Matrix; Input Level; Mute; Master Level - Mackie SR40.8 Owner's Manual

MATRIX

The MATRIX can be used to create special
mixes for recording, delay towers, lobby, back-
stage, nursery "cry" rooms, audio-for-video
feeds, ADA systems, and the like. Think of it as
a "mixer within a mixer."
Although it may look complicated, the
MATRIX is simply four separate 12 x 1 mixers.
Its inputs include the eleven mixes: LEFT,
RIGHT, CTR, and SUBS 1–8. Additionally, each
MATRIX has an external MATRIX INPUT
Each MATRIX strip has an input level control
for each of the 11 internal inputs as well as
MASTER level, MUTE and SOLO controls. The
external MATRIX INPUTS have no indepen-
dent level controls, but are controlled by the
MATRIX's MASTER level.

INPUT LEVEL

Point Before: Respective mix outputs (LEFT/
RIGHT/CENTER mixes
mixes .)
Point After: MATRIX mixes A, B, C, and D.
Each MATRIX has a column of 11 rotary
controls. Adjacent to each of MATRIX A's con-
trols is the name of the mix output feeding each
MATRIX: SUB 1, SUB 2, SUB 3, SUB 4, SUB 5,
SUB 6, SUB 7, SUB 8, CTR, LEFT, and RIGHT.
(CTR is an abbreviation for "CENTER.") Each
control is off with the knob turned fully counter-
clockwise, with unity gain at the "U" center
detent, and provides 10dB gain turned fully up.
Creating a MATRIX mix couldn't be easier.
Simply adjust the input level controls as
needed for each mix as it feeds each MATRIX.
For instance, using MATRIX A and MATRIX B
to create a stereo mix, use the MATRIX A con-
trols for all the "left" mixes (usually LEFT,
SUB 1, SUB 3, SUB 5, and SUB 7) and the
MATRIX B controls for the "right" mixes (usu-
ally RIGHT, SUB 2, SUB 4, SUB 6, and SUB 8).
If the ultimate destination for a MATRIX out-
put is a device with RCA inputs, like a cassette
deck, we suggest that you use MATRIX C and
MATRIX D, since they have RCA outputs (TAPE
B OUTPUT
), in addition to the XLR outputs.
Point Before: MATRIX mix.
Point After: MATRIX MASTER level
OUTPUT and AFL SOLO. The PFL SOLO and
PFL Meter paths are not affected.
mute relay in the signal path's circuitry. If the
signal is muted, pressing the switch un-mutes
it, and vice versa. An LED adjacent to the
.
switch glows when muted.
ten different Mute Groups can be configured,
enabling you to mute several signal paths at
once. Not only that, but you can automate the
muting of all the signal paths via an external
MIDI sequencer or via the RS-232 DATA
port connected to a computer. We'll discuss all
this in detail later on
and SUB 1–8
Point Before: MUTE
Point After: MATRIX OUTPUTS

SOLO

level of each MATRIX. The signal is off with the
rotary MASTER level control turned fully coun-
terclockwise, unity gain is at the center "U"
detent, and turned fully up provides 10dB gain.
PFL Point Before: MATRIX mix.
PFL Point After: SOLO (MASTER controls)
AFL Point Before: MASTER level
AFL Point After: SOLO (MASTER controls)
your headphones without having to assign them
to any of the LEFT/RIGHT/CENTER mixes
subgroups (SUB 1–8 mixes)
taneously SOLO as many signals as you like.
The SR40•8 features nondestructive solo: En-
gaging 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 Lis-
ten, Solo-In-Place).

MUTE

Muting removes the signal from its MATRIX
Pressing the switch toggles the electronic
With ULTRA MUTE
™ , up to ten Banks of
.

MASTER LEVEL

switch.
.
Use this control to set or ride the overall
SOLO
PFL mix (mono).
AFL mix (stereo).
SOLO allows you to audition signals through
.
SUB
1
SUB
2
SUB
3
SUB
4
, (AFL)
SUB
5
SUB
6
SUB
7
SUB
8
CTR
.
LEFT
RIGHT
or
. You can simul-
41
U
+10
O O
U
+10
O O
U
+10
O O
U
+10
O O
U
+10
O O
U
+10
O O
U
+10
O O
U
+10
O O
U
+10
O O
U
+10
O O
U
+10
O O
MATRIX
A
A
MUTE
A
U
+10
O O
MASTER
SOLO