — O O +15 U “constant loudness” . you can’t combine these signals. For instance, 4 if you have AUX SEND 1 (an output signal) in 1-2, 3-4, 5-6, 7-8, L-R (ASSIGN) O O +15 SOLO, then you engage SOLO on AUX RE- A4 PRE Rather than routing a mono signal to a left TURN A1 (an input signal), the AUX SEND 1 U mix, a right mix, or somewhere in between, signal will be removed and replaced by the 5 these stereo aux returns always send the left AUX RETURN A1 signal. O O +15 U signal to the left mixes (1, 3, 5, 7, and LEFT) and the right signal to the right mixes ( , , , METER 6 2 4 6 , and ), depending on position These operate just like the Channel Meter O O +15 8 RIGHT PAN U and assignment switch positions. , except that there are two LED columns 7 per MAIN AUX RETURN and just one column

O O +15 CENTER (ASSIGN) per mono Channel. U The CENTER assignment on the MAIN AUX 8 RETURNS (A1–A4) operates the same as it AUX O O +15 does on the Channels, except that it takes both The sends on the PRE FDR AUX MAIN AUX RETURNS POST EQ the LEFT and RIGHT signals, mixes them to- (A1–A4) operate the same as they do on the gether, and then sends that mono signal to the Channels, except that they take both the left CENTER mix . and right signals, mix them together, and then send that mono signal to each AUX SEND MASTER.

LR PAN A4 MUTE

dB 10

5 1-2

U 3-4

5-6 5

7-8 10

20 CENTER

30 L-R

O O

SOLO

28 OUTPUT SECTION

You’ve just learned about the Channels and FADER LINK MAIN AUX RETURNS (A1–A4), and how the Some engineers prefer to have the left and signals get in and out. In the output section, right sides of the main mix travel through things get a bit more complicated, so put on separate Faders, as described above. Others your thinking cap. prefer the accuracy and simplicity of one stereo Fader. This switch allows you to set up LEFT/RIGHT/CENTER MIXES the LEFT and RIGHT mix Faders either way. This is where everything assigned via the With the FADER LINK switch up, the left 1-2, 3-4, 5-6, 7-8, L-R, or CENTER as- mix travels through the LEFT Fader, and the signment switches gets mixed together. Just right through the RIGHT Fader. With the after the mix stage, the signals are sent out to switch down, the left mix is diverted over to the MAIN INSERTS , then they come back the “other half” of the RIGHT Fader (actually a to their respective Faders. stereo Fader) and the LEFT Fader is out of the circuit. It’ll sound the same either way, there’s LEFT FADER no performance penalty either way, and it’s Point Before: MAIN INSERTS . completely up to you. Go for it. Point After: MAIN OUTPUTS . To actually have fun with this switch, first The left mix is off with this Fader fully engage it, making the RIGHT Fader control down, the “U” marking is unity gain, and fully both the left and right levels while rendering up provides 10dB additional gain. the LEFT Fader useless. Now tell the producer or road manager that he’s free to adjust the RIGHT FADER mix balance by tweak- Point Before: MAIN INSERTS . ing the LEFT Fader to his heart’s content. FADER LINK Point After: MAIN OUTPUTS .

L & R The right mix is off with this Fader fully R = L/R down, the “U” marking is unity gain, and fully up provides 10dB additional gain. CENTER LEFT RIGHT To ride a stereo left/right mix, operate both Faders together, side by side, as if they were dB dB dB one. If a special application calls for some im- 10 10 10 balance in levels, create that by offsetting the left and right Faders and riding that. For an 5 5 5 even easier solution, see the following section,

FADER LINK. U U U

5 5 5

10 10 10

20 20 20

30 30 30

40 40 40

50 50 50

60 60 60

O O O O O O

SOLO SOLO SOLO 29 CENTER FADER SOLO Point Before: MAIN INSERTS . PFL Point Before: LEFT, RIGHT and CENTER Point After: MAIN OUTPUTS . mix . The CENTER mix is off with this Fader fully PFL Point After: PFL mix (mono) . down, the “U” marking is unity gain, and fully AFL Point Before: LEFT, RIGHT and CENTER up provides 10dB additional gain. Faders . Remember that the CENTER mix is not actu- AFL Point After: AFL mix (stereo) . ally related to the LEFT and RIGHT mix (except SOLO allows you to audition signals that they usually wind up singing to the same through your headphones. You can simulta- audience). Ride the CENTER Fader as needed, neously SOLO as many signals as you like. The regardless of the position of the FADER LINK SR40•8 features nondestructive solo: Engaging switch and LEFT and RIGHT Faders. SOLO does not interrupt any of the other Channels, buses, or outputs. Not only that, the SOLO system comes in two flavors: PFL (Pre- Fader Listen) and AFL (After-Fader Listen, Solo-In-Place).

DIMMER METERING POWER SUPPLY STATUS -10dBV +48 PH -10dBV +48 PH -10dBV +48 PH -10dBV +48 PH IC GAIN IC GAIN U U U U INPUT OUTPUT IC GAIN IC GAIN M M SECTION SECTION M M TRIM TRIM TRIM TRIM TRIM TRIM V.+ V.- 5 V 12 V 48 V TRIM TRIM U 23 U 24 A 1 A 2 A 3 A 4 U 25 U 26 060 060 LOW MAX LOW MAX 060 060 +10dB -40dB +10dB -40dB -20 +20 -20 +20 -20 +20 -20 +20 PFL PFL +10dB -40dB +10dB -40dB 0 0 LAMP METER AFL AFL 40•8•2 AUDIO MIXING CONSOLE 0 0

U AUX U AUX U AUX U AUX U AUX U AUX AUX SEND MASTERS U U U U U AUX U AUX SUB 1 1 1 1 1 1 1 1 1 FLIP FLIP FLIP FLIP FLIP FLIP FLIP FLIP O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +10 O O +10 O O +10 O O +10 O O MAX O O +15 O O +15 U U U U U U U U U U U U U U U U U U RECEIVE U U

2 2 2 2 2 2 SUB 2 2 2 IGNORE O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +10 O O +10 O O +10 O O +10 O O +15 O O +15 U U U U U U U U U U U U SUB 3 3 3 3 3 3 3 3 MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE 3 CALL O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +10 O O +10 O O +10 O O +10 O O +15 O O +15 COMMUNICATIONS U U U U U U U U U U U U

4 4 4 4 4 4 SUB 4 4 SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO 4 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +10 O O +10 O O +10 O O +10 O O +15 O O +15 12345678 U U U U 23 PRE 24 PRE A1 PRE A2 PRE A3 PRE A4 PRE O O MAX 25 PRE 26 PRE LEVEL U U U U U U SUB U U 5 5 5 5 5 5 5 5 5 AUX RETURNS ASSIGNED TO TAPE RETURNS O O +10 O O +10 O O +10 O O +10 ON CENTER RUDE U U U U O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 U U U U U U U SOLO LIGHT U U U U U U SUB U U 6 400Hz PINK NOISE 6 6 6 6 6 6 O O +10 O O +10 O O +10 O O +10 6 6 O O O O O O O O O O O O O O +20 +20 +20 +20 +20 +20 10 U U U U OSCILLATOR O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL LINE OUT U U U U U U SUB U U PFL 7 7 7 7 7 7 7 AFL 7 7 MUTE MUTE MUTE MUTE MUTE MUTE INPUTS O O +10 O O +10 O O +10 O O +10 U U U U O O O O O O +15 O O +15 O O O O O O O O +15 +15 +15 +15 PFL +15 +15 U U U U U U MUTE AFL SUB U U SOLO SOLO SOLO SOLO SOLO SOLO OUTPUTS 8 8 8 8 8 8 8 8 8 B1 B2 B3 B4 TAPE A TAPE B MONITOR SOLO O O +10 O O +10 O O +10 O O +10 U U U U O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 PRE FDR PRE FDR PRE FDR PRE FDR PRE FDR PRE FDR PRE FDR PRE FDR POST EQ POST EQ POST EQ POST EQ POST EQ POST EQ CTR TALKBACK MIC POST EQ POST EQ

U U U U U U U U EQ EQ EQ EQ EQ EQ 012345678 9 O O +10 O O +10 O O +10 O O +10 EQ EQ U U U U HI HI HI HI HI HI HI HI 12k 12k 12k 12k 12k 12k 12k 12k LEFT -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 O O MAX -15 +15 -15 +15 2.5k 2.5k U U U U 2.5k 2.5k O O +10 O O +10 O O +10 O O +10 TALKBACK LEVEL U U U U 700 6k HI 700 6k HI HI HI HI HI 700 6k HI 700 6k HI MID MID MID MID MID MID MID MID 3k 3k 3k 3k RIGHT 450 15k 450 15k -15 +15 -15 +15 -15 +15 -15 +15 450 15k 450 15k 3k 3k U U U U MATRIX A AUX 1-4 3k 3k 0-9 O O +10 O O +10 O O +10 O O +10 MODE 1k 5k FREQ 1k 5k FREQ LOW LOW LOW LOW 1k 5k FREQ 1k 5k FREQ MID MID MID MID 800Hz 800Hz 800Hz 800Hz MATRIX MATRIX MATRIX MATRIX MATRIX B AUX 5-8 500 15k 500 15k -15 +15 -15 +15 -15 +15 -15 +15 500 15k 500 15k 250 250 U U U U A B C D 250 250 SYSTEM MUTE STORE CLEAR 70 700 LOW 70 700 LOW LOW LOW LOW LOW ™ DO IT MATRIX C EXTERNAL 70 700 LOW 70 700 LOW MID MID 80Hz 80Hz 80Hz 80Hz GRP SNAP ULTRA MUTE BY PASS PREVIEW MID MID 45 3k 45 3k -15 +15 -15 +15 -15 +15 -15 +15 1 2345678 45 3k 45 3k 250 250 5 5 5 5 5 5 5 5 ABCDMATRIX D L/R 250 250 220 350 FREQ 220 350 FREQ EQ IN EQ IN EQ IN EQ IN MUTE MUTE MUTE MUTE ASSIGN 220 350 FREQ 220 350 FREQ ABCDTALKBACK 45 3k 45 3k 0 +10 0 +10 0 +10 0 +10 0 +10 0 +10 0 +10 0 +10 45 3k 45 3k U U LOW CUT LOW CUT LOW CUT LOW CUT AIR AIR AIR AIR AIR AIR AIR AIR U U U U U U 150 Hz 150 Hz 150 Hz 150 Hz 18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT LOW LOW LOW LOW 80Hz 80Hz 80Hz 80Hz 16kHz 16kHz 16kHz 16kHz 16kHz 16kHz 16kHz 16kHz

-15 +15 -15 +15 O O +10 O O +10 O O +10 O O +10 O O MAX -15 +15 -15 +15 ASSIGN ASSIGN ASSIGN ASSIGN ASSIGN ASSIGN ASSIGN ASSIGN MASTER MASTER MASTER MASTER SOLO LEVEL HPF HPF HPF HPF 150 EQ IN 150 EQ IN 150 EQ IN 150 EQ IN 75 220 75 220 75 220 75 220

45 350 FREQ 45 350 FREQ CENTER CENTER CENTER CENTER CENTER CENTER CENTER CENTER SOLO SOLO SOLO SOLO 45 350 FREQ 45 350 FREQ

30 800 30 800 O O MAX 30 800 30 800 PHONES L-R L-R L-R L-R L-R L-R L-R L-R FADER LINK

L & R LR LR LR LR LR LR LR LR LR LR LR LR LR LR LR LR R = L/R PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN INTERCOM PAN PAN 23 24 A1 A2 A3 A4 CENTER LEFT RIGHT 25 26 MUTE MUTE MUTE MUTE MUTE MUTE 12345678 MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE dB dB dB dB dB dB dB dB dB dB dB dB dB dB dB dB dB TALKBACK dB dB 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 COMMUNICATIONS 10 10

5 1-2 5 1-2 5 1-2 5 1-2 5 1-2 5 1-2 5 5 5 5 5 5 5 5 5 5 5 5 1-2 5 1-2

U 3-4 U 3-4 U 3-4 U 3-4 U 3-4 U 3-4 U U U U U U U U U U U U 3-4 U 3-4

5-6 5-6 5-6 5-6 5-6 5-6 5-6 5-6 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5

7-8 7-8 7-8 7-8 7-8 7-8 7-8 7-8 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10

20 20 20 20 20 20 20 20 20 20 20 20 20 20 20 20 20 20 20 CENTER CENTER CENTER CENTER CENTER CENTER CENTER CENTER

30 30 30 30 30 30 30 30 30 30 30 30 30 30 30 30 30 30 30 L-R L-R L-R L-R L-R L-R L-R L-R PHONES

40 40 40 40 40 40 40 40 40 40 40 40 40 40 40 40 40 40 40

50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50

60 60 60 60 60 60 60 60 60 60 60 60 60 60 60 60 60 60 60

O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

30 Remember: INPUTS SOLO has precedence PAN over OUTPUTS SOLO — you can’t combine Point Before: MUTE . these signals. Point After: L-R (ASSIGN) . SUBS (SUB 1-8 MIXES) PAN does not affect a subgroup’s dedicated This is where everything assigned via the SUB OUTPUT. PAN adjusts the amount of sig- 1-2, 3-4, 5-6, and 7-8 Channel assignment nal sent to the LEFT versus the RIGHT mixes via switches gets mixed together. Just after the the L-R (ASSIGN) switch and the SOLO bal- mix stage, the signals are sent out to the SUB ance (in AFL mode). With the PAN knob hard INSERTS , then they come back to their left, the signal feeds the LEFT mix and the respective Subgroup Faders. left AFL SOLO (assuming their assignment Be aware: If the signal path of a subgroup switches are engaged). With the knob hard appears to have been mysteriously replaced by right, the signal feeds the RIGHT mix and its like-numbered AUX SEND MASTER, it’s be- the right AFL SOLO. With the PAN knob set cause that AUX SEND MASTER’s FLIP switch somewhere in between left and right, the signal is engaged. See for more details. is divided between the LEFT and RIGHT buses. 1 5 FADER L-R (ASSIGN) Point Before: PAN . Point Before: SUB INSERTS . 0 +10 Point After: MUTE . Point After: LEFT/RIGHT mixes . AIR If you’re doing a conventional stereo mix A SUB mix is off with this Fader fully down, 16kHz and using the Subgroups as master controls the “U” marking is unity gain, and fully up ASSIGN provides 10dB additional gain. for groups of Channels before they enter the LEFT/RIGHT mix (by assigning these Chan- CENTER MUTE nels to the Subgroup only ), simply engage the Subgroup’s L-R switch, and the signal will Point Before: Fader . L-R be sent to the LEFT/RIGHT mix. With the Point After: SUB OUTPUTS , PAN , PAN knob set at the center detent, the left (assignment) , respective CENTER MATRIX and right sides receive equal signal levels. To inputs. LR feed only one side or the other, turn the PAN PAN Muting a SUB removes the signal from knob accordingly. these output paths: SUB OUTPUTS, SUB 1 CENTER/L-R (ASSIGN), AFL SOLO, and the CENTER (ASSIGN) MUTE respectively-numbered MATRIX input. The Point Before: MUTE . dB INSERT, PFL SOLO, and PFL Meter paths are 10 Point After: CENTER mix . not affected. This switch works the same way as the Pressing the switch toggles the electronic 5 mute relay in the signal path’s circuitry. If the Subgroup’s L-R assignment switch — engage the switch and that signal is sent to the CENTER signal is muted, pressing the switch un-mutes U it, and vice versa. An LED adjacent to the mix — but it is not a stereo signal. Since the CENTER assignment occurs before the PAN switch glows when it is muted. 5 With ULTRA MUTE™, up to ten Banks of ten control , it receives the same level as the Fader output regardless of the position. different Mute Groups can be configured, en- PAN 10 abling you to mute several signal paths at Be aware: If you’re using the LEFT and RIGHT MAIN OUTPUTS but not the CENTER once. Not only that, but you can automate the 20 muting of all the signal paths via an external OUTPUT, and you want a subgroup’s signal to appear in the center of the main MIDI sequencer or via the RS-232 DATA LEFT/RIGHT 30 port connected to a computer. We’ll discuss all mix, engage the L-R switch and set the this in detail later on . PAN control to the center. Don’t use the 40 CENTER ASSIGN switch — It won’t go any- 50 where, but it will appear in the PHONES mix, 60 and that could mislead you into thinking it O O actually is in the LEFT/RIGHT mix. If you want to create a LEFT/RIGHT/ CENTER mix for your main feed, and also a LEFT/RIGHT mix with CENTER blended in for

SOLO 31 a secondary feed, you’ll want to use the MATRIX AIR section. Use MATRIX A for the LEFT and Point Before: FLIP . MATRIX B for the RIGHT secondary mix out- Point After: SUB INSERTS . puts. Turn MATRIX A’s LEFT knob and MATRIX B’s RIGHT knob to their “U” markings. On The AIR control is a special form of EQ set MATRIX A and B, turn their CENTER knobs into the submix masters, a smooth, broad hill about one-third of the way up (10:00 position). of shiny hyper-treble centered at 16kHz, with gossamer skirts extending as low as 12kHz and SOLO wafting as high as 20kHz. When AIR is set at 0, PFL Point Before: SUB INSERTS . it is effectively out of the signal path and the submix bus has a flat response. But when you PFL Point After: ( SOLO LEFT/RIGHT/CENTER need a little more “air” in your sound, just a Faders) mix (mono). PFL hint of high treble to add that atmospheric AFL Point Before: PAN . breathiness to your vocalists or that brand- AFL Point After: SOLO (LEFT/RIGHT/CENTER new-string jangle to your guitar, give the AIR Faders) AFL mix (stereo). knob a twist. We think you’ll like it. 1 5 SOLO allows you to audition signals through your headphones. You can simulta- METERS Point Before: SUB INSERTS (METERING: 0 +10 neously SOLO as many signals as you like. The AIR SR40•8 features nondestructive solo: Engaging OUTPUT SECTION PFL/AFL switch up), MUTE , (METERING: OUTPUT SECTION 16kHz SOLO does not interrupt any of the other Channels, buses, or outputs. Not only that, the PFL/AFL switch down). ASSIGN SOLO system comes in two flavors: PFL (Pre- Each individual Meter gives you constant Fader Listen) and AFL (After-Fader Listen, visual information about the signal level in the CENTER Solo-In-Place). corresponding subgroup. In fact, with the Remember: INPUTS SOLO has precedence METERING: OUTPUT SECTION PFL/AFL L-R over OUTPUTS SOLO — you can’t combine switch set to PFL (up), you can use these these signals. Meters for a quick signal check without even engaging SOLO. With that switch down, the LR PAN Meters will display the post-MUTE/post-Fader/ pre-PAN output of the subgroups. 1 A 0dB reading on the Meters represents MUTE a 0dBu balanced output signal, when the

dB METERING: OUTPUT SECTION PFL/AFL 10 switch is engaged (AFL). In other words, 0VU=0dBu at a balanced output, and 5 0VU=–6dBu at an unbalanced output.

30 1 2 3 4 5 6 7 8 P 22 22 22 22 22 22 22 40 10 10 10 10 10 10 10 50 7 7 7 7 7 7 7 60 4 4 4 4 4 4 4

O O 2 2 2 2 2 2 2 0 0 0 0 0 0 0 2 2 2 2 2 2 2 4 4 4 4 4 4 4 7 7 7 7 7 7 7 10 10 10 10 10 10 10 20 20 20 20 20 20 20 SOLO 30 30 30 30 30 30 30

32 “B” AUX RETURNS AND SOLO TAPE RETURNS PFL Point Before: “B” AUX RETURNS , The four “B” AUX RETURNS and the two TAPE INPUT . TAPE RETURNS are basically the same, but PFL Point After: SOLO (LEFT/RIGHT/CENTER with different input hardware . They’re Faders) PFL mix (mono). your basic, no-frills, stereo Channels. AUX AFL Point Before: LEVEL . RETURNS B1, B2, B3, TAPE A and TAPE B are dedicated to the LEFT/RIGHT mix, and AUX AFL Point After: SOLO (LEFT/RIGHT/CENTER RETURN B4 is dedicated to the CENTER mix. Faders) AFL mix (stereo). Equipped with LEVEL, MUTE and SOLO con- SOLO allows you to audition signals through trols, they’re perfect for getting reverb and your headphones without having to assign delay signals to the main mixes. If you need to them to any of the LEFT/RIGHT/CENTER send these signals to the monitors (via AUX mixes or subgroups (SUB 1–8 mixes) . SENDS) or to the SUBS, patch them into the You can simultaneously SOLO as many signals MAIN AUX RETURNS (A1–A4) instead. as you like. The SR40•8 features nondestructive solo: Engaging SOLO does not interrupt LEVEL any of the other Channels, buses or outputs. Point Before: “B” AUX RETURNS , TAPE Not only that, the SOLO system comes in two INPUT . flavors: PFL (Pre-Fader Listen) and AFL Point After: MUTE . (After-Fader Listen, Solo-In-Place). Remember: AUX SENDS SOLO has prece- The signal is off with the rotary LEVEL con- dence over AUX RETURNS SOLO — you can’t trol turned fully counterclockwise, unity gain combine these signals. is at the center “U” detent, and turned fully up provides 15dB gain.

MUTE Point Before: LEVEL . Point After: LEFT/RIGHT mix (AUX RETURN B1, B2, B3, TAPE A, TAPE B); CENTER mix (AUX RETURN B4). Muting removes the signal from the dedicated LEFT/RIGHT/CENTER mixes and AFL SOLO. The PFL SOLO and PFL Meter paths will not be affected. The signal is muted with the switch engaged (down). “B” AUX RETURNS and TAPE A and TAPE B do not have momentary MUTE switches or associated LEDs and are not controllable via ULTRA MUTE™ .

AUX RETURNS ASSIGNED TO TAPE RETURNS CENTER RUDE U U U U U U U SOLO LIGHT

O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL LINE OUT

PFL AFL MUTE MUTE MUTE MUTE MUTE MUTE INPUTS

PFL MUTE AFL SOLO SOLO SOLO SOLO SOLO SOLO OUTPUTS B1 B2 B3 B4 TAPE A TAPE B MONITOR SOLO

33 AUX SEND MASTERS This is the path of a Subgroup signal with The AUX SEND MASTERS, as with all the its associated AUX SEND MASTER FLIP switch signal paths in the SR40•8, are fully equipped disengaged (up): Channel assignment and with LEVEL, MUTE, and SOLO controls. Using PAN controls, Subgroup mix, Subgroup AIR, the FLIP feature, AUX SEND MASTERS SUB INSERT, Subgroup Fader, Subgroup can be routed through the subgroups (SUB MUTE, and the signal exits via the SUB OUT- 1–8 mixes) circuitry instead, providing the PUTS XLR jacks. engineer with more control over these signals, This is the path of an AUX SEND MASTER which exit via XLR jacks. signal with its FLIP switch engaged (down): Be aware: If the signal path of an AUX Channel AUX level control, AUX SEND MASTER SEND MASTER appears to have been mysteri- mix, Subgroup AIR, SUB INSERT, Subgroup ously replaced by its like-numbered subgroup, Fader, Subgroup MUTE, and the signal exits it’s because that AUX SEND MASTER’s FLIP via the SUB OUTPUTS XLR jacks. switch is engaged. Read on. This is the path of a Subgroup signal with its associated AUX SEND MASTER FLIP switch FLIP engaged (down): Channel assignment and PAN Point Before: Subgroups (SUB 1–8 mixes) , controls, Subgroup mix, AUX SEND MASTERS AUX SEND MASTERS . LEVEL, AUX SEND MASTERS MUTE, and the signal exits via the AUX SEND TRS jacks. Point After: AIR , (AUX SEND MASTER) LEVEL . LEVEL Each AUX SEND MASTER has a FLIP Point Before: FLIP . switch and an associated LED. The FLIP switch Point After: MUTE . removes an AUX SEND MASTER mix from its dedicated MUTE and LEVEL controls and The signal is off with the rotary LEVEL con- diverts it to the like-numbered Subgroup rout- trol turned fully counterclockwise, unity gain ing. The FLIP switch makes the SR40•8 an is at the center “U” detent, and turned fully up ideal stage monitor console. A flipped AUX provides 10dB gain. These controls are useful SEND MASTER will have its own dedicated for riding the levels of AUX SEND MASTERS 100mm Fader, AIR EQ, INSERT, and balanced sent to the stage monitors. However, should XLR output. Meanwhile, a flipped AUX SEND these mixes require a lot of riding, consider MASTER also diverts the Subgroup signal to engaging FLIP , as that will allow you to use the original AUX SEND MASTER controls and Faders instead of rotary controls. TRS output. Confused? Try it this way: This is the path of an AUX SEND MASTER signal with its FLIP switch disengaged (up): Channel AUX level control, AUX SEND MAS- TER mix, AUX SEND MASTERS: LEVEL, AUX SEND MASTERS: MUTE, and the signal exits via the AUX SEND’s TRS jacks.

AUX SEND MASTERS

FLIP FLIP FLIP FLIP FLIP FLIP FLIP FLIP

U U U U U U U U

O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15 O O +15

MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO 12345678

34 MUTE SOLO MASTER CONTROLS Point Before: LEVEL . To audition individual signals, or groups of Point After: AUX SEND . signals, there are SOLO switches on every Channel, MAIN AUX RETURN (A1–A4), “B” Muting removes the signal from its AUX AUX RETURN, TAPE A, TAPE B, AUX SEND SEND output and AFL SOLO. The PFL SOLO MASTERS, MATRIX, and Subgroup, as well as and PFL Meter paths are not affected. the mixes. The engineer Pressing the switch toggles the electronic LEFT/RIGHT/CENTER behind an SR40•8 can to listen to any signal, mute relay living in the signal path’s circuitry. individually or in groups, without disturbing If the signal is muted, pressing the switch un- the content of any of the console’s primary out- mutes it, and vice-versa. An LED adjacent to puts. Input signals (Channels, the switch glows when muted. MAIN AUX RETURNS (A1–A4), “B” AUX RETURNS, TAPE With ULTRA MUTE™, up to ten Banks of and ) can be globally switched ten different Mute Groups can be configured, A TAPE B PFL (Pre-Fader Listen) or (stereo-in-place, enabling you to mute several signal paths at AFL After-Fader Listen). Output signals ( once. Not only that, but you can automate the MAIN , – , muting of all the signal paths via an external LEFT/RIGHT SUB 1 8 AUX SEND MASTERS 1–4 and MATRIX A–D) have a similar switch. MIDI sequencer or via the RS-232 DATA port connected to a computer. We’ll discuss all INPUTS PFL/AFL this in detail later on . This switch determines the SOLO mode SOLO for these signals: Channels, MAIN AUX RETURNS (A1–A4), “B” AUX RETURNS, PFL Point Before: AUX SEND MASTERS . TAPE A and TAPE B. To audition PFL (pre- PFL Point After: SOLO (LEFT/RIGHT/CENTER Fader) signals, leave the switch up. Engage Faders) PFL mix (mono). the switch (down) for AFL (After-Fader Lis- AFL Point Before: MUTE . ten, Solo-In-Place) auditioning. AFL Point After: SOLO (LEFT/RIGHT/CENTER Whenever SOLO is active, the LEFT/RIGHT/ Faders) [115] AFL mix (stereo). CENTER Meters show the PFL levels on the Meter and the levels on the SOLO allows you to audition signals through CENTER AFL your headphones without having to assign them LEFT/RIGHT Meters, regardless of the position of this switch. to any of the LEFT/RIGHT/CENTER mixes INPUTS PFL/AFL or subgroups ( – mixes) . You can simul- SUB 1 8 OUTPUTS PFL/AFL taneously SOLO as many signals as you like. The SR40•8 features nondestructive solo: Engaging This switch determines the SOLO mode for these signals: – , , SOLO does not interrupt any of the other Channels, SUB 1 8 AUX SEND MASTER buses, or outputs. Not only that, the SOLO system MATRIX A–D, and the LEFT/RIGHT/CENTER mixes. To audition (Pre-Fader Listen) sig- comes in two flavors: PFL (Pre-Fader Listen) PFL nals, leave the switch up. Engage the switch and AFL (After-Fader Listen, Solo-In-Place). Remember: INPUTS SOLO (including AUX (down) for AFL (after-Fader listen, Solo-In- Place) auditioning. SENDS) has precedence over OUTPUTS SOLO — you can’t combine these signals. Whenever SOLO is active, the LEFT/RIGHT/ CENTER Meters will show the PFL levels on the CENTER Meter and the AFL levels on the LEFT/RIGHT Meters, regardless of the position of the OUTPUTS PFL/AFL switch.

TAPE RETURNS RUDE U U U SOLO LIGHT

O O +15 O O +15 O O +15 LEVEL LEVEL LINE OUT

PFL AFL MUTE MUTE INPUTS

PFL MUTE AFL SOLO SOLO OUTPUTS TAPE A TAPE B MONITOR SOLO

35 SOLO LEVEL PHONES LEVEL Point Before: INPUTS PFL/AFL and Point Before: LEFT/RIGHT/CENTER mixes OUTPUTS PFL/AFL switches. post-Fader outputs Point After: HEADPHONES and Point After: HEADPHONES and MONITOR . MONITOR . This controls the signal level of all SOLO Unless the SR40•8 is in SOLO, the HEAD- signals, be they from the INPUTS, OUTPUTS, PHONES always receive the LEFT/RIGHT mix, PFL, or AFL. The signal is off when turned fully with the CENTER mix blended into each side. counterclockwise, with 10dB gain turned fully This control sets the level for those signals clockwise. only. SOLO signals are controlled by SOLO Remember, PFL signals are tapped before LEVEL only — PHONES LEVEL has no effect the circuit’s level control. For instance, when on SOLO signals, even though they are being soloing a Channel in PFL mode, the signal will sent to the headphones. This is so you can tai- be tapped before the Channel’s Fader. If you lor the “mix level” (non-SOLO signals) and the have a Channel’s Fader set way below “U” SOLO LEVEL independently. (unity gain), SOLO won’t know that and will WARNING: The send a unity gain signal to the PHONES. That SR40•8’s stereo phones may result in a startling level boost, depending jack will drive any stan- on the position of the SOLO LEVEL control. In dard headphone to very other words, you may find yourself tweaking loud levels. When we this control quite often — that’s why we put it say the headphone amp is loud, we’re not next to your right hand. kidding. It can cause permanent ear damage. Even intermediate levels may be RUDE SOLO LIGHT painfully loud with some earphones. This flashing LED serves two purposes — BE CAREFUL! to remind you that you’re in solo, and to let you Always turn the PHONES level all the know that you’re mixing on a Mackie. No other way down before connecting headphones. Keep company is so concerned about your level of it down until you’ve put the phones on. Then solo awareness. In addition to this huge LED, turn it up slowly. Why? “Engineers who fry their each SOLO switch has a local LED adjacent to ears find themselves with short careers.” it, to help you find that pesky soloed Channel The SR40•8’s headphone amplifiers will right away. drive headphones of any impedance, but for best results (highest volume), use 60-ohm headphones.

O O MAX SOLO LEVEL

TAPE RETURNS RUDE U U U SOLO LIGHT O O MAX PHONES

O O +15 O O +15 O O +15 LEVEL LEVEL LINE OUT

PFL AFL MUTE MUTE INPUTS INTERCOM PFL MUTE AFL SOLO SOLO OUTPUTS TAPE A TAPE B MONITOR SOLO

TALKBACK

36 MONITOR LEFT/RIGHT/CENTER METERS MONITOR signals are a line-level equivalent These individual Meters give you constant of the HEADPHONES output. The TRS visual information about the signal level in MONITOR outputs are designed for special that mix. With the METERING: OUTPUT situations such as these: SECTION PFL/AFL switch set to PFL (up), You can use these jacks to deliver the FOH the Meters display the pre-Fader signal of the (front-of-house) headphone mix to an engineer mix. With the switch down, the Meters display operating a secondary stage monitor console. the post-Fader output of the mix. If you want to drive several pairs of head- These three Meters, unlike the other fifty- phones via an outboard amplifier, patch these six, have a secondary purpose — to display outputs to that amp. SOLO levels. Whenever SOLO is engaged, all If the console is in a soundproof room, as in three Meters’ inputs change from the LEFT/ live sound-studio work or studio recording/ CENTER/RIGHT mix signals to the SOLO sig- mixdown, patch the MONITOR outputs to nals. The PFL SOLO signal will appear on the your control room amplifier and speakers. CENTER Meter and the AFL signals appear on the LEFT/RIGHT Meters. LINE OUT (LEVEL) A 0dB reading on the Meters represents a Point Before: INSERT (HEADPHONES) . 0dBu output signal, when the METERING: Point After: MONITOR outputs. OUTPUT SECTION PFL/AFL switch is engaged (AFL). In other words, 0VU=0dBu. Just like the HEADPHONES, the MONI- TOR outputs always receive the LEFT/RIGHT METERING mix, with the CENTER mix blended into each side. This control sets the level for those sig- INPUT SECTION PFL/AFL nals, and it follows the PHONES level control, This switch determines the Meter’s source meaning that the level at these outputs is con- signal for the Channels and the MAIN AUX trolled twice — by the PHONES level and by RETURN (A1–A4). With the switch up, in the LINE OUT control. PFL mode (Pre-Fader Listen), signals are SOLO signals to the MONITOR outputs are sent to the Meters pre-Fader, pre-MUTE, and controlled by SOLO LEVEL and this MONITOR pre-PAN. In fact, in PFL mode, these Meters LINE OUT level — the PHONES level has no may save you the time of having to use SOLO, effect on SOLO signals. This is so you can if all you need is a signal confirmation. With tailor the “mix level” (non-SOLO signals) and the switch down, in AFL mode, signals will be the SOLO LEVEL independently. sent to the Meters post-Fader, representing MUTE the output of the circuit. With this switch set to , you can This switch is your garden-variety DPDT PFL perform on-the-fly settings, as (double-pole, double-throw) switch. Engage it TRIM explained in the Turbo Method of the Level- and the line-level MONITOR outputs become Setting Procedure . silent. The MONITOR MUTE is not a member of the ULTRA MUTE ™ system and therefore cannot be remotely controlled.

TAPE RETURNS RUDE U U U SOLO LIGHT

O O +15 O O +15 O O +15 LEVEL LEVEL LINE OUT

PFL AFL MUTE MUTE INPUTS DIMMER METERING POWER SUPPLY PFL STATUS MUTE INPUT OUTPUT AFL SECTION SECTION SOLO SOLO OUTPUTS V.+ V.- 5 V 12 V 48 V TAPE A TAPE B MONITOR SOLO LOW MAX LOW MAX PFL PFL LAMP METER AFL AFL

37 OUTPUT SECTION PFL/AFL TALKBACK SECTION This switch determines the Meter’s source The SR40•8’s extensive TALKBACK section O O MAX signal for the MAIN/LEFT/RIGHT and SUB allows the engineer to speak into several out- RECEIVE Meters. With the switch up, in PFL mode (Pre- puts via a master TALKBACK switch, with

IGNORE Fader Listen), signals are sent to the Meters separate assignment switches for AUX 1–4, pre-Fader, pre-MUTE, and pre-PAN. In fact, in AUX 5–8, L/R mix, an EXTERNAL talkback out- PFL mode, these Meters may save you the time put, and one switch for each MATRIX (A–D). CALL of having use SOLO, if all you need is a signal Talkback microphones are patched into either COMMUNICATIONS confirmation. With the switch down, in AFL of the two phantom-powered XLR inputs and mode, signals are sent to the Meters post- regulated by a LEVEL control. Additionally, the Fader, representing the output of the circuit. talkback signal may be replaced by a 400Hz sine O O MAX LEVEL wave for checking levels, or PINK NOISE for DIMMER quickly checking frequency response. ON LAMP TALKBACK 400Hz PINK NOISE This control adjusts the brightness of the Point Before: OSCILLATOR switch. OSCILLATOR 4-pin XLR Littlite® lamps, which are available Point After: ASSIGN switches. at a music store near you. This switch is enormous, glows in the dark, and is located right in your face, by the LEFT/ Littlite RIGHT Faders. To speak to the crew and/or tal- Part Number Description ent, simply engage the switch and your voice 12X-HI-4 12" Hi-intensity lamp will be sent to all the destinations you’ve with 4-pin XLR TALKBACK MIC assigned. 18X-HI-4 18" Hi-intensity lamp If you're using the intercom system, this with 4-pin XLR switch stops glowing and the intercom switch O O MAX glows to indicate that someone is calling you. TALKBACK LEVEL METER TALKBACK LEVEL This control adjusts the brightness of the MATRIX A AUX 1-4 Point Before: TALKBACK MIC inputs’ preamp LED Meters. Note: When the METER DIMMER is turned Point After: OSCILLATOR . MATRIX B AUX 5-8 all the way down to LOW, the amber LEDs (+4 This controls the signal level from the to +10) may appear to be off. This is normal, TALKBACK MIC inputs. The signal is off when MATRIX C EXTERNAL and due to the varying current requirements of turned fully counterclockwise, with more than

MATRIX D L/R the different colored LEDs to produce equal enough gain turned fully clockwise. Set it so ASSIGN brightness. Adjust the control to suit your taste. everyone can hear you comfortably, probably TALKBACK near the center detent. POWER SUPPLY STATUS These five LEDs let you know that each of the O O MAX SR40•8’s essential power supply voltages are SOLO LEVEL present. V. + and V.– are the positive and negative power rails that power the audio circuitry. 5 V is a 5-volt DC supply that powers the logic, O O MAX ™ PHONES like the ULTRA MUTE computer and SOLO relays. 12 V powers the 4-pin XLR lamp sockets. 48 V is the PHANTOM power supply. On the off chance that one of these status INTERCOM LEDs doesn't glow, indicating a problem, be sure to power down as continued use could cause further damage.

DIMMER METERING POWER SUPPLY TALKBACK STATUS INPUT OUTPUT CO C O S SECTION SECTION V.+ V.- 5 V 12 V 48 V

LOW MAX LOW MAX PFL PFL LAMP METER AFL AFL

38 ASSIGN If your talent is performing that Beatles’ Point Before: TALKBACK switch classic, “I Want You (She’s So Heavy),” you can use the PINK NOISE along with the oscillator O O MAX Point After: (per switch): AUX 1–4, AUX 5–8, LEVEL control to emulate that horrendous RECEIVE EXTERNAL, L/R, MATRIX A, MATRIX B, ocean sound that builds up and takes over MATRIX C and MATRIX D. IGNORE towards the end. Engage the switches for locations you want to receive (or ) sig- TALKBACK OSCILLATOR LEVEL CALL nals. For instance, if your stage monitors are Point Before: 400HZ/PINK NOISE switch. COMMUNICATIONS being fed by AUX SEND MASTERS 1–4 and you Point After: ON (OSCILLATOR) switch. want to talk to the talent, leave the AUX 1–4 This controls the signal level of all OSCIL- switch engaged, and toggle the TALKBACK O O MAX switch on and off as needed. LATOR signals, be it the 400Hz sine wave or LEVEL You can use the switch to de- the PINK NOISE generator. The signal is off EXTERNAL ON liver the TALKBACK (and OSCILLATOR) when turned fully counterclockwise, with plenty of gain turned fully clockwise. signal to a second console, such as a monitor 400Hz In 400Hz sine mode, you may want to send PINK NOISE console. Simply patch from the FOH (front-of- OSCILLATOR house) console’s TALKBACK output to a out a calibrated level (via the TALKBACK line-level Channel input of the monitor con- ASSIGN switches.) To do this, engage the ap- sole. Then use that Channel’s aux sends to propriate ASSIGN switch, then engage one deliver the TALKBACK signals to the stage SOLO switch in the selected circuit. monitors. For instance, to calibrate while sending out to AUX SEND MASTER 1–4, engage the

OSCILLATOR SECTION TALKBACK ASSIGN: AUX 1–4 switch and then TALKBACK MIC The SR40•8’s TALKBACK signal may be reengage SOLO on one (and only one) of those placed by either of two on-board sound sources AUX SEND MASTERS. The OSCILLATOR level — a 400Hz sine wave for checking levels, or a appears on the CENTER (PFL) Meter. O O MAX PINK NOISE generator for quickly checking the Be aware: This does not mean that all out- TALKBACK LEVEL frequency response of your amp/speaker systems. puts delivering the sine wave are calibrated, as their levels may be dependent on their MATRIX A AUX 1-4 400HZ/PINK NOISE own master level controls. But it does mean

Point Before: 400Hz and PINK NOISE oscillators. that the sine wave level is calibrated as it’s MATRIX B AUX 5-8 fed to its ASSIGN switches. Point After: LEVEL (OSCILLATOR) . MATRIX C EXTERNAL With the switch up (disengaged), the oscil- The PINK NOISE/400HZ lator delivers a sine wave, typically used 400Hz oscillator cannot be assigned MATRIX D L/R for calibrating and matching levels with exter- directly to the CENTER ASSIGN nal devices. With the switch down (engaged), MAIN output . One easy TALKBACK it delivers a modified PINK NOISE. PINK way to accomplish this is to NOISE is used for performing quick frequency connect a patch cable between the TALKBACK response checks. OUT jack on the rear panel and the left O O MAX SOLO LEVEL input of one of the MAIN AUX RETURNS , A1 for example. Press EXTERNAL in the

TALKBACK ASSIGN section, and assign AUX O O MAX RETURN A1 to the center channel. Alternatively, PHONES AUX RETURN B4 can be used, since it is specifically assigned to the center channel.

INTERCOM

TALKBACK CO C O S

39 ON COMMUNICATIONS Point Before: TALKBACK LEVEL , If your system uses the Clear-Com® O O MAX (OSCILLATOR) LEVEL . Intercom System, then you certainly have RECEIVE Point After: TALKBACK switch. chosen the right console — The SR40•8 provides a Clear-Com®-compatible interface. IGNORE Engaging this switch replaces the micro- Furthermore, the interface is transformer- phone TALKBACK signals with an OSCILLATOR isolated to prevent any nasty ground loops signal, either 400Hz sine wave or PINK NOISE, CALL from showing up in the audio. COMMUNICATIONS depending on the 400Hz/PINK NOISE switch If you already have the Clear-Com® Inter- position. Be aware that engaging this switch com System, you probably already know how it turns the OSCILLATOR on, whether or not the works, so we’ll just discuss how it affects the O O MAX TALKBACK switch is engaged. LEVEL engineer sitting behind an SR40•8. With the OSCILLATOR ON switch disengaged (up), both the 400Hz and PINK NOISE ON INTERCOM generators are put to sleep to ensure that abso- All you have to do is press this big switch 400Hz lutely no leakage from these generators will PINK NOISE and you’ll be on a party line with all the other appear at any of the SR40•8’s outputs. That's OSCILLATOR Clear-Com® participants. why there's a short delay when you turn the 400Hz oscillator on, to allow the circuit to RECEIVE LEVEL ramp up and stabilize first. So please be polite This adjusts the incoming level of the other — do not disturb the oscillators when they’re Clear-Com® participants. Simply set the knob trying to sleep. The last thing you want during as desired. your show is a cranky oscillator. TALKBACK MIC IGNORE When you want to remove all those voices in your head, specifically the ones coming in O O MAX ® TALKBACK LEVEL via the Clear-Com system, press this switch and your station will be effectively removed from the party line. MATRIX A AUX 1-4 This switch will be automatically defeated when a CALL signal is received from another MATRIX B AUX 5-8 Clear-Com® participant. Furthermore, if the switch is pressed, will be MATRIX C EXTERNAL INTERCOM IGNORE defeated for thirty seconds. To reengage

MATRIX D L/R IGNORE sooner, simply double-click the ASSIGN IGNORE switch. TALKBACK CALL Pressing this switch sends a visual alert sig- O O MAX nal to all other Clear-Com® participants. Their SOLO LEVEL systems’ CALL LEDs will glow, urging them to put their headphones back on. If they try to call you, the INTERCOM O O MAX PHONES switch glows and the TALKBACK switch stops glowing. This also bypasses the IGNORE switch for as long as their CALL switch is pressed. Tell your crew that they can talk to INTERCOM you when their CALL button is pressed (assuming you have your headphones on).

TALKBACK CO C O S

40 MATRIX MUTE The MATRIX can be used to create special Point Before: MATRIX mix. mixes for recording, delay towers, lobby, back- Point After: MATRIX MASTER level . stage, nursery “cry” rooms, audio-for-video Muting removes the signal from its MATRIX feeds, ADA systems, and the like. Think of it as OUTPUT and AFL SOLO. The PFL SOLO and a “mixer within a mixer.” PFL Meter paths are not affected. Although it may look complicated, the Pressing the switch toggles the electronic is simply four separate 12 x 1 mixers. MATRIX mute relay in the signal path’s circuitry. If the Its inputs include the eleven mixes: , LEFT signal is muted, pressing the switch un-mutes , , and – . Additionally, each RIGHT CTR SUBS 1 8 it, and vice versa. An LED adjacent to the has an external . MATRIX MATRIX INPUT switch glows when muted. Each MATRIX strip has an input level control With ULTRA MUTE™, up to ten Banks of U for each of the 11 internal inputs as well as ten different Mute Groups can be configured, SUB MASTER level, MUTE and SOLO controls. The 1 enabling you to mute several signal paths at O O +10 external have no indepen- U MATRIX INPUTS once. Not only that, but you can automate the dent level controls, but are controlled by the SUB muting of all the signal paths via an external 2 MATRIX’s MASTER level. O O +10 MIDI sequencer or via the RS-232 DATA U INPUT LEVEL port connected to a computer. We’ll discuss all SUB this in detail later on . 3 Point Before: Respective mix outputs (LEFT/ O O +10 U RIGHT/CENTER mixes and SUB 1–8 MASTER LEVEL SUB mixes .) 4 Point Before: MUTE switch. O O +10 Point After: MATRIX mixes A, B, C, and D. U Point After: MATRIX OUTPUTS , (AFL) SUB Each MATRIX has a column of 11 rotary SOLO . 5 controls. Adjacent to each of MATRIX A’s con- O O +10 Use this control to set or ride the overall U trols is the name of the mix output feeding each level of each MATRIX. The signal is off with the SUB MATRIX: SUB 1, SUB 2, SUB 3, SUB 4, SUB 5, 6 rotary MASTER level control turned fully coun- O O +10 SUB 6, SUB 7, SUB 8, CTR, LEFT, and RIGHT. U terclockwise, unity gain is at the center “U” (CTR is an abbreviation for “CENTER.”) Each SUB detent, and turned fully up provides 10dB gain. 7 control is off with the knob turned fully counter- O O +10 U clockwise, with unity gain at the “U” center SOLO detent, and provides 10dB gain turned fully up. SUB PFL Point Before: MATRIX mix. 8 Creating a MATRIX mix couldn’t be easier. O O +10 U Simply adjust the input level controls as PFL Point After: SOLO (MASTER controls) needed for each mix as it feeds each MATRIX. PFL mix (mono). CTR O O +10 For instance, using MATRIX A and MATRIX B AFL Point Before: MASTER level . U to create a stereo mix, use the MATRIX A con- AFL Point After: SOLO (MASTER controls) LEFT trols for all the “left” mixes (usually , LEFT AFL mix (stereo). O O +10 U SUB 1, SUB 3, SUB 5, and SUB 7) and the SOLO allows you to audition signals through MATRIX B controls for the “right” mixes (usu- your headphones without having to assign them RIGHT ally , , , , and ). O O +10 RIGHT SUB 2 SUB 4 SUB 6 SUB 8 to any of the LEFT/RIGHT/CENTER mixes or If the ultimate destination for a MATRIX out- subgroups (SUB 1–8 mixes) . You can simul- put is a device with RCA inputs, like a cassette MATRIX taneously SOLO as many signals as you like. A deck, we suggest that you use MATRIX C and The SR40•8 features nondestructive solo: En- MATRIX D, since they have RCA outputs (TAPE gaging SOLO does not interrupt any of the B OUTPUT ), in addition to the XLR outputs. other Channels, buses, or outputs. Not only that, A the SOLO system comes in two flavors: PFL MUTE (Pre-Fader Listen) and AFL (After-Fader Lis- A ten, Solo-In-Place). U

O O +10 MASTER

SOLO

41 ULTRA MUTE™ AUTOMATION Typical Applications Almost every signal path in the SR40•8 and From the board point of view: SR56•8 has an electronically-controlled MUTE Group Mode works best to mute groups of switch, including all channels, MAIN AUX instruments or voices. For example, within one RETURNS (A1-A4), SUBS 1-8, AUX SEND Set you might assign all the drum mics to one MASTERS, and MATRIX A-D. Thanks to the Group, all the horns to another Group, back- on-board microprocessor-based ULTRA MUTE ground vocals to a third Group, keyboards to a system, these MUTE switches can be activated fourth, and other electric instruments to a fifth in four different ways: (Group, that is!). • By pressing a signal path’s local MUTE switch. In a show with several different bands per- • By assigning signal paths to one or more forming, you can assign Set 1 to the first band, Mute Groups. There are 9 Sets of 10 Groups. with 10 different Groups available for them, Any combination of Groups (up to ten) Set 2 to the second band, with 10 different within a Set can be in effect at any one Groups available for them, etc. time. Mute Groups allow you to mute Snapshot Mode works best with theater or related signals (e.g., horns, background choreographed acts where timing is essential, vocals, drums) with the push of a button, and the show is repeated in exactly the same and are useful in live sound when you need manner. You can create a sequence of Snap- to mute groups of channels “on the fly.” shots that mute the unused microphones • By assigning signal paths to a Mute Snapshot. during each act or scene, and simply incre- Snapshots differ from Mute Groups in that ment the Snapshot in ULTRA MUTE at each they take a “picture” of all MUTE switch scene change. You can even automate this with settings at a given moment. Recalling a a sequencer via the MIDI or DATA ports using Snapshot causes all MUTE switch settings Program Change messages. to revert to the setting they were in when the Snapshot was taken. Consequently, only From a MIDI point of view: one Snapshot may be in effect at a time. Use Note On Channel Messages to turn on Snapshots are typically used in theatrical and off mute nodes for individual channels. In applications, where mute settings do not addition, you can record mute sequences from change within one cue, but do change from the board into a sequencer, which can later be event to event, or scene to scene. played back along with a band. • Via the MIDI or DATA jacks, any Note Messages can also turn on and off sequencer can be used to control complex Groups 0 – 9 within each Set. You might use a muting cues. A sequencer is a computer remote MIDI controller to turn Groups on and program that is used to create and edit MIDI off from a remote location. files. On playback, the sequencer does all Note: Set numbers can’t be changed via the work. All mute nodes (except AUX MIDI, only the Group numbers within each Set. RETURNS B1-B4, TAPE RETURNS A and B, Use Program Change Messages to change and MONITOR) are accessible via MIDI or Snapshots. DATA using a Note On Channel Message for each signal path, where the note number corresponds to a mute node. Snapshots can be changed using Program Change Messages.

INSERT RETURN SUB SUB SUB SUB SEND3 RETURN SEND 7 5 6 7 8

LINE IN SEND4 RETURN SEND 8

DC POWER IN MIDI IN MIDI OUT TALK BACK MIC INTERCOM PHANTOM POWERED MIC 25 (MACKIE 400-WATT POWER SUPPLY !)

DATA

42 Use Sysex Messages for backup. We’re going may want to reprogram Snapshot 00 with to repeat that in case you weren’t paying atten- certain channels muted to neutralize the tion. USE SYSEX MESSAGES TO BACKUP console at startup. YOUR SNAPSHOTS AND GROUPS!!! We can’t Note: During power-up a number briefly ap- stress the importance of this enough. If you pears in the numeric display. This is the create a series of mute configurations for a version number of the on-board ROM. show or band, back it up to disk, or at least to • BYPASS can be turned on at any time. It your computer’s hard drive. This can save you disables ULTRA MUTE — turns it off, so all hours of work in the event that something (or automation is inactive. The MIDI and DATA everything) accidentally gets erased from inputs are ignored in Bypass mode. (Excep- ULTRA MUTE’s memory. See page 50 for more tion: Sysex messages are still acknowledged.) information on using System Exclusive Messages. The mute configuration of the console remains as it was when BYPASS was IMPORTANT Tidbits and Tittles engaged. Any further changes you wish to • When you mute a Channel or MAIN AUX make in the mute configuration must be RETURN (A1-A4), the entire path is muted, done manually or by turning BYPASS off to including the assignment outputs, pre- and reactivate ULTRA MUTE. post-Fader AUX SENDs, and DIRECT OUT. • The MODE button toggles back and The INSERT SEND remains active, as do forth between Group mode and Snapshot the PFL meters and PFL SOLO outputs. mode. In Snapshot mode, both digits and • When you mute a Subgroup, all channels the last decimal point in the Numeric assigned to that Subgroup are muted from Display light up. In Group mode, only the that point on. All of the individual channel’s left digit and decimal point are lit. functions (i.e., , pre- and post- DIRECT OUT • The decimal point LED not only indicates Fader s, points, and AUX SEND INSERT the mode of operation (i.e. Group or assignment outputs) are still active. Snapshot), but also indicates whether or • When you turn the console on, ULTRA not the current mute state of the console MUTE loads Snapshot 00 into the console, corresponds to the selected Group or then starts up in SYSTEM BYPASS mode. Snapshot. If the mute configuration of the The LED above the SYSTEM BYPASS console exactly matches the configuration button lights, and all of the other ULTRA of the selected Group or Snapshot, the MUTE buttons are disabled. Simply press decimal point LED lights steadily. If the the SYSTEM BYPASS button to enable mute configuration of the console differs in ULTRA MUTE. The BYPASS LED goes off some way, the decimal point LED blinks. and the Numeric Display comes alive, • Remember, if you push an AUX SEND FLIP indicating either Set 1 (if ULTRA MUTE switch, its signal is routed to the corre- was last in Group mode) or Snapshot 00 (if sponding SUB OUT. To mute it, you need to ULTRA MUTE was last in Snapshot mode). push the SUB MUTE switch, and to mute • ULTRA MUTE comes from the factory the SUB signal you need to push the AUX preprogrammed with Snapshot 00 as “All SEND MUTE switch. Refer to the Block Mutes Off” and Snapshot 99 as “All Mutes Diagram on page 56 to gain a better On.” You can reprogram these Snapshots if understanding of the signal flow when the you wish. Since Snapshot 00 is loaded into FLIP switch is engaged. the console when it is first powered up, you

012345678 9

0-9 MODE

™ SYSTEM MUTE STORE CLEAR GRP SNAP ULTRA MUTE BY PASS PREVIEW DO IT

43 OPERATION 6. You can exit STORE mode by pressing the Some of the buttons in the ULTRA MUTE CLEAR button at any time. If you had section of the console behave differently muted any channels, you can either depending on whether you are in Group or manually turn off the MUTE switches or Snapshot mode. Let’s look at how the buttons press and hold the CLEAR button to work in each mode of operation separately. unmute all channels and outputs.

GROUP MODE Clearing Individual Mute Groups Programming Mute Groups 1. Be sure ULTRA MUTE is in Group mode. 1. Before creating and storing a Mute Group, 2. Press and hold the CLEAR button for you may want to “clear the board” of any two seconds. The LEDs for any Groups that active mutes. One easy way to do this is to have been programmed in the selected set press and hold the CLEAR button for light up. two seconds, or engage Snapshot 00 if it is 3. While still holding the CLEAR button, press programmed with “no mutes.” the button for the Group you want to clear. 2. Make sure you are in Group mode (only the Its LED turns off and the memory location left digit and decimal point is displayed). corresponding to that Group is cleared. Use the Up/Down Arrow buttons to select 4. You may clear any and all Groups in a single the Set that you want to program. There Set using this method. are nine Sets, represented by the numbers 1 through 9 in the Numeric Display . Globally clearing all Mute Groups from memory 3. Using the local MUTE switches, mute the The following procedure signal paths that you want included in the completely and irretriev- Group. For instance, if you want Channels ably erases all of the 1, 2, 3, and 4 to be included, press the Groups programmed into MUTE switches on those channels. Notice ULTRA MUTE. You may that as soon as a Channel is muted the want to save the Group configuration to exter- decimal point LED in the Numeric Display nal memory using the MIDI or DATA begins to blink. This indicates that you ports prior to performing this procedure, if have manually changed the muting there is a chance you will want to use any of configuration of the console. the programmed Groups again. See “Using The 4. The STORE button saves a mute MIDI Ports” on page 10 or “Using The DATA configuration in a Group. If the Group had Port” on page 12. been previously programmed, the store 1. Be sure ULTRA MUTE is in Group mode. operation erases and overwrites the old 2. Press and hold the CLEAR and MODE mute configuration with the new one. buttons for 2 seconds. ULTRA MUTE Press STORE . The LED above this consecutively cycles through all the Groups button begins blinking. The Group LEDs in each Set, clearing each memory location. also light to indicate whether or not their The LEDs for each Group light up as they corresponding Groups are programmed. If are cleared. You may release the buttons as the Group LED lights steadily, it already soon as the cycle begins. When the cycle contains a mute configuration. If the LED ends, you are ready to reprogram the Groups. blinks, that Group is empty. 5. Select the Group number in which you Selecting Mute Groups wish to store the present mute configuration There are 9 Sets, each of which contains 10 by pressing one of the number buttons 0 Groups. When you first enter Group mode by through 9 . At this point the STORE pressing the MODE button, the Set that LED turns off, the LED above the number was last selected comes up in the display, but lights, the decimal point LED lights no Group is selected. steadily, and the mute configuration you Within a particular Set, you can select any selected is now stored in that Group. combination of Groups to be active at any one time by pressing the number button for each Group you wish to select. When the Group is engaged, the LED above the Group number lights.

44 The mute configurations of each Group add mute configuration of the console to be sure together (if you’re Boolean-savvy, this is a logical that it is the one you really want. OR function). For example, if Group 1 mutes 1. Select a Group. Channels 1 and 2, and Group 2 mutes Chan- 2. Press the MUTE PREVIEW button. The nels 3 and 4, engaging both Groups 1 and 2 LED above the MUTE PREVIEW button lights. mutes Channels 1 through 4. Deselecting 3. Select a different Group. The MUTE Group 2 unmutes Channels 3 and 4, while PREVIEW LED begins to blink, and the Channels 1 and 2 remain muted. MUTE LEDs for the channels assigned to You cannot have a Group from two different the selected Group light. You are only Sets engaged at the same time. In fact, in or- previewing the Group – the channels are der to change from one Set to another, all the not actually muted. You can deselect the Groups must be turned off by either deselect- current Group. The MUTE LEDs for the ing them individually (by pressing the number channels assigned to the Group turn off. button) or by pressing the CLEAR button. Don’t be alarmed! The channels that were Then the Up/Down Arrow buttons become muted prior to entering Preview mode active and you can select a new Set. remain muted, even if their LEDs are One caveat: If the same turned off. Remember, in Preview mode the channel appears in two MUTE LEDs are just showing you what different Groups, turning might be if you decide to DO IT, not what off one Group turns off actually is. (unmutes) the shared You can go to a different Set by deselecting muted channel even if the other Group is all the Groups in the current Set, and press- engaged. For example, if Group 3 mutes Channels ing the Up/Down Arrow buttons to 5 and 6, and Group 4 mutes Channels 6 and 7, proceed to a different Set. You now have all engaging both Groups mutes Channels 5 the Groups in the new Set available to preview. through 7. Deselecting Group 4 unmutes Chan- nels 6 and 7, leaving only Channel 5 muted in You can manually add a channel to the Group 4. To reset Group 4 back to normal, de- Preview by pressing its MUTE button. Its select and reselect it, or, if you don’t want to MUTE LED lights, but it’s not actually unmute the channels that are muted, use muted yet. Preview mode to deselect and reselect it (see 4. Once you’ve decided on a new Group or “Previewing Mute Groups” below). To avoid modified a Group configuration, press DO this scenario, you should refrain from assign- IT and the new Group(s) plus any ing the same channel to different Groups. manually muted channels engage. However, there may be situations where this is 5. Notice that the PREVIEW LED is still lit. useful, so we leave it to you to make this choice. You are still in Preview mode, and free to preview another Group if you so desire. Previewing Mute Groups Otherwise, press MUTE PREVIEW to Preview mode lets you see the mute exit Preview mode. configuration of a Group without actually engaging it. This gives you the option of “looking ahead” at a forthcoming change in the

012345678 9

0-9 MODE

™ SYSTEM MUTE STORE CLEAR GRP SNAP ULTRA MUTE BY PASS PREVIEW DO IT

45 SNAPSHOT MODE and hold the CLEAR button to unmute all the channels, or you can select a different Programming Snapshots Snapshot by pressing the Up/Down Arrow 1. Before creating and storing a Snapshot, button and then pressing the DO IT you may want to “clear the board” of any button. active mutes. One easy way to do this is by pressing and holding the CLEAR button Clearing all Snapshots from memory. for two seconds, or engage Snapshot 00 if it The following procedure is preprogrammed with “no mutes.” completely and irretriev- 2. Make sure you are in Snapshot mode ably erases all of the (both digits and the right decimal point are Snapshots programmed displayed). Use the Up/Down Arrow into ULTRA MUTE. You buttons or the 0-9 buttons to select the may want to save the Snapshot configuration Snapshot that you want to program. The to external memory using the MIDI or Numeric Display begins blinking when DATA ports prior to performing this proce- you arrow up or down to a Snapshot that dure, if there is a chance you will want to use isn’t currently engaged. There are 100 any of the programmed Snapshots again. See Snapshots available, represented by the “Using The MIDI Ports” on page 10 or “Using numbers 00 through 99 in the Numeric The DATA Port” on page 12. Display. 1. Be sure ULTRA MUTE is in Snapshot mode. You can engage the Snapshot you’ve 2. Press and hold the CLEAR and MODE selected by pressing the DO IT button. buttons for 2 seconds. ULTRA MUTE If the Snapshot had been programmed cycles through all the Snapshots, clearing before, the mute configuration stored in its each memory location. You may release the memory engages. Otherwise, it defaults to buttons as soon as the cycle begins. When “no mutes.” the cycle ends, you are ready to reprogram 3. Using the local MUTE switches, mute the the Snapshots. signal paths you want included in the Snapshot. For instance, if you want Chan- Selecting Snapshots nels 1, 2, 3, and 4 included, press the MUTE There are 100 Snapshots available. You can switches on those channels. only select one Snapshot at a time. When you 4. The STORE button saves a mute first enter Snapshot mode by pressing the configuration as a Snapshot. If the Snap- MODE button, the Snapshot number that shot had been previously programmed, the was last selected comes up in the display. The store operation erases and overwrites the decimal point LED in the display blinks, indi- old mute configuration and the new one is cating that the current mute state of the console written to memory. is different than the selected Snapshot (unless Press STORE . The LED above this the current state coincidentally happens to button begins blinking. The decimal point match the selected Snapshot, in which case LED lights steadily. The Numeric Display the decimal point LED lights steadily). You begins blinking (if it wasn’t blinking must press DO IT to engage the Snapshot already). — it doesn’t automatically engage when you 5. At this point, you can still make changes first enter Snapshot mode. This is a fail-safe in the mute configuration by either adding measure to prevent someone from inadvert- mutes or turning mutes off. You can also ently changing the mute configuration if the use the Up/Down Arrow buttons or the MODE button is pressed by mistake. 0-9 buttons to select a different Snap- You can select a different Snapshot by shot number in which to store the mute pressing the Up/Down Arrow buttons. You configuration. can press and hold the Arrow Up or Down but- 6. Press STORE again. The STORE LED tons to quickly scan through the Snapshots. turns off, the Numeric Display stops The Snapshot you select will not engage until flashing and the mute configuration you you press the DO IT button. At that point selected is now stored in the Snapshot. the Numeric Display stops blinking and the new mute configuration is written to the console. 7. You can exit mode by pressing the STORE Another method for selecting Snapshots is button at any time. If you had CLEAR to enter the Snapshot number using the num- muted some channels, the Numeric Display ber buttons . For example, if you’re at continues blinking. You can either manu- Snapshot 10 and you want to jump to Snapshot ally turn off the MUTE switches or press 46 45, press 4 and then 5, followed by the DO IT 3. Select a different Snapshot by using either button. If you’re at Snapshot 45 and you want the Up/Down Arrow buttons or directly to jump to Snapshot 3, press 0 and then 3, fol- entering the Snapshot number via the lowed by the DO IT button. If you make a number buttons . The MUTE LEDs for mistake, simply press the CLEAR button the channels assigned to the selected and reenter the number, or just enter the new Snapshot will light and the Numeric numbers. Display will blink to let you know that You can scroll through Snapshots and have you are only previewing the Snapshot and them become engaged as soon as the number the channels are not actually muted. The appears in the display. Press and hold the DO channels that were muted prior to entering IT button while you press the Up or Down Preview mode remain muted, even if their Arrow button. LEDs are turned off. Remember, in Preview Another method for selecting and engaging mode the MUTE LEDs are just showing you Snapshots is to put ULTRA MUTE into Auto- what might be should you decide to DO IT, Increment mode (a.k.a. Load-and-Go mode, or not what actually is. Show mode). This is useful when you have a You can manually add a channel to the sequence of Snapshots to engage during a Preview by pressing its MUTE button. Its scene or act. To initiate this mode, press and MUTE LED blinks to let you know that it’s hold the CLEAR button followed by the Up not actually muted yet. Arrow button for two seconds. The display 4. Once you’ve decided on a new Snapshot or begins to blink, indicating that ULTRA MUTE modified Snapshot configuration, press DO is ready to engage the next Snapshot. Press IT and the new Snapshot, plus any the DO IT button to advance the display manually muted channels, will engage. to the next Snapshot number. Press DO IT 5. Notice that the LED is still lit. again to engage the next Snapshot and the PREVIEW You are still in Preview mode, and free to display advances to the next Snapshot number. preview another Snapshot if you so desire. (Remember, a blinking display tells you that Otherwise, press again the Snapshot in the display is not engaged, but MUTE PREVIEW to exit Preview mode. ready to be engaged as soon as you DO IT.) To end Auto-Increment mode and return to 6. To exit Preview mode without making any Normal mode, press and hold the CLEAR changes to the current mute configuration, button followed by the Arrow Down button simply press the MUTE PREVIEW for two seconds. button again to turn it off. The MUTE LEDs revert back to indicating the current mute Previewing Snapshots configuration of the console. Any mute Preview mode lets you see the mute switches selected during Preview are canceled. configuration of a Snapshot without actually Note: The Numeric Display continues to engaging it. This gives you the option of “look- blink and indicates the last number selected ing ahead” at a forthcoming change in the mute while in Preview mode. If you want the display configuration of the console to be sure that it to return to the Snapshot number currently is the one you really want. It also allows you to engaged, either enter the number directly us- edit an existing Snapshot prior to engaging it. ing the number buttons or use the Up/Down 1. Select a Snapshot. Arrow buttons. When the correct Snapshot number is in the display, the decimal point 2. Press the MUTE PREVIEW button. The LED in the display stops blinking. Press the LED above the MUTE PREVIEW button lights. DO IT button to return the display to normal.

012345678 9

0-9 MODE

™ SYSTEM MUTE STORE CLEAR GRP SNAP ULTRA MUTE BY PASS PREVIEW DO IT

47 ULTRA MUTE SUMMARY

GENERAL SYSTEM BYPASS • There are 9 Sets of 10 Groups each, for a • Turns off ULTRA MUTE. Disables all total of 90 Groups. Up to 10 Groups can be automation, including all MIDI commands active at a time within a Set. received through the MIDI or DATA ports. • There are 100 Snapshots (00-99). Only one Note: Sysex messages are still recognized Snapshot can be active at a time. while in Bypass mode. A Sysex data move • Snapshot 00 is loaded into the console does not affect the console’s current mute when it is first powered up. Factory default status. is all mutes off.

MUTE PREVIEW MODE • In Group or Snapshot Mode, allows viewing • Toggles between Group Mode and Snapshot the mute configuration of programmed Mode. Snapshots or Groups without engaging • When going from Group Mode to Snapshot them. Press DO IT to engage a previewed Mode, you should press DO IT to engage Snapshot or Group. the Snapshot in the Numeric Display. • Press MUTE PREVIEW again to exit • When going from Snapshot to Group Mode, Preview Mode. you must press CLEAR for two seconds to clear the Snapshot’s mute configuration from the board. Then select the Group you want to engage using the 0-9 buttons.

ARROW UP/DOWN BUTTONS • In Group Mode, increments and decre- ments the Set Number in the Numeric Display (all Groups must be OFF). • In Snapshot Mode, increments and decre- ments Snapshots in the Numeric Display. • In Snapshot Mode, press and hold the CLEAR and Arrow Up buttons to enter Auto-Increment (Load-and-Go) mode. Then press DO IT to engage consecutively increasing Snapshots. • Press and hold the CLEAR and Arrow Down buttons to exit Auto-Increment mode.

To create a Group: 1. Press the MODE switch to enter Group 3. Activate all the mute switches you wish to mode (one digit lights in the numeric store in the Group. display). 4. Press STORE. 2. Select the Set in which to store the Group 5. Press a number button 0-9 to select the by pressing the Arrow Up/Down buttons. Group in which to store the current mute configuration.

48 STORE • In Snapshot Mode, press and hold for two • In Group Mode, press STORE followed by a seconds to turn off all mutes on the number button (0-9) to store a mute console. configuration in ULTRA MUTE’s memory. • In Snapshot Preview Mode, clears Snapshot • In Snapshot Mode, press STORE twice to currently being previewed. store a mute configuration in ULTRA • In Snapshot Mode, press and hold the MUTE’s memory. CLEAR and Arrow Up buttons to enter • Press CLEAR to exit Store mode without Auto-Increment (Load-and-Go) Mode. saving. Then press DO IT to engage consecutive Snapshots. • Press and hold the CLEAR and Arrow Down CLEAR buttons to exit Auto-Increment Mode. • In Group Mode, used to turn off all active • Press to abort a store procedure. Groups. Press and hold CLEAR for two • To clear all programmed mutes, in Group seconds, then release to turn off all mutes or Snapshot Mode, press and hold the on the console. This also indicates which CLEAR and MODE buttons for two sec- Groups have been programmed (pro- onds. grammed Groups’ LEDs light up, unprogrammed Groups’ LEDs do not). • In Group Preview Mode, clears all Groups DO IT currently being previewed. • In Snapshot Mode, press DO IT to engage the Snapshot selected in the Numeric Display. • In Auto-Increment Mode, press to advance to the next Snapshot. • In Preview Mode, press DO IT to engage the Group or Snapshot selected.

NUMBER BUTTONS (0-9) • In Group Mode, press number buttons to select Groups to engage, preview, or program. • In Snapshot Mode, press number buttons to select a two-digit Snapshot number to engage, preview or program. For example, to select Snapshot 5, press “0” and “5.” To select Snapshot 38, press “3” and “8.”

To create a Snapshot: 1. Press the MODE switch to enter Snapshot 3. Activate all mute switches you wish to store mode (both digits light in the numeric in the Snapshot. display). 4. Press STORE twice. 2. Select the Snapshot number in which to store the mute configuration by pressing the Arrow Up/Down buttons, or by selecting the number using the number buttons 0-9.

49 MIDI IMPLEMENTATION System Exclusive Messages (Sysex) Sysex messages can be used to transmit Using the MIDI Ports data between a MIDI device and ULTRA There are three types of MIDI messages MUTE. You can transfer all or part of the data that can be used to control ULTRA MUTE: in ULTRA MUTE’s memory to a MIDI controller MIDI Note Messages, Program Change Mes- or sequencer, or transfer data from the con- sages, and MIDI System Exclusive (Sysex) troller into ULTRA MUTE, using MIDI Sysex Messages. The standard MIDI implementation messages. table is located in APPENDIX A. Note: Sysex messages do not change the cur- Note: The letter “h” rent state of the console, but only transfer data following a number to and from ULTRA MUTE’s memory. When a indicates that the number Sysex Request is made, two horizontal bars appear is in hexadecimal format. in the Numeric Display while data is being trans- The ULTRA MUTE firm- ferred (usually only noticeable during longer ware is fixed at MIDI channel 16 and cannot data transfers). Once the transfer is complete, be changed by the end user. use MIDI Note Messages or Program Change Messages to implement new Groups or Snapshots. MIDI Note Messages The structure of the message is as follows: MIDI Note Messages are used to change the state of a single mute node. <00 00 66> <03> <0F> The mute nodes in the SR40•8 are turned on and off using the Note On command and re- 03 = SR40•8 spond to data on MIDI channel 16 (Status 04 = SR56•8 Byte = 10011111 = 9Fh). ULTRA MUTE recognizes certain Message The structure of the message is as follows: Numbers to move data between its memory and the host (computer). See the table on Byte 1 Byte 2 Byte 3 page 11 for descriptions and examples of the 9Fh 0kkkkkkk 0vvvvvvv messages recognized by ULTRA MUTE. NN is the position within the Sysex Message 9 = Status (Note On) where the Message Number and data is located F = MIDI Channel 16 (underlined sections in the table). 0kkkkkkk = mute node number (see Appendix B) vvvvvvv = value (0 = mute off, 1-127 = mute on) Snapshot Sysex requests and dumps are sent and re- Since mute nodes are either ON or OFF, a ceived with Snapshot Value of 0 is recognized as mute off, and a number first, followed by the value of 1-127 (any non-zero number) is recog- mute node data. All Snap- nized as mute on. ULTRA MUTE uses the value shot mute node data is nibblized low-high. 40h (64 decimal) to represent mute on. When several Snapshot Sysex dumps are sent at a time to the SR40•8/SR56•8, there must be Program Change Messages a 50 millisecond or greater time interval be- Program Change Messages are used to tween each Snapshot. change Snapshots in ULTRA MUTE, which re- Group Sysex requests and dumps are sent sponds to data on MIDI channel 16 (Status and received with Set numbers first, followed Byte = 11001111 = CFh). by the Group number and the mute node data. The structure of the message is as follows: All Group Mute node data is nibblized low- Byte 1 Byte 2 high. When several Group Sysex dumps are CFh 0ppppppp sent at a time to the SR40•8/SR56•8, there must be a 50 millisecond or greater time interval C = Status (Program Change) between each Set. F = MIDI Channel 16 0ppppppp = Snapshot number (00-99=00-63h)

Note: ULTRA MUTE must be in Snapshot mode to respond to Program Change Messages.

50 MIDI SYSEX MESSAGE NUMBERS Msg No. Description Examples 00h requests the SR40•8/SR56•8 [F0 00 00 66 03 0F 00 00 F7] for SR40•8, send all at once. to send all its Snapshots to the host [F0 00 00 66 04 0F 00 01 F7] for SR56•8, send all, one at a time.

01h requests the SR40•8/SR56•8 To request Snapshot 5: to send one Snapshot to the host [F0 00 00 66 03 0F 01 05 F7] for SR40•8 [F0 00 00 66 04 0F 01 05 F7] for SR56•8

02h requests the SR40•8/SR56•8 to send [F0 00 00 66 03 0F 02 00 F7] for SR40•8, send all at once. all its Mute Group memory to the host [F0 00 00 66 04 0F 02 01 F7] for SR56•8, send all, one at a time.

03h requests the SR40•8/SR56•8 to send To request Mute Groups in Set 21: only Mute Group memories within a Set [F0 00 00 66 03 0F 03 01 F7] for SR40•8 Note: Sets 1-9 are to the host [F0 00 00 66 04 0F 03 01 F7] for SR56•8 identified as 00h-08h.

04h requests the SR40•8/SR56•8 [F0 00 00 66 03 0F 04 F7] for SR40•8 to send its system status [F0 00 00 66 04 0F 04 F7] for SR56•8 2See below for System Status Flags.

05h requests the SR40•8/SR56•8 to send [F0 00 00 66 03 0F 05 F7] for SR40•8 its current mute status [F0 00 00 66 04 0F 05 F7] for SR56•8

06h requests the SR40•8/SR56•8 to send [F0 00 00 66 03 0F 06 F7] for SR40•8 its system mute LED status [F0 00 00 66 04 0F 06 F7] for SR56•8

40h dump several Snapshots To write Snapshot 10 and 11 to ULTRA MUTE: to SR40•8/SR56•8 [F0 00 00 66 03 0F 40 0A {DATA} 0B {DATA} F7] for SR40•8 [F0 00 00 66 04 0F 40 0A {DATA} 0B {DATA} F7] for SR56•8

41h dump one Snapshot to SR40•8/SR56•8 To write Snapshot 20 to Ultra Mute: [F0 00 00 66 03 0F 41 14 {DATA} F7] for SR40•8 [F0 00 00 66 04 0F 41 14 {DATA} F7] for SR56•8

42h dump all Mute Groups to SR40•8/SR56•8 To write Mute Groups 0-9 to 1Set 6: [F0 00 00 66 03 0F 42 05 00 {DATA} 01 {DATA} ... 09 {DATA} F7] for SR40•8 [F0 00 00 66 04 0F 42 05 00 {DATA} 01 {DATA} ... 09 {DATA} F7] for SR56•8

43h dump only Mute Groups in one set To Write Mute Groups to Set 71: to SR40•8/SR56•8 [F0 00 00 66 03 0F 43 06 {DATA} F7] for SR40•8 [F0 00 00 66 04 0F 43 06 {DATA} F7] for SR56•8

44h console system status [F0 00 00 66 03 0F 44 0F {System Status Flag2} F7] for SR40•8 [F0 00 00 66 04 0F 44 0F {System Status Flag2} F7] for SR56•8

45h send console mute node data [F0 00 00 66 03 0F 45 {DATA} F7] for SR40•8 to SR40•8/SR56•8 [F0 00 00 66 04 0F 45 {DATA} F7] for SR56•8

46h send console mute LED data [F0 00 00 66 03 0F 46 {DATA} F7] for SR40•8 to SR40•8/SR56•8 [F0 00 00 66 04 0F 46 {DATA} F7] for SR56•8

3See below for DATA Structure

1Sets 1-9 are identified as 0-8h. 3 DATA Structure: SR40•8 = 18 bytes, nibblized low-high. SR56•8 = 20 bytes, nibblized low-high. 2 System Status Flags: 7 6 5 4 3 2 1 0 0 = Mute OFF; 1 = Mute ON. Auto-Increment Mode 1 = Active 0 1 0 0 0 Snapshot Mode {[0000 N1] [0000 N2] [0000 N3] ... [0000 N18 or N20]} Preview Mode 0 = Off N1 = Channels 1-4 [4 3 2 1] N2 = Channels 5-8 [8 7 6 5] 40h = Mute Group Mode N3 = Channels 9-12 [12 11 10 9] 42h = Snapshot Mode N4 = Channels 13-16 [16 15 14 13] 43h = Snapshot + Auto-Increment Mode N5 = Channels 17-20 [20 19 18 17] 44h = Mute Group + Preview Mode N6 = Channels 21-24 [24 23 22 21] 46h = Snapshot + Preview Mode N7 = AUX RETURN B1-B4 [B4 B3 B2 B1] 47h = Snapshot + Auto-Increment + Preview Mode N8 = Channels 25-28 [28 27 26 25] N9 = Channels 29-32 [32 31 30 29] N10 = Channels 33-36 [36 35 34 33] N11 = Channels 37-40 [40 39 38 37] N12 = AUX SEND 1-4 [4 3 2 1] N13 = AUX SEND 5-8 [8 7 6 5] N14 = SUB 1-4 [4 3 2 1] N15 = SUB 5-8 [8 7 6 5] N16 = MATRIX A-D [D C B A] N17 = Future Use [0 0 0 0] N18 = Future Use [0 0 0 0]

N17 (SR56•8) = Channels 41-44 [44 43 42 41] N18 (SR56•8) = Channels 45-48 [48 47 46 45] N19 (SR56•8) = Channels 49-52 [52 51 50 49] 51 N20 (SR56•8) = Channels 53-56 [56 55 54 53] Using the DATA Port Use the following serial communications The DATA port on the SR40•8/56•8 mirrors parameters when using the DATA port: the MIDI ports, transferring MIDI information Baud rate 19.2k1 between an external computer’s RS-232 serial Parity None port and ULTRA MUTE. The only difference be- Data bits 8 tween using the DATA and MIDI ports is the Stop bits 1 rate of transmission of the data and the general physical hardware (9-pin Sub D vs. 5-pin 1 The RS-232 serial port is configured to oper- DIN, respectively). The actual data transferred ate at 19.2k baud at the factory. An internal is the same. jumper provides the option of changing the The DATA port provides two-way communi- baud rate to 9600 baud or 38.4k baud. Please cation of data between devices. Pin 2 is RXD refer to the SR40•8/SR56•8 Service Manual, (receiving line), pin 3 is TXD (transmitting or contact Mackie Technical Support at 1-800- line) and pin 5 is ground (shield). 258-6883 (8am to 5pm PST), for details. If your computer has an RS-232 port, the connecting cable should be wired as follows: Note: The MIDI port operates at 31.25k baud, as defined by the MIDI Manufacturers Association’s (MMA) MIDI Specification. DB9 DB9 FEMALE MALE 1 TXD RXD 1 2 2 3 RXD TXD 3 TO 4 4 TO GND GND COMPUTER 5 5 CONSOLE (RS-232 PORT) 6 6 (DATA PORT) 7 7 8 STANDARD DB9 8 9 COMPUTER CABLE 9

MIDI IMPLEMENTATION SUMMARY • When you first power up the console, a Notes regarding version 1.2 of the firmware: number briefly appears in ULTRA MUTE’s 1. MIDI Sysex Message number “00 00” numeric display. This is the version (requests all snapshots, all at once) may number of the firmware stored in the encounter errors due to buffer problems in ROM memory. Version 1.2 was installed some sequencing software. If you are in the first shipments of the SR40•8 unable to successfully execute this request, console. See next column for notes use “00 01” (requests all snapshots, one at regarding version 1.2 of the firmware. a time). • Use MIDI Note Messages to turn on and 2. MIDI Sysex Message numbers “02 00” (re- off individual mute nodes or to recall quests all groups, all at once) and “02 01” individual mute groups within a set (refer (requests all groups, one at a time) do not to Appendix B). ULTRA MUTE must be in work in this version. Sets 1-8 are trans- group mode. ferred, but not Set 9. A suggested • Use Program Change Messages to recall workaround is to create a string using mes- individual snapshots. ULTRA MUTE must sage request number “03” to request groups be in snapshot mode. from each of the nine sets. For example: • Use Sysex Messages to backup ULTRA MUTE’s memory (refer to MIDI Sysex chart on page 11). Sysex Messages are recognized in any mode, including system bypass.

52 MIDI IMPLEMENTATION CHART Product: SR40•8/56•8 Date: 1/03/97 MIDI Implementation Chart Version: 1.2 Function Transmitted Recognized Remarks Basic Channel Default 16 16 Channel 16 only Changed Mode Default X X Not Applicable Messages X X Altered X X Note Number Mute Node O O See Appendix B Velocity Note ON O O Note OFF O O See Appendix B Aftertouch Keys X X Ch's X X Pitch Bend X X Control Change X X Program Change O O 0-99 (100-127 ignored) System Exclusive O O See MIDI Sysex Detail on pages 10-11 System Common Song Pos X X Song Sel X X Tune X X System Real-time Clock X X Clock Commands X X Local On/Off X X Aux All Notes Off X X Messages Active Sensing X X System Reset X X O: Yes X: No

Use the multiple string F0 00 00 66 03 0F 03 00 F7 (request groups from Set 1) F0 00 00 66 03 0F 03 01 F7 (request groups from Set 2) F0 00 00 66 03 0F 03 02 F7 (request groups from Set 3) F0 00 00 66 03 0F 03 03 F7 (request groups from Set 4) F0 00 00 66 03 0F 03 04 F7 (request groups from Set 5) F0 00 00 66 03 0F 03 05 F7 (request groups from Set 6) F0 00 00 66 03 0F 03 06 F7 (request groups from Set 7) F0 00 00 66 03 0F 03 07 F7 (request groups from Set 8) F0 00 00 66 03 0F 03 08 F7 (request groups from Set 9) to replace the single string F0 00 00 66 03 0F 02 01 F7 for backing up all groups via MIDI.

We solicit your feedback. If there is any- with your comments and suggestions. The thing about the operation of the SR40•8/ more input we get from you, the better we SR56•8 console or ULTRA MUTE that you can provide you with the tools you need to think could be improved, feel free to write us get the job done.

53 TABLE OF MIDI NOTE MESSAGES

Parameter MIDI Note Message (Hex) No. Parameter Name MUTE ON MUTE OFF NOTE* 1 Channel 1 9F 00 40 9F 00 00 C-1 2 Channel 2 9F 01 40 9F 01 00 C#-1 3 Channel 3 9F 02 40 9F 02 00 D-1 4 Channel 4 9F 03 40 9F 03 00 D#-1 5 Channel 5 9F 04 40 9F 04 00 E-1 6 Channel 6 9F 05 40 9F 05 00 F-1 7 Channel 7 9F 06 40 9F 06 00 F#-1 8 Channel 8 9F 07 40 9F 07 00 G-1 9 Channel 9 9F 08 40 9F 08 00 G#-1 10 Channel 10 9F 09 40 9F 09 00 A-1 11 Channel 11 9F 0A 40 9F 0A 00 A#-1 12 Channel 12 9F 0B 40 9F 0B 00 B-1 13 Channel 13 9F 0C 40 9F 0C 00 C0 14 Channel 14 9F 0D 40 9F 0D 00 C#0 15 Channel 15 9F 0E 40 9F 0E 00 D0 16 Channel 16 9F 0F 40 9F 0F 00 D#0 17 Channel 17 9F 10 40 9F 10 00 E0 18 Channel 18 9F 11 40 9F 11 00 F0 19 Channel 19 9F 12 40 9F 12 00 F#0 20 Channel 20 9F 13 40 9F 13 00 G0 21 Channel 21 9F 14 40 9F 14 00 G#0 22 Channel 22 9F 15 40 9F 15 00 A0 23 Channel 23 9F 16 40 9F 16 00 A#0 24 Channel 24 9F 17 40 9F 17 00 B0 25 Channel 25 9F 20 40 9F 20 00 G#1 26 Channel 26 9F 21 40 9F 21 00 A1 27 Channel 27 9F 22 40 9F 22 00 A#1 28 Channel 28 9F 23 40 9F 23 00 B1 29 Channel 29 9F 24 40 9F 24 00 C2 30 Channel 30 9F 25 40 9F 25 00 C#2 31 Channel 31 9F 26 40 9F 26 00 D2 32 Channel 32 9F 27 40 9F 27 00 D#2 33 Channel 33 9F 28 40 9F 28 00 E2 34 Channel 34 9F 29 40 9F 29 00 F2 35 Channel 35 9F 2A 40 9F 2A 00 F#2 36 Channel 36 9F 2B 40 9F 2B 00 G2 37 Channel 37 9F 2C 40 9F 2C 00 G#2 38 Channel 38 9F 2D 40 9F 2D 00 A2 39 Channel 39 9F 2E 40 9F 2E 00 A#2 40 Channel 40 9F 2F 40 9F 2F 00 B2 41 Channel 41 9F 50 40 9F 50 00 G#5 42 Channel 42 9F 51 40 9F 51 00 A5 43 Channel 43 9F 52 40 9F 52 00 A#5 44 Channel 44 9F 53 40 9F 53 00 B5

54 Parameter MIDI Note Message (Hex) No. Parameter Name MUTE ON MUTE OFF NOTE* 45 Channel 45 9F 54 40 9F 54 00 C6 46 Channel 46 9F 55 40 9F 55 00 C#6 47 Channel 47 9F 56 40 9F 56 00 D6 48 Channel 48 9F 57 40 9F 57 00 D#6 49 Channel 49 9F 58 40 9F 58 00 E6 50 Channel 50 9F 59 40 9F 59 00 F6 51 Channel 51 9F 5A 40 9F 5A 00 F#6 52 Channel 52 9F 5B 40 9F 5B 00 G6 53 Channel 53 9F 5C 40 9F 5C 00 G#6 54 Channel 54 9F 5D 40 9F 5D 00 A6 55 Channel 55 9F 5E 40 9F 5E 00 A#6 56 Channel 56 9F 5F 40 9F 5F 00 B6 57 Aux Return A1 9F 18 40 9F 18 00 C1 58 Aux Return A2 9F 19 40 9F 19 00 C#1 59 Aux Return A3 9F 1A 40 9F 1A 00 D1 60 Aux Return A4 9F 1B 40 9F 1B 00 D#1 61 Sub 1 9F 38 40 9F 38 00 G#3 62 Sub 2 9F 39 40 9F 39 00 A3 63 Sub 3 9F 3A 40 9F 3A 00 A#3 64 Sub 4 9F 3B 40 9F 3B 00 B3 65 Sub 5 9F 3C 40 9F 3C 00 C4 66 Sub 6 9F 3D 40 9F 3D 00 C#4 67 Sub 7 9F 3E 40 9F 3E 00 D4 68 Sub 8 9F 3F 40 9F 3F 00 D#4 69 Aux Send 1 9F 30 40 9F 30 00 C3 70 Aux Send 2 9F 31 40 9F 31 00 C#3 71 Aux Send 3 9F 32 40 9F 32 00 D3 72 Aux Send 4 9F 33 40 9F 33 00 D#3 73 Aux Send 5 9F 34 40 9F 34 00 E3 74 Aux Send 6 9F 35 40 9F 35 00 F3 75 Aux Send 7 9F 36 40 9F 36 00 F#3 76 Aux Send 8 9F 37 40 9F 37 00 G3 77 Matrix A 9F 40 40 9F 40 00 E4 78 Matrix B 9F 41 40 9F 41 00 F4 79 Matrix C 9F 42 40 9F 42 00 F#4 80 Matrix D 9F 43 40 9F 43 00 G4 81 Mute Group 0 9F 60 40 9F 60 00 C7 82 Mute Group 1 9F 61 40 9F 61 00 C#7 83 Mute Group 2 9F 62 40 9F 62 00 D7 84 Mute Group 3 9F 63 40 9F 63 00 D#7 85 Mute Group 4 9F 64 40 9F 64 00 E7 86 Mute Group 5 9F 65 40 9F 65 00 F7 87 Mute Group 6 9F 66 40 9F 66 00 F#7 88 Mute Group 7 9F 67 40 9F 67 00 G7 89 Mute Group 8 9F 68 40 9F 68 00 G#7 90 Mute Group 9 9F 69 40 9F 69 00 A7

*Note: Middle C = C4 (standard), not C3 (Yamaha).

55 SR40•8 BLOCK DIAGRAM

PHANTOM DIRECT INSERT OUT TRIM SEND(BALANCED) RETURN C POLARITY MUTE

MIC IN HPF L-R 30– HPF LO MIDMID HI (LOW FADER PAN 800 CUT) EQ IN Hz 80 500–15K LINE IN 45–3K 12K 22 FREQ 1-2 10 METER 7 GAIN 0VU = 0dBu 4 2 0 FREQ PFL AFL 2 (SIP) 4 MONO 7 CHANNEL 10 SOLO (1 OF 40, 20 30 (METER (MUTE) PRE AUX 1 SR40-8; AFL/PFL 1 OF 56, RELAY) AUX SEND 1 (2–4 IDENTICAL) SR56-8) PRE AUX 5 AUX SEND 5 (6–8 IDENTICAL)

EQ IN HPF (LOW CUT) LO MIDMID HI MUTE C

LINE IN HPF 80 8003K 12K 150Hz TRIM L-R GAIN FADER PAN LINE IN LO MIDMID HI 1-2 HPF 80 8003K 12K 150Hz 22 10 7 MAIN AUX 4 RETURN (1 OF 4) AFL 2 PFL 0 (SIP) 2 4 METER 7 0VU = 0dBu SOLO 10 20 30 (METER PRE AUX 1 AFL/PFL RELAY) (MUTE) AUX SEND 1 (2–4 IDENTICAL) PRE AUX 5 AUX SEND 5 (6–8 IDENTICAL)

AUX RETURN B4 ONLY C LEVEL AUX RETURN B1 LINE IN L L-R (B2, B3, B4 IDENTICAL) LINE IN R

'B' AUX RETURNS MUTE (4 TOTAL) & TAPE LINE IN L AFL IN (2 TOTAL) TAPE A IN PFL (SIP) (TAPE B IDENTICAL) LINE IN R

SOLO L (LEFT MAIN MIX) R (RIGHT MAIN MIX) C (CENTER MAIN MIX) MACKIE DESIGNS SUB 1 SR40-8/SR56-8 FOR SIMPLICITY, SUBS 3-8 NOT SHOWN SUB 2 BLOCK DIAGRAM (#052997DF) AUX SEND 1 FOR SIMPLICITY, AUX SENDS 2-4 AND 6-8 NOT SHOWN AUX SEND 5 SOLO AUDIO (PFL, AFL-L & AFL R) SOLO LOGIC MUTE LOGIC METER LOGIC

56 INSERT TO MATRIX IN SEND (BALANCED) RETURN 3K3 L FADER LINK LEFT TAPE OUT ULTRA MUTE™ MIDI IN (R=L+R) AUTOMATED MIDI OUT LEFT MAIN OUT MUTING SYSTEM RS-232 L MIX PFL AFL (SIP) 0VU = 0dBu MAIN LEFT/RIGHT/CENTER MIX 22 22 10 10 SOLO 7 7 4 4 TO MATRIX IN 2 2 INSERT 3K3 0 0 SEND (BALANCED) RETURN RIGHT TAPE OUT 2 2 4 4 7 7 RIGHT MAIN OUT 10 10 20 20 R FADER 30 30 R MIX PFL AFL (SIP) (METER AFL/PFL RELAY) L-R CENTER METERS METER SOLO

INSERT SEND RETURN (SOLO RELAY) (BALANCED) TO MATRIX IN C FADER CENTER OUT

C MIX PFL AFL (SIP)

METERS: INPUTS: METERS: OUTPUTS: SOLO PFL/AFL PFL/AFL MONITOR LEVEL L MONITOR OUT

SOLO LOGIC PHONES SOLO: SOLO: LEVEL INSERT INPUTS: OUTPUTS: (UNBAL) PFL/AFL PFL/AFL R MONITOR OUT RETURN INSERT SEND (TALKBACK (BALANCED) INSERT PHONES 1 OUT DIM) (UNBAL)

AIR SOLO LEVEL PHONES 2 OUT 0VU = 0dBu MUTE 16kHz CLEAR-COM (TM) XLR SUB 1 FADER INTERCOM MIX 22 AFL SUB 1 SYSTEM PFL OUT 10 INTERFACE (SIP) 7 SUB 1 SUB 1 ASSIGN TO CTR 4 METER (1 OF 8) 2 TO MATRIX IN TALKBACK SOLO 0 2 4 PAN 7 SINE 10 AUX 1 20 PINK 30 (1 OF 8) FLIP EXTERNAL T/B OUT TAPE OUT (MATRIX 3K3 ASSIGN TO L-R TALKBACK C&D ONLY) LEVEL ROUTING EXTERNAL IN L R C (FROM MAIN MIX) MATRIX OUT AUX SEND 1 MIX PFL AFL AUX SEND 1 OUT ULTRA MUTE (SIP) LEVEL POT (FROM SUBS) SOLO MUTE 12345678 AFL/PFL SOLO

METER LOGIC MATRIX A MUTE LOGIC (1 OF 4) SOLO LOGIC SOLO AUDIO (PFL, AFL-L & AFL R) AUX SEND 5 AUX SEND 1 AUX SENDS 2–4 AND 6–8 NOT SHOWN

SUB 2 SUBS 3–8 NOT SHOWN SUB 1 C (CENTER MAIN MIX) R (RIGHT MAIN MIX) L (LEFT MAIN MIX) 57 SR40•8 GAIN STRUCTURE DIAGRAM +22 +20 +10 0dB –10 –16 –20 +20 +10 –10 0dB BALANCED OUT 0dB BALANCED OUT –6dB UNBALANCED UNBALANCED OUT –6dB UNBALANCED BALANCED OUT BALANCED MACKIE DESIGNS SR40•8/SR56•8 GAIN DIAGRAM 40GD0811JG/0697DF MATRIX MASTER MATRIX +10dB MAX 0dB NOMINAL MATRIX MIX MATRIX +10dB MAX 0dB NOMINAL FADER 0dB MAX –10dB NOMINAL L/R/C MASTER UNBAL. IN UNBAL. BAL. IN BAL. MATRIX EXT. IN EXT. MATRIX INSERT @ –6dB AUX OUT 0dB MIX LEVEL –6dB AUX SEND MASTER +10dB MAX CHANNEL FADER 0dB MAX -10dB NOMINAL CHANNEL AUX SEND +15dB MAX +20 +10 0dB –10 PAN CENTER –4dB PAN 15dB ± EQ INSERT @ 0dB LINE IN GAIN –22dB to +38dB MIC IN GAIN +60dB 0dB TO (CLIP, EXCEPT BALANCED OUT CLIPS AT =28DBu) OUT CLIPS AT EXCEPT BALANCED (CLIP, +22 +20 +10 0dB –10 –16 –20 –30 –40 –50 –60

58 This page was intentionally left blank until we put this message on it!

59 SR40•8 SPECIFICATIONS

Noise Equalization Master Fader @ Unity, channel gains down –90dBu Low EQ, shelving ±15dB, 80Hz Master Fader @ Unity, channel gains @ Unity –86dBu Low Mid EQ, 1.5 octave bandwith Signal to Noise Ratio (ref +4) ≥90dB Mono channels: sweepable ±15dB, 45Hz–3kHz Total Harmonic Distortion Below 0.005% Stereo channels: fixed ±15dB, 800Hz Hi Mid EQ, 1.5 octave bandwith Crosstalk Mono channels: sweepable 500Hz–15kHz Channel Fader down, channels @ Unity –95dBu Stereo channels: fixed ±15dB, 3kHz Channel muted, other channels @ Unity –95dBu Hi EQ, shelving ±15dB, 12kHz Frequency Response High Pass Filter Mono channels: sweepable 12dB/octave, 30–800Hz 20Hz to 60kHz +0/–1dB Stereo channels: fixed 18dB/octave, 150Hz 10Hz to 100kHz +0/–3dB Microphone Preamp Maximum Levels E.I.N. –129.5dBm (20Hz–20kHz) Mic preamp input +22dBu All other inputs +22dBu Power Requirement Balanced XLR outputs +28dBu SR40•8/SR56•8 400-Watt Power Supply (sold separately) All other outputs +22dBu Weight Impedances SR40•8 110 lbs. Mic preamp input 2.4kΩ SR56•8 145 lbs. All other inputs (except inserts): bal. >10kΩ RCA outputs 3.3kΩ Dimensions (Power Supply) All other outputs: balanced 240Ω unbalanced 120Ω

17.25" (43.8cm)

Since we are always striving to make our stuff better at Mackie Designs by incorporating new and improved materials, components and manu- facturing methods, we reserve the right to change these specifications at any time without notice. 17.13" (43.5cm) 16.00" (40.6cm) 5.25" (13.3cm)

19.00" (48.3cm)

60 Dimensions (Consoles)

SR40•8 WEIGHT < 110 lbs. 65.00" (165.1cm) (49.9 kg) 11.00" (27.9cm)

59.57" (151.3cm) 10.50" (26.7cm) 0.50" (1.27cm) 7.20" 62.05" (157.6cm) (18.3cm) 5.50" (14.0cm)

9° 27.40" (69.6cm) 14.90"

(37.9cm)

22.50" (57.2cm) (57.2cm) 22.50" 30.50" (77.5cm) (77.5cm) 30.50"

60.30" (153.2cm)

SR56•8 WEIGHT 145lbs. (65.8 kg)

82.15" (208.7cm)

76.72" (194.9cm)

79.10" (200.9cm) 4.00" (10.2cm) 9.50" (24.1cm) 30.30" (77.0cm) 5.75" (14.6cm)

77.45" (196.7cm)

61 APPENDIX A: Service Info

Details concerning Warranty Service are cated in sunny Woodinville, Washington. (Ser- spelled out on the Warranty Card included vice for mixers living outside the United States with your mixer (if it’s missing, let us know can be obtained through local dealers or dis- and we’ll rush one to you). tributors.) If your mixer needs service, follow If you think your mixing board has a prob- these instructions: lem, please do everything you can to confirm 1. Review the preceding troubleshooting it before calling for service. Doing so might suggestions. Please. save you from the deprivation of your mixer 2. Call Tech Support at 1-800-258-6883, 8am and the associated suffering. to 5pm PST, to explain the problem and Of all Mackie products returned for service request an RA number. Have your mixer’s (which is hardly any at all), roughly 50% are serial number ready. You must have a coded “CND” — Could Not Duplicate, which Return Authorization number, before usually means the problem lay somewhere other you can obtain service at the factory or than the mixer. These may sound obvious to an authorzed service center. you, but here’s some things you can check: 3. Set aside the power cord, owner’s manual, TROUBLESHOOTING or anything else that you’ll ever want to see again. We are responsible for the return of Bad Channel the mixer only. • Is the mute switch in the correct position? 4. Pack the mixer in its original package, including endcaps and box. This is VERY • Is the gain turned up? IMPORTANT. When you call for the RA • Try unplugging any insert devices. number, please let Tech Support know if • Try the same source signal in another you need new packaging. Mackie is not channel, set up exactly like the responsible for any damage that occurs due suspect channel. to non-factory packaging. Bad Output 5. Include a legible note stating your name, shipping address (no P.O. boxes), daytime • Is the associated level knob (if any) turned up? phone number, RA number and a detailed • If it’s an aux send or sub problem, is the description of the problem, including how FLIP switch set correctly? we can duplicate it. • If it’s a stereo pair, try switching them 6. Write the RA number in BIG PRINT on top around. For example, if a left output is of the box. presumed dead, switch the left and right 7. Ship the mixer to us. We recommend cords, at the mixer end. If the problem United Parcel Service (UPS). We suggest switches sides, it’s not the mixer. insurance for all forms of cartage. Ship to Noise this address: • Mute the channels and aux returns one by Mackie Designs one. If the sound disappears, it’s either that SERVICE DEPARTMENT channel or whatever is plugged into it, so 16220 Wood-Red Rd. NE unplug whatever that is. If the noise Woodinville, WA 98072 disappears, it’s from your whatever. 8. We’ll try to fix the mixer within three business days. Ask Tech Support for Power current turn-around times when you call • Our favorite question: Is the power switch on? for your RA number. We normally send • Are all of the status LEDs on? everything back prepaid using UPS BLUE • Check the fuses. Please refer to the power (Second Day Air). However, if you rush supply documentation to change the fuse. your mixer to us by Air Shipment, we’ll treat it in kind by letting it jump to the REPAIR head of the line, and we’ll also ship it back Service for the U.S. versions of our mixers is to you UPS RED (Next Day Air). This available only from one of our authorized paragraph does not necessarily apply to domestic service stations or at the factory, lo- non-warranty service.

62 APPENDIX B: Glossary

This Glossary contains brief definitions of bandwidth many of the audio and electronic terms used in The band of frequencies that pass through a discussions of sound mixing and recording. Many device with a loss of less than 3dB, expressed of the terms have other meanings or nuances or in Hertz or in musical octaves. Also see Q. very rigorous technical definitions which we have bus sidestepped here because we figure you already An electrical connection common to three have a lot on your mind. If you’d like to get more or more circuits. In mixer design, a bus usually information, you can call Mix Bookshelf at carries signals from a number of inputs to a 1-800-233-9604. We recommend the following mixing amplifier, just like a city bus carries titles: The Audio Dictionary, by Glenn White; people from a number of neighborhoods to Tech Terms, by Peterson & Oppenheimer; their jobs. Handbook for Sound Engineers, by Glen Ballou, Cannon Mackie Mixer Book by Rudy Trubitt and Sound A manufacturer of electrical connectors Reinforcement Handbook, by Gary Davis. who first popularized the three-pin connector AFL now used universally for balanced microphone An acronym for After Fade Listen, which is connections. In sound work, a Cannon connec- another way of saying post-fader solo function. tor is taken to mean a Cannon XLR-3 mic assign connector or any compatible connector. In sound mixers, assign means to switch or cardioid route a signal to a particular signal path or Means heart-shaped. In sound work, car- combination of signal paths. dioid refers to the shape of the sensitivity attenuate pattern of some directional microphones. To reduce or make quieter. channel aux A functional path in an audio circuit: an See next entry. input channel, an output channel, a recording auxiliary channel, the left channel and so on. In sound mixers, supplemental equipment channel strip or features that provide additional capabilities The physical representation of an audio to the basic system. Examples of auxiliary channel on the front panel of a mixer; usually equipment include: serial processors (equaliz- a long, vertical strip of controls. ers, compressors, limiters, gates) and parallel chorusing devices (reverberation and delay). Most mix- An effect available in some digital delay ers have aux send buses and aux return inputs effects units and reverbs. Chorusing involves a to accommodate auxiliary equipment. number of moving delays and pitch shifting, balanced usually panned across a stereo field. Depend- In a classic balanced audio circuit, the two ing on how used, it can be lovely or grotesque. legs of the circuit (+ and –) are isolated from clipping the circuit ground by exactly the same imped- A cause of severe audio distortion that is ance. Additionally, each leg may carry the signal the result of excessive gain requiring the peaks at exactly the same level but with opposite po- of the audio signal to rise above the capabili- larity with respect to ground. In some balanced ties of the amplifier circuit. Seen on an circuits, only one leg actually carries the signal oscilloscope, the audio peaks appear clipped but both legs exhibit the same impedance char- off. To avoid distortion, reduce the system gain acteristics with respect to ground. Balanced in or before the gain stage in which the clip- input circuits can offer excellent rejection of ping occurs. See also headroom. common-mode noise induced into the line and also make proper (no ground loops) system grounding easier. Usually terminated with 1⁄4" TRS or XLR connectors.

63 condenser dBV Another term for the electronic component A unit of measurement of audio signal level generally known as a capacitor. In audio, in an electrical circuit, expressed in decibels condenser usually refers to a type of micro- referenced to 1 VRMS across any impedance. phone that uses a capacitor as the sound Commonly used to describe signal levels in pickup element. Condenser microphones consumer equipment. To convert dBV to dBu, require electrical power to run internal ampli- add 2.2dB. fiers and maintain an electrical charge on the decibel (dB) capacitor. They are typically powered by inter- The dB is a ratio of quantities measured in nal batteries or “phantom power” supplied by similar terms using a logarithmic scale. Many an external source, such as a mixing console. audio system parameters measure over such a console large range of values that the dB is used to A term for a sound mixer, usually a large simplify the numbers. A ratio of 1000V:1V=60dB. desk-like mixer. When one of the terms in the ratio is an cueing agreed upon standard value such as 0.775V, 1V In broadcast, stage and post-production or 1mw, the ratio becomes an absolute value, work, to “cue up” a sound source (a record, a i.e., +4dBu, –10dBV or 0dBm. sound effect on a CD, a song on a tape) means delay to get it ready for playback by making sure you In sound work, delay usually refers to an are in the right position on the “cue,” making electronic circuit or effects unit whose purpose sure the level and EQ are all set properly. This it is to delay the audio signal for some short pe- requires a special monitoring circuit that only riod of time. Delay can refer to one short repeat, the mixing engineer hears. It does not go out a series of repeats or the complex interactions on the air or to the main mixing buses. This of delay used in chorusing or reverb. When de- “cueing” circuit is the same as pre-fader (PFL) layed signals are mixed back with the original solo on a Mackie mixer, and often the terms sound, a great number of audio effects can be are interchangeable. generated, including phasing and flanging, dou- dB bling, Haas-effect positioning, slap or slapback, See decibel. echo, regenerative echo, chorusing and hall-like dBm reverberation. Signal time delay is central to A unit of measurement of audio signal level many audio effects units. in an electrical circuit, expressed in decibels detent referenced to 1 milliwatt. The “m” in dBm A point of slight physical resistance (a click- stands for “milliwatt.” In a circuit with an im- stop) in the travel of a knob or slide control, pedance of 600 ohms, this reference (0dBm) used in Mackie mixers to indicate unity gain. corresponds to a signal voltage of 0.775 VRMS dipping (because 0.775 V across 600 ohms equals 1mw). The opposite of peaking, of course. A dip is dBu an EQ curve that looks like a valley, or a dip. A unit of measurement of audio signal level Dipping with an equalizer reduces a band of in an electrical circuit, expressed in decibels frequencies. See guacamole. referenced to 0.775 VRMS into any impedance. doubling Commonly used to describe signal levels A delay effect, where the original signal is within a modern audio system. mixed with a medium (20 to 50 msec) delay. dBv When used carefully, this effect can simulate A unit of measurement equal to the dBu but double-tracking (recording a voice or instru- no longer in use. It was too easy to confuse a ment twice). dBv with a dBV, to which it is not equivalent. dry Usually means without reverberation, or without some other applied effect like delay or chorusing. Dry is not wet, i.e. totally unaffected.

64 dynamic EQ In sound work, dynamic refers to the class See equalization. of microphones that generate electrical signals EQ curve by the movement of a coil in a magnetic field. A graph of the response of an equalizer, Dynamic microphones are rugged, relatively with frequency on the x (horizontal) axis and inexpensive, capable of very good performance amplitude (level) on the y (vertical) axis. and do not require external power. Equalizer types and effects are often named af- dynamic range ter the shape of the graphed response curve, The range between the maximum and mini- such as peak, dip, shelf, notch, knee and so on. mum sound levels that a sound system can equalization handle. It is usually expressed in decibels as Equalization (EQ) refers to purposefully the difference between the level at peak changing the frequency response of a circuit, clipping and the level of the noise floor. sometimes to correct for previous unequal re- echo sponse (hence the term, equalization), and The reflection of sound from a surface such more often to add or subtract level at certain as a wall or a floor. Reverberation and echo are frequencies for sound enhancement, to remove terms that can be used interchangeably, but in extraneous sounds, or to create completely audio parlance a distinction is usually made: new and different sounds. echo is considered to be a distinct, recogniz- Bass and treble controls on your stereo are able repetition (or series of repetitions) of a EQ; so are the units called parametrics and word, note, phrase or sound, whereas rever- graphics and notch filters. beration is a diffuse, continuously smooth A lot of how we refer to equalization has to decay of sound. Echo and reverberation can be do with what a graph of the frequency re- added in sound mixing by sending the original sponse would look like. A flat response (no sound to an electronic (or electronic/acoustic) EQ) is a straight line; a peak looks like a hill, a system that mimics natural echoes, and then dip is a valley, a notch is a really skinny valley, some. The added echo is returned to the blend and a shelf looks like a plateau (or a shelf). through additional mixer inputs. Highly echoic The slope is the grade of the hill on the graph. rooms are called live; rooms with very little Graphic equalizers have enough frequency echo are called dead. A sound source without slider controls to form a graph of the EQ right added echo is dry; one with reverb or echo on the front panel. Parametric EQs let you vary added is wet. several EQ parameters at once. A filter is sim- effects devices ply a form of equalizer that allows certain External signal processors used to add re- frequencies through unmolested while reduc- verb, delay, spatial or psychoacoustic effects to ing or eliminating other frequencies. an audio signal. An effects processor may be Aside from the level controls, EQs are prob- used as an insert processor (serial) on a par- ably the second most powerful controls on any ticular input or subgroup, or it may be used via mixer (no, the power switch doesn’t count!). the aux send/return system(parallel). See also fader echo, reverb. Another name for an audio level control. EIN Today, the term refers to a straight-line slide Equivalent Input Noise. Specification that control rather than a rotary control. helps measure the “quietness” of a gain stage by family of curves deriving the equivalent input noise voltage nec- A composite graph showing on one chart essary to obtain a given preamp's output noise. several examples of possible EQ curves for a Typically ranges from –125 to –129.5 dBm. given equalizer or equalizer section.

65 filter graphic EQ A simple equalizer designed to remove cer- A graphic equalizer uses slide pots for its tain ranges of frequencies. A low-cut filter boost/cut controls, with its frequencies evenly (also called a high-pass filter) reduces or spaced through the audio spectrum. In a per- eliminates frequencies below its cutoff fre- fect world, a line drawn through the centers quency. There are also high-cut (low-pass) of the control shafts would form a graph of filters, bandpass filters, which cut both high the frequency response curve. Get it? Or, the and low frequencies but leave a band of fre- positions of the slide pots give a graphic rep- quencies in the middle untouched, and notch resentation of boost or cut levels across the filters, which remove a narrow band but leave frequency spectrum. the high and low frequencies alone. ground flanging Also called earth. Ground is defined as the A term for phasing. Before digital delay ef- point of zero voltage in a circuit or system, the fects units, phasing could be accomplished by reference point from which all other voltages playing two tape machines in synchronization, are measured. In electrical systems, ground then delaying one slightly by rubbing a finger connections are used for safety purposes, to on the reel flange. Get it? keep equipment chassis and controls at zero FOH voltage and to provide a safe path for errant An acronym for Front Of House. See house currents. This is called a safety ground. and main house speakers. Maintaining a good safety ground is always frequency essential to prevent electrical shock. Follow The number of times an event repeats itself manufacturer’s suggestions and good electri- in a given period. Sound waves and the electrical practices to ensure a safely grounded cal signals that represent sound waves in an system. Never remove or disable the ground- audio circuit have repetitive patterns that range ing pin on the power cord. from a frequency of about 20 repetitions per In computer and audio equipment, tiny cur- second to about 20,000 repetitions per second. rents and voltages can cause noise in the Sound is the vibration or combination of vibra- circuits and hamper operation. In addition to tions in this range of 20 to 20,000 repetitions per providing safety, ground provisions in these second, which gives us the sensation of pitch, situations serve to minimize the pickup, detec- harmonics, tone and overtones. Frequency is tion and distribution of these tiny noise measured in units called Hertz (Hz). One Hertz signals. This type of ground is often called is one repetition or cycle per second. technical ground. gain Quality audio equipment is designed to The measure of how much a circuit ampli- maintain a good technical ground and also fies a signal. Gain may be stated as a ratio of operate safely with a good safety ground. If input to output values, such as a voltage gain you have noise in your system due to techni- of 4, or a power gain of 1.5, or it can be ex- cal grounding problems, check your manual pressed in decibels, such as a line amplifier for wiring tips or call technical support. with a gain of 10dB. Never disable the safety ground to reduce gain stage noise problems. An amplification point in a signal path, ground loop either within a system or a single device. A ground loop occurs when the technical Overall system gain is distributed between ground within an audio system is connected to the various gain stages. the safety ground at more than one place. Two or more connections will allow tiny currents to flow in the loops created, possibly inducing noise (hum) in the audio system. If you have noise in your system due to ground loops, check your manual for wiring tips or call technical support. Never disable the safety ground to reduce noise problems.

66 Haas effect knee A psychoacoustic effect in which the time A knee is a sharp bend in an EQ response of arrival of a sound to the left and right ears curve not unlike the sharp bend in your leg. affects our perception of direction. If a signal Also used in describing dynamics processors. is presented to both ears at the same time at level the same volume, it appears to be directly in Another word for signal voltage, power, front of us. But if the signal to one ear, still at strength or volume. Audio signals are some- the same volume, is delayed slightly (0 to 5 times classified according to their level. msec), the sound appears to be coming from Commonly used levels are: microphone level the earlier (non-delayed) side. (–40dBu or lower), instrument level (–20 to headroom –10dBu), and line level (–10 to +30dBu). The difference between nominal operating line level level and peak clipping in an audio system. For A signal whose level falls between –10dBu example, a mixer operating with a nominal and +30dBu. line level of +4dBu and a maximum output main house speakers level of +22dBu has 18dB of headroom. Plenty The main loudspeakers for a sound rein- of room for surprise peaks. forcement system. These are usually the Hertz largest and loudest loudspeakers, and are The unit of measure for frequency of oscilla- usually positioned so that their sound seems tion, equal to 1 cycle per second. Abbreviated to come from the area of the main stage. Hz. KHz is pronounced “kay-Hertz” and is an mains abbreviation for kilohertz, or 1000 Hertz. See main house speakers. house master In Sound Reinforcement parlance, “house” A control affecting the final output of a refers to the systems (and even persons) re- mixer. A mixer may have several master sponsible for the primary sound reinforcement controls, which may be slide faders or rotary in a given hall, building, arena or “house.” controls. Hence we have the house mixer or house engi- mic amp neer, the house mix, the house mix amps, the See mic preamp. main house speakers and so on. mic level Hz The typical level of a signal from a micro- See Hertz. phone. A mic level signal (usually but not impedance always coming from a microphone) is gener- The A.C. resistance/capacitance/inductance ally below –30dBu. With a very quiet source (a in an electrical circuit, measured in ohms. In pin dropping?) the signal can be –70dBu or audio circuits (and other AC circuits) the im- lower. It is also possible for some microphones pedance in ohms can often be much different to deliver more signal than this, in which case from the circuit resistance as measured by a it may be referred to as a “hot” mic level. Alter- DC ohmmeter. natively, you can just say, “Boy, is that loud!” Maintaining proper circuit impedance rela- mic pre tionships is important to avoid distortion and See mic preamp. minimize added noise. Mackie input and out- mic preamp put impedances are set to work well with the Short for microphone preamplifier. An am- vast majority of audio equipment. plifier that functions to bring the very low input module signal level of a microphone (approximately A holdover from the days when the only –50dBu) up to line level (approximately way that real consoles were built was in 0dBu). Mic preamps often have their own vol- modular fashion, one channel per module. ume control, called a trim control, to properly See channel strip. set the gain for a particular source. Setting the mic preamp gain correctly with the trim control is an essential step in establishing good noise and headroom for your mix.

67 mixer noise floor An electronic device used to combine various The residual level of noise in any system. In audio signals into a common output. Different a well designed mixer, the noise floor will be a from a blender, which combines various fruits quiet hiss, which is the thermal noise gener- into a common libation. ated by bouncing electrons in the transistor monaural junctions. The lower the noise floor and the Literally, pertaining to or having the use of higher the headroom, the more usable only one ear. In sound work, monaural has to do dynamic range a system has. with a signal which, for purposes of communi- pan, pan pot cating audio information, has been confined to a Short for panoramic potentiometer. A pan single channel. One microphone is a mono pot is used to position (or even move back and pickup; many microphones mixed to one chan- forth) a monaural sound source in a stereo nel is a mono mix; a mono signal played through mixing field by adjusting the source’s volume two speakers is still mono, since it only carries between the left and right channels. Our one channel of information. Several monaural brains sense stereo position by hearing this dif- sources, however, can be panned into a stereo ference in loudness when the sound strikes (or at least two-channel, if you are going to be each ear, taking into account time delay, spec- picky) mix. Monaural sound reinforcement is trum, ambient reverberation and other cues. common for environments where stereo sound parametric EQ reinforcement would provide an uneven repro- A “fully” parametric EQ is an extremely duction to the listener. powerful equalizer that allows smooth, con- monitor tinuous control of each of the three primary In sound reinforcement, monitor speakers (or EQ parameters (frequency, gain, and band- monitor headphones or in-the-ear monitors) are width) in each section independently. “Semi” those speakers used by the performers to hear parametric EQs allow control of fewer param- themselves. Monitor speakers are also called eters, usually frequency and gain (i.e., they foldback speakers. In recording, the monitor have a fixed bandwidth, but variable center speakers are those used by the production staff to frequency and gain). listen to the recording as it progresses. In zoology, peaking the monitor lizard is the lizard that observes the The opposite of dipping, of course. A peak production staff as the recording progresses. is an EQ curve that looks like a hill, or a Keep the lizard out of the mixer. peak. Peaking with an equalizer amplifies a mono band of frequencies. Short for monaural. PFL mult An acronym for Pre Fade Listen. Broadcast- Probably short for multiple. In audio work, ers would call it cueing. Sound folks call it being a mult is a parallel connection in a patch bay able to solo a channel with the fader down. or a connection made with patch cords to phantom power feed an output to more than one input. A “Y” A system of providing electrical power for cable is a type of mult connection. Also a condenser microphones (and some electronic verb, as in “Why did you mult the flanger into pickup devices) from the sound mixer. The every input in the board?” system is called phantom because the power noise is carried on standard microphone audio Whatever you don’t want to hear. Could be wiring in a way that is “invisible” to ordinary hum, buzz or hiss; could be crosstalk or digital dynamic microphones. Mackie mixers use hash or your neighbor’s stereo; could be white standard +48 volt DC power, switchable on or noise or pink noise or brown noise; or it could off. Most quality condenser microphones are be your mother-in-law reliving the day she had designed to use +48 VDC phantom power. her gallstone removed. Check the manufacturer’s recommendations. Generally, phantom power is safe to use with non-condenser microphones as well, especially dynamic microphones. However, unbalanced microphones, some electronic equipment (such as some wireless microphone receivers) can short out the phantom power and be severely damaged. Check the manufacturer’s recommendations and be careful!

68 phasing Q A delay effect, where the original signal is A way of stating the bandwidth of a filter or mixed with a short (0 to 10 msec) delay. The equalizer section. An EQ with a Q of .75 is broad time of the delay is slowly varied, and the and smooth, while a Q of 10 gives a narrow, combination of the two signals results in a dra- pointed response curve. To calculate the value matic moving comb-filter effect. Phasing is of Q, you must know the center frequency of the sometimes imitated by sweeping a comb-filter EQ section and the frequencies at which the up- EQ across a signal. A comb filter can be found per and lower skirts fall 3dB below the level of in your back pocket. the center frequency. Q equals the center phone jack frequency divided by the difference between the Ever see those old telephone switchboards upper and lower –3dB frequencies. A peaking with hundreds of jacks and patch cords and EQ centered at 10kHz whose –3dB points are plugs? Those are phone jacks and plugs, now 7.5kHz and 12.5kHz has a Q of 2. used widely with musical instruments and audio RCA phono jack—or RCA jack equipment. A phone jack is the female connec- or phono jack tor, and we use them in 1⁄4" two-conductor (TS) An RCA phono jack is an inexpensive and three-conductor (TRS) versions. connector (female) introduced by RCA and phone plug originally used to connect phonographs to radio The male counterpart to the phone jack, receivers and phono preamplifiers. The phono right above. jack was (and still is) widely used on consumer phono jack stereo equipment and video equipment but was See RCA phono jack. quietly fading into obscurity in the professional phono plug and semiprofessional sound world. Then phono See RCA phono plug. jacks began cropping up in early project-studio post-fader multitrack recorders, which (unfortunately) A term used to describe an aux send (usually) gave them a new lease on life. Since so many that is connected so that it is affected by the stereo recorders are fitted with them, we de- setting of the associated channel fader. Sends cided we’d have to put a couple on our mixers connected this way are typically (but not for your convenience. But make no mistake: the always) used for effects. See pre-fader. only thing that the phono jack (or plug) has pot, potentiometer going for it is low cost. In electronics, a variable resistor that varies RCA phono plug the potential, or voltage. In audio, any rotary The male counterpart to an RCA phono or slide control. jack. See above. pre-fader regeneration A term used to describe an aux send Also called recirculation. A delay effect cre- (usually) that is connected so that it is not af- ated by feeding the output of a delay back into fected by the setting of the associated channel itself to cause a delay of the delay of the delay. fader. Sends connected this way are typically You can do it right on the front panel of many (but not always) used for monitors (foldback). effects units, or you can route the delay return See post-fader. back into itself on your mixer. Can be a great proximity effect deal of fun at parties. The property of many directional micro- return phones to accentuate their bass response when A return is a mixer line input dedicated to the source-to-mic distance is small, typically the task of returning processed or added three inches or less. Singers generally like this sound from reverb, echo and other effects effect even more than singing in the shower. devices. Depending on the internal routing of your mixer and your own inclination, you could use returns as additional line inputs, or you could route your reverb outputs to ordinary line inputs rather than the returns.

69 reverberation, reverb slap, slapback The sound remaining in a room after the A single-delay echo without any repeats. source of sound is stopped. It’s what you hear in Also see echo. a large tiled room immediately after you’ve solo clapped your hands. Reverberation and echo are Italian for alone. In audio mixers, a solo terms that can be used interchangeably, but in circuit allows the engineer to listen to indi- audio parlance a distinction is usually made: vidual channels, buses or other circuits singly reverberation is considered to be a diffuse, or in combination with other soloed signals. continuously smooth decay of sound, whereas SR echo is a distinct, recognizable repetition of a An acronym for Sound Reinforcement, word, note, phrase or sound. Reverberation and which refers to a system of amplifying acoustic echo can be added in sound mixing by sending and electronic sounds from a performance or the original sound to an electronic (or elec- speech so that a large audience can hear tronic/acoustic) system that mimics natural clearly. Or, in popular music, so that a large reverberation, or worse. The added reverb is audience can be excited, stunned or even returned to the blend through additional mixer partially deafened by the tremendous amplifi- inputs. Highly reverberant rooms are called live; cation. Means essentially the same thing as PA rooms with very little reverberation are called (Public Address). dead. A sound source without added reverb is stereo dry; one with reverb or echo added is wet. Believe it or not, stereo comes from a RMS Greek word that means solid. We use stereo An acronym for root mean square, a con- or stereophony to describe the illusion of a ventional way to measure AC voltage and continuous, spacious soundfield that is seem- audio signal voltage. Most AC voltmeters are ingly spread around the listener by two or calibrated to read RMS volts. Other conven- more related audio signals. In practice, stereo tions include average volts, peak volts and often is taken to simply mean two channels. peak-to-peak volts. sweep EQ send An equalizer that allows you to “sweep” or A term used to describe a secondary mix continuously vary the frequency of one or and output of the input signals, typically more sections. used for foldback monitors, headphone symmetrically balanced monitors, or effects devices. Mackie mixers See balanced. call it an Aux Send. tinnitus shelving The ringing in the ears that is produced A term used to describe the shape of an with prolonged exposure to high volumes. A equalizer’s frequency response. A shelving sound in the ears, such as buzzing, ringing, or equalizer’s response begins to rise (or fall) at whistling, caused by volume knob abuse! some frequency and continues to fall (or rise) trim until it reaches the shelf frequency, at which In audio mixers, the gain adjustment for the point the response curve flattens out and re- first amplification stage of the mixer. The trim mains flat to the limits of audibility. If you were control helps the mixer cope with the widely to graph the response, it would look like a shelf. varying range of input signals that come from Or more like a shelf than a hiking boot. The EQ real-world sources. It is important to set the controls on your stereo are usually shelving trim control correctly; its setting determines equalizers. See also peaking and dipping. the overall noise performance in that channel of the mixer. See mic preamp.

70 TRS VLZ Acronym for Tip-Ring-Sleeve, a scheme for Acronym for very low impedance. (Impedance connecting three conductors through a single is measured in ohms represented by the Ω sym- plug or jack. 1⁄4" phone plugs and jacks and 1⁄8" bol, which is the last letter of the Greek alphabet. mini phone plugs and jacks are commonly This is how the letter Z is used instead of I.) VLZ wired TRS. Since the plug or jack can carry is one of the most important reasons why inher- two signals and a common ground, TRS con- ent noise levels on Mackie mixing boards are so nectors are often referred to as stereo or minuscule. Thermal noise is something that’s balanced plugs or jacks. Another common TRS created by all circuitry and usually transistors application is for insert jacks, used for insert- and resistors are the worst culprits. The basic ing an external processor into the signal path. rule with thermal noise is: the higher the imped- In Mackie mixers, the tip is send, ring is re- ance, the more the noise. Mackie’s VLZ design turn, and sleeve is ground. reduces thermal noise by making internal imped- TS ances as low as possible in as many places as Acronym for Tip-Sleeve, a scheme for con- possible within the console. VLZ is achieved by necting two conductors through a single plug scaling down resistor values by a factor of three or jack. 1⁄4" phone plugs and jacks and 1⁄8" mini or four – resulting in a corresponding reduction phone plugs and jacks are commonly wired TS. in thermal noise. This is especially true for the Sometimes called mono or unbalanced plugs console’s mixing buses. or jacks. A 1⁄4" TS phone plug or jack is also volume called a standard phone plug or jack. Electrical or sound level in an audio system. unbalanced Perhaps the only thing that some bands have An electrical circuit in which the two legs of too much of. the circuit are not balanced with respect to VRMS ground. Usually, one leg will be held at ground See RMS. potential. Unbalanced circuit connections wet require only two conductors (signal “hot” and With added reverberation or other effect ground). Unbalanced audio circuitry is less like echo, delay or chorusing. expensive to build but under certain circum- XLR connector stances is more susceptible to noise pickup. See Cannon. unity gain A circuit or system that has its voltage gain adjusted to be one, or unity. A signal will leave a unity gain circuit at the same level at which it entered. In Mackie mixers, unity gain is achieved by setting all variable controls to the marked “U” setting. Mackie mixers are optimized for best headroom and noise figures at unity gain.

71 APPENDIX C: Connections

“XLR” CONNECTORS You can cook up your own adapter for a Mackie mixers use 3-pin female “XLR” con- stereo microphone adapter. “Y” two cables 1 nectors on all microphone inputs, with pin 1 out of a female ⁄4" TRS jack to two male wired to the grounded (earthed) shield, pin 2 XLR plugs, one for the Right signal and wired to the “high” (”hot” or positive polarity) one for the Left. side of the audio signal and pin 3 wired to the • Balanced mono circuits. When wired as a “low” (“cold” or negative polarity) side of the balanced connector, a 1⁄4" TRS jack or signal (Figure A). All totally aboveboard and in plug is connected tip to signal high full accord with the hallowed standards dic- (hot), ring to signal low (cold), and tated by the AES (Audio Engineering Society). sleeve to ground (earth). • Unbalanced Send/Return circuits. When SHIELD 2 wired as send/return “Y” connector, a 1⁄4" HOT TRS jack or plug is connected tip to signal send (output from mixer), ring to signal return (input back into mixer), and sleeve COLD 3 1 to ground (earth). SHIELD 1 1⁄4" TS PHONE PLUGS AND JACKS “TS” stands for Tip-Sleeve, the two connec- COLD 3 2 HOT tions available on a “mono” 1⁄4" phone jack or 1 SHIELD plug (Figure C). TS jacks and plugs are used in 3 COLD many different applications, always unbalanced. 2 HOT The tip is connected to the audio signal and the Figure A: XLR Connectors sleeve to ground (earth). Some examples: • Unbalanced microphones Use a male “XLR”-type connector, usually • Electric guitars and electronic instruments found on the nether end of what is called a • Unbalanced line-level connections “mic cable,” to connect to a female XLR jack.

SLEEVE SLEEVE TIP 1⁄4" TRS PHONE PLUGS AND JACKS

“TRS” stands for Tip-Ring-Sleeve, the three TIP connections available on a “stereo” 1⁄4" or TIP “balanced” phone jack or plug. See Figure B. Figure C: TS Plug TRS jacks and plugs are used in several SLEEVE different applications: SWITCHED 1⁄4" PHONE JACKS

RING SLEEVE SLEEVE RING TIP Switches can be incorporated into 1⁄4" phone jacks, which are activated by inserting TIP the plug. These switches may open an insert RING loop in a circuit, change the input routing of TIP the signal or serve other functions. Mackie Figure B: 1⁄4" TRS Plugs SLEEVE uses switches in the channel insert and bus insert jacks, input jacks and AUX returns. We also use these switches to ground the line-level • Stereo Headphones, and rarely, stereo micro- inputs when nothing is plugged into them. phones and stereo line connections. When In most cases, the plug must be inserted fully wired for stereo, a 1⁄4" TRS jack or plug is to activate the switch. Mackie takes advantage connected tip to left, ring to right and sleeve of this in some circuits, specifying circum- to ground (earth). Mackie mixers do not stances where you are to insert the plug only directly accept 1-plug-type stereo micro- partially. See Special Mackie Connections, phones. They must be separated into a left later in this section. cord and a right cord, which are plugged into the two mic preamps.

72 RCA PLUGS AND JACKS SPECIAL MACKIE CONNECTIONS RCA-type plugs (also known as phono The balanced-to-unbalanced connection has plugs) and jacks are often used in home stereo been anticipated in the wiring of Mackie jacks. and video equipment and in many other appli- A 1⁄4" TS plug inserted into a 1⁄4" TRS balanced cations (Figure D). They are unbalanced and input, for example, will automatically unbalance electrically identical to a 1⁄4" TS phone plug or the input and make all the right connections. jack (See Figure C). Connect the signal to the Conversely, a 1⁄4" TRS plug inserted into a 1⁄4" center post and the ground (earth) or shield unbalanced input will automatically tie the ring to the surrounding “basket.” (low or cold) to ground (earth). SLEEVE TIP SLEEVE TIP TRS Send/Receive Insert Jacks Mackie's dual-jack inserts are balanced 1 Figure D: RCA Plug TRS ⁄4" jacks and will also accept TS (unbalanced) lines. The Send signal is normalled to the Return jacks. If you insert a plug into UNBALANCING A LINE the Return jack, the Send signal is inter- In most studio, stage and sound reinforce- rupted (and replaced by the Return line’s ment situations, there is a combination of signal). balanced and unbalanced inputs and outputs on Mackie’s single-jack inserts (only appear as the various pieces of equipment. This usually HEADPHONES L-INSERT and R-INSERT will not be a problem in making connections. jacks on the SR40•8 or SR56•8) are the three- • When connecting a balanced output to an conductor, TRS-type 1⁄4" phone jacks. They are unbalanced input, be sure the signal high unbalanced, but have both the mixer output (hot) connections are wired to each other, (send) and the mixer input (return) signals in and that the balanced signal low (cold) one connector (See Figure F). goes to the ground (earth) connection at The sleeve is the common ground (earth) for the unbalanced input. In most cases, the both signals. The send from the mixer to the balanced ground (earth) will also be external unit is carried on the tip, and the return connected to the ground (earth) at the from the unit to the mixer is on the ring. unbalanced input. If there are ground-loop Using the Send Only on an Insert Jack problems, this connection may be left disconnected at the balanced end. If you insert a TS (mono) 1⁄4" plug only • When connecting an unbalanced output to a partially (to the first click) into a Mackie balanced input, be sure that the signal high insert jack, the plug will not activate the jack (hot) connections are wired to each other. switch and will not open the insert loop in the The unbalanced ground (earth) connection circuit (thereby allowing the channel signal to should be wired to the low (cold) and the continue on its merry way through the mixer). ground (earth) connections of the balanced input. If there are ground-loop problems, try connecting the unbalanced ground (earth) MONO PLUG connection only to the input low (cold) Channel Insert jack connection, and leaving the input ground Direct out with no signal interruption to master. (earth) connection disconnected. Insert only to first “click.” In some cases, you will have to make up special adapters to interconnect your equipment. For example, you may need a balanced MONO PLUG XLR female connected to an unbalanced 1⁄4" Channel Insert jack TS phone plug. Direct out with signal interruption to master. Insert all the way in to the second “click.”

STEREO SEND to processor ring “tip” PLUG (TRS plug) tip sleeve Channel Insert jack For use as an effects loop. This plug connects to one of the “ring” (TIP = SEND to effect, RING = RETURN from effect.) mixer’s Channel Insert jacks. RETURN from processor Figure F Figure E

73 This allows you to tap out the channel or assigned to, or it can be “panned” with the bus signal at that point in the circuit without Balance control. interrupting normal operation. A stereo signal, having two plugs, should be If you push the 1⁄4" TS plug in to the second patched into the LEFT (MONO) and the click, you will open the jack switch and create RIGHT input or return jacks. A jack switch in a direct out, which does interrupt the signal in the RIGHT jack will disable the mono func- that channel. See Figure E. tion, and the signals will show up in stereo. NOTE: Do not over- A mono signal connected to the RIGHT jack load or short-circuit the will show up in the right bus only. You probably signal you are tapping will only want to use this sophisticated effect from the mixer. That will for special occasions (weddings, bar mitzvahs, affect the internal signal. Rush Limbaugh’s birthday party, etc.) MACKIE STEREO INPUTS AND RETURNS: MULTS AND “Y”s Mono, Stereo, Whatever A mult or “Y” connector allows you to route Stereo line inputs and stereo AUX returns one output to two or more inputs by simply are a fine example of the Mackie philosophy providing parallel wiring connections. You can (which we just made up) of Maximum Flex- make “Y”s and mults for the outputs of both ibility with Minimum Headache. The inputs unbalanced and balanced circuits. and returns will automatically be mono or Remember: Only mult stereo, depending upon how you use the jacks. or “Y” an output into sev- Here’s how it works: eral inputs. If you need A mono signal should be patched into the to combine several out- input or return jack labeled Left (MONO). The puts into one input, you signal will be routed to both the left and right must use a mixer, not a mult or a “Y.” sides of the return circuit, and will show up in the center of the stereo pair of buses it’s

RING (IN)

RING TIP RING (RETURN) (RETURN) (SEND) TIP (OUT)

TO MIXER FROM CHANNEL INSERT PROCESSOR OUTPUT

TO PROCESSOR INPUT TIP (SEND) Y-cord insert cable

Y-cord splitter cable

74 APPENDIX D: Balanced Lines, Phantom Powering, Grounding, and Other Arcane Mysteries

Balanced Lines What is it, exactly? Balanced lines offer increased immunity to The obvious external power source for any external noise (specifically, hum and buzz). modern microphone is a battery. About the Because a balanced system is able to minimize only electronic advantage that a battery has is noise, it is the preferred interconnect method, that its output is pure DC. The only other ad- especially in cases where very long lengths of vantage is to the battery company — you have cable are being used. A long unbalanced cable to keep on buying them. carries with it more opportunity for noise to Tube microphones require several different get into a system — having balanced inputs voltages for operation. This invariably means a means very little noise will enter the system multiconductor cable and nonstandard (not via snakes and other cables that typically must XLR) connectors. A tube microphone will al- run a long length. But regardless of length, ways have an associated external power supply. balanced lines are best. In the late 1960’s, Neumann (you know, the folks that brought you the U47 and U87 Phantom Powering and Microphones microphones) converted its microphones to solid-state, adopting a system of remote History powering that they called, and trademarked, Condenser (capacitor) microphones differ Phantom Powering. Because of the trademark, from dynamic and ribbon microphones be- some manufacturers use terms like Simplex cause they are not self-generating. That is, Powering, etc. Over the years, the trademark they cannot generate electricity in response to has become genericized and now refers to any an impinging sound wave. A condenser micro- device that is powered according to DIN stan- phone modifies an external source of dard 45 596 (or maybe it’s DIN standard 45 electricity to reflect the effects of a sound 595, we’re not exactly sure…). wave striking its diaphragm. So, why “Phantom” Powering? Because (like Dynamic and ribbon microphones use the Phantom in the old comic strip) it’s there magnetism to generate electricity in response when you need it, and invisible when you don’t. to a sound wave: they are self-generating. Fur- This technology is not new; it actually predates thermore, both of these types of microphones rocket science. Like many other things in are inherently low-impedance devices. It is audio, it was brought to you by the telephone possible to connect a dynamic microphone ele- company, who used it to get an extra circuit ment directly to a balanced, low-impedance from a pair of wires. In effect, so does your mixer input. Many commercially made dy- phantom powered microphone. namic microphones do just that. What is important is: phantom powering is a On the other hand, a condenser microphone compatible system. Your dynamic/ribbon is an inherently high-impedance device. How microphones as well as your condenser high? Verrrrrrry high. On the order of a billion microphones work side-by-side, from the same ohms (1 Gigaohm). This is high enough that microphone inputs, without further thought on the inherent capacitance of a foot of shielded your part. cable would audibly reduce the output of the Technically speaking, phantom powering microphone. All condenser microphones have refers to a system in which the audio signal is an impedance converter, in the form of a applied to the balanced line in differential- vacuum tube or field-effect transistor (FET), mode, and the DC power is applied built into the microphone and located ex- common-mode. The audio travels via pins 2 tremely close to the microphone element. The and 3, the power travels between pins 2 and 3 impedance converter and the microphone ele- simultaneously, and pin 1 is the ground for ment itself require an external power source.1 both audio and power.

1 To be strictly correct, electret condenser microphones are a bit different, as the microphone element does not require a power source for operation (it is more or less permanently self-polarized). Regardless, the impedance converter still requires an external source of power.

75 PHANTOM POWER DO & DON’T CHART DO DON’T If you are plugging in a condenser micro- Don't worry about your other microphones as phone, do verify that your microphone can long their outputs are balanced and floating. be phantom powered.

Ensure that the microphone’s output is low impedance, balanced and floating. This is Don't connect microphones or devices that do especially important for vintage ribbon not conform to the DIN 45 596 standard. microphones like the RCA 44BX and 77DX.

Mute the sound system when turning the phantom power on or off, or when connect- Don't connect A-B or T-system microphones ing or disconnecting microphones. If you (another remote powering system) without forget, the resulting loud, nasty POP may be suitable adaptors. your last.

Microphones that do not require power sim- output. This includes all microphones comply ignore the DC present between pin 2/pin 3 monly used for sound reinforcement and and pin 1. If you measure with a voltmeter recording, such as the Shure SM58, SM57, between pin 2 and pin 3, you will read 0 Volts Electro-Voice RE-15, RE-16, RE-20, ND series, DC. This is what your dynamic microphone Beyer M160, M500, AKG D224, D12, D112, and sees. Measuring between pin 2 and pin 1, or many others. between pin 3 and pin 1, you will read the If you are fortunate enough to own any tube phantom power voltage, usually 48V, without a condenser microphones, such as the AKG C12, microphone connected. The dynamic micro- Neumann U47 or U67, these microphones may phone, as well as your balanced mixer input, be connected in a phantom powered system ignores this voltage. and will operate without regard to the pres- Lately, the term phantom power has been ence or absence of phantom power. They will perverted to refer to any remote powering always require their external power supply system. In the strict sense of the DIN standard, (which must be plugged in and turned on). this is not true. Furthermore, microphones or What doesn’t work? transducers that claim to use this system are not compatible with the DIN standard and will The list is short: almost certainly be damaged if connected into 1. Microphones with unbalanced outputs. such a system. Fortunately, these systems use 2. Microphones with grounded center-tapped tip-ring-sleeve phone plugs or miniature XLR outputs. Many old ribbon microphones were connectors and they are usually associated supplied connected this way. Have a with instrument pickup applications2. technician lift the ground from the center Phantom powering is defined in DIN standard tap. 45 596 or IEC standard 268–15A. Your Mackie 3. High-impedance microphones. Designs mixer conforms to this standard. 4. Microphones that exhibit leakage between What works? pin 2 or pin 3 and pin 1. These micro- To be compatible in a phantom powered phones will sputter and crackle when system, a device (microphone, preamp with a phantom power is applied and will work microphone-style output, or direct box) must fine when you turn off the phantom power. have a balanced and floating, low-impedance Get the microphone repaired.

2 There is another remote powering system called A-B or T-system powering. It uses pins 2 and 3 to carry both power and audio. It is not compatible with dynamic microphones or phantom-powered microphones.

76 Do’s and Don’ts of Fixed Installations 8. Ensure that the electrician uses the star- If you install sound systems into fixed in- ground system for the safety grounds in stallations, there are a number of things that your electrical system. All of the audio you can do to make your life easier and that system grounds should terminate at the increase the likelihood of the sound system op- same physical point. No other grounds may erating in a predictable manner. Even if you come in contact with this ground system. don’t do fixed installations, these are good 9. Ensure that the AC power feeds are practices for any sound system, installed. connected to the same transformer, and 1. Do use foil-shielded snake cable for long ideally, the same circuit breaker. cable runs. Carefully terminate each end, 10.Walk outside – look at the horizon, see any minimizing the amount of shielding radio towers? Locate potential sources of removed. Protect the exposed foil shield RF interference and plan for them before with shrink sleeving or PVC sleeving. you begin construction. Know the Prevent adjacent shields from contacting frequency, transmitter power, etc. You can each other (electrically). Use insulating get this information by calling the station. sleeving on the drain wire (the one that Remember that many broadcast stations connects to pin 1) to prevent it from change antenna coverage pattern and contacting the connector shell. transmitter power at night. 2. Don’t connect the XLR connector shell to 11.Don’t use hardware-store light dimmers. pin 1 of the XLR connector (unless necessary for RFI shielding). Doing so is an 12.Don’t allow for anything other than micro- invitation for a ground loop to come visiting. phone inputs at stage/altar locations. Supplying line inputs at these locations is 3. Do ensure that your speaker lines and AC an invitation for misuse. Make all sources power lines are physically separated from look like microphones to the console. your microphone lines. 13.Balance (or at least impedance balance) 4. If you use floor pockets, use separate all connections that are remote from the pockets for inputs and speakers, or put the console’s immediate location. connectors on opposite sides of the box so that they may be shielded separately. 14.If you bridge an amplifier, don’t use 1⁄4" phone plugs for speaker connectors. 5. If your speaker lines run in the open, they should be twisted pairs, at least 6 twists per Grounding foot. Otherwise, run the speaker lines in their own conduit. (Of course, conduit is not Grounding exists in your audio system for too practical for portable systems, heh-heh.) two reasons: product safety and noise reduction. The third wire on the power cord exists 6. Minimize the distance between the power for product safety. It provides a low-resistance amplifiers and the speakers. path back to the electrical service to protect 7. Use heavy gauge, stranded wire for speaker the users of the product from electrical shock. lines. Ideally, the wire resistance should be Hopefully, the resistance to ground through less than 6% (0.5dB power loss) of the load the safety ground (third wire) is lower than impedance. Remember that the actual run that through the user/operator to ground. If is twice as long as the physical length of you remove this connection (by breaking or the run. See below. cutting the pin off, or by using a ‘ground cheater’), this alternate ground path ceases to Maximum wire run for 0.5dB power loss in feet exist, which is a safety hazard. wire res. per 2 4 8 The metal chassis of the product, the gauge 1000 ft. ΩΩΩ ground connections provided by the various 10 1.00 60 120 240 connectors, and the shields within your connecting cables provide a low potential point for 12 1.59 40 75 150 noise signals. The goal is to provide a lower im- 14 2.5 24 48 95 pedance path to ground for noise signals than through the signal wiring. Doing so helps mini- 16 4.02 15 30 60 mize hum, buzz, and other extraneous non-audio signals.

77 Many “authorities” tell you that shields 6. Don’t run unbalanced lines to or from the should only be connected at one end. Some- stage. It’s not the impedance, it’s the fact times this can be true, but for most (99%) that they’re unbalanced. It’s a good idea to audio systems, it is unnecessary. If you do ev- use a direct box to make the unbalanced erything else correctly, you should be able to source look like a microphone. connect every component of your audio system 7. For really extreme cases, you may need to using standard, off-the-shelf connecting cables insert 1:1 or isolation transformers into that are available at any music store. each return line from the front-of-house Here are some guidelines: location to your amp racks. 1. All return lines to the stage should be balanced. At a minimum, they should be 8. Don’t cut the third pin off of the power impedance balanced. Remember that you can cord. Carry some ground-lifter adapters balance a line by inserting a piece of equip- and use them only when you have to plug ment in-line that has a balanced output. into an ancient two-wire outlet. 2. Run your own AC power wiring from the 9. If you bundle your cables together, don’t stage for the mixer and related equipment. bundle AC wiring and audio wiring to- Don’t use the “conveniently located” gether. Bundle them separately. receptacle thoughtfully provided by the 10.If your sound system insists on humming, management for your use. You have no idea you may need to teach it the words. how it’s wired or grounded. 3. Carry an outlet tester, available at any well- stocked hardware store. Use it to tell you if the outlet you’re about to plug into is wired correctly. Consider it cheap insurance. 4. If you carry enough equipment that you need to wire directly into the electrical service, then use a voltmeter to ensure that the line voltage is correct, then use the outlet tester mentioned in #3, above. Do this before you connect any of your audio equipment. Chances are that your 120V gear won’t be too happy if it sees 220V for any length of time. 5. Cables that are too long are less likely to pick up hum if you uncoil them in their entirety, and then find a place to stow the excess. Leaving the excess coiled only helps the cable pick up hum more efficiently.

78 FREE T-SHIRT OFFER (Roll credits please) Manual written by Jeff We love to hear what folks have created us- Gilbert, with tidbits borrowed from almost ev- ing our mixers. If you use your SR40•8 to track erywhere. Manual then defaced with and/or mix a live or studio performance onto proofreading pens in the hands of Mackie’s leg- CD that is commercially released, we’ll trade endary Tech Support staff and New Products you a disc for a genuine Mackie T-Shirt! By Engineering staff, not to mention a nameless “commercially released,” we mean “offered for Marketing Weenie. Manual composed on a sale,” even if it’s just being sold out the back cocktail napkin, then converted to this amaz- door of a local Karaoke joint. No hand-lettered ing piece of work using a 13-story 1000 covers, please and thank you. Furthermore, if gigawhopper Macintosh operated by Mackie’s you send us an interesting story or photograph notorious Advertising staff, most notably Sara about your production we might just include it Delahan. Huge chunks of technically baffling in our monthly newsletter! To get your genuine text contributed by Rick Chinn and Dave 100% cotton Mackie Celebrity T-Shirt, send Franzwa. Please, feel free to let us know if you your CD (and optional story or photo) to: find an error or stumble over a confusing para- Mackie Designs graph. Thank you for reading the entire FREE T-SHIRT OFFER manual (we know you have, or you wouldn’t be attn: Communications Department here). 16220 Wood-Red Rd. NE Mackie Designs is always striving to im- Woodinville , WA 98072 prove our mixers by incorporating new and improved materials, components and manufac- turing methods. Because we’re always trying to make things better, we reserve the right to change these specifications at any time, without notice. Batteries not included. Your mileage may vary. Action figures sold separately.

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79 APPENDIX E: Track Sheets SR56•8 Channels 41-56

-10dBV +48 PH -10dBV +48 PH -10dBV +48 PH -10dBV +48 PH -10dBV +48 PH -10dBV +48 PH -10dBV +48 PH -10dBV +48 PH -10dBV +48 PH -10dBV +48 PH -10dBV +48 PH -10dBV +48 PH -10dBV +48 PH -10dBV +48 PH -10dBV +48 PH -10dBV +48 PH C GAI C GAI C GAI C GAI C GAI C GAI C GAI C GAI C GAI C GAI C GAI C GAI C GAI C GAI C GAI C GAI MI N MI N MI N MI N MI N MI N MI N MI N MI N MI N MI N MI N MI N MI N MI N MI N TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM U 41 U 42 U 43 U 44 U 45 U 46 U 47 U 48 U 49 U 50 U 51 U 52 U 53 U 54 U 55 U 56 060 060 060 060 060 060 060 060 060 060 060 060 060 060 060 060 +10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

U AUX U AUX U AUX U AUX U AUX U AUX U AUX U AUX U AUX U AUX U AUX U AUX U AUX U AUX U AUX U AUX 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1