Mackie Designs 8*Bus Contractor Specifications

Mackie Designs 8*Bus Contractor Specifications
7/1/95
RECORDING AND PA CONSOLES
Since its
introduction, Mackie
Designs’ 8•Bus Series consoles have proven that
excellent sonic quality,
practical features and extreme durability needn't
mandate a premium price.
In hundreds of SR and
recording installations, the
32•8, 24•8 and 16•8 deliver
performance previously
only found in consoles
costing far more.
Instead of offering
dozens of mix-and-match
input and output module
options, we have put more
of what most users need
into a single console design — enabling us to make
them in quantities which
can bring costs down.
All three 8•Bus consoles
and the 24•E expander offer
extensive monitoring, 4-band
EQ, accurate, logarithmic
taper faders and expansive,
forgiving headroom. Equally
as important, they are built
to withstand the rigors of the
environment and the casual,
untrained user. 8•Bus consoles have withstood
hundreds of thousands of
miles of
touring,
toppling
monitors
during major
earthquakes, and every
possible liquid that ever got
near a mixing board.
A complete system
The 8•Bus console line
consists of three in-line
consoles, the 32x8x2 32•8,
the 24x8x2 24•8 and the
16x8x2 16•8.
The 24•8 and 32•8 are
expandable with Mackie's
24•E Expander console. The
24•E consists of 24 input
channels and tape returns.
It connects to the 32•8 or
24•8 via a proprietary cable.
Multiple 24•E expanders
may be daisy chained to
provide 128 or more total
input channels. The 24•E's
outputs are pre-mixed in
the expander to reduce line
noise, thermal noise and to
maintain sonic quality at
the main console.
All three consoles and
the 24•E are shipped with
Mackie's rugged 220-watt
triple-regulated power
supply. Meter bridges and
®
RELATED PRODUCTS
8•BUS MIDI AUTOMATION
METER BRIDGES
FLOOR STANDS & SIDE CAR
MORE INFORMATION
8•BUS ARCHITECTS’ AND
ENGINEERS’ SPECIFICATIONS
8•BUS COLOR
TABLOID BROCHURE
FEATURES
■ Each channel includes
Mackie’s famous mic
preamp and a –10/+4
switchable tape return
■ Eight assignable submasters and a L/R mix
master
■ 4-band EQ with true
paramatric (3-control)
HI MID, LO CUT filter
■ Extensive routing
capabilities
■ Available in 16, 24 and
32 channel versions
■ Optional Meter Bridges
available
■ Optional 24•E Expander
console available
(for 24•8 and 32•8 only)
■ Rugged all-metal
chassis
■ In-line monitoring
effectively doubles your
input channels
In-line FLIP reverses tape and mic/line
inputs between channel strip and Mix-B/
Monitor section.
AUX SENDS 1-2 — PRE button selects
pre-fader/post EQ or post- fader/post EQ.
AUX 3-4 / 5-6 — SHIFT changes 3-4 to
5-6. SOURCE selects signal source of AUX
3-4/5-6 from channel strip or channel’s
Mix B/Monitor send so you can build an
effects mix (pre or post-MIX-B level) to
assign to phones during tracking.
True parametric, 3-control HI MID EQ that
has seasoned engineers swooning
(quotes and raves on file…we’re not
kidding). Ultra-wide 500-18k frequency
sweep range; bandwidth can be adjusted
from a very wide 3-octave width to a very
narrow 1/12-octave width. 15dB boost/cut.
LO MID EQ with ultra-wide 45Hz-3K sweep,
15dB boost/cut.
±15dB shelving HI (12kHz) & LO (80Hz) EQ.
Multipurpose 18dB/oct. LO CUT filter
@75Hz. Cleans up “mix mud,” cuts PA
rumble, creates a “neo-peaking” bass
control when used with LO shelving boost.
Independent MIX-B (Monitor) section with
pan, level & source. During mixdown, use as
extra pre-fader stereo AUX send or double
your inputs.
Mix-B SPLIT EQ assigns HI & LO EQ to Mix-B.
steel stands are available for
each console.
In addition, a “side car”
stand is available. The SideCar
has 11 rack spaces for patch
bays, external processors or
console power supplies.
Mackie Designs also offers
an external MIDI automation
system consisting of a 34channel VCA gain cell that
connects to the 8•Bus console via insert points, a fader
pack and Macintosh™ automation software.
Quality construction
throughout
Mackie Designs mixers have
a well-established reputation
for reliability. The road-rugged
8•Bus console series is no
exception.
The console chassis employs a monocoque design
with seamless main front
and bottom panels. Besides
eliminating the bulky frame
that holds modules in a
conventional console, the
8•Bus's design resists twisting forces that can plague
many consoles. The less
twisting, the less potential
service problems.
Channel strip circuitry is
located on 8-channel,
fiberglass, double-sided
through-hole-plated
circuit boards. The
circuit boards are
firmly attached
to the control surface sheet
metal via brass standoffs. A
special impact-absorbing knob
design limits downward travel
in the event of impact. Any further stress is spread across the
circuit board. The result is a
design that is virtually impervious to the kind of damage that
is common with vertical channel module circuit boards.
During the 1994 Los Angeles
earthquake, scores of Mackie
8•Bus consoles received the
full force of falling monitors.
Most survived with little more
than a few shattered knobs.
All rotary potentiometers are
sealed to prevent liquid and
particle contamination. Internal
interconnects are gold-plated.
All 1/4" input jack sleeves are
solid metal and create a firm
electrical contact with the main
chassis. In combination with an
internal shunting capacitor, this
configuration keeps RFI away
from the console's main circuit
boards where it can add noise.
XLR inputs use ferrite beads to
achieve the same purpose.
Mic preamps that can
handle any input
The latest version of our very
low impedance preamplifier
design provides high headroom with a verifiable E.I.N.
spec of –129dBm and 10Hz to
300kHz bandwidth.
MIX-B SOURCE selects from flip switch or
channel strip (pre-fader) for in-line
monitoring while recording or provides an
extra stereo aux bus.
Constant power, buffered PAN pot for rocksolid panning.
Overload LED and Hyperactive –20dB Signal
Present LED
Selectable SOLO with CHANNEL METERING allows soloing in full stereo perspective; displays soloed channel operating
level on master L/R meters so input trims
can be adjusted for optimum levels.
24•E 8•Bus Expander
7/1/95
All 8•Bus preamps use
conjugate-pair, large-emittergeometry transistors instead of
off-the-shelf integrated circuits.
At any gain setting, you get the
additional headroom and ultralow noise previously only found
in far more expensive consoles.
They can handle virtually any
live source — including screaming singers and loud drum kits
— without overload.
The 8•Bus channel strip
The 8•Bus input channels'
physical layout and features are
detailed on the next pages of this
product information sheet. Note
that, although each channel strip
is relatively dense, all controls are
easily accessible. Knobs are large
enough — and sufficiently far
apart — for even the largest fingers. Markings are legible, even
in low-light situations.
The four-band EQ section is
placed lower on the strip than
the AUX sends for easy access
during sessions. Within the EQ
section, the high and low shelving controls have been placed
next to MIX-B, since their operation can be transferred to
the monitor section. A sharp Hi
pass filter is included for PA
applications.
Within the MIX-B monitor
section, is a Source switch. In
the Channel (down) position,
MIX-B is connected to the
same point in the circuit as the
channel fader input. It provides
a second, independent stereo
mix from the main channel
signal that is handy for broadcast feeds, 2-track recording,
routing to another zone in a
church or club, or an extra set
of aux sends.
8•Bus channel and bus faders are a special design that
provides true logarithmic taper.
These smooth, 100mm faders
use a complex network of additive resistive elements that
combine at various points
6 STEREO AUX RETURNS. All have 20dB
gain, Solo and can be used in stereo &
mono. 1 & 2 are pannable & bussable.
3 & 4 are assignable to the phones for
“wet” monitoring.
6 AUX SENDS with Solo and Solo LED.
TALKBACK assigns to all submasters,
main mix, AUX 1, AUX 2 or Phones 1 & 2.
SOLO level adjust and ultra-rude LED.
MONITOR section with separate Control
Room & Studio levels. Source selection
between L/R mix, Mix-B, Tape & External.
Can be switched to Mono.
TWO SEPARATE HEADPHONE
SECTIONS can be used totally independent of each other. Each features source
selection between Control Room & any
combination of AUX 3/4, AUX 5/6, Mix-B
or External source. Solo allows control
room to hear what musicians are
hearing in their headphones.
MIX B/MONITOR section can be used as
an independent stereo out for PA
monitor mix, 2-track recording,video/
broadcast feed or assigned to L/R mix.
–40 to +10 bar graph LED DISPLAYS for
each sub-master & Solo/Main (with
main L/R +22dB CLIP LEDs).
EXPANSION CONSOLES let you add
channels in banks of 24 to either the
24•8 or 32•8. Expanders have their own
internal mix amps so the main board
only “sees” one extra channel per
expansion console.
Trick BUS SOLO switches send oddnumbered buses to the left speaker and
even-numbered buses to the right
speaker — unless you’ve pressed the
respective MONO L&R button. When a
bus has been mono-ed, SOLO sends the
bus to both speakers.
L MIX/R MIX & MONO L& R buttons assign
buses to main L/R stereo bus.
Built-in talkback MIC.
7/1/95
along the faders' travel to
achieve an absolutely
even, predictable fade
rate, from the very top all
the way to the bottom
(where you get absolute
attenuation, just like on
more expensive consoles).
The 8•Bus output section
We have provided exceptional monitoring flexibility
by providing two separate
headphone sections. Each
lets you build a custom mix
using any combination of
Monitor, Mix-B, AUX 3 & 4,
AUX 5 & 6 and External
(cue/click track) inputs.
Control room and studio/stage monitor levels
are controlled via individual
stereo level controls. Select
any combination of L/R
Mix, Mix-B, 2-Tk. and
External inputs.
An additional Talkback
section can be routed to any
combination of AUX 1, AUX
2, Tape/Submasters (L/R
mix) and Phones/Studio.
The 8•Bus power supply
Our 220-Watt Triple-Regulated Power Supply is
designed to withstand high
environmental temperatures and direct sunlight. It
can produce rated output
from as little as 100 volts
(a serious consideration
when running SR at the
end of a long extension
cable). The power supply
has sufficient output to run
both the console and a
meter bridge. Compare it
to what you get with other
consoles in the same price
range. You'll see one more
example of just how “overengineered” the 8•Bus
series is.
The 8•Bus meter bridge
MB32, MB24 and MB16
meter bridges provide
12-segment LED ladders
for each input channel
and quality, lighted VU
meters for master Left/
Right output (the MB•E
Meter bridge for the 24•E
Expander console does
not include VU meters).
Input buttons allow you to
globally switch between
Tape Return input and
Channel Strip Post Fader
output. Each meter assembly attaches in
minutes and can be tilted
as desired. The meter
bridges also tilt down fully
to save road case depth.
The SideCar
For fixed installations,
you can add the
Mackie SideCar.
It is designed
to fit on
either
side of an
8•Bus console
or Expander and
provides 11 standard
rack spaces with integral tapped rails
for outboard processors, patch bays or
power supplies.
Horizontal circuit
boards versus
vertical circuit
modules
By avoiding individual,
vertical circuit modules,
we increase parts density
which means fewer wiring harnesses and ribbon
cables, shorter signal
paths and less assembly
time. Yet our 8-channelsper-card circuit boards
can be repaired easily
and are far less prone to
damage in the first place,
thanks to a special knob
design and mounting
method that withstands
all but the most brutal
impacts.
All channels have Mackie’s renowned discrete, wide-bandwidth MIC PREAMP circuit for ultrahigh
headroom & low noise. All mic inputs have RFI choking, ferrite beads and +48V phantom power
(switchable in banks of 8 channels).
Three TAPE OUTPUT jacks per
bus (total of 24). Balanced
outputs, switchable from
+4/–10.
Balanced MIC, bal./unbal.
LINE IN, MIC/LINE switch ,
DIRECT OUT & CH. INSERT on
every channel.
+4dBu balanced TAPE RETURNS,
switchable to –10dBV in banks
of 8 returns.
8•Bus SideCar
(not included)
3
•
•
(PER 8 CH'S)
+4dBU/–10dBV Select
+
-
TRIM
+
-
Mackie Designs 8•Bus Console
Block Diagram 6/95
(#4 IDENTICAL)
LEVEL
(#6 IDENTICAL)
LEVEL
EXTERNAL
IN R
EXTERNAL
IN L
2-TK IN
R
2-TK IN
L
•
•
STEREO AUX RETURN 5
RIGHT
LEFT
(MONO)
•
STEREO AUX RETURN 3
RIGHT
•
••
POST
PRE
POST
PRE
POST
PRE
•
•
•
•
•
•
•
•
•
•
•
• •
•
•
•
•
SOLO
L/R
7-8
5-6
3-4
1-2
•
SOURCE
SOLO
L/R
SOLO
L/R
PHONES 2
PHONES 1
•
•
LO MID
PARAMETRIC
EQ
HI MID
MIX-B
SOURCE
SHIFT
AUX 2
AUX 1
AUX 3
HI
CHANNEL
FLIP SW
AUX 6
LO
SHELVING
EQ
AUX 5
AUX 4
GAIN FREQ "Q" GAIN FREQ
••
•
•
•
•
•
•
•
•
•
HI/LO EQ
TO MIX B
SPLIT
CHAN
FADER
•
LEVEL
MUTE
•
•
• •
•
•
•
•
•
•
•
•
•
••
SOLO
L/R
7-8
5-6
3-4
1-2
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
••
•
•
•
•
•
•
MIC
•
•
•
•
•
MIX B
MASTER
MIC LEVEL
INSERT
•
•
L/R
MIX
FADER
• •
• •
INSERT
INSERT
•
• •
MIX-B
TO
L/R MIX
•
CH. OUT
3
-
2
3
1
R BAL OUTPUT
-
R UNBAL OUTPUT
+
TALKBACK:
1
L BAL OUTPUT
2
L UNBAL OUTPUT
+
•
•
R
MIX-B OUTPUT
L
vu
OPTIONAL METER BRIDGE
TAPE IN
GLOBAL
SELECT
•
•
vu
L/R MIX
•
•
•
•
•
• •
•
•
•
•
TO AUX 1
TO TAPE/
SUBMASTER
TO PHONES
(AND STUDIO)
TO AUX 2
•
EXTERNAL
2-TK
MIX-B
•
•
•
•
•
•
SOLO
CONTROL
•
R METER
L METER
SOLO
LEVEL
•
•
LEVEL
•
•
•
•
•
METER
•
•
•
•
•
•
•
•
-
+
•
•
LEVEL
MONITOR
SOURCE
•
AUX
SEND 1
(#2 IDENTICAL)
• •
•
•
SUB MSTR
FADER
AUX
SEND 3
(#4, 5, 6 IDENTICAL)
•
•
•
•
••
•
•
•
INSERT
SUB MSTR
FADER
METER
SUB(#3MASTER
1&2
- 8 IDENTICAL)
• •
•••••••• ••
•
•
•
•
To on-ramp #257
of the Santa Ana Freeway
PAN
•
•
PFL MOD
•
PAN
•
•
•
•
POST
PRE
PRE EQ
TO AUX MOD
EQ
IN/OUT
••
•
LEFT
(MONO)
LEVEL
•
•
•
75Hz
HPF
MIX-B SOURCE MOD
BALANCE
FLIP
•
•
–20dB
••
•
STEREO AUX RETURN 1
(#2 IDENTICAL)
•
•
•
•
LO CUT
IN/OUT
0L
•
••
NOTE: ALL SWITCHES SHOWN IN DISENGAGED (UP) POSITION
•
RIGHT
LEFT
(MONO)
•
•
•
INPUT
1 OF 16 (24) (32)
DIRECT
OUT
TAPE
IN
LINE
IN
(PER 8 CHANNELS)
PHANTOM POWER
1
•
•
•
2
INSERT
•
••
••
•
BUS 8
BUS 6
BUS 4
BUS 2
••
AUX 6
AUX 4
AUX 2
•
MIC/LINE
BUS 7
BUS 5
BUS 3
BUS 1
R-SOLO
•
MIC IN
L-SOLO
R-BUS
L-BUS
R-MIX-B
OPTIONAL 24•E
24-CHANNEL MACKIE 8•BUS
EXPANDER CONSOLE
AUX 5
AUX 3
AUX 1
••
L-MIX-B
•
••
••
INSERT
•
-
•
+
-
+
•
•
•
L+R
•
•
•
•
•
•
•
•
•
•
•
•
•
L+R
MONITOR
MONITOR
•
•
•
•
•
•
•
•
•
•
•
•
CONTROL ROOM
PAD LOGIC
• •
•
MONO
• EXTERNAL
• AUX 5/6 •
• AUX 3/4
• MIX-B
•
• EXTERNAL
• AUX 5/6 •
• AUX 3/4
• MIX-B
•
AUX OUT
SOLO
AUX OUT
SOLO
SOLO
•
PHONES 1
SOURCE
•
• •
R MIX
• ••
•
•
SUB OUTS 2, 10 & 18
SOLO
•
L MIX
• •
•
•
•
SUB OUTS 1, 9 & 17
PHONES 2
SOURCE
•
•
••
+4/-10
•
•
+4/-10
•
•
•
•
•
•
•
CNTRL RM
LEVEL
•
•
•
PHONES 2
LEVEL
•
•
PHONES 1
LEVEL
•
•
•
•
•
SOLO
SOLO
STUDIO
LEVEL
•
•
(DEFEATED WHEN
CNTRL RM SOURCE
IS SELECTED)
R
L
(DEFEATED WHEN
CNTRL RM SOURCE
IS SELECTED)
R
L
•
•
R
CNTRL RM
OUTPUT
L
CNTRL RM
OUTPUT
R
STUDIO
OUTPUT
L
STUDIO
OUTPUT
PHONES 2
OUTPUT
PHONES 1
OUTPUT
16•8
console
WEIGHT*
50 lbs.
16x8x2 8-BUS MIXING CONSOLE
24x8x2 8-BUS MIXING CONSOLE
*exclusive
of
meter
bridge
©1995 MACKIE DESIGNS INC.
V. 1.4 4/4/94
*exclusive
of
meter
bridge
©1995 MACKIE DESIGNS INC.
1.00"
4.78"
1.00"
35.02"
37.02"
28.74"
28.74"
27.17"
29.17"
0.54"
1.00"
0.54"
1.00"
4.78"
V. 1.5 6/95
24•8
console
WEIGHT*
64 lbs.
29.20"
6.00"
MB16•8 Optional Meter Bridge
3.38"
5.50"
6.00"
3.38"
5.50"
37.00"
MB24•8 Optional Meter Bridge
STAND FOR 24•8 & 32•8 CONSOLES
©1995 MACKIE DESIGNS INC.
2.65"
3.67"
2.70"
2.50"
4.25"
4.78"
6.00"
9.00"
5.50"
V. 1.0 4/4/94
0.69"
25.24"
28.58"
28.74"
Note: add 3.75" to depth for
power supply cable clearance
Stand
WEIGHT
44 lbs.
29.00"
26.80"
28.40"
22.50"
24•E
console
WEIGHT*
50 lbs.
32•8
console
WEIGHT*
78 lbs.
32x8x2 8-BUS MIXING CONSOLE
24-CH. EXPANSION CONSOLE FOR 24•8 & 32•8
*exclusive
of
meter
bridge
V. 1.0 4/4/94
*exclusive
of
meter
bridge
©1995 MACKIE DESIGNS INC.
1.00"
4.78"
©1995 MACKIE DESIGNS INC.
0.54"
1.00"
27.17"
29.17"
28.74"
43.82"
45.82"
28.74"
1.00"
0.54"
1.00"
4.77"
V. 1.4 4/4/94
7/1/95
45.80"
0
MIC INPUT
0
0
0
0
from point (A)
AUX RETURN
CH. LEVEL
MIX
-50 trim up
O/P LEVEL
OUTPUT
AUX SEND
L/R bal max out +28
+22 max in
gain up +15
0 trim dn
level up +15
level up +15
0
to point (B)
0
-10 trim dn
MB•E Optional Meter Bridge
max out +22
level up +20
+14 max in
6.00"
MB32•8 Optional Meter Bridge
3.20"
5.50"
6.00"
3.38"
5.50"
29.15"
0
fader up +10
0
0 (B)
(A)
pan center -3
gain dn -15
0
-6 -6
max out +22
fader up +10 1-8 bal/unbal
L/R unbal
0
(C)
max out +22
0
(D)
level up 0
EQ
FADER
PAN
MIX
SUB INSERT
CHANNEL
gain up +15
-12.3 @-10
TAPE INPUT
CONTROL ROOM
max out +22
+22 max in
0 switch @+4
OUTPUT
FADER
SUBMASTER or MAIN MIX
0
level up +15
0
0
gain dn -15
SPLIT EQ
CH. LEVEL
19.00"
level up +15
0
0
MIX
MIX B
O/P LEVEL
OUTPUT
220-W
Power Supply
WEIGHT
24 lbs.
0
1-8 from point (C)
L/R from point (d)
-4
to meters
METER FEED (+4 @ O/P = 0 @ METERS)
3.50"
(2 rack spaces)
INSERT
10.10"
LINE INPUT
-40 trim up
19.00"
220-WATT POWER SUPPLY FOR
8•BUS CONSOLES & EXPANDER
V. 1.2 4/4/94
©1995 MACKIE DESIGNS INC.
+15
+15
+10
+10
+5
+5
0
0
–5
–5
–10
–10
–15
SPECIFICATIONS
–15
20Hz
100Hz
1kHz
10kHz 20kHz
20Hz
HI MID–1/12 oct. bandwidth
boost/cut
+15
+15
+10
+10
+5
+5
0
0
–5
–5
–10
–10
–15
100Hz
1kHz
10kHz 20kHz
HI MID–1/12 oct. sweeps
–15
20Hz
100Hz
1kHz
10kHz 20kHz
20Hz
HI MID–2 oct. bandwidth
boost/cut
100Hz
1kHz
10kHz 20kHz
HI MID–2 oct. sweeps
+15
+15
+10
+10
+5
+5
0
0
–5
–5
–10
–10
–15
–15
20Hz
100Hz
1kHz
10kHz 20kHz
20Hz
HI MID–3 oct. bandwidth boost/cut
+15
+15
+10
+10
+5
+5
0
0
–5
–5
–10
–10
–15
100Hz
1kHz
10kHz 20kHz
HI MID–3 oct. sweeps
–15
20Hz
100Hz
1kHz
10kHz 20kHz
20Hz
LO MID–boost/cut
100Hz
1kHz
10kHz 20kHz
1kHz
10kHz 20kHz
1kHz
10kHz 20kHz
LO MID–sweeps
+15
+15
+10
+10
+5
+5
0
0
–5
–5
–10
–10
–15
–15
20Hz
100Hz
1kHz
10kHz 20kHz
20Hz
LO SHELF
100Hz
HI SHELF
+15
+15
+10
+10
+5
+5
0
0
–5
–5
–10
–10
CHANNEL STRIP
Mic In
Electronically balanced;
discrete input configuration
Noise, Mic E.I.N. (20Hz–20kHz)
–129.0 dBm, 150Ω source
–136.0 dBV, input shorted
Mic Preamp Distortion
0.001% 20Hz–20kHz
Mic Preamp Bandwidth
10Hz to 300kHz ±3dB
Mic Gain Range
+10dB to +50dB
Mic Max Input
+14dBu
Line In
Electronically balanced
Line in Gain Range
Unity to +40dB
Line in Max Input
+22dBu
Noise (Ch. @ Unity Gain)
–94dBu
Channel Fader
log taper using 100mm
precision network design
Channel Fader Range
off to Unity to +10dB
Aux Send Gain Range
off to Unity to +15dB
Mix B Gain Range
off to Unity to +15dB
Hi Mid EQ
full parametric, ± 15dB freq.
sweep from 500Hz–18kHz
bandwidth variable from
1/12 octave to 3 octaves
Lo Mid EQ
sweep from 45Hz–3kHz
± 15dB
Hi Shelving EQ
12kHz ± 15dB
Lo Shelving EQ
80Hz ±15dB
Lo Cut EQ (HPF)
75Hz 18dB/octave
(Tchebechev)
Channel Direct Out
Max Output +22dBu
Output Impedance
120Ω (60Ω @ XLR out)
Tape Returns
Bal./unbal. 1/4” jacks,
globally switchable from
+4dBu to –10dBV
Ch. Insert Max In/Out
+22dBu
Ch.-to-Ch. Crosstalk
–85dB
SUBMASTER SECTION
Noise
–90dB re +4dBu 16 chs.
assigned & set @ Unity
Gain
Submaster Output
Max Out
+22dBu
Submaster Insert
Max In/Out
+22dBu
Submaster Fader
log taper using 100mm
precision network design
Fader Range
off to Unity to +10dB
MAIN SECTION
Working S/N ratio
90 dBu (ref: +4 dBu), all
channels assigned, all
faders @ Unity Gain.
Max Output
+28dBu balanced XLR,
+22dBu unbalanced 1/4"
Aux Returns Gain Range
off to Unity to +20dB
Aux Sends Max Out
+22dBu
GENERAL
Distortion
Better than 0.01%, any
input to any output
Frequency Response
20Hz-40kHz ±1dB any
input to any output;
10Hz-120kHz ± 3dB
Max Gain mic in to bal.
main out
+76dB
AC Power Consumption
200 watts typical 300
watts max (32•8 w/
Meter Bridge)
–15
–15
20Hz
100Hz
1kHz
LO CUT (HI PASS)
10kHz 20kHz
20Hz
100Hz
Interaction of LO CUT with
LO SHELF boost
®
MACKIE DESIGNS INC. • 16220 WOOD-RED RD. N.E.
WOODINVILLE • WA • USA • PHONE TOLLFREE 800/258-6883
FAX 425/487-4337 • OUTSIDE THE U.S., PHONE 425/487-4333
Mackie Designs Inc. is engaged in a continuous program of
product evaluation and improvement and reserves the right to
change product specifications at any time without notice.
©1995 Mackie Designs Inc. All rights reserved. “Mackie.” is a
registered trademark of Mackie Designs Inc. Printed in USA.
12022951.2
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