Table of Contents
Advertisement
Quick Links
Advertisement
Table of Contents
Related Manuals for Mackie SR40.8
Summary of Contents for Mackie SR40.8
- Page 1 SR40•8/SR56•8 OWNER’S MANUAL...
-
Page 2: Safety Instructions
3. Heed Warnings — All warnings on this Mackie product and Mackie product is not defeated. in these operating instructions should be followed. -
Page 3: Read This Page
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: Part No. 820-052-00 Rev. B 6/97 ©1997 Mackie Designs Inc., All Rights Reserved. Printed in the U.S.A. -
Page 4: Introduction
INTRODUCTION Feature Descriptions: Mind-boggling Details Thank you! You have voted with your wal- 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... - Page 5 Special Icons The Glossary: A Haven Of Non-techiness For The Neophyte Throughout these chapters you’ll find illus- 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.
-
Page 6: Table Of Contents
CONTENTS READ THIS PAGE!!! ............ 3 .............. 21 LEVEL-SETTING PROCEDURE HI 12K ......3 ..........21 HYPER-QUICK-TURBO METHOD HI MID AND FREQ ....3 ......21 ALTERNATE METHOD LOW MID AND FREQ ........3 ...... 22 OTHER NUGGETS OF WISDOM LOW 80HZ ...... - Page 7 AUX SEND MASTERS ULTRA MUTE™ AUTOMATION ........34 ..... 42 FLIP TYPICAL APPLICATIONS ............. 34 ....... 42 LEVEL IMPORTANT TIDBITS AND TITTLES ........... 34 ....43 MUTE OPERATION ........... 35 ..........44 SOLO GROUP MODE ........... 35 ........44 SOLO MASTER CONTROLS......
-
Page 8: Sr40•8 Hookup Examples
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 Monitor Power Amp mono mode Stereo EQ and Compressor Reverb DAT Recorder... - Page 9 Reverb #1 Stage Stage Monitor Monitor Reverb #2 Stage Stage Delay Monitor Monitor Power Amp Power Amp mono mode mono mode Harmonizer Power Amp Power Amp mono mode mono mode Cassette Recorder Vocal Compressor DAT Recorder SUB INSERTS MAIN INSERTS MONITOR AUX SEND "B"...
-
Page 10: Overview: The Sr40•8 In A Nutshell
OVERVIEW: THE SR40•8 IN A NUTSHELL STAGE MONITORS & EFFECTS This section provides a quick summary of the 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. -
Page 11: Monitoring, Solo & Metering
MONITORING, SOLO, & METERING having to toggle between send and receive. The Mackie SR40•8 takes that a step farther Usually an engineer listens to the left/right by allowing the engineer to join in at his/her mix (with the center mix blended in), just as discretion using the talkback microphone and the audience is hearing it. -
Page 12: Patch Panel
INSERT SEND SEND RETURN SEND RETURN INSERT RETURN SEND RETURN SEND RETURN LINE IN SEND RETURN SEND RETURN DC POWER IN TALK BACK MIC INTERCOM MIDI IN MIDI OUT PHANTOM POWERED (MACKIE 400-WATT POWER SUPPLY !) LEFT MIC 25 DATA... -
Page 13: Line In
LINE IN the INSERT RETURN jack’s normalling pins. With nothing plugged into the INSERT Point Before: Balanced or unbalanced mic- or RETURN jack, the (dry) send signal will be line-level cable with ⁄ " TRS or TS connector, passed along to the rest of the channel path (tip = hot, ring = cold, sleeve = shield). -
Page 14: Main Aux Returns (A1-A4)
INSERT SEND SEND RETURN SEND RETURN INSERT RETURN SEND RETURN SEND RETURN LINE IN SEND RETURN SEND RETURN DC POWER IN TALK BACK MIC INTERCOM MIDI IN MIDI OUT PHANTOM POWERED (MACKIE 400-WATT POWER SUPPLY !) MIC 25 LEFT DATA... -
Page 15: Tape Input
TAPE INPUT TAPE B OUTPUT Point Before: MATRIX OUTPUTS Point Before: Unbalanced line-level cable with , left from MATRIX C output, right from MATRIX D output. RCA connector. Point After: TAPE RETURNS Point After: Unbalanced line-level cable with RCA connector. RCA jacks, bless their little hearts, have no normalling —... -
Page 16: Main Outputs
INSERT SEND SEND RETURN SEND RETURN INSERT RETURN SEND RETURN SEND RETURN LINE IN SEND RETURN SEND RETURN DC POWER IN TALK BACK MIC INTERCOM MIDI IN MIDI OUT PHANTOM POWERED (MACKIE 400-WATT POWER SUPPLY !) MIC 25 LEFT DATA... -
Page 17: Sub Inserts
SUB INSERTS WARNING: The SR40•8’s stereo phones Point Before: SUB 1–8 mixes , AIR jack will drive any stan- FLIP dard 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. -
Page 18: Monitor
INSERT SEND SEND RETURN SEND RETURN INSERT RETURN SEND RETURN SEND RETURN LINE IN SEND RETURN SEND RETURN DC POWER IN TALK BACK MIC INTERCOM MIDI IN MIDI OUT PHANTOM POWERED (MACKIE 400-WATT POWER SUPPLY !) MIC 25 LEFT DATA... -
Page 19: Intercom
INTERCOM DC POWER IN Point Before: Externally supplied Clear- Arguably the most important connector on or compatible party-line intercom ™ any console, the SR40•8 will not work until RECEIVE line, with power. you’ve connected its power cable here. POWER SUPPLY STATUS LEDs in the out- Point After: SR40•8 intercom interface, IGNORE... -
Page 20: Channel
If not, go to item right now and read it — it’s at the beginning of this manual. That Mackie consoles have a procedure is basically “How to Use the Trim “U” symbol on almost every Control.” We ask that you commit that proce- level control. -
Page 21: Hi Mid And Freq
HI 12K The HI EQ provides up to 15dB boost or cut Point Before: Channel mic/line preamp, Channel INSERT SEND and RETURN at 12kHz, and is flat (no boost or cut) at the de- tent. Use it to add sizzle to cymbals, an overall Point After: MUTE , PFL feed to Channel sense of transparency, or an edge to keyboards,... -
Page 22: Low Mid And Freq
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. -
Page 23: Channel Output Controls
CHANNEL OUTPUT CONTROLS Almost all other signals call for higher HPF 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. -
Page 24: Fader
FADER feeds the RIGHT mix, SUBs 2, 4, 6, and 8, and the right AFL SOLO. With the PAN knob set some- Point Before: MUTE where in between left and right, the signal is Point After: PAN , CENTER (ASSIGN) divided between the left and right buses. -
Page 25: Center (Assign)
LEFT/RIGHT mix SOLO allows you to audition signals . If you want to create a 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- TER mixes or Subgroup (SUB 1–8 mixes) the signals from those Channels are sent to the... -
Page 26: Meter
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. -
Page 27: Pre Fdr/Post Eq (Aux Sends 5-8)
MAIN AUX RETURNS (A1–A4) PRE FDR/POST EQ (AUX SENDS 5–8) (switch up), EQ IN You’ve no doubt noticed that the MAIN AUX Point Before: Fader TRIM RETURNS (A1–A4) look suspiciously like the (switch down). Channels. That’s because they are Channels, Point After: AUX sends 5–8 but they’re stereo instead of mono, with full This switch has one difference from the PRE... -
Page 28: Pan
SOLO This works just like the Channel SOLO Being that these are stereo Channels, their PAN controls are similar to a balance control with one exception: In PFL mode, the LEFT and RIGHT signals are mixed together to form on a home stereo — if you turn it to the right, a combined mono PFL signal. -
Page 29: Output Section
OUTPUT SECTION FADER LINK You’ve just learned about the Channels and 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. -
Page 30: Center Fader
CENTER FADER SOLO Point Before: MAIN INSERTS PFL Point Before: LEFT, RIGHT and CENTER Point After: MAIN OUTPUTS PFL Point After: PFL mix (mono) The CENTER mix is off with this Fader fully AFL Point Before: LEFT, RIGHT and CENTER down, the “U”... -
Page 31: Subs (Sub 1-8 Mixes)
Remember: INPUTS SOLO has precedence 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 SUB OUTPUT. PAN adjusts the amount of sig- This is where everything assigned via the nal sent to the LEFT versus the RIGHT mixes via 1-2, 3-4, 5-6, and 7-8... -
Page 32: Solo
a secondary feed, you’ll want to use the MATRIX 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 The AIR control is a special form of EQ set B’s RIGHT knob to their “U”... -
Page 33: B" Aux Returns And Tape Returns
“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 PFL mix (mono). -
Page 34: Aux Send Masters
AUX SEND MASTERS This is the path of a Subgroup signal with its associated AUX SEND MASTER FLIP switch The AUX SEND MASTERS, as with all the disengaged (up): Channel assignment and signal paths in the SR40•8, are fully equipped PAN controls, Subgroup mix, Subgroup AIR, with LEVEL, MUTE, and SOLO controls. -
Page 35: Mute
SOLO MASTER CONTROLS MUTE Point Before: LEVEL To audition individual signals, or groups of signals, there are SOLO switches on every Point After: AUX SEND 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. -
Page 36: Solo Level
Always turn the PHONES level to remind you that you’re in solo, and to let you 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. -
Page 37: Monitor
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 that mix. With the METERING: OUTPUT outputs are designed for special SECTION PFL/AFL switch set to PFL (up), situations such as these:... -
Page 38: Output Section Pfl/Afl
TALKBACK SECTION OUTPUT SECTION PFL/AFL The SR40•8’s extensive TALKBACK section This switch determines the Meter’s source 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 separate assignment switches for AUX 1–4, Fader Listen), signals are sent to the Meters... -
Page 39: Assign
ASSIGN If your talent is performing that Beatles’ classic, “I Want You (She’s So Heavy),” you can Point Before: TALKBACK switch use the PINK NOISE along with the oscillator Point After: (per switch): AUX 1–4, AUX 5–8, RECEIVE LEVEL control to emulate that horrendous EXTERNAL, L/R, MATRIX A, MATRIX B, ocean sound that builds up and takes over MATRIX C and MATRIX D. -
Page 40: Communications
COMMUNICATIONS Point Before: TALKBACK LEVEL If your system uses the Clear-Com ® (OSCILLATOR) LEVEL Intercom System, then you certainly have RECEIVE chosen the right console — The SR40•8 Point After: TALKBACK switch. 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... -
Page 41: Matrix
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. -
Page 42: Ultra Mute Automation
Snapshots can be changed using Program Change Messages. SEND RETURN SEND INSERT RETURN LINE IN SEND RETURN SEND DC POWER IN TALK BACK MIC INTERCOM MIDI IN MIDI OUT PHANTOM POWERED (MACKIE 400-WATT POWER SUPPLY !) MIC 25 DATA... -
Page 43: Important Tidbits And Tittles
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. -
Page 44: Operation
OPERATION 6. You can exit STORE mode by pressing the CLEAR button at any time. If you had Some of the buttons in the ULTRA MUTE muted any channels, you can either section of the console behave differently manually turn off the MUTE switches or depending on whether you are in Group or press and hold the CLEAR button to Snapshot mode. - Page 45 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.
-
Page 46: Numeric Display
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”... - Page 47 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 .
-
Page 48: Ultra Mute Summary
ULTRA MUTE SUMMARY GENERAL SYSTEM BYPASS • Turns off ULTRA MUTE. Disables all • There are 9 Sets of 10 Groups each, for a total of 90 Groups. Up to 10 Groups can be automation, including all MIDI commands received through the MIDI or DATA ports. active at a time within a Set. -
Page 49: Store
STORE • In Snapshot Mode, press and hold for two seconds to turn off all mutes on the • In Group Mode, press STORE followed by a console. number button (0-9) to store a mute configuration in ULTRA MUTE’s memory. •... -
Page 50: Midi Implementation
MIDI IMPLEMENTATION System Exclusive Messages (Sysex) Sysex messages can be used to transmit Using the MIDI Ports data between a MIDI device and ULTRA MUTE. You can transfer all or part of the data There are three types of MIDI messages that can be used to control ULTRA MUTE: in ULTRA MUTE’s memory to a MIDI controller MIDI Note Messages, Program Change Mes-... -
Page 51: Midi Sysex Numbers
MIDI SYSEX MESSAGE NUMBERS Description Examples 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. requests the SR40•8/SR56•8 To request Snapshot 5: to send one Snapshot to the host... -
Page 52: Midi Implementation Summary
The DATA port provides two-way communi- refer to the SR40•8/SR56•8 Service Manual, cation of data between devices. Pin 2 is RXD or contact Mackie Technical Support at 1-800- (receiving line), pin 3 is TXD (transmitting 258-6883 (8am to 5pm PST), for details. -
Page 53: Midi Implementation Chart
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 Channel 16 only Changed Mode Default Not Applicable Messages Altered Note Number Mute Node See Appendix B Velocity Note ON Note OFF See Appendix B Aftertouch Keys... -
Page 54: Table Of Midi Note Messages
TABLE OF MIDI NOTE MESSAGES Parameter MIDI Note Message (Hex) Parameter Name MUTE ON MUTE OFF NOTE* Channel 1 9F 00 40 9F 00 00 Channel 2 9F 01 40 9F 01 00 C#-1 Channel 3 9F 02 40 9F 02 00 Channel 4 9F 03 40 9F 03 00... - Page 55 Parameter MIDI Note Message (Hex) Parameter Name MUTE ON MUTE OFF NOTE* Channel 45 9F 54 40 9F 54 00 Channel 46 9F 55 40 9F 55 00 Channel 47 9F 56 40 9F 56 00 Channel 48 9F 57 40 9F 57 00 Channel 49 9F 58 40...
-
Page 56: Sr40•8 Block Diagram
IN (2 TOTAL) (SIP) (TAPE B IDENTICAL) LINE IN R SOLO L (LEFT MAIN MIX) R (RIGHT MAIN MIX) C (CENTER MAIN MIX) MACKIE DESIGNS SUB 1 FOR SIMPLICITY, SUBS 3-8 NOT SHOWN SR40-8/SR56-8 SUB 2 BLOCK DIAGRAM (#052997DF) AUX SEND 1... - Page 57 INSERT TO MATRIX IN SEND RETURN (BALANCED) MIDI IN ULTRA MUTE™ LINK L FADER LEFT TAPE OUT (R=L+R) MIDI OUT AUTOMATED LEFT MAIN OUT MUTING SYSTEM RS-232 L MIX PFL AFL 0VU = 0dBu (SIP) MAIN LEFT/RIGHT/CENTER MIX SOLO TO MATRIX IN INSERT SEND RETURN...
-
Page 58: Sr40•8 Gain Structure Diagram
SR40•8 GAIN STRUCTURE DIAGRAM... - Page 59 This page was intentionally left blank until we put this message on it!
-
Page 60: Specifications
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. - Page 61 Dimensions (Consoles) SR40•8 WEIGHT 65.00" (165.1cm) < 110 lbs. (49.9 kg) 59.57" (151.3cm) 10.50" (26.7cm) 0.50" (1.27cm) 62.05" (157.6cm) 7.20" (18.3cm) 60.30" (153.2cm) SR56•8 WEIGHT 145lbs. (65.8 kg) 82.15" (208.7cm) 76.72" (194.9cm) 79.10" (200.9cm) 77.45" (196.7cm)
-
Page 62: Appendix A: Service Info
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. -
Page 63: Appendix B: Glossary
Tech Terms, by Peterson & Oppenheimer; Cannon Handbook for Sound Engineers, by Glen Ballou, A manufacturer of electrical connectors Mackie Mixer Book by Rudy Trubitt and Sound who first popularized the three-pin connector Reinforcement Handbook, by Gary Davis. now used universally for balanced microphone connections. - Page 64 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.
- Page 65 dynamic In sound work, dynamic refers to the class See equalization. EQ curve of microphones that generate electrical signals 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.
- Page 66 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.
- Page 67 Maintaining proper circuit impedance rela- tionships is important to avoid distortion and See mic preamp. mic preamp minimize added noise. Mackie input and out- put impedances are set to work well with the Short for microphone preamplifier. An am- vast majority of audio equipment.
- Page 68 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;...
- Page 69 phasing 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-...
- Page 70 Mackie mixers See balanced. tinnitus call it an Aux Send. shelving The ringing in the ears that is produced A term used to describe the shape of an with prolonged exposure to high volumes.
- Page 71 In Mackie mixers, the tip is send, ring is re- ance, the more the noise. Mackie’s VLZ design turn, and sleeve is ground.
-
Page 72: Appendix C: Connections
APPENDIX C: Connections “XLR” CONNECTORS You can cook up your own adapter for a stereo microphone adapter. “Y” two cables Mackie mixers use 3-pin female “XLR” con- out of a female ⁄ " TRS jack to two male nectors on all microphone inputs, with pin 1... - Page 73 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- ⁄ " TS plug inserted into a ⁄...
- Page 74 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...
-
Page 75: Appendix D: Balanced Lines, Phantom Powering, Grounding, And Other Arcane Mysteries
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,... - Page 76 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.
- Page 77 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-...
- Page 78 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.
- Page 79 Tech Support staff and New Products CD that is commercially released, we’ll trade Engineering staff, not to mention a nameless you a disc for a genuine Mackie T-Shirt! By Marketing Weenie. Manual composed on a “commercially released,” we mean “offered for cocktail napkin, then converted to this amaz- sale,”...
-
Page 80: Appendix E: Track Sheets
APPENDIX E: Track Sheets SR56•8 Channels 41-56 +48 PH +48 PH +48 PH +48 PH +48 PH +48 PH +48 PH +48 PH +48 PH +48 PH +48 PH +48 PH +48 PH +48 PH +48 PH +48 PH TRIM TRIM TRIM TRIM... - Page 81 SR40•8/SR56•8 Channels 1-24 and A1-A4 +48 PH +48 PH +48 PH +48 PH +48 PH +48 PH +48 PH +48 PH +48 PH +48 PH +48 PH +48 PH +48 PH +48 PH +48 PH +48 PH +48 PH +48 PH +48 PH +48 PH +48 PH...
- Page 82 SR40•8/SR56•8 Channels 25-40 and Master Section DIMMER METERING POWER SUPPLY STATUS +48 PH +48 PH +48 PH +48 PH +48 PH +48 PH +48 PH +48 PH +48 PH +48 PH +48 PH +48 PH +48 PH +48 PH +48 PH +48 PH INPUT OUTPUT...
- Page 83 Addendum/Errata For the SR40•8/SR56•8 Owner’s Manual: Okay kidz! It’s time to sharpen up your number 2 pencil and make a few changes in your manual. 1. On page 19: In the section Intercom, the Pin outputs should read: Pin 1 = ground/0V, Pin 2 = 28–30VDC, Pin 3 = audio + DC signalling. 2.
- Page 84 6. On page 51: MIDI SYSEX MESSAGE NUMBERS In the chart, message 44h is ignored by the console. System status is a “request-only” message (04h), and cannot be written to the console with a sysex message. The DATA Structure for Sysex dumps is as follows (this replaces the DATA Structure chart shown on page 51): DATA Structure: SR40•8 = 18 bytes, nibblized low-high.
- Page 85 8. Regarding altered states (of ULTRA MUTE): ULTRA MUTE has a built-in method of letting you know when a mute configuration has been altered, either deliberately or accidentally, from its nominal state. In Preview Mode: When you enter preview mode, then select a different group or snapshot to preview, the LED above the PREVIEW button begins to blink, indicating that the mute LEDs on the console represent a different state than what is actually implemented.
- Page 86 Mackie Designs Inc. • 16220 Wood-Red Road N.E. Woodinville • WA • 98072 • 800/258-6883 © 2001 Mackie Designs Inc. All rights reserved. Outside the U.S. call 425/487-4333 • FAX 425/487-4337 Printed in the USA. www.mackie.com Part No. 820-052-10 Rev. B 1/2001...