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2-Channel DJ Mixer with FireWire Option
O W N E R ’ S M A N U A L
+3 +50
LEVEL
MIC
OL
SIG 48V
OFF
ON
EQ
U
HIGH
-15 +15
U
MID
-15 +15
U
LOW
-15 +15
ON
PAN
U
PGM
1
SOURCE
O O MAX
LEVEL
LINE/
PHONO
CD
EQ
HIGH
KILL +10
EQ
PGM
SOURCE
2
U
LINE/
PHONO
CD
O O MAX
LEVEL
HIGH
KILL +10
MID
KILL +10
LOW
KILL +10
FX
BAL BAL
KILL +10
MID
KILL +10
LOW
FX
MAIN
CONTROL
O O MAX
LEVEL
U
BOOTH
FX
STEREO
MONO
O O MAX
LEVEL
O O +15
SEND
O O
+15
RETURN
PHONES
PGM
MAIN
U
O O
MAX
LEVEL
PGM SOURCE
2
L R L R L R
PGM
1
PGM
2
TRANSFORM
7
10
20
0
2
4
OL
10
7
4
2
REVERSE
30 infinium contact-free cross-fader
A
MAIN
L
7
10
20
0
2
4
OL
10
7
4
2
30
REVERSE
R
B
TRANSFORM
7
10
20
0
2
4
OL
10
7
4
2
30
REVERSE
2
Important Safety Instructions
1. Read these instructions.
2. Keep these instructions.
3. Heed all warnings.
4. Follow all instructions.
5. Do not use this apparatus near water.
6. Clean only with dry cloth.
7. Do not block any ventilation openings. Install in accordance with the manufacturer’s instructions.
13. Unplug this apparatus during lightning storms or when unused for long periods of time.
14. Refer all servicing to qualifi ed service personnel. Servicing is required when the apparatus has been damaged in any way, such as powersupply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped.
15. This apparatus shall not be exposed to dripping or splashing, and no object fi lled with liquids, such as vases or beer glasses, shall be placed on the apparatus.
8. Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifi ers) that produce heat.
9. Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other.
A grounding-type plug has two blades and a third grounding prong.
The wide blade or the third prong are provided for your safety. If the provided plug does not fi t into your outlet, consult an electrician for replacement of the obsolete outlet.
16. This apparatus has been designed with Class-I construction and must be connected to a mains socket outlet with a protective earthing connection (the third grounding prong).
17. This apparatus has been equipped with an all-pole, rocker-style AC mains power switch. This switch is located on the rear panel and should remain readily accessible to the user.
10. Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles, and the point where they exit from the apparatus.
11. Only use attachments/accessories specifi ed by the manufacturer.
12. Use only with a cart, stand, tripod, bracket, or table specifi ed by the manufacturer, or sold with the apparatus. When a cart is used, use caution when moving the cart/apparatus combination to avoid injury from tip-over.
PORTABLE CART WARNING
18. This apparatus does not exceed the Class A/Class B (whichever is applicable) limits for radio noise emissions from digital apparatus as set out in the radio interference regulations of the Canadian Department of Com mu ni ca tions.
ATTENTION — Le présent appareil numérique n’émet pas de bruits radioélectriques dépassant las limites applicables aux appareils numériques de class A/de class B (selon le cas) prescrites dans le réglement sur le brouillage radioélectrique édicté par les ministere des com mu ni ca tions du Canada.
19. Exposure to extremely high noise levels may cause permanent hearing loss. Individuals vary considerably in susceptibility to noise-induced hearing loss, but nearly everyone will lose some hearing if exposed to suffi ciently intense noise for a period of time. The U.S. Government’s
Occupational Safety and Health Administration (OSHA) has specifi ed the permissible noise level exposures shown in the following chart.
Carts and stands - The
Component should be used only with a cart or stand that is recommended by the manufacturer.
A Component and cart combination should be moved with care. Quick stops, excessive force, and uneven surfaces may cause the Component and cart combination to overturn.
According to OSHA, any exposure in excess of these permissible limits could result in some hearing loss. To ensure against potentially dangerous exposure to high sound pressure levels, it is recommended that all persons exposed to equipment capable of producing high sound pressure levels use hearing protectors while the equipment is in operation.
Ear plugs or protectors in the ear canals or over the ears must be worn when operating the equipment in order to prevent permanent hearing loss if exposure is in excess of the limits set forth here.
Duration Per Day Sound Level dBA,
In Hours Slow Response
Typical
Example
CAUTION AVIS
RISK OF ELECTRIC SHOCK
DO NOT OPEN
RISQUE DE CHOC ELECTRIQUE
NE PAS OUVRIR
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK
DO NOT REMOVE COVER (OR BACK)
NO USER-SERVICEABLE PARTS INSIDE
REFER SERVICING TO QUALIFIED PERSONNEL
ATTENTION: POUR EVITER LES RISQUES DE CHOC
ELECTRIQUE, NE PAS ENLEVER LE COUVERCLE. AUCUN
ENTRETIEN DE PIECES INTERIEURES PAR L'USAGER. CONFIER
L'ENTRETIEN AU PERSONNEL QUALIFIE.
AVIS: POUR EVITER LES RISQUES D'INCENDIE OU
D'ELECTROCUTION, N'EXPOSEZ PAS CET ARTICLE
A LA PLUIE OU A L'HUMIDITE
8 90 Duo in small club
6 92
4 95 Train
3 97
2 100
1.5
1
102
105
0.5
0.25 or less
110
115
Very loud classical music
Dave screaming at Steve about deadlines
Loudest parts at a rock concert
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 of sufficient magnitude to constitute a risk of electric shock to persons.
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 suffisante pour constituer un risque d'éléctrocution.
The exclamation point within an equilateral triangle is intended to alert the user of the presence of important operating and maintenance
(servicing) instructions in the literature accompanying the appliance.
Le point d'exclamation à l'intérieur d'un triangle équilatéral est employé pour alerter les utilisateurs de la présence d'instructions importantes pour le fonctionnement et l'entretien (service) dans le livret d'instruction accompagnant l'appareil.
WARNING — To reduce the risk of fi re or electric shock, do not expose this apparatus to rain or moisture.
d.2 DJ Mixer
Table of Contents
Safety Instructions................................... 2
Introduction...............................................4
Getting Started ......................................... 5
READ THIS PAGE!!....................................................5
Hookup Diagrams.....................................6
Rear Panel Features................................ 10
Top Panel Features...................................12
Microphone Input Section .................................12
Program Input Section......................................... 13
Control Section......................................................14
Program Output Section..................................... 15
Front Panel Features ...............................17
Appendix A: Service Information....... 18
Warranty Service...................................................18
Troubleshooting ....................................................18
Repair .......................................................................19
Appendix B: Connections .....................20
Appendix C: Technical Info ...................21
Specifi cations.........................................................21
Block Diagram........................................................23
Gain Structure Diagram...................................... 24
Rotation and Fader Replacement...... 25
Limited Warranty ...................................27
Don’t forget to visit our website at www.mackie.com for more information about this and other Mackie products.
Part No. 0014096 Rev. A 7/05
©2005 LOUD Technologies Inc. All Rights Reserved. Printed in China.
Owner’s Manual
3
4
Introduction
Thank you for choosing a Mackie d.2 Premium VCA
Mixer for scratch and club DJs. It contains all your favorite features in a scratch mixer, along with signifi cant extras that you will come to appreciate.
The d.2 is the fi rst DJ mixer made by Mackie. We were able to apply our extensive knowledge of mixer design to the d.2, making it a truly professional product with the high-end performance you’ve come to expect from
Mackie. Features like our “built like a tank” construction, premium analog circuitry, infi nium ™ contact-free crossfader, optional FireWire ™ connectivity, and “Planet
Earth” power supply add value to the d.2 not found in any other scratch mixer in its class.
FEATURES
• Mighty strong construction to withstand the rigors of DJ work.
• Integrated rack ears (Odyssey Battle Bridge ™ compatible).
• Removable top panel provides access to the rotatable transform switches and to the user-replaceable faders.
• Premium VCA-based design offers extremely smooth fades and cross fades with very low distortion characteristics for warm, hearty sounding mixes.
• Mackie mic preamp with 3-band EQ for proquality vocals through the d.2.
• XLR main outputs with Mic/Line switch (mic position allows stage connections with no D.I. boxes required).
• RCA main outs with Live/Record switch
(Record position delivers a pre-main out).
• Endless-life optical crossfader from the UKbased Infi nium, with adjustable mechanical tension accessible from the top panel.
• Optional user-installable FireWire card receives four program channels from PC/Mac and sends a stereo L-R recording stream to PC/Mac.
• Program faders and Crossfader have variable contour curves and reverse switches.
• Ultra bright blue/white main meters plus individual program meters for cueing and beat matching.
• Separate mono/stereo switchable booth output on balanced TRS connectors.
• Stereo FX loop for outboard effects.
• “Planet Earth” power-supply operates on voltages between 100 and 240 VAC.
• Standard IEC power receptacle and power cord.
HOW TO USE THIS MANUAL
We know that many of you can’t wait to get your new mixer hooked up, and you’re probably not going to read the manual fi rst (sigh!). So the fi rst section after this
Introduction is a Getting Started guide to help you get the mixer set up fast so you can start using it right away.
Right after that are the ever popular hook-up diagrams that show you some typical setups.
Then, when you have time, read the Features Description section. This describes every knob, button, and connection point on the d.2, roughly following the signal fl ow through the mixer from top to bottom.
Throughout this section you’ll fi nd illustrations with each feature numbered. If you want to know more about a feature, simply locate it on the appropriate illustration, notice the number attached to it, and fi nd that number in the nearby paragraphs.
Please write your serial number here for future reference (i.e., insurance claims, tech support, return authorization, etc.)
Purchased at:
Date of purchase:
This icon marks information that is critically important or unique to the d.2. For your own good, read them and remember them. They will be on the fi nal test.
This icon leads you to in-depth explanations of features and practical tips. While not mandatory, they usually have some valuable nuggets of information.
Appendix B is a section on connectors: XLR connectors, TRS balanced connectors, TS unbalanced connectors, and RCA unbalanced connectors.
Appendix C shows the d.2 specifi cations, a block diagram, and a gain structure diagram.
Appendix D shows how to adjust the position of the transform switches, and how to replace the faders if you ever have to. d.2 DJ Mixer
Getting Started Set the Levels
READ THIS PAGE!!
Even if you never reads manuals, please read and digest the safety instructions on page 2, and this page before you begin using the d.2 mixer.
Zero the Controls
1. Turn the rear panel POWER switch off.
To set the LEVEL controls, it’s not even necessary to hear what you’re doing at the outputs of the mixer.
If you want to listen while you work, plug headphones into the PHONES jack on the front panel, then set the
PHONES knob up a little.
1. Select the input using the SOURCE switch.
2. Play something into the selected input. Be sure that the volume of the input source is the same as it would be during normal use. If it isn’t, you might have to readjust these levels during the middle of a set.
2. Turn down the LEVEL controls for MIC, PGM 1 and
PGM 2, and center all EQ, PAN, and BAL controls.
3. Set all push button switches to their “out” positions.
4. In the CONTROL section (right hand side), turn all the rotary knobs down, and the switches out.
5. Set the PROGRAM Faders fully down.
6. On the front panel, set the REVERSE switches out.
7. Center the CROSSFADER.
3. Center the TRANSFORM switch. There will be no output, but the PROGRAM METER will still work.
4. Adjust the channel’s rotary LEVEL control so that the LEDs on the PROGRAM meter stay around “0” and +4, and never go higher than “+7.”
5. Apply some EQ if needed, (return to step 4 if you do, just to check the levels are still OK).
6. Repeat for the other channel (if you want to).
Connections
If you already know how you want to connect the d.2, go ahead and connect the inputs and outputs the way you want them. If you just want to get sound through the d.2 mixer, follow these steps:
Set the MIC Levels
1. To level the microphone input, keep the ON button off, and talk or sing at your highest expected level.
2. Adjust the MIC LEVEL until the OL LED next to it only comes on occasionally.
1. Plug a signal source to the d.2. This could be a:
• Microphone into the MIC input
• Turntable into a PHONO input (push in the rear panel LINE/PHONO switch)
• Line-level source such as a CD player into the
PHONO input (push out the LINE/PHONO switch)
• Line-level source such as a CD player into a CD input.
2. If you are using the PHONO input, make sure you set the LINE/PHONO switch correctly.
3. Connect cords from the d.2’s MAIN OUTs (XLR or
RCA connectors on the rear panel) to your powered speakers or amplifi er.
4. Plug in the detachable linecord, connect it to a live
AC outlet, and turn on the d.2’s POWER switch.
Instant Mixing
1. To get sound out of the speakers, press the TRANS-
FORM switch up (the latched position), turn up the
PROGRAM fader, and slowly rotate the MAIN control to a comfortable listening level.
2. Sing and play. You’re a star! Bring in the other channel, play with the CROSSFADER, and generally have fun.
Other Nuggets of Wisdom
• Always turn down the MAIN, BOOTH, and PHONE knobs before making any connections.
• When you shut down your equipment, turn off the amplifi ers fi rst. When powering up, turn on the amplifi ers last.
5. If you have powered speakers, turn them on. Otherwise, hook up your speakers to the amp and turn it on. Adjust your powered speaker or amplifi er level controls to however the manufacturer recommends.
(This is usually all the way up.)
• Never listen to loud music for prolonged periods.
Please see the Safety Instructions on page 2 for information on hearing protection.
Owner’s Manual
5
Hookup Diagrams
(The following hookup diagrams show the d.2 with the optional FireWire card installed.)
SRM450
Powered Speaker
Main Left
SWA1501
Powered Subwoofer
SRM450
Powered Speaker
Main Right
SWA1501
Powered Subwoofer
Pro CD Player
Plug into front panel headphone jack
Headphones
L
MAIN OUT
R
~100-240 VAC 50-60Hz 20W
ON
LINE
MIC
L
BOOTH
L
L
LIVE
RECORD
R
FX
SEND
DESIGNED BY MACKOIDS IN WOODINVILLE, WA, USA • MANUFACTURED IN CHINA
FABRIQUE EN CHINE • COPYRIGHT ©2005 • "MACKIE", AND THE RUNNING MAN
FIGURE ARE TRADEMARKS OF LOUD TECHNOLOGIES, INC. • PATENT PENDING.
R
PGM 2
L
PHONO CD
L
PGM 1
L
PHONO CD
L
L
RETURN
R
R
LINE
PHONO
GND
R R
LINE
PHONO
GND
R
MIC
SERIAL / DATE CODE
R
FIREWIRE
Microphone
Effects Processor
Laptop Computer
6
d.2 DJ Mixer
Mobile DJ System: Rental, Wedding, or Funeral
Plug into front panel headphone jack
Headphones
L
MAIN OUT
R
~100-240 VAC 50-60Hz 20W
ON L
LINE
MIC
L
BOOTH
L
LIVE
RECORD
R
FX
SEND
DESIGNED BY MACKOIDS IN WOODINVILLE, WA, USA • MANUFACTURED IN CHINA
FABRIQUE EN CHINE • COPYRIGHT ©2005 • "MACKIE", AND THE RUNNING MAN
FIGURE ARE TRADEMARKS OF LOUD TECHNOLOGIES, INC. • PATENT PENDING.
R
PGM 2
L
PHONO CD
L
PGM 1
L
PHONO CD
L
L
RETURN
R
R
LINE
PHONO
GND
R R
LINE
PHONO
GND
R
MIC
SERIAL / DATE CODE
R
FIREWIRE ground wire
Microphone ground wire
Laptop Computer
Turntable with phono-level output cup of tea
(optional)
Turntable with phono-level output
Radio Show Recording/Podcasting/having a good old time
Owner’s Manual
7
SRM450
Powered Speaker
Main Left
SWA1501
Powered Subwoofer
SRM450
Powered Speaker
Main Right
SWA1501
Powered Subwoofer
Plug into front panel headphone jack
Headphones
L
MAIN OUT
R
~100-240 VAC 50-60Hz 20W
ON
LINE
MIC
L
BOOTH
L
L
LIVE
RECORD
R
FX
SEND
DESIGNED BY MACKOIDS IN WOODINVILLE, WA, USA • MANUFACTURED IN CHINA
FABRIQUE EN CHINE • COPYRIGHT ©2005 • "MACKIE", AND THE RUNNING MAN
FIGURE ARE TRADEMARKS OF LOUD TECHNOLOGIES, INC. • PATENT PENDING.
R
PGM 2
L
PHONO CD
L
PGM 1
L
PHONO CD
L
L
RETURN
R
R
LINE
PHONO
GND
R R
LINE
PHONO
GND
R
MIC
SERIAL / DATE CODE
R
FIREWIRE ground wire
Microphone ground wire
Turntable with phono-level output Turntable with phono-level output
8
d.2 DJ Mixer
Two-Turntable Portable System
SA1532z
Powered Speaker
Main Left
SA1532z
Powered Speaker
Main Right
SWA1801
Powered
Subwoofers
SWA1801
Powered
Subwoofers
CD Turntable (PGM 2) CD Turntable (PGM 1)
Plug into front panel headphone jack
Headphones
L
MAIN OUT
R
~100-240 VAC 50-60Hz 20W
ON
LINE
MIC
L
BOOTH
L
L
LIVE
RECORD
R
FX
SEND
DESIGNED BY MACKOIDS IN WOODINVILLE, WA, USA • MANUFACTURED IN CHINA
FABRIQUE EN CHINE • COPYRIGHT ©2005 • "MACKIE", AND THE RUNNING MAN
FIGURE ARE TRADEMARKS OF LOUD TECHNOLOGIES, INC. • PATENT PENDING.
R
PGM 2
L
PHONO CD
L
PGM 1
L
PHONO CD
L
L
RETURN
R
R
LINE
PHONO
GND
R R
LINE
PHONO
GND
R
MIC
SERIAL / DATE CODE
R
FIREWIRE ground wire
Microphone ground wire
Turntable (PGM 2) with phono-level output
SRM450 Powered Speaker
Booth Left
Laptop Computer
Turntable (PGM 1) with phono-level output
SRM450 Powered Speaker
Booth Right
Club System
Owner’s Manual
9
Rear Panel Features
L
MAIN OUT
R
~100-240 VAC 50-60Hz 20W
ON
LINE
MIC
L
BOOTH
L
L
LIVE
RECORD
R
FX
SEND
DESIGNED BY MACKOIDS IN WOODINVILLE, WA, USA • MANUFACTURED IN CHINA
FABRIQUE EN CHINE • COPYRIGHT ©2005 • "MACKIE", AND THE RUNNING MAN
FIGURE ARE TRADEMARKS OF LOUD TECHNOLOGIES, INC. • PATENT PENDING.
R
PGM 2
L
PHONO CD
L
PGM 1
L
PHONO CD
L
L
RETURN
R
R
LINE
PHONO
GND
R R
LINE
PHONO
GND
R
MIC
SERIAL / DATE CODE
R
FIREWIRE
(ACCESSORY CARD REQUIRED)
10
1. MIC Input 5. GND Terminal
This is a Neutrik “combo” input connector that accepts either a balanced male XLR connector or a 1/4" balanced or unbalanced connector. Use an XLR connector for low-impedance microphones and a 1/4" connector for high-impedance microphones.
The MIC Input signal is routed through the MIC Input
Section, MIC EQ, and then to the Main Mix bus.
These terminals are provided to connect a ground wire from your turntable(s) to the d.2. Most turntables provide a ground wire to connect to the preamp for the purpose of eliminating “hum” in the audio signal. Simply turn the ground terminal on the d.2 counter-clockwise to loosen it, wrap the end of the ground wire clockwise around the terminal, and hand-tighten the ground terminal for a secure ground connection.
2. CD Inputs
6. Stereo FX SEND
These RCA jacks accept a stereo line-level signal from a CD player or other line-level playback device (such as an MP3 player or DVD audio).
3. LINE/PHONO Inputs
These 1/4" TRS jacks provide a balanced line-level output signal from the stereo FX Send bus. Use these to connect to the inputs of an external effects processor.
You can also use an unbalanced 1/4" TS cable to make this connection.
These RCA jacks accept a stereo phono-level signal from a turntable (when the LINE/PHONO [4] switch is pushed in), or from a line-level playback device such as a CD player or MP3 player (when the LINE/PHONO switch is out). Check that your turntable has a phonolevel output and a Moving Magnet cartridge.
4. LINE/PHONO Switch
If you connect a turntable with phono-level outputs to the LINE/PHONO inputs [3], push this switch in to select the phono-level input stage, which includes an
RIAA preamp for proper re-equalization of the incoming phono signal.
If you are connecting a line-level playback device like a CD or MP3 player, leave this switch out to select the line-level preamp.
Do not press it in if you have a line-level signal connected.
7. Stereo FX RETURN
These 1/4" TRS jacks accept a balanced line-level signal from an external effects processor. They will also accept an unbalanced 1/4" TS connector.
If you are using a stereo effects processor, connect its left and right outputs to the corresponding left and right
FX RETURN jacks. If it is a mono effects processor, connect its output signal to the left FX RETURN jack, and it will appear on both the left and right Main Mix bus.
8. BOOTH Outputs
These 1/4" TRS jacks provide a balanced line-level signal from the Main Mix bus, prior to the rotary MAIN
LEVEL control [32]. Use these to connect to a pair of powered monitor speakers (or to the inputs of an amplifi er powering the monitor speakers in the booth). d.2 DJ Mixer
If you only have one monitor speaker, just use one of the BOOTH Outputs and push in the BOOTH STEREO/
MONO switch [34] in the CONTROL section on the top panel.
MAIN LEVEL control. This allows you to make a stereo recording that is not affected by Main Out level changes during a performance.
13. POWER Switch
9. XLR MAIN OUTs
These male XLR connectors provide a balanced mic- or line-level signal from the MAIN LEVEL control [32].
The LINE/MIC Switch [10] determines if it is a miclevel or line-level output. Connect these to the balanced inputs of the active speakers, or power amplifi er(s) powering your main speakers.
If you are connecting the MAIN OUT of the d.2 to an unbalanced input, use the RCA Main Outs [11] instead.
When the POWER switch is turned ON, power is supplied to the d.2 and the cool blue EQ knobs light up.
14. Power Receptacle
This is a standard 3-prong IEC power connector. Connect the detachable linecord (included in the box with your d.2) to the power receptacle, and plug the other end of the linecord into an AC outlet.
Note: Balanced connections offer better immunity to external noise (specifi cally, hum and buzz) than unbalanced connections. Because of this, it is the preferred interconnect method, especially in cases where very long lengths of cable are being used. A long unbalanced cable carries with it more opportunity for noise to get into the system — having balanced cables means very little noise will enter the system. If you must use an unbalanced connection, keep the cable length to 10 feet or less (3 meters).
The d.2 has a universal power supply that can accept any AC voltage from 100 VAC to 240 VAC. No need for voltage select switches. It will work virtually anywhere in the world. That’s why we call it a “Planet-Earth” power supply! This also means that it is less susceptible to voltage sags or spikes, providing greater electromagnetic isolation and better protection against AC line noise.
15. FIREWIRE I/O Option
10. LINE/MIC Switch
If you are connecting the XLR MAIN OUTs [9] to linelevel inputs like a power amplifi er’s inputs, leave this switch out, in the LINE position.
If you are using the d.2 as a submixer and connecting the XLR MAIN OUTS to the mic inputs of another mixer, push this switch in to the MIC position. This inserts a
30 dB pad to reduce the output signal to a mic level.
This great feature allows you to connect the d.2 output directly to a snake without using direct boxes.
11. RCA Main Outs
These RCA connectors provide an unbalanced linelevel signal from the MAIN OUT, either pre- or post-
MAIN LEVEL control [32], depending on the setting of the LIVE/RECORD switch [12].
12. LIVE/RECORD Switch
When this switch is out (LIVE position), the RCA
Main Outs provide the signal just after the MAIN LEVEL control [32], so it essentially provides the same signal as the XLR MAIN OUTs [9], except it is an unbalanced signal rather than a balanced one.
When this switch is pushed in (RECORD position), the RCA Main Outs provide the signal just prior to the
FireWire (a.k.a. IEEE 1394) is a high-speed serial I/O interface for connecting digital devices, with more than
30 times the bandwidth of USB 1.1. You can install the optional FireWire card here, to provide two FireWire connectors for transferring digital audio to and from your laptop computer or digital audio workstation
(DAW) with absolute zero latency.
FIREWIRE
The FireWire interface provides a stereo main output to your computer. The signals are pre-MAIN LEVEL control [32], so they are independent of any adjustments made to the MAIN LEVEL control. This allows you to record your live performance directly to your laptop.
The FireWire interface also lets you use your computer to playback music for mixing on the d.2. It provides a return for four signals, which can be selected as the program source for PGM 1 and PGM 2. Assign two channels (or a stereo pair) to ASIO or CoreAudio outputs 1 and 2 for PGM 1, and two channels (or a stereo pair) to outputs 3 and 4 for PGM 2.
The FireWire card can easily be installed with the help of a small screwdriver. Ask your Mackie dealer about it. (The FireWire card, not the screwdriver.) Each card comes with installation instructions that I have to write before the boss gets back from his vacation in
Gary, Indiana.
Owner’s Manual
11
Top Panel Features
MIC Input Section
12
16. MIC LEVEL Control
This knob adjusts the gain of the mic preamp for any microphone plugged into the
MIC input jack [1]. It ranges from +13 dB to +63 dB of gain. Adjust this knob so that the loudest speaking or shouting that you do into the microphone just barely lights the OL LED [18]. This gives you the best signal-to-noise ratio for the mic preamp.
+3 +50
LEVEL
MIC
OL
SIG 48V
OFF
ON
EQ
U
HIGH
-15 +15
U
MID
-15 +15
U
-15 +15
LOW
U
PGM
1
SOURCE
O O
MAX
LEVEL
LINE/
PHONO
CD
EQ
HIGH
MID
LOW
KILL +10
KILL +10
KILL +10
EQ
PGM
SOURCE
2
U
LINE/
PHONO
CD
O O
MAX
LEVEL
KILL +10
KILL +10
KILL +10
HIGH
MID
LOW
MAIN
CONTROL
BOOTH
FX
STEREO
MONO
O O
MAX
LEVEL
U
O O
MAX
LEVEL
O O
+15
SEND
ON
17. MIC SIGNAL LED
PAN
L R
This green LED is a signal present indicator. It lights when the microphone signal reaches –20 dBu, to give you a clue that the microphone is working.
FX
L R
BAL
21. MID EQ
18. MIC OL LED
BAL
FX
L R
O O +15
RETURN
PHONES
PGM
MAIN
U
O O MAX
LEVEL
PGM SOURCE
2
This knob gives you up to 15 dB of boost and cut at
2.5 kHz. At the center position the MID EQ has no effect on the signal.
This red LED lights when the microphone signal reaches 6 dB below clipping. It’s okay if this LED blinks occasionally, but if it is blinking frequently or lit continuously, turn down the MIC LEVEL control [16] until it just blinks occasionally.
22. LOW EQ
This knob gives you up to 15 dB of boost and cut at
80 Hz and below. At the center position the LOW EQ has no effect on the signal.
19. 48V Phantom Power Switch
23. ON Switch
If your microphone is a condenser design, it probably requires phantom power to operate. Push in this switch to supply 48 VDC to pins 2 and 3 of the XLR microphone connector.
Press this switch in to send the microphone signal to the MAIN outputs, otherwise, your dulcet tones will not be heard, and people will say “huh?”
Dynamic microphones, like Shure’s SM57 and SM58, do not require phantom power. However, phantom power will not harm most dynamic microphones should you accidentally plug one in while the phantom power is turned on. Check your microphone’s user’s manual if you are not sure whether your microphone needs phantom power or not.
20. HIGH EQ
This knob gives your mic signal up to 15 dB of boost and cut at 12 kHz and above. At the center position the
HIGH EQ has no effect on the signal.
24. PAN
This knob adjusts the amount of microphone signal that is sent to the left versus the right main outputs.
When the knob is turned hard left, the signal feeds only the left main out, and when the knob is turned hard right, it only feeds the right main out. When the knob is in the center, the microphone signal is sent equally to the left and right main mix. The fi endish design of the pan circuit allows “constant pan power,” where the average audio output level remains constant for all positions of the PAN control.
d.2 DJ Mixer
Program Input Section
30. FX Switch
25. LEVEL Control
This knob adjusts the gain of the PGM input signals selected by the position of the SOURCE Select switch
[26]. This knob ranges from off to +13 dB of gain at maximum. Adjust this with your good eye on the PRO-
GRAM METERS [42], so the level is typically bouncing between the 0 and +4 LEDs.
Press this switch in to tap the PGM signal to the FX
SEND outputs. This allows you to send the signal to an external effects processor, or even provide a direct feed for the PGM signal to another mixer. This switch will route the PGM signal to the FX send output connectors, interrupting the signal to the Main Outputs. If there is no effects processor connected to the FX send and returns, then the PGM signal is muted.
31. BAL
26. SOURCE Select Switch
This switch selects one of three possible input sources for the PGM channel:
FireWire: The signal coming in from the optional
FireWire interface is selected as the source.
This knob works like the balance control on a home stereo. Turning the knob to the left turns down the right side, and turning the knob to the right turns down the left side. When the BAL control is in the center, the left and right sides are equally as loud (assuming the left and right inputs are equal loudness).
LINE/PHONO: The signal connected to the PHONO connectors on the rear panel is selected. This could be from a turntable or from a line-level playback device, depending on the setting of the LINE/PHONO switch [4].
CD: The signal connected to the CD connectors on the rear panel is selected.
You could have a signal coming in on all three inputs, and quickly change from one input source to another using this heavy duty switch.
27. HIGH EQ
This knob gives you up to 10 dB of boost at 4 kHz and above, and turns off the signal at 4 kHz and above when the knob is turned to the KILL position. At the center position, the HIGH EQ has no effect on the signal.
28. MID EQ
This knob gives you up to 10 dB of boost at 1 kHz, and turns off the signal at 1 kHz when the knob is turned to the KILL position. At the center position, the MID EQ has no effect on the signal.
29. LOW EQ
This knob gives you up to 10 dB of boost at 300 Hz and below, and turns off the signal at 300 Hz and below when the knob is turned to the KILL position. At the center position, the LOW EQ has no effect on the signal.
Note: When all three EQ knobs are turned to the KILL position, the signal is effectively muted and no signal passes through to the output.
Owner’s Manual
13
Control Section
14
32. MAIN LEVEL
Control
This knob adjusts the main output level at the
MAIN OUT XLRs [9]
(and to the RCA Main
Outs [11] when the
LIVE/RECORD switch
[12] is out). (Remember, when the LIVE RE-
CORD switch is pushed in, the RCA Main Outs are not affected by the
MAIN LEVEL control.)
+3 +50
LEVEL
MIC
OL
SIG 48V
OFF
ON
EQ
U
HIGH
-15 +15
U
MID
-15 +15
U
-15 +15
LOW
ON
U
PGM
1
SOURCE
O O
MAX
LEVEL
LINE/
PHONO
CD
EQ
HIGH
KILL +10
MID
KILL +10
LOW
KILL +10
FX
EQ
PGM
SOURCE
2
U
LINE/
PHONO
CD
O O
MAX
LEVEL
HIGH
KILL +10
KILL +10
KILL +10
FX
MID
LOW
MAIN
CONTROL
BOOTH
FX
STEREO
MONO
O O
MAX
LEVEL
U
O O
MAX
LEVEL
O O
+15
SEND
O O +15
RETURN
PHONES
PGM
MAIN
U
O O MAX
LEVEL
PGM SOURCE
2
33. BOOTH LEVEL
Control
L R
PAN
L R
BAL BAL
L R
This knob adjusts the output level at the
BOOTH outputs [8].
37. PHONES LEVEL Control
34. STEREO/MONO Switch
This controls the volume of the PHONES output from off to maximum gain.
With this switch up, the BOOTH outputs [8] provide a stereo left and right output of the main mix. Push the switch in to combine the left and right signals to mono if you only have one booth monitor speaker.
Turn it to minimum before connecting and putting on headphones. Increase it slowly to a safe listening level. See page 17.
38. PGM/MAIN Switch
35. FX SEND LEVEL Control
This knob controls the amount of signal being sent to
FX SEND outputs [6]. Adjust this knob to provide an appropriate input signal level to your external effects processor (or whatever you have connected to the FX
SENDs). It ranges from off to +13 dB at maximum.
Note: The FX SENDs are affected by the TRANSFORM switches [40], so if you mute a PGM channel with the
TRANSFORM switch, the FX SEND for that PGM channel is muted as well.
Use this switch to select the source for the headphones signal. When the switch is up (PGM position), the signal is tapped just after the BAL control [30] on the PGM channels. You can use the PGM SOURCE crossfader [39] to fade between PGM 1 and PGM 2.
When the switch is down (MAIN position), the signal is tapped from the Main Mix bus, just before the MAIN
LEVEL control [32].
39. PGM SOURCE Cue Crossfader
36. FX RETURN LEVEL Control
This adjusts the signal level coming from your external effects processor via the FX RETURN jacks [7]. Use it to adjust the processed signal going to the main mix bus. It ranges from off to +13 dB at maximum.
When the PGM/MAIN switch [38] is up (in the PGM position), you can use this crossfader to listen to PGM
1 and PGM 2 in the headphones. When the crossfader is all the way to the left, PGM 1 is heard in the headphones. When the crossfader is all the way to the right,
PGM 2 is heard in the headphones. When the knob is in the center, the headphones get an even mix of PGM 1 and 2.
Note: When the PGM/MAIN switch is down (MAIN position), this control has no effect on the PHONES output.
d.2 DJ Mixer
Program Output Section
40. TRANSFORM
Switch
PGM 1 PGM 2
The transform switch has three positions: Latching, Center, and Momentary.
When the switch is
Latched, this program’s signal is on, and passes through to the outputs.
TRANSFORM
When the switch is in the center position, this program’s signal is muted at the outputs and FX
Sends.
infinium contact-free cross-fader
The other position is a momentary version of the
Latched position (in other words, it won’t stay there when you let go of it), and allows the signal to pass as long as the switch is held down. Let go of the switch, and the signal is muted again. This lets you quickly use the transform switch for “stutter” effects.
REVERSE
2
4
7
2
0
10
20
30
OL
10
7
4
If you prefer, you can rotate the Transform switch 45º or 90º so the switch moves diagonally or horizontally instead of vertically. See Appendix D on page 25 for more information.
Note: If this switch is in the center position, the program can still be heard and cued in the headphones if the PGM/MAIN switch [38] is up.
A
MAIN
L R
OL
10
20
30
2
4
7
10
7
4
2
0
REVERSE
B
TRANSFORM
42. PGM LEVEL METERS
2
4
7
2
0
10
20
30
OL
10
7
4
REVERSE
These meters have 12 LEDs, ranging from –30 to +20
(OL). They indicate the summed-mono signal strength of the PGM signals just before the BAL controls [31].
The meters are not affected by the PROGRAM faders
[41].
Typically, you want to see these meters bouncing between the “0” and the “+4” LEDs. It is okay if the OL
LED lights occasionally, but if it lights frequently or continuously, turn down the PGM LEVEL control [25] until the OL LED blinks occasionally or not at all.
41. PROGRAM FADER 43. REVERSE LED
This controls the volume for the PGM signal being sent to the Main Mix bus. The characteristics of how the fader affects the audio signal are determined by the corresponding CONTOUR control [47] and the REVERSE switch [48].
These light when the front-panel REVERSE switches
[48] have been activated for PGM 1 or PGM 2 faders.
They show that the fader direction-of-action is reversed.
(The meters are not reversed, just the faders.)
44. MAIN LEVEL METERS
These faders have a very light touch and are designed to last the lifetime of the d.2. No audio passes through these faders.
Rather, they send a control voltage to a pair of VCAs
(Voltage-Controlled Amplifi ers) that determine the gain of the signal. This is a very good thing, by the way, as the audio will not be affected by any scratchy electrical contacts, and the design allows for customizing the fader action using the CONTOUR and REVERSE controls.
These meters are similar to the PGM LEVEL METERS
[42], but indicate the signal strength of the Main outputs before the MAIN LEVEL control. As with the other meters, you want to see the signals bouncing between the “0” and the “+4” LEDs. It is okay if the OL LEDs light occasionally, but if they light frequently or continuously, turn down the PROGRAM FADERS [41] until the OL
LEDs blink occasionally, or not at all.
Owner’s Manual
15
45. REVERSE LED
PGM 1
This LED lights when the REVERSE switch
[48] has been activated for the Crossfader. For more details, see the discussion of the REVERSE switches [48] on the next page.
46. CROSSFADER
TRANSFORM
The crossfader is used to fade between the two PGM signals in the
MAIN outputs. When the crossfader is all the way to the left, PGM 1 is heard in the MAIN outs.
When the crossfader is
REVERSE
20
30 infinium contact-free cross-fader all the way to the right,
PGM 2 is heard. When the crossfader knob is in the center, the MAIN outs get an even mix of PGM 1 and 2.
4
2
0
OL
10
7
2
4
7
10
A
The characteristics of how the crossfader affects the audio signal are determined by its corresponding CON-
TOUR control [47] and the REVERSE switch [48].
The crossfader is a high-quality infi nium ™ contact-free optical digital fader, designed to last the lifetime of the d.2 with no degradation in quality.
You can adjust the tension of the fader movement to your specifi c taste.
To adjust the crossfader tension:
1. Move the crossfader all the way to the left.
2. Remove the fader cap (knob) by grasping it fi rmly and pulling straight up.
3. Use a small slot-head screwdriver to turn the screw located through the hole on the left side of the crossfader slot.
MAIN
L R
OL
10
7
10
20
30
2
4
7
4
2
0
REVERSE
B
PGM 2
TRANSFORM
4
2
0
OL
10
7
2
4
7
10
20
30
REVERSE
Rotate the screw clockwise to tighten the tension, and rotate the screw counter-clockwise to loosen the tension. You might need a fl ashlight to make sure you are lined up on the screw.
4. Replace the fader cap, and you’re all done.
16
d.2 DJ Mixer
Front Panel Features
PGM 1 FADER
REVERSE
CROSS FADER
REVERSE
PGM 2 FADER
REVERSE
SLOW FAST
CONTOUR
SLOW FAST
CONTOUR
SLOW FAST
CONTOUR
47. CONTOUR Controls 49. Headphones Jack
Use the CONTOUR controls to adjust how fast or slow each fader responds to movement. In the SLOW position, the faders respond in a linear fashion, increasing from minimum to maximum at the same rate. In the FAST position, the faders respond logarithmically, increasing from minimum to maximum very quickly, and then changing very little for the remainder of the fader travel. Adjust the CONTOUR controls between the two extremes to get the fader response that works best for your application.
This is where you plug in your stereo headphones. It is a 1/4" TRS stereo jack.
If you have the PGM/MAIN switch [38] up, you can listen to the PGM 1 or PGM 2 signals, or a mix of both, determined by setting the PGM SOURCE Slider [39].
The signals are taken just after the BAL controls [31], but before the PROGRAM Faders [41].
If you have the PGM/MAIN switch [38] down, you can listen to the MAIN MIX signals, taken just before the
MAIN LEVEL control [32].
The CONTOUR control for the crossfader works in a similar fashion, crossfading linearly with the CON-
TOUR control in the SLOW position, and crossfading very quickly with the CONTOUR control in the FAST position. In fact, in the FAST position, the crossfading occurs within the fi rst 2 mm of fader travel. This is great for “crabbing” techniques.
The headphone volume is controlled by the PHONES
LEVEL control [37], and the position of the PGM
SOURCE Crossfader [39] if you are listening to PGM 1 or PGM 2.
48. REVERSE Switches
Normally (with these switches out) when you move the PGM 1 or PGM 2 faders up, the volume will increase.
When you move the crossfader left to right, PGM 1 will fade into PGM 2.
These switches let you reverse the direction of the action of the program faders and the crossfader:
With the PGM 1 or PGM 2 REVERSE switches on, when you move the PGM 1 or PGM 2 faders up, the volume will now decrease.
WARNING: The headphone amp is designed to drive any standard headphones to a very loud level. We’re not kidding! It can cause permanent hearing damage. Even intermediate levels may be painfully loud with some headphones. BE
CAREFUL!
Always start with the PHONES LEVEL control [37] turned all the way down before connecting headphones to the PHONES jack, or making any connections. Keep it down until you’ve put on the headphones. Set the PGM SOURCE
Slider [39] if you are listening to PGM 1 or PGM 2, then turn up the PHONES LEVEL control [37] slowly. Why?
Always remember: “Engineers who fry their ears, fi nd themselves with short careers.”
With the Crossfader REVERSE switch on, when you move the crossfader left to right, PGM 2 will fade into
PGM 1. (This is sometimes called a hamster switch.)
Note: These switches and the CONTOUR controls do not affect the meters, just the faders.
Owner’s Manual
17
18
Appendix A: Service Information
Warranty Service
• If the FX button [30] is pressed on that channel, make sure your effects processor is connected correctly and is working.
Details concerning Warranty Service are spelled out in the Warranty section on page 27.
• Try the same source signal in the other channel, set up exactly like the suspect channel.
If you think your d.2 has a problem, please do everything you can to confi rm it before calling for service. Doing so might save you from the deprivation of your mixer and the associated suffering.
Bad Output
• Is the associated level control (if any) turned up?
These may sound obvious to you, but here are some things you can check. Read on:
Troubleshooting
• If it’s one of the MAIN OUTPUTS, try unplugging the others. For example, if it’s the XLR LEFT MAIN
OUT, unplug the RCA LEFT OUT. If the problem goes away, it’s not the mixer.
No Power
• If a left output is presumed dead, switch the left and right cords at the mixer end. If the problem stays on the left side, it’s not the mixer.
• Our favorite question: Is it plugged in?
Bad Sound
• Make sure the power cord is securely seated in the
IEC socket [14] and plugged all the way into the
AC outlet.
• Is the input connector plugged completely into the jack?
• Make sure the AC outlet is live (check with a tester or lamp).
• Is it loud and distorted? Make sure the input
LEVEL control [25] is set correctly. Reduce the signal level on the input source if possible.
• Make sure the rear panel POWER switch [13] is in the ON position (up).
• Are the EQ controls on the front panel illuminated?
If not, make sure the AC outlet is live.
• If possible, listen to the signal with headphones plugged into the input source device. If it sounds bad there, it’s not the d.2 causing the problem.
• Are all the lights out in your town? If so, contact your local power company to get power restored.
• If no LEDs are illuminated, and you are certain that the AC outlet is live, it will be necessary to have your d.2 serviced. There are no user serviceable parts
inside. Refer to “Repair” on the next page to fi nd out how to proceed.
• If you are using a turntable with a phono-level output, and the sound is low and distorted, check that the LINE/PHONO switch [4] is set to PHONO. Note that the phono section requires your cartridge to be a Moving Magnet type. It may be too low to amplify the low levels of a Moving Coil type.
Noise/Hum
Bad Channel
• Turn down the FX RETURN knob [36]. If the noise disappears, it’s coming from whatever is plugged into the FX RETURNS [7].
• Check the TRANSFORM switch [40] is not in the center position.
• Check that your turntable’s audio ground wire is connected to the GND terminals [5].
• Is a fader or crossfader REVERSE LED [48] on?
• Check the channel’s PROGRAM fader [41] is not fully down.
• Turn down each channel, one by one. If the noise disappears, it’s coming from whatever is plugged into that channel. Check your whatever.
• Are that channel’s EQ controls all turned down?
• Is the signal source turned up? Make sure the signal level from the selected input source is high enough to light up some of the PROGRAM METER
LEDs [42].
• Check the signal cables between the input sources and the d.2. Disconnect them one by one. When the noise goes away, you’ll know which input source is causing the problem.
• Is the correct input chosen with the SOURCE SE-
LECT switch [26], and its PGM LEVEL [25] turned up far enough?
• Sometimes it helps to plug all the audio equipment into the same AC circuit so they share a common ground.
d.2 DJ Mixer
Repair
Service for Mackie products is available at a factoryauthorized service center. Service for Mackie products living outside the United States can be obtained through local dealers or distributors.
If your d.2 needs service, follow these instructions:
1. Review the preceding troubleshooting suggestions.
Please.
2. Call Tech Support at 1-800-898-3211, 7 am to 5 pm
PST, to explain the problem and request a Service
Request Number. Have your d.2’s serial number ready. You must have an Service Request Number before you can obtain warranty service.
3. Keep this owner’s manual and the detachable linecord. We don’t need them to repair the mixer.
4. Pack the mixer in its original package, including endcaps and box. This is VERY IMPORTANT.
Mackie is not responsible for any damage that occurs due to non-factory packaging.
5. Include a legible note stating your name, shipping address (no P.O. boxes), daytime phone number,
Service Request Number, and a detailed description of the problem, including how we can duplicate it.
6. Write the Service Request Number in BIG PRINT on top of the box. Units sent without the SR number will be refused.
7. Tech Support will tell you where to ship the d.2 for repair. We suggest insurance for all forms of cartage.
8. You will need to contact the authorized service center for their latest turn-around times. The d.2 must be packaged in its original packing box, and must have the Service Request Number on the box. Once it’s repaired, the authorized service center will ship it back by ground shipping, pre-paid (if it was a warranty repair).
Note: Under the terms of the warranty, you must ship or drop-off the unit to an authorized service center.
The return ground shipment is covered for those units deemed by us to be under warranty.
Note: You must have a sales receipt from an authorized Mackie dealer for your unit to be considered for warranty repair.
Owner’s Manual
19
20
Appendix B: Connections
XLR Connectors 1/4" TS Phone Plugs and Jacks
The d.2 MIC combo input accepts 3-pin male XLR connectors; the MAIN OUTs accept 3-pin female XLR connectors. These are wired as follows, according to standards specifi ed by the AES (Audio Engineering
Society).
“TS” stands for Tip-Sleeve, the two connection points available on a mono 1/4" phone jack or plug. They are used for unbalanced signals.
SLEEVE SLEEVE TIP
SHIELD
HOT
2
TIP
TIP
SLEEVE
COLD
SHIELD 1
3 1
1/4" TS Unbalanced Wiring:
Sleeve = Shield
Tip = Hot (+)
COLD
3
HOT
1
3
2
2
SHIELD
COLD
HOT
XLR Balanced Wiring:
Pin 1 = Shield
Pin 2 = Hot (+)
Pin 3 = Cold (–)
RCA Plugs and Jacks
RCA-type plugs (also known as phono plugs) and jacks are often used in home stereo and video equipment and in many other applications. They are unbalanced and electrically equivalent to a 1/4" TS phone plug.
1/4" TRS Phone Plugs and Jacks
“TRS” stands for Tip-Ring-Sleeve, the three connection points available on a stereo 1/4" or balanced phone jack or plug. TRS jacks and plugs are used for balanced signals and stereo headphones:
RCA Unbalanced Wiring:
Sleeve = Shield
Tip = Hot (+)
SLEEVE TIP SLEEVE TIP
Balanced Mono
RING SLEEVE SLEEVE RING TIP
TIP
RING
TIP
SLEEVE
1/4" TRS Balanced Mono Wiring:
Sleeve = Shield
Tip = Hot (+)
Ring = Cold (–)
Stereo Headphones
RING SLEEVE SLEEVE RING TIP
TIP
RING
TIP
SLEEVE
1/4" TRS Stereo Unbalanced Wiring:
Sleeve = Shield
Tip = Left
Ring = Right d.2 DJ Mixer
Appendix C: Technical Info
Specifi cations
Frequency Response :
Mic Input to any Output: (Trim at 0 dB):+0, –1 dB
20 Hz to 20 kHz
Line/CD Input to any Output:
Phono input to any Output:
±0.5 dB
20 Hz to 20 kHz
±1 dB of RIAA EQ curve
Input Impedance:
Mic Input:
CD/ Line Input:
FX Return:
Phono Input:
Distortion (THD and IMD):
THD @ Main Output, 20 Hz to 20 kHz
Mic Input @ 30 dB Gain: Less than 0.0075%
Line/CD Input @ 0 dB Gain:
Line Input @ 0 dB Gain:
SMPTE IMD @ +4 dBu Output:
Less than 0.0075%
Phono Input: Less than 0.01%
THD @ Phones Output, 20 Hz to 20 kHz
Less than 0.03%
Mic Input @ 30 dB Gain:
Line/CD Input @ 0 dB Gain:
Less than 0.008%
Less than 0.008%
Common Mode Rejection Ratio (CMRR):
Mic Input (Gain = maximum) Greater than 60 dB
@ 1 kHz
2.4 kΩ balanced
20 kΩ balanced
20 kΩ balanced
47.5 kΩ shunted with 200 pF
Maximum Output Levels:
XLR Main Output:
RCA Main Output:
Booth Output:
FX Send:
Phones:
+22 dBu
+22 dBu
+22 dBu
+22 dBu
15 volts rms into 8Ω (28 watts)
Output Impedance:
Main XLR/RCA Output:
Booth Output:
FX Send:
Phones:
150 Ω
150 Ω
150 Ω
25 Ω
Crosstalk:
Adjacent Inputs or Input to Main Output:
Less than –85 dB
@ 1 kHz
Noise Characteristics:
Equivalent Input Noise (E.I.N.) (20 Hz to 20 kHz):
Mic Input (150 Ω source impedance): Less than –123 dBu
Phono Input (500 Ω/500 mH source impedance):
Less than 0.3 µV
CD/Line Input (150 Ω source impedance):
Less than –110 dBu
Dynamic Range (Main Out): Greater than 100 dB
Equalization
Mic Channel
Low:
Mid:
High:
PGM Channel
Low:
Mid:
High:
±15 dB @ 80 Hz
±15 dB @ 2.5 kHz
±15 dB @ 12 kHz
+10/–inf dB @ 300 Hz
+10/–inf dB @ 1 kHz
+10/–inf dB @ 4 kHz
VU Meters
12-segment pre-fader PGM meters
12-segment pre-fader Main Mix meters
OL (+20), +10, +7, +4, +2, 0, –2, –4, –7, –10, –20, –30
0 LED = +4 dBu
Mic Input Signal Present LED (Sensitivity): –20 dBu
Maximum Input Levels (rated at 1% THD):
Mic Input (Gain @ minimum): +9 dBu
CD and Line Inputs (PGM Gain = 0 dB):
+22 dBu
78 mV @ 1kHz Phono Input:
Input/Output Characteristics:
Input Gain Control Range:
Mic Input:
PGM Input:
FX Return:
+13 dB to +63 dB
OFF to +13 dB
OFF to +13 dB continued
Owner’s Manual
21
AC Power Requirements:
Power Consumption:
Universal AC Power Supply:
Physical Dimensions and Weight:
Height: 15.49”/393.4 mm (including knobs and connectors)
Width: 10"/254 mm
Depth: 4.62”/ 117.3 mm (including knobs and connectors)
Weight: 11 lb/5 kg (with FireWire card)
The d.2 mounting slots are compatible with the Odyssey Battle
Bridge. This consists of two L brackets which bolt to the d.2 and allow you to fi t it securely between two turntable cases.
See www.odysseygear.com for more details.
Options d.2 FireWire Interface Card
20 watts
100 VAC – 240 VAC,
50-60 Hz
4.62"
117.3 mm
15.49"
393.4 mm
3.59"
91.2 mm
WEIGHT
11 lb
5 kg
9.06"
230.1 mm
0.28"
7.1 mm
7.1"
180.3 mm 14.79"
375.7 mm
4.42"
112.3 mm
10.00"
254 mm
LOUD Technologies Inc. is always striving to improve our products by incorporating new and improved materials, components, and manufacturing methods. Therefore, we reserve the right to change these specifi cations at any time without notice.
“Mackie,” and the “Running Man” are registered trademarks of
LOUD Technologies Inc. All other brand names mentioned are trademarks or registered trademarks of their respective holders, and are hereby acknowledged.
©2005 LOUD Technologies Inc. All Rights Reserved.
22
d.2 DJ Mixer
MAIN LEVEL
MAIN
FX
R
L
L
R
S
S
S
S
MAIN MIX RIGHT BU
MAIN MIX LEFT BU
FX MIX LEFT BU
FX MIX RIGHT BU
PGM1
Control Voltage
PGM2
Control Voltage
R
L
L
R
FX
MAIN
Owner’s Manual
23
24
d.2 DJ Mixer
Appendix D: Transform Switch Rotation and
Fader Replacement
Transform Switch Rotation
From the factory, the transform switches operate vertically, that is (to get all technical for a moment) fore and aft.
You can perform a simple modifi cation to make these switches operate sideways, or even diagonally, to suit your carefully cultivated set of operational preferences.
Tools
5. Gently lift off the panel, taking care not to damage the front panel contour knobs. Keep it in a safe place were it won’t get scratched, or fall off the table and hit the cat.
6. Each transform switch has four screws, but remove only the outer two. These are black, whereas the inner screws are bright and shiny.
7. Rotate the switch assembly to suit your preference, and replace the two screws.
To do this procedure, you will need a small phillips screwdriver, nerves of steel, grit, determination, and a steady hand. People should fi nd you ruggedly charming, yet approachable.
Procedure
1. Remove the power cord, and any other cords or cables connected to the d.2.
2. Gently place the d.2 face upwards on a fl at, clean and dry surface, such as the kitchen table.
3. Remove the three slider knobs, by gently pulling them upwards. Keep them safe.
4. Undo the fi ve screws from the top panel and two screws from the front, as shown. Keep the screws in a safe place, away from Llamas.
Diagonally Sideways
8. If you need to replace a transform switch, gently pull it out just enough so you can reach and undo its connector. Connect the new switch securely, and screw it in the desired position.
You might want to replace both switches, if they are both aged and/or had a rough life.
PGM
1
PGM
2
TRANSFORM
REVERSE
30
7
10
20
0
2
4
OL
10
7
4
2 infinium A
MAIN
L R
OL
10
7
7
10
20
30
REVERSE
0
2
4
4
2
B
TRANSFORM
7
10
20
0
2
4
OL
10
7
4
2
30
REVERSE
9. Replace the top cover, and make sure that all the meter LEDs and the Reverse LEDs are poking through before you tighten down the screws securely.
PGM 1 FADER
REVERSE
CROSS FADER
REVERSE
PGM 2 FADER
REVERSE
SLOW FAST
CONTOUR
SLOW FAST
CONTOUR
SLOW FAST
CONTOUR
Owner’s Manual
25
Replacing Faders
If the faders ever need to be replaced, this can be done with the help of your trusty screwdriver.
10. Follow steps 1 to 5 and remove the top panel.
11. Take care to only remove the two outer screws of each fader you are replacing, as shown below.
14. Secure the fader assembly to the chassis with the two screws you lost in step 11.
15. Replace the top cover, and make sure that all the meter LEDs and the Reverse LEDs are poking through before you tighten down the screws securely.
16. Check that all the faders and switches are working normally. (You might have to reset the tension if you changed the cross fader.)
12. Gently lift up the fader assembly, just enough to be able to pull the connector out of the receptacle on the bottom of the fader assembly.
Removing the Cross Fader Connector
Removing a Program Fader Connector
13. Insert the connector into the receptacle on the new fader assembly. (It will only fi t in one way.)
26
d.2 DJ Mixer
Limited Warranty
Please keep your sales receipt in a safe place.
A. LOUD Technologies Inc. warrants all materials, workmanship and proper operation of this product for a period of three years from the original date of purchase. If any defects are found in the materials or workmanship or if the product fails to function properly during the applicable warranty period, LOUD Technologies, at its option, will repair or replace the product. This warranty applies only to equipment sold and delivered within the U.S. by
LOUD Technologies Inc. or its authorized dealers.
B. Failure to register online or return the product registration card will not void the three-year warranty.
C. Service and repairs of Mackie products are to be performed only at a factory-authorized facility (see D below).
Unauthorized service, repairs, or modifi cation will void this warranty. To obtain repairs under warranty, you must have a copy of your sales receipt from the authorized Mackie dealer where you purchased the product. It is necessary to establish the purchase date and determine whether your Mackie product is within the warranty period.
D. To obtain factory-authorized service:
1. Call Mackie Technical Support at 800/898-3211, 7
AM to 5 PM Monday through Friday (Pacifi c Time) to get a Service Request Number. Products returned without a
Service Request Number will be refused.
2. Pack the product in its original shipping carton. Also include a note explaining exactly how to duplicate the problem, a copy of the sales receipt with price and date showing, and your return street address (no P.O. boxes or route numbers, please!). If we cannot duplicate the problem or establish the starting date of your Limited Warranty, we may, at our option, charge for service time.
4. Ship the product in its original shipping carton, freight
prepaid to the authorized service center. The address of your closest authorized service center will be given to you by Technical Support.
IMPORTANT: Make sure that the Service Request
Number is plainly written on the shipping carton.
E. LOUD Technologies reserves the right to inspect any products that may be the subject of any warranty claims before repair or replacement is carried out. LOUD Technologies may, at our option, require proof of the original date of purchase in the form of a dated copy of the original dealer’s invoice or sales receipt. Final determination of warranty coverage lies solely with LOUD Technologies.
F. Any products returned to one of the LOUD Technologies factory-authorized service centers, and deemed eligible for repair or replacement under the terms of this warranty will be repaired or replaced within thirty days of receipt. LOUD
Technologies and its authorized service centers may use refurbished parts for repair or replacement of any product.
Products returned to LOUD Technologies that do not meet the terms of this Warranty will not be repaired unless payment is received for labor, materials, return freight, and insurance. Products repaired under warranty will be returned freight prepaid by LOUD Technologies to any location within the boundaries of the USA.
G. LOUD Technologies warrants all repairs performed for 90 days or for the remainder of the warranty period.
This warranty does not extend to damage resulting from improper installation, misuse, neglect or abuse, or to exterior appearance. This warranty is recognized only if the inspection seals and serial number on the unit have not been defaced or removed.
H. LOUD Technologies assumes no responsibility for the quality or timeliness of repairs performed by an authorized service center.
I. This warranty is extended to the original purchaser and to anyone who may subsequently purchase this product within the applicable warranty period. A copy of the original sales receipt is required to obtain warranty repairs.
J. This is your sole warranty. LOUD Technologies does not authorize any third party, including any dealer or sales representative, to assume any liability on behalf of LOUD
Technologies or to make any warranty for LOUD Technologies
Inc.
K. THE WARRANTY GIVEN ON THIS PAGE IS THE SOLE
WARRANTY GIVEN BY LOUD TECHNOLOGIES INC.
AND IS IN LIEU OF ALL OTHER WARRANTIES, EXPRESS
AND IMPLIED, INCLUDING THE WARRANTIES OF
MERCHANTABILITY AND FITNESS FOR A PARTICULAR
PURPOSE. THE WARRANTY GIVEN ON THIS PAGE
SHALL BE STRICTLY LIMITED IN DURATION TO THREE
YEARS FROM THE DATE OF ORIGINAL PURCHASE
FROM AN AUTHORIZED MACKIE DEALER. UPON
EXPIRATION OF THE APPLICABLE WARRANTY PERIOD,
LOUD TECHNOLOGIES INC. SHALL HAVE NO FURTHER
WARRANTY OBLIGATION OF ANY KIND. LOUD
TECHNOLOGIES INC. SHALL NOT BE LIABLE FOR ANY
INCIDENTAL, SPECIAL, OR CONSEQUENTIAL DAMAGES
THAT MAY RESULT FROM ANY DEFECT IN THE MACKIE
PRODUCT OR ANY WARRANTY CLAIM. Some states do not allow exclusion or limitation of incidental, special, or consequential damages or a limitation on how long warranties last, so some of the above limitations and exclusions may not apply to you. This warranty provides specifi c legal rights and you may have other rights which vary from state to state.
Owner’s Manual
27
16220 Wood-Red Road NE • Woodinville, WA 98072 • USA
United States and Canada: 800.898.3211
Europe, Asia, Central and South America: 425.487.4333
Middle East and Africa: 31.20.654.4000
Fax: 425.487.4337 • www.mackie.com
E-mail: [email protected]
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