Overview: The Sr40•8 In A Nutshell; Mixing; Matrix; Stage Monitors & Effects - Mackie SR40.8 Owner's Manual

OVERVIEW: THE SR40•8 IN A NUTSHELL
This section provides a quick summary of the
SR40•8's major features. It is not intended to be
a dissertation on how to use a mixer, especially
the SR40•8, where the possibilities are endless.
Just the same, it's a good place to get started.

MIXING

Channel controls manipulate mic/line
signals in this order: phantom power, trim, po-
larity, low cut filter, insert, EQ, mute, fader,
pan, and assignment switches. These signals
are then assigned to the left, right and/or cen-
ter mix, or to one of the eight subs.
The main mix (left, right and center) typi-
cally feeds the main sound system. The left/
right mix can be controlled by individual fad-
ers or switched to share one fader. Subs 1-8
can be assigned to the left/right or center mix,
enabling them to be used as master faders for
submixes of channels. Alternatively, the subs
can be used for secondary speaker systems.
More output routing options involve the
matrix, discussed below.

MATRIX

The SR40•8 has 11 primary mix buses: left,
right, center, and 8 subs. Via the channel's as-
signment switching, signals can be distributed
among these buses. If a situation demands a
unique destination for each mix, the dedicated
outputs for each of these mixes will suffice.
More likely, a situation will demand that
these 11 mixes be recombined in some way, to
feed off-site systems, delay towers, assistive lis-
tening systems, or special mixes for recording
or broadcast. Enter the Matrix.
The matrix is simply four separate 12 x 1
mixers. Its inputs include: left, right, center,
subs 1-8 and an external input at the patch
panel. Each matrix strip has a level control for
each of the eleven internal inputs as well as
master level, solo and mute controls.
10
STAGE MONITORS & EFFECTS
Every channel, as well as each of the four
main aux returns (A1–A4), has eight aux send
controls. Per channel, aux sends 1–4 can be
switched to be post-fader (for effects sends) or
pre-EQ/pre-fader (for stage monitors). Aux
sends 5–8 have a similar switch, post-fader (for
effects sends) or post-EQ/pre-fader (for stage
monitors with EQ).
In the output section, aux sends can be
routed in one of two ways. Normally, these aux
mixes are controlled by the rotary master level
control and mute switch, and then sent to TRS
output jacks. This method is fine for effects
sends or small applications. Larger installa-
tions may demand more flexibility for the stage
mixes. Enter the flip switch.
Each aux send master has a flip switch.
This removes an aux mix from its dedicated
mute switch and level control, and diverts it
to the like-numbered sub routing. This way,
an aux send designated for stage cueing will
have its own dedicated 100mm fader, "Air"
EQ, insert, and balanced XLR output. Mean-
while, a flipped aux send also diverts the sub
signal to the original aux send master con-
trols and TRS output, ensuring that sub
assignments can still be used.
When used for effects, aux sends are
patched into the inputs of parallel effects de-
vices, like reverb and delay units. The outputs
of these devices are the origin of aux return
signals. Aux return signals, or any stereo line-
level signals, can be injected into either the
main aux returns or the "B" aux returns (or
into pairs of channels). The main aux returns
provide most of the controls present in the
channels: trim, high-pass filter, EQ, mute, pan,
and assign. "B" aux returns B1, B2, and B3 are
dedicated to the left/right mix and offer only
rotary level and mute switch controls. (Aux
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.