Mackie S225 TWO-WAY User manual

Mackie S225 TWO-WAY User manual
or 2006!
29 poppin’ fr
n to End B
The Coalitio
ad Sound
Every year, millions are
exposed to bad sound.
This year, we can make a
Bad sound isn’t something many casual music listeners
think about. They simply hear weak, muddy PA systems,
and assume the band needs practice. Or they hear a
poorly recorded CD and assume the musicians lack
talent. If these listeners only knew what we in the music
and audio community know... that bad sound is usually
the result of cheap, poorly designed equipment,
manufactured by unscrupulous companies
looking to make a quick buck.
This year, as a proud sponsor of the Coalition
to End Bad Sound, Mackie is delivering the
widest range of professional audio equipment
in our 15-year history. And each of our new
audio products for 2006—from innovative
new loudspeakers to desktop recording
equipment—is designed by a “dream team”
of veteran engineers in Woodinville, WA,
Whitinsville, MA and Victoria, British Columbia
to deliver great sound in spades.
Rest assured, all of Mackie’s new gear for 2006 will outperform and out-last anything in its class. And it will
never, ever, hold you back from creating or performing
your music to the utmost.
Because together, we can end bad sound.
Coalition to End Bad Sound
SAz Series High-Definition Active Loudspeakers
SRz Series Professional Active Loudspeakers
S200 Series Precision Passive Loudspeakers
S400 Series Loudspeakers featuring Tetrad Technology
M Series Power Amplifiers
Quad Series Processors
Onyx 4-Bus Mid-Format Live Sound Consoles
d.2 Two-Channel DJ Mixer
Digital X Bus x.400 Production Console
Mackie Control C4 / C4 Commander
Onyx 400F & 1200F Premium FireWire Interfaces
TT24 Digital Live Console Expansions
Tracktion 2.1 Music Production Software
HM Series Headphone Mixer/Amplifiers
Satellite FireWire Recording System
Super Active
hen incredible accuracy and extreme output are a must,
Mackie’s flagship SAz Series represent the finest active
loudspeaker systems on the market. These four newly developed
“Super Active” loudspeakers improve upon Mackie’s award-winning
Active designs of the past with maximized power, re-calibrated
electronics, high-definition neodymium drivers, and extensive
acoustic design and tuning by the world-renowned Eastern Acoustic
Works (EAW) engineering team.
Re-Engineered For Superior Performance
The new SAz Series Loudspeakers start with maximum power. The
range opens with 500 watts RMS total in the SA1521z, and goes to a
massive 1300 watts RMS total in the SA1530z, SA1232z, and SA1532z.
And we made sure this power was translated into incredible accuracy
with completely re-calibrated active electronics — including precision
crossovers, thermal and transducer protection, and electronic timecorrection. These revamped electronics are coupled with new
neodymium mid- and high-frequency drivers, delivering greater
accuracy and increased output versus previous ceramic-magnet
models, yet weighing significantly less. And as the only premium active
loudspeakers with optimized WaveFront™ horns, the SAz series’ natural
sound and ultra-wide dispersion are simply unparalleled in its class.
Precision-Tuned By EAW Loudspeaker Engineers
Because a loudspeaker is more than the sum of its parts, the new SAz
Series Loudspeakers were developed and tuned exclusively by the
EAW loudspeaker engineering team. This is the same team behind
high-output loudspeaker systems for the Olympic games, the Super
Bowl, and tours ranging from Usher to REM to Eric Clapton for over 25
years. The end result of their efforts is that the SAz Series loudspeakers
function as highly efficient systems, optimizing acoustic, electronic,
and mechanical designs to achieve the highest level of performance
and value.
Put simply, the new SAz series stand as the finest active loudspeaker
systems in Mackie history, rivaling professional passive systems
costing thousands more.
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15-inch Two-Way High Output Active SR Loudspeaker
Pack a Punch Like Nothing Else. The SA1521z is an ultra high-output, two-way
horn-loaded active sound reinforcement system. Featuring premium transducer
components. The 1.75-inch neodymium high-frequency compression driver
is powered by its own 100W RMS amplifier. The optimized horn element
incorporates a low-distortion symmetric phase plug for improved dispersion
and very natural mid- and high-frequency response. Low frequencies are
handled by a high-output 15-inch long-throw woofer with a three-inch hightemperature voice coil, and powered by a dedicated 400W RMS amplifier.
• Ultra high-output active system featuring integrated
electronics and acoustic design by EAW loudspeaker team
• Bi-Amplified; with 400W RMS low frequency and 100W RMS
high frequency amplifiers
• Electronic crossover filters, time correction, phase alignment,
and thermal system protection
• Wide-dispersion, ultra-low distortion, high frequency horn
• 44mm (1.75”) neodymium compression driver
• 381mm (15”) LF long-throw woofer with high-temperature
voice coil
• Power On, Signal Present, Limiter and Thermal Protection LEDs
• Weight balanced with carrying handles for easy portability
• 133dB SPL @ 1kHz/1 meter
• Frequency Response: 44Hz to 20kHz
Three-Way High-Definition Active Sound Reinforcement Loudspeaker
• Ultra high-output 3-way active system featuring integrated electronics and
acoustic design by EAW loudspeaker team
• Optimized wide-dispersion WaveFront™ high/mid horn system
• Tri-Amplified, with independent 1100W RMS low-frequency, 100W RMS
mid-frequency, and 100W RMS high-frequency amps
• 44mm (1.75”) neodymium high-frequency compression driver
• 152mm (6”) horn-loaded neodymium mid-frequency transducer
• 381mm (15”) LF woofer with high-temperature voice coil
• Complete electronic and component circuitry protection
• Power On, Signal Present, Limiter and Thermal Protection LEDs
• Weight balanced with carrying handles for easy portability
• 135dB SPL @ 1kHz/1 meter
• Frequency Response: 38Hz to 20kHz
Three-Way High-Definition Active Sound Reinforcement Loudspeaker
• Ultra high-output 3-way active system featuring integrated
electronics and acoustic design by EAW loudspeaker team
• Optimized wide-dispersion WaveFront™ high/mid horn system
• Tri-Amplified, with independent 1100W RMS low-frequency,
100W RMS mid-frequency, and 100W RMS high-frequency amps
• 44mm (1.75”) neodymium high-frequency compression driver
• 152mm (6”) horn-loaded neodymium mid-frequency transducer
• Two 305mm (12”) LF woofers with high-temperature voice coils
• Complete electronic and component circuitry protection
• Power On, Signal Present, Limiter and Thermal Protection LEDs
• Weight balanced with carrying handles for easy portability
• 136dB SPL @ 1kHz/1 meter
• Frequency Response: 39Hz to 20kHz
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Three Super-Accurate
3-Way Designs
Conventional horns fire straight out at
different points. For a large segment
of the audience, the sound doesn’t
“mix” very well.
Mackie’s Optimized Wavefront™
system utilizes asymmetrical horns
that mix mid and treble output for
better detail and vocal intelligibility.
Mackie’s top-of-the-line SA1530z, SA1232z and SA1532z employ several distinct elements to achieve their
amazing accuracy and full, natural sound. For each model, frequencies above 3kHz are produced by a 1.75-inch
neodymium compression driver, while a six-inch neodymium mid-range transducer operates between 700Hz
and 3kHz—eliminating the placement of a crossover point in the center of critical voice frequencies.
Additionally, all three models feature our optimized wide-dispersion WaveFront™ horn design—a scientifically
developed one-piece 90º x 40º horn that combines both mid- and high-frequency drivers. Unlike typical mid/
high horn designs, the high-frequency section fires slightly downward into the six-inch mid-range driver’s
dispersion pattern, creating a focused, single wave front with excellent phase and power response characteristics.
The resulting 90º x 40º dispersion pattern provides open, natural
sound for the entire audience, even at extreme output levels.
Three-Way High-Definition Active Sound Reinforcement Loudspeaker
• Ultra high-output 3-way active system featuring integrated electronics and
acoustic design by EAW loudspeaker team
• Optimized wide-dispersion WaveFront™ high/mid horn system
• Tri-Amplified, with independent 1100W RMS low-frequency, 100W RMS
mid-frequency, and 100W RMS high-frequency amps
• 44mm (1.75”) neodymium high-frequency compression driver
• 152mm (6”) horn-loaded neodymium mid-frequency transducer
• Two 381mm (15”) LF woofers with high-temperature voice coil
• Complete electronic and component circuitry protection
• Power On, Signal Present, Limiter, and Thermal Protection LEDs
• Weight balanced with carrying handles for easy portability
• 138dB SPL @ 1kHz/1 meter
• Frequency Response: 38Hz to 20kHz
SR z
Professional Active
More Muscle, Wider Dispersion, Less Cash.
or those looking to step up from portable active speakers like the
or processing. The SRz Series’ internal amplifier modules sit on a
SRM450 to the higher output and floor-pounding authority of
mammoth aluminum heatsink that eliminates the need for fans. And
larger wooden cabinets, Mackie presents the redesigned SRz Series.
the Active circuitry inside provides precise electronic crossovers,
These affordable 2- and 3-way professional active loudspeakers
level protection and time correction. Most importantly, having an
provide large-format sound, real wood cabinets, patented
integrated system in which the amplifier and all electronics are
WaveFront™ horn assembly (SR1530z model), and integrated “no-
“tuned” to specific cabinet designs allowed Mackie loudspeaker
hassle” active electronics—retaining all the simplicity of the popular
engineers to completely maximize the SRz Series’ output and
SRM series, but with enough muscle for larger gigs.
frequency response.
Solid Wood Construction
Patented Wavefront™ Horn
Molded cabinets are perfect for portable loudspeakers like the
The 3-way SR1530z loudspeaker features an optimized wide-
SRM450, but to achieve the increased output needed for larger gigs,
dispersion WaveFront™ horn design—a scientifically developed
there’s still no substitute for good ol’ fashioned wood. Mackie’s
one-piece horn that blends the output of the mid- and high-frequency
SRz Series delivers the renowned simplicity and integrated active
drivers. Unlike typical mid/high horn designs, with a WaveFront™ horn,
electronics of its legendary SRM series, but with higher output 2- and
the high-frequency section fires slightly downward into the 6-inch
3-way wooden cabinets. To be specific, the cabinets are constructed
mid-range’s dispersion pattern—creating a focused, single wave front
of 18mm Baltic birch plywood and pressure-injected structural resin,
with excellent phase and power response characteristics. The resulting
providing more than enough “knock” to win over any audience.
90º x 40º dispersion pattern provides open, natural sound for the
Integrated Active Electronics
entire audience, even at very high output levels.
Thanks to completely integrated Mackie Active™ electronics, the SRz
Series loudspeakers don’t require any external amplifiers, crossovers
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15-inch 2-Way Active Sound Reinforcement Loudspeaker
• Mackie’s most affordable professional active loudspeaker system
• Built-in active circuitry provides precision crossover, electronic time correction, phase
alignment and equalization
• Bi-amplified, with 300W RMS low-frequency and 100W RMS high frequency-amplifiers
• Wide-dispersion, ultra-low distortion, high-frequency horn
• 44mm (1.75") titanium dome compression driver with optimized symmetric phase plug
• 381mm (15") LF woofer with high-temperature voice coil
• Complete electronic and component protection circuitry
• Weight balanced for easy portability
• 130 dB SPL @ 1kHz / 1 meter
• Frequency Response: 40Hz to 20kHz
Dual 15-inch 2-Way Active Sound Reinforcement Loudspeaker
• Built-in active circuitry provides precision crossover, electronic time correction, phase
alignment and equalization
• Bi-Amplified, with 400W RMS low frequency and 100W RMS high frequency amplifiers
• Wide-dispersion, ultra-low distortion, high-frequency horn
• 44mm (1.75") titanium dome compression driver with optimized symmetric phase plug
• Dual 381mm (15") LF woofers with high temperature voice-coils
• Complete electronic and component protection circuitry
• Weight balanced for easy portability
• 133 dB SPL @ 1kHz / 1 meter
• Frequency Response: 43Hz to 20kHz
15-inch 3-Way Active Sound Reinforcement Loudspeaker
• Built-in active circuitry provides precision crossovers, electronic time correction, phase
alignment and equalization
• Tri-Amplified, with 300W RMS low frequency, 100W RMS mid-, and 100W highfrequency amplifiers
• Patented WaveFront™ horn design provides wide dispersion and very natural sound
• 44mm (1.75") titanium dome compression driver with optimized symmetric phase plug
• 152mm (6") horn-loaded, high-output mid-range transducer
• 381mm (15") LF woofer with high-temperature voice coil
• Complete electronic and component protection circuitry
• Weight balanced for easy portability
• 126 dB SPL @ 1kHz / 1 meter
• Frequency Response: 38Hz to 20kHz
Precision Passive
No-Compromise Passive Loudspeaker Designs
For those who need accurate, high-performance passive
loudspeakers to complement their powered mixers and power
amplifiers, Mackie’s S200 Series Precision Passive Loudspeakers are
the logical choice. Available in single-, dual-woofer, and subwoofer
configurations, the S200 Series deliver extremely high sound
pressure levels while retaining a very natural sound. Incorporating
high-output low- and high-frequency drivers matched with
precision crossovers, the S200 Series is the easiest way to instantly
improve the performance of your existing PA system.
Tuned by the Loudspeaker Experts at EAW
The new S200 Series Loudspeakers represent Mackie’s first
affordable passive speakers tuned exclusively by the EAW
loudspeaker engineering team. We’re talking about the same team
with more than 25 years of high-output loudspeaker expertise,
having created loudspeaker systems for the Super Bowl, Iron
Maiden, and the Pope. The result of their extensive tuning is a
range of passive loudspeakers designed to achieve the greatest
Built Mackie-Tough
All S200 Series Precision Passive Loudspeakers are constructed
using ultra-tough 18mm Baltic birch plywood and pressure-injected
structural resin, translating into a very solid “knock” factor. With
molded corners and integrated carrying handles, transporting the
S200 Series is easy. And setting them up is too; they accept speakerlevel signal via either a Neutrik Speakon® connector or female 1/4inch TS (Tip/Sleeve) connector.
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Precision Passive Two-Way Loudspeaker
• Precision transducer and crossover design tuned by
renowned EAW loudspeaker engineering team
• Wide-dispersion, ultra-low distortion, high-frequency horn
• 350 watts long-term power handling; 1400 watts peak power
• 44mm (1.75”) titanium dome compression driver with
optimized symmetric phase plug
• 381mm (15”) LF woofer with nearly indestructible high
temperature voice coil
• 130 dB SPL @ 1kHz / 1 meter
• Frequency Response: 55Hz to 20kHz
Precision Passive Subwoofer
• Precision transducer and crossover design tuned
by renowned EAW loudspeaker engineering team
• Bass-reflex driver enclosure for punchy, precise
low-end and compact size
• 500 watts long-term power handling; 2000 watts
peak power
• Single 457mm (18”) LF driver with incredibly
resilient high-temperature voice coil
• 122 dB SPL @ 1kHz / 1 meter
• Integrated 180Hz low pass filter
• Frequency Response: 38Hz to 360Hz
Precision Passive Two-Way Loudspeaker
• Precision transducer and crossover design tuned by renowned EAW
loudspeaker engineering team
• Wide-dispersion, ultra-low distortion, high-frequency horn
• 700 watts long-term power handling; 2800 watts peak power
• 44mm (1.75”) titanium dome compression driver with optimized
symmetric phase plug
• Dual 381mm (15”) LF woofers with high-temperature voice coils
• 135 dB SPL @ 1kHz / 1 meter
• Frequency Response: 46Hz to 20kHz
High-Impact Touring Sound Technology:
Now Available in a Compact, Affordable Design.
Ever wonder how touring loudspeaker systems can cover audiences
of thousands with high-output, high-quality sound? In addition
to the knowledgeable experts who array and tune these systems,
the secret is that these loudspeaker systems employ “arrayable”
cabinets with many more drivers; large, wide-dispersion horns;
and subwoofer stacks—all
configured to match the
requirements of each venue.
In contrast, most audio
and music retailers sell two
basic types of “professional”
loudspeakers: the compact,
two-way box with a 12” or 15”
driver and a small horn, and
the compact subwoofer with
a single or double 15” or 18”
woofer. The most popular
format—the 15” two-way—can
provide ample punch and
“ruler-flat” frequency response
when listening directly in front
of the speaker. But move even
just a little bit to the left, right,
up or down, and that perfect
sonic image deteriorates
We figured it was time for
Mackie to once again raise
the game of affordable
pro audio—letting smaller
venues, clubs and houses of
worship tap into touring sound
technology. Enter Mackie’s
flagship S400 Series Precision
Passive Loudspeakers with
Tetrad Technology.
Designed by the Touring Sound Experts at EAW
To develop the S408 Precision Passive Loudspeaker and S410s
Subwoofer, Mackie enlisted the loudspeaker experts at our sister
company Eastern Acoustic Works (EAW)—the company behind
high-end touring systems and world-class stadium sound ranging
from Eric Clapton to Iron Maiden to the Super Bowl. Their solution
was to develop proprietary Tetrad™ Technology, bringing the
advantages of large-format
touring systems to a compact,
portable loudspeaker design.
Tetrad™ Design
Tetrad Technology starts
by eliminating the biggest
source of trouble with a 15”
2-way loudspeaker—the 15”
woofer—and replaces it with
four smaller 8” drivers, plus
an unusually large horn in the
center of the S408. The result is
greater overall low-frequency
driver surface area—200 sq.
inches vs. 175 sq. inches—for
more punch, plus a horn that
delivers far better pattern
control in the upper mid
frequencies, where important
stuff like vocals reside. The large
horn also eases the crossover
transition from the 1.75-inch
titanium compression driver to
the 8-inch drivers. This allows
the S408 to keep the crossover
frequency low enough that
the critical vocal and midrange
frequencies (1k-3k) are all
reproduced by the horn, not
shared between the horn and
drivers. Put simply, this means
the S408 sounds superb and projects extremely well—much closer
to a true touring sound system than anything within thousands of
dollars of its price, in fact.
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Versatile Array Options
The S410s Precision
Passive Subwoofer
Because touring sound not only relies
on more drivers but on arrayability,
the S408 Mid/High box is eminently
arrayable, with a trapezoidal shape
and 12 integrated rigging points for
flying and permanent installation.
These boxes can be flown side-byside on both sides of a stage, for
example, yielding a whopping 150
degrees of horizontal coverage
per side! Of course, the S408 also
incorporates weight-balanced
carrying handles and integrated
pole mounts for more portable
applications. And the trapezoidal
cabient design and symmetrical
acoustic design allows for
professional stage monitoring,
without the need for mirrorimaged speakers. (See below for
some other application examples.)
The S408 Mid/High box is
ideally partnered with the S410s
subwoofer, which also employs
some serious innovation. While
most compact and portable
subwoofers use either a 15” or
18” driver and a folded-horn
design to maximize bass, the S410s
employs four 10” drivers per cabinet,
providing a much tighter bass
response, greater power handling,
and far more impact. (In fact, in testing
the S410s prototypes at The War Room,
a top Seattle nightclub, we replaced
a giant “big-name” professional
subwoofer with several smaller S410s
cabinets, using the exact same amplifier
setup. On the first night, one DJ stopped
in the middle of his set because he
thought the stage was going to collapse.)
Built for Years of Abuse
Back Flypoints
(adjusts angle)
Side Flypoints
Top Flypoints
Lower Back Flypoint
(adjusts angle)
The similarities between the S400 Series and touring sound systems
don’t end with sound quality. We also designed these enclosures to
be extremely roadworthy. Both models feature solid 18mm Baltic
Birch plywood enclosures coated with wear-resistant, textured
black PVC vinyl paint. They also incorporate comfortable, weightbalanced carrying handles, top-notch hardware, and powder-coated
silver speaker grilles that both look cool and protect the drivers
from anything you’re likely to throw their way.
Precision Passive 2-Way Loudspeaker
with Tetrad™ Technology
• 4 x 8” LF drivers in unique Tetrad alignment offer wide
low-frequency dispersion and enhanced transient
• 1” exit HF driver on an oversized 75º x 40º horn provides
superb coverage and high-frequency definition; 2
horizontally arrayed enclosures provide 150º coverage
• Pole mountable on commercially available speaker
• Symmetrical Trapezoidal design allows for monitor
wedge applications
• Stackable atop S410s Precision Passive Subwoofer
• Flyable both horizontally and vertically via 12
integrated 3/8” threaded inserts
• Portable with 4 balance-optimized top and sidemounted handles
• Dual parallel, locking NL4 connections for Input and
Thru on rear panel
• Thermal Overload HF driver protection
• Sensitivity: 99dB SPL (1W/1m)
• 600W RMS power handling at 8 Ohms; 2400W peak
• Frequency Response: 60Hz-22kHz
Precision Passive Subwoofer
• Unique 4 x 10” LF driver configuration offers
enhanced transient response vs. single 18”
• Stackable design with recessed footholds allows for
S408 atop a sub or two S410s stacked for a powerful
long-throw sub-stack
• Top Hat pole receptacle for use with S408
• Portable with 2 balance-optimized side mounted
• Dual, parallel, locking NL4 connections for Input
and Thru on rear panel
• Sensitivity: 96dB SPL (1W/1m)
• 750W RMS power handling at 8 Ohms; 3000W peak
• Integrated 180Hz low pass filter
• Frequency Response: 40Hz-400Hz
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Loudspeakers 2 0 0 6
SAz Series
Premium Active 15” 2-way
Onboard Amplification:
Height: 32”
Front Width: 19.1”
Depth: 18.1”
Weight: 101 lbs
Premium Active 15” 3-way
Onboard Amplification:
1100W RMS LF
Height: 43.9”
Front Width: 19.1”
Depth: 18.1”
Weight: 111 lbs
Premium Active Dual 12” 3-way
Onboard Amplification:
1100W RMS LF
Height: 50”
Front Width: 19.1”
Depth: 18.1”
Weight: 132 lbs
Premium Active Dual 15” 3-way
Onboard Amplification:
1100W RMS LF
Height: 50”
Front Width: 19.1”
Depth: 18.1”
Weight: 132 lbs
SRz Series
6 ft.
Portable Active 15" 2-way
Onboard Amplification:
Height: 32"
Front Width: 19.1"
Depth: 18.1"
Weight: 101 lbs
Active 15" 3-way
Onboard Amplification:
Height: 43.9"
Front Width: 19.1"
Depth: 18.1"
Weight: 111 lbs
Active Dual 15" 2-way
Onboard Amplification:
Height: 50"
Front Width: 19.1"
Depth: 18.1"
Weight: 132 lbs
S400 Series
S200 Series
Precision Passive 2-way
Loudspeaker w/ Tetrad™
Power handling:
2400W peak/8 ohms
Height: 31.9”
Front Width: 20.1”
Depth: 17.9”
Weight: 72 lbs
Precision Passive 15”
2-way Loudspeaker
Power handling:
1400W peak/8 ohms
Height: 32”
Front Width: 19.1”
Depth: 18.1”
Weight: 67 lbs
Precision Passive Dual15” 2-way Loudspeaker
Power handling:
2800W peak/4 ohms
Height: 50”
Front Width: 19.1”
Depth: 18.1”
Weight: 100 lbs
Precision Passive
Power handling:
2000W peak/8 ohms
Height: 30”
Front Width: 21”
Depth: 21”
Weight: 82 lbs
Precision Passive Subwoofer
Power handling:
3000W peak/8 ohms
Height: 28”
Front Width: 24”
Depth: 25”
Weight: 95 lbs
M Series Power Amps
Maximum Mackie Muscle
ower amps aren’t at the top of most people’s “exciting” lists.
After all, what’s exciting about big, heavy pieces of rackmount
gear tucked into a corner or under a stage? Well, what if an amp
made your loudspeakers sound 10 times better the moment you
plugged in? And what if this amp was designed to squeeze every
drop of power from conventional wall outlets? And what if there was
a group of quirky, eccentric and mostly bearded analog engineers
in Woodinville, WA whose eyes glow wildly at the mere mention
of these new amps? Introducing the new M-Series High-Efficiency
Stereo Power Amplifiers: the next generation of Mackie muscle.
The M-2000 (2000W), M-3000 (3000W), and M-4000 (4000W)
represent the pinnacle of Class-H power amp engineering, from a
design team with a collective 38 years of amplifier experience.
We named the M-Series “High-Efficiency Amplifiers” for their ability
to squeeze every drop of power out of standard 120/240v power
outlets, delivering more watts to your loudspeakers than anything
even close to their price. And not only do the M-Series deliver major
watts, but they sound incredible, thanks to Class-H power stages,
new built-in limiters, a sparing use of negative feedback, and
perfect crossover integration with Mackie’s Precision Passive
The final major M-Series advantage is their next-generation Fast
Recovery and Adaptive Slew circuitry, a Mackie hallmark which
lets them run “in the red” for hours on end without compromising
sound integrity.
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High-Efficiency Design
50% More Output Components than Our Competitors
What makes the M-Series so efficient? Glad you asked. The M-2000
utilizes 2-rail Class-H circuitry, while the M3000 & M4000 utilize the
higher power capacity 3-rail Class-H circuitry. (If you understand
this, skip this paragraph and give us a call. We’re always hiring at
Mackie.) For the non-engineers among us, 2- and 3-rail Class-H
circuitry taps into additional power rails only when needed. This
results in much greater efficiency and destructive heat. So it runs
very cool versus other types of
power amp designs, especially in
real-world applications playing
real music. This design not only
maximizes power, but also
improves long-term reliability.*
Check out the competition, and you’ll find the M-Series amps
typically use 50% more output parts for the same power output
levels. The M2000 uses 10 output transistors per channel, the
M3000 has 12, and the M4000 sports 16. Sure, this costs us a lot
more money to design and manufacture. But in extremely hot
environments—like a punk show where one amp is driving a
real-world 2Ω load like six speaker cabinets—having more output
transistors is the only way to go. So
that’s just how we roll.
Fast Recovery Circuitry
Borrowing from technology
found only in high-speed
test equipment, the M-Series
amplifiers employ
Fast Recovery circuitry with
Baker Clamps. The
Baker Clamps prevent
both the output stage and
final Class-A voltage amp
stage from saturating—a
phenomenon known as
“sticktion,” where the
amplifier delays its recovery
past the original input clipping
point. When recovery finally does take place, it can be abrupt, and
generate a massive amount of higher-order harmonic distortion....
which sounds like, well, crap. Other amp manufacturers forgo the
Baker Clamp since its effects are only noticeable when you are
clipping your amp. But at Mackie, we know that most folks run their
amps at unseemly clipping levels, so we figured it was worth it.
Fast But Remarkably Un-Furious Transients
Before we tell you about the M-Series exclusive Adaptive Slewing
technology, here’s what you need to know about slewing: the faster
an amplifier’s rate of slew,
the better its transient
response, the faster its
recovery from clipping, and
the less risk of
slew-induced harmonic
distortion through the entire audio band. A Mackie exclusive, new
Adaptive Slewing circuitry allows M-Series amplifiers to pass the
fastest transient attacks—like kick and snare drum, or any bass
player trying to imitate Marcus Miller—while minimizing
Class-H switching distortion. As a result, the M-Series have the
lowest distortion of any Class-H amplifier on the market. And no
matter how hard and fast you thrash, the M-Series amps are gonna
be a couple of steps ahead, making sure the output is clean.
Low Feedback / Low Distortion
From Day One
In addition to the aforementioned
High-Efficiency design, advanced
Filters and Adapting Slewing,
M-Series amplifiers employ some
good solid amp design principals.
Namely, triple Darlington output
stages, purely resistive loading
of all voltage amplifier stages,
and fully complementary/
differential design from
amplifier input to output—all
working together to give
the M-Series some of the
lowest distortion numbers
of any manufacturer,
without having to resort
to substantial amounts of
negative feedback. (Because, lets face it, you probably get enough
negative feedback about your music as it is.)
Internal and External Protection
Amplifier reliability comes from both robust design and internal
and external protection. Internally, M-Series amplifiers feature
power supply over-temperature protection, low voltage / brownout
protection, extensive fusing, and fusible resistors throughout.
Each amplifier channel features Output DC offset protection, overtemperature protection, Input Slew clamping, and extensive Output
stage protection. On the
external side of things, the
M-Series are over-designed
to withstand bumps, drops
and twists of fortune. Taken
together, the chance of one
of our M-Series amps failing at some critical moment is right up
there with destruction of our planet by rogue asteroid collision.
* So death metal bands can finally book gigs in Hell without worrying about their amps.
Quad Series Processors
Your Live Sound Toolbox Starts Here
eveloped in collaboration with Acuma Labs and SIA software,
the legendary ease-of-use which has become a Mackie hallmark.
Mackie is proud to introduce the Quad Series—24-bit
These processors offer instant storage and recall of frequently used
rackmount processors that combine friendly, analog-style interfaces
scenarios, while their intelligent features and intuitive control panels
with the precision, convenience and reliability of next-generation
make them ideal for use in fast-paced live settings. Taken together, the
digital processing. The Quad EQ and the Quad Comp/Gate start
Quad EQ and Quad Comp/Gate are powerful and road-ready additions
with no-compromise 24-bit circuitry, all-new digital algorithms, and
to any serious live sound toolbox.
Quad Comp/Gate
Quad EQ
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Four Channels of Powerful Compression and Gating
The Mackie Quad Comp/Gate is a state-of-the-art four-channel
rackmount digital compressor/gate designed for world-class
sound. Its compression/limiting and gating/expansion algorithms
were written by the digital gurus at Acuma Labs to provide a very
wide range of high-quality, instantly usable settings. With 99 user-
Quad Comp/Gate
definable snapshots for calling up, say, a favorite bass or vocal
compression sound, the Quad Comp/Gate makes it much easier
to get consistently fast, great-sounding mixes versus analog
But it doesn’t stop there. The Quad Comp/Gate’s built-in Key
Filtering function provides independent gating and compression
• 4 channels of 24-bit digital compression/limiting and
based on an adjustable triggering frequency, and features a
• Custom algorithms developed by Acuma Labs
convenient Key Listen—so you can easily dial-in and monitor the
specific range of frequencies while you’re in the mix. A Side Chain
input allows for triggering the compression/gating using external
signals. And the Quad Comp/Gate’s “Auto” feature senses input
transients to automatically adjust attack and release times—
• Individual gain reduction and output metering per
• Individual key filtering per comp and gate channels
• 99 snapshots for instant store and recall of settings
eliminating the “pumping” effect associated with compression
• Stereo Linking of channels A and B, C and D
• Intuitive, easy to use front panel
A Study in Simplicity
• Professional input/output connections (XLR & TRS)
Of course, none of the Quad Comp/Gate’s bells and whistles
would matter for live sound engineers if it wasn’t amazingly
• Additional external side chain connections
• “Planet Earth” Power Supply (100-240VAC 50/60Hz)
fast to use. So the front panel is intuitively laid out with ultrabright 12-segment metering, multi-color backlit buttons and
nine backlit push-button knobs with LED collars to indicate
settings from a mile away. You simply press the channel(s) you
wish to process and adjust the knobs accordingly. Channels
can be operated independently or stereo-linked with a single
button press, making global FOH limiting adjustments fast and
convenient. For maximum flexibility, the Quad Comp/Gate’s
rear panel includes both 1/4” TRS and XLR connections, TRS Side
Chain send and return, and a “Planet Earth” power supply, which
operates on voltages between 100 and 240v.
The Quad Comp/Gate’s built-in Key Filtering function allows fast gating and
compression based on an adjustable triggering frequency.
Total EQ and System Analysis
in a Single Box
orget everything you know about EQ processing... OK, maybe not everything, but the new Quad EQ is really that different.
This innovative four-channel, 30-band digital EQ combines three of the most common live sound tools—equalization,
sound pressure level metering, and a real-time analyzer (RTA)—into a single box, on a single display, for the first time ever. And
with superb-sounding Adaptive-Q filtering, 24-bit processing, 99 user-definable snapshots, and a bright, easy-to-use interface,
one processor finally becomes “command central” for your entire live sound system.
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Quad Series Processors
Four Channels of 30-Band Adaptive-Q Equalization
The Quad EQ employs four 30-band graphic, Adaptive-Q Equalizers—an
innovative design that provides equalization +/- 12dB using 30 individual
EQ filters, without the ripple and gain-boosting artifacts found on
traditional (Constant-Q) units. These Adaptive-Q filters and new, superaccurate LED display ladders paint a highly detailed picture of the Quad
EQ’s effect on the output signal. So in other words, what you see is what
you get. Of course, if you’re the type of person that likes to measure and
analyze, you’d really want to get a mic and an RTA unit, which brings us to...
Onboard Measurement Tools
Quad EQ
• 4 channels of digital 30 band, Adaptive-Q
graphic equalizers
• Variable High and Low pass filters on each
channel with multiple slopes
• Built-in RTA (Real Time Analyzer) of input or
mic signals
• Simultaneous EQ and RTA display
For the first time, sound-pressure
level (SPL) and SMAART™
real-time analyzer (RTA)
meters are no longer
expensive add-ons, but
• A, B, and C weighted dB-SPL meter function
• Built-in Pink noise generator
• 99 snapshots for instant recall of settings
part of a fully integrated, user-friendly package. The Quad EQ includes
• Stereo Linking of channels A and B, C and D
a bundled SIA reference mic, as well as a dedicated reference mic input.
• Intuitive, easy to use front panel
Once plugged in, SPL can be displayed via a bright 3-digit display in the
upper right corner (at high SPLs, this meter also serves to warn
you of oncoming police officers). Or simply press the Mic
button and the built-in RTA will display what’s going on in
the room, on the same ultra-bright* ladders as the EQ filters.
In this way, you can simultaneously view your EQ settings
• Professional input/output connections
• “Planet Earth” Power Supply (100-240VAC
• Really impressive “Light Show”
versus what the results are. And RTA data is post EQ, so if you
encounter feedback, you can quickly see it, cut it, and view
the results. Now that’s progress.
Even More Digital Advantages
Of course, with the Quad EQ’s ample processing power, we
couldn’t leave well enough alone. So we added some features
live sound folks will really appreciate: 99 user snapshots
to store and recall your EQ settings; a built-in pink noise
generator; variable Hi and Low pass filters with multiple
slopes on all four channels; Stereo Linking of channels A/B
and C/D; high-quality TRS and XLR input/output, and a Planet
Earth power supply for use anywhere between 100 and 240v.
*People are really attracted to sound engineers who know how to operate equipment with lots
of flashing lights, so the Quad EQ was especially designed with plenty of lights in operation.
Onyx 4-Bus Series
The New Standard in Mid-Format
Live Sound Consoles
ntil now, nightclubs, bands and houses of worship have had to choose between channel count and sound
quality when looking for a reasonably priced mid-sized analog console. That was then, this is now. Introducing
Mackie’s flagship Onyx 4-Bus Series live sound consoles—the new standard in mid-format mixing.
Onyx 32.4
Onyx 24.4
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The new Onyx 24.4 and 32.4 consoles upgrade the performance and
against the “tweakiest” boutique standalone mic pres—as numerous
functionality of the legendary Mackie SR24*4 and 32*4, while retaining
magazine and online reviews have confirmed.
their convenient 24- and 32-channel footprint. The greatly enhanced
Onyx feature set includes 100mm Panasonic® faders,
all-new mic preamps, completely redesigned analog
Perkins EQ: “British” Sound with Greater
Filter Control
circuitry, new Perkins EQ, and a built in assignable
In developing EQ circuitry for Onyx, we enlisted the
stereo compressor/limiter section—all at a price that
aid of veteran audio engineer Cal Perkins. (For those
won’t break the bank.
of you who don’t know Cal, he’s been designing
An All-New Design for Superior Sound
amazing audio gear since Greg Mackie was swiping
copies of Popular Mechanics.) As a result of Cal’s
After 15 years designing industry re-defining mixers,
expertise, Perkins EQ circuitry takes the classic Wein
Mackie has assembled one of the most grizzled
Bridge circuit topology used in British mixing desks
teams of analog engineers in the business. This
during the ‘60s and ‘70s, and gives it greater filter and
team spared no expense developing the Onyx
phase shift control. The end result is a very effective
4-Bus Series, pulling together the highest-quality
and extremely musical 4-band EQ with sweepable
components available—from premium op-amps
low- and high-mids—perfect for the throes of live
to IC chips costing exponentially more than those
sound mixing.
used in previous designs. All-new summing bus
circuitry was designed from the ground up to
maximize headroom. And the entire signal chain was
Assignable Onboard Stereo Compressor/
Limiter Section
electronically balanced from input to output, offering
Sound engineers have long used master
big, full-range sound and lower noise than any mixer
compressors/limiters to smooth out live sound mixes,
in this class. Most significantly, premium Onyx mic
maximizing the performance of both great and not-
preamps, Perkins EQ circuitry, and a new THAT®
so-great sound systems. So we decided to integrate
Corporation 4301 assignable stereo compressor/
a high-quality master compressor/limiter chip from
limiter chip were custom tailored specifically for
THAT® Corporation into both the Onyx 24.4 and 32.4.
these new consoles. It’s a difference you’ll hear right
This assignable analog stereo compressor/limiter chip
out of the box.
was designed and manufactured in the US by veteran
Onyx Mic Preamps: “Boutique” Quality for
the Rest of Us
analog engineers, offering true RMS Detection and
Auto Make-up Gain for extremely accurate and
musical results. It features independent Threshold,
Although Mackie’s previous-generation XDR mic
Ratio and Fast/Slow Attack controls, and can be
preamps set new standards for both quality and
assigned post-fader to the L/R main mix (for system
performance, our acclaimed Onyx mic preamps offer
limiting and protection) or pre-fader to Group 1 / 2
even greater fidelity, headroom and transparency—
or 3 / 4 outputs (for grouped signal compression, like
as well as better radio frequency (RFI) rejection
drums or background vocals). This reduces the hassle
and wider dynamic range than ever before. With
and expense of separate outboard processing.
specs like 123dB total dynamic range, –129.5 dBm
Equivalent Input Noise, and 0.0007% Total Harmonic
Distortion, Onyx preamps can hold their own
The Onyx 4-Bus Series Master Section
The Onyx 4-Bus Series Master section provides everything you’d expect from a Mackie mixing console, and more. Designed with a practical and
easy-to-understand layout, anyone from a Sunday morning volunteer operator to a seasoned professional engineer can quickly learn to operate
the console, fully exploiting its outstanding capabilities.
Main/solo And Compression Meters
Two Giant, 12-segment LED meters for Left and Right Main Outputs with large
green and amber “Rude Solo” LEDs that flash to indicate current AFL and/or PFL
status. Plus two additional 12-segment LED meters are dedicated to the built-in
compressor to provide clear indication of input signal and gain reduction.
Onboard Compression/Limiting
An assignable high-quality analog stereo compressor/limiter with adjustable
Threshold, Ratio, and Fast/Slow attack, plus metering. Assignable post-fader L/R
main mix (for system limiting) or pre-fader Group 1 / 2 or 3 / 4 outputs (for group
compression of things like drums and background vocals).
6x2 Matrix
Two additional independent mixes can be created from the Subgroups and Main
Outputs for recording, zone outputs, hearing assistance systems, in-ear monitor
(IEM) systems, and additional Aux sends.
Masters And Utilities
Master switches for the four Mute Groups, Talkback system with extensive routing,
Mono Main Output control with Solo, Headphone and Monitor Output control, and
a single 100mm Panasonic® fader for the Main Outputs provide convenient access
to all the necessary functions.
Group Control
Four 100mm Panasonic® faders provide smooth and accurate control of Group
levels. A 4-segment input meter instantly provides signal level information. Mute
and AFL Solo buttons with LEDs, plus Main Mix assignment and Group Pan controls
round out the section to give you quick access to all the control you need.
Balanced Mic/line Direct Outputs
On the rear of each Onyx console are DB-25 female connectors (in groups of
eight), which can be used to route all mic/line signals to an external device. These
connectors are configured with standard Tascam® pin outs. All of these balanced
direct outputs are pre-fader and switchable via internal jumpers as either pre- or
post-EQ. These outputs are ideal for multi-track live recording.
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...and Channel Strip.
Mackie has combined the premium sound quality of the Onyx mic preamp and
Perkins EQ with an extensive professional feature set—all packaged into an
intuitive, ergonomic layout for maximum ease-of-use.
Onyx Mic Preamplifiers
Mackie’s Onyx mic preamps feature individual 48V phantom
power (with indicator), pad switch, 100Hz High Pass Filter,
and polarity inversion to provide exceptional fidelity and
professional functionality.
Perkins EQ
A revolutionary new design that not only captures that sweet
“British console” sound, but allows for greater filter and phase
shift control. This new EQ design is an improvement on the
classic Wein Bridge circuitry used in British mixing desks
during the ‘60s and ‘70s. The end result is a very effective and
extremely musical EQ section.
Six Flexible Auxiliary Sends
Each Aux send can be configured pre- or post-fader and has
a Mute and AFL Solo function in the master section. Each
Aux is post-EQ and post-Mute for typical dual-function FOH/
monitor mixing applications.
Mono Channel Strip Master Section
Each channel comes equipped with a
100mm Panasonic® fader for smooth,
high-resolution control of your mix. A
four-segment input meter next to the
fader instantly provides an expanded view
of signal level – far superior to the typical
signal/peak LEDs found on most consoles.
Mute and Solo buttons with indicators are
positioned above and below the fader to
ensure functional separation.
More Bang for Your Buck
The Onyx 24.4 and 32.4 were designed to bring
large-format console features to smaller live
sound applications. These features include 100mm
Panasonic® faders for maximum mixing resolution,
analog direct ouputs for multi-track recording, and
six pre/post switchable Aux sends for monitor output
and effects routing. Plus, Aux inserts for adding
graphic EQs to monitor mixes. We’ve also added
new features that any hardcore live engineer can
appreciate–like a 6x2 Matrix Mixer that offers two
additional Mix outputs for cry rooms, green rooms
and other zoned outputs. (Or use the Matrix for
broadcast or simple recording applications.)
Over-Designed for Life on the Road
Two Dedicated Stereo Inputs
The last two channels are for stereo signal
like effects returns, stereo synthesizers or
other two-track playback devices. These
are full channel strips with appropriate 4band fixed EQ, all 6 Aux sends and channel
master section.
We know live sound can be tough on equipment.
(Hey, we use this stuff too.) That’s why we designed
the Onyx 4-Bus Series to handle anything the road
dishes out. Chassis rigidity is maximized by vertical
aluminum support beams spaced across the top of
the console. And because these boards get moved
around a lot, we designed comfortable carry handles
right into the sides—even though they are portable
enough to just tuck them under your arm and go.
The ultimate DJ mixer...
And the only one with FireWire.
or most of Mackie’s 15-year history, we’ve
been asked by professional DJs, remix artists
and producers to bring our world-renowned
mixer expertise to the world of DJ mixers.
But we didn’t think the world really needed
another DJ mixer, unless it would bring
something truly new and different to the
game. Today, we’re proud to announce the
DJ mixer of the future. Introducing the d.2.
The d.2 is the world’s best-sounding,
best-built 2-channel DJ mixer. It’s
also the first DJ mixer with a FireWire
option, letting you mix and record
music directly to and from your Mac or
PC laptop or desktop. Among the d.2’s
standout features are a clean, intuitive
layout, bulletproof construction, premium
analog VCA circuitry, and ultra highperformance components.
Just a few of these standout components include:
• An Infinium® optical, no-contact crossfader with
adjustable tension
• Mackie-designed mic and turntable preamps
with superior detail and maximum “punch”
• Smooth analog EQ with full kill capabilities
• Optional FireWire I/O card for recording and
playback of 24-bit audio directly via Mac or PC
• 3-position spring-loaded Transform
• A solid 14-gauge all-steel chassis (thicker
than Vestax, Rane, etc.)
Why should you care about these
components? Because they directly affect
the sound and reliability you get out of your
DJ mixer.
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Professional 2-Channel DJ Mixer
with Premium VCA Circuitry & FireWire I/O
• Premium 2-channel DJ mixer with analog VCA circuitry
• FireWire option card for recording and mixing mp3’s and other files
directly to/from Mac or PC
• 45mm “no-contact” Infinium™ optical crossfader for years of use with
no audio degradation
• Mackie-designed mic and turntable preamps for ultra-low noise and
maximum “punch”
• 2 stereo program channels with CD, Phono/Line, and FireWire input
• 3-band EQ per channel w/ complete kill filters and blue backlit knobs
• User-rotatable 3-position spring-loaded Transform switches with
latching mode
• Flexible effects routing with variable FX send control
The Infinium® Crossfader
The d.2 is the world’s first DJ mixer to incorporate
the revolutionary Infinium optical crossfader
with adjustable tension. Based on the world’s
first optical, no-contact design, the Infinium™
crossfader delivers precise, ultra-smooth response
for years... no matter how much you scratch. And
without the risk of dust and grime deteriorating audio performance,
this crossfader will sound as good in 10 years as the day you bought
your mixer. An adjustable tension control lets you customize the fader
feel to be as loose or tight as you desire.
A High-Headroom, Analog VCA Design
The d.2 uses an all-analog Voltage-Controlled Amplifier (VCA) design
with ultra high-performance components, tuned to provide the
maximum headroom and lowest noise of any mixer in its class. Thanks
to its VCA design, the d.2 is immune to the deterioration in sound
quality plaguing traditional DJ mixers. Dust particles and the general
crud of life will wreck old-school faders — but VCA faders power right
through these obstacles night after night, year after year.
FireWire Computer Connection
The d.2 is the world’s first mixer with an optional FireWire computer
connection. With the FireWire card installed, you can connect the
d.2 mixer to any Mac or PC (Mac OSX 10.3.5 and higher, Windows
XP) to directly play back music from virtually any music software
application—including Traktor, Serato, Live, iTunes, and Windows
Media Player. You just set the Input Select switch at the top of either
or both channels to “FireWire,” and mix two stereo tracks directly
from your computer. The FireWire card also
lets you simultaneously record your DJ sets to
your computer with no additional hardware
Thoughtful Performance Features
In addition to its ultra-robust construction and comfortable layout,
the d.2’s control surface offers several cool performance features.
Rotatable spring-loaded 3-position (on/off/momentary) switches
provide a whole new world of Transformer effects. A Reverse switch
and variable Contour control for each fader let you dial in the feel
that’s just right. And the Channel EQ gives you up to 10dB of boost or
complete kill of each frequency range — complete with backlit blue
knobs so you can see your EQ settings, even in low-light clubs and
DJ booths.
Professional Audio & Power Connections
As you might expect, the d.2’s rear panel is equally impressive. A
genuine Mackie mic preamp provides up to 50dB of gain with +48V
Phantom Power, so you can connect both dynamic and studio
condenser mics. Balanced XLR Main outputs with a Mic/Line level
switch assure a great-sounding connection to any PA system. And
with its Planet Earth switching power supply, the d.2 can accompany
you wherever your gig takes you (~100-240 VAC / 50-60Hz). Just plugin and start spinnin’ wherever you are, worldwide.
Our breakthrough digital live
console gets even more powerful.
The idea behind our popular TT24™ Digital Live Console is simple. We
wanted to give engineers all the benefits of live digital mixing, without
the daunting learning curve or bank-breaking price tag. As the first midsized digital console exclusively developed for live sound, the TT24 gives
engineers snapshot recall of levels, EQ, effects, routing and virtually
everything else. And because the TT24 was designed by the analog mixer
fanatics at Mackie, it has gobs of I/O and is fast, friendly and flexible. This
year, we’ve enhanced the TT24 with new expansion and connections
options, dramatically increasing the power of this revolutionary console.
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New LP48 Lake Processor Card
Mackie is proud to introduce a powerful expansion option for the TT24 Digital Live Console — the LP48 Lake®
Processor Card. This card greatly enhances the TT24 by adding renowned Lake EQ and Lake Loudspeaker
Processor tools to the console’s already generous DSP capabilities.
Lake Ideal Graphic EQ™
Lake Mesa EQ™
Lake Loudspeaker Processor
LP48 Lake® Processing Card
Lake Ideal Graphic EQ™
Mackie is proud to introduce a powerful expansion option for the
TT24—the LP48 Lake Processor Card. This card greatly enhances
the TT24 by adding Lake Technology’s renowned Lake EQ and Lake
Loudspeaker Processing tools.
The Lake Ideal Graphic EQ is a super-charged 1/3 octave graphic EQ
module that provides tighter filter control over traditional analog
(and digital) graphic EQs. By using “raised cosine” algorithms, this EQ
yields a frequency response that truly matches the curve established
on the graphic interface.
User-Configurable Processing
The LP48 offers three modes of operation, Lake EQ Mode (10
insertable Lake EQ modules), Lake Loudspeaker Processor Mode, (a
complete 4x8 loudspeaker processor), Split Mode (provides 5 Lake
EQ modules and a 2x4 Lake Loudspeaker Processor).
Full-featured Lake Loudspeaker Processing
Lake Mesa EQ™
In addition to offering classic shelving and parametric filters, Lake’s
Mesa EQ also features asymmetric filtering for independent control
over the upward and downward slopes of a parametric section. This
is particularly useful when performing corrective adjustments to the
asymmetric response patterns of all loudspeakers.
The LP48 can be configured to provide a full-featured loudspeaker
processor with up to 4 inputs and 8 outputs. It offers 2-, 3-, and 4-way
crossover modules complete with input/output delay functionality
for time alignment of delay stacks and drivers. The extensive library
of Lake presets are supported, including the entire line of EAW
loudspeaker products.
More New Expansion Options
U100 Console Networking Card
The optional U100
enables the TT24 to
communicate with
external DS-3232
Digital Snake.
DS-3232 Digital Snake
UFXII DSP Expansion Card
This digital snake provides 32 x 32 I/O for
distances up to 300 ft. using a standard Cat-5
cable. It allows remote control of the DS-3232
mic preamps from the TT24 console, and
eliminates the signal degradation associated
with long analog audio snakes.
The UFXII card gives the TT24 additional
DSP horsepower, adding EQ, Gate, and
Compressor processing to channels 25-48,
allowing users to expand from 24 to 32, 40 or
48 mic preamps—without sacrificing EQ and
dynamics processing.
The digital console of the future. Here today.
Designed for professional recording and post-production
applications, the new Digital X Bus X.400 is a next-generation
high-definition digital production console that ups the
performance ante from the already-powerful X.200 model.
With dual 3.2GHz Xeon processors, up to 2GB of RAM for
massive mix horsepower, an extra card slot for 24 additional
channels of I/O—providing a total of 96 inputs and outputs at
96kHz—the x.400 is ready for your most demanding projects.
In addition to standout Digital X Bus features like dual 15”
touch screens, onboard VST plug-in support, streaming
FireWire I/O, and a full rear-panel card cage, the X.400 delivers
advanced surround sound functionality previously found
only on much more expensive consoles. This includes smart
channel panning and simple Stem Management via a bus/
stem assignment matrix, where any of the 24 buses can be
assigned to any stem.
I insist on perfection in my music, and when we saw the Digital
X Bus, we knew it was the ‘no-compromise’ type of product that
we look for. We look forward to years of
creativity on this console.
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High-Definition Production Console
Built for Surround Mixing
The X.400 features advanced
• 96kHz digital mixing console with selectable operation
up to 192kHz
surround sound functionality with the
• 96 input, 96 output matrix at 96kHz
more expensive digital production
• 46 input, 50 output matrix at 192kHz
console. Stem Management is simple
• Dual 3.2Ghz Xeon processor architecture with hyperthreading
via the bus/stem assignment matrix,
• User-configurable I/O includes FireWire, AES/EBU,
ADAT/TDIF, and analog Mic and Line cards
assigned to any stem. Smart channel panning provides appropriate
flexibility you’d expect from a much
where any of the 24 buses can be
• Full surround mixing and monitoring capabilities
panning controls for the stem to which the channel is assigned. A
• 24 Mix/Surround busses assignable to multiple
destinations including L/R Mix
insert points on every monitor output, and offers convenient cut/solo
simple, user-configurable Speaker Assignment Matrix features floating
• Bus Source/Return Switcher Panel for all busses
functionality. The X.400’s Surround Monitoring Formatter provides
• Flexible Panning Law/Assignment for custom Stem
lightning fast fold-down mixes from one stereo/surround format to
another. It’s surround, simple, and just the way you want it.
• 24x8 Speaker Output Assignment Matrix with Cut/Solo
for each output
• 24 VCA-style Group Channels
• Lock feature to bypass bank switching for specific
• Mix-Minus Configuration for all 24 busses with Copy L/R
mix feature
Flexible I/O Options
The Digital X Bus’ modular architecture and full rear-panel card cage
• Surround Monitoring Formatter for “Fold Down”
provides access to internal components simply by removing the rear of the
• Dual 15” touch-screen graphic user interfaces plus
mouse control
fit, without having to pay for connections you’ll never use.
chassis. In this way, you can configure the console’s I/O exactly as you see
• Twenty-five 100mm Penny + Giles motorized optical
touch-sensitive faders
• Full channel processing package including dual DSP
inserts, parametric EQ and dynamics section
• Support for select VST plug-ins internally
• Floating insert points for accessing external processing
equipment from any channel, aux, or bus
• Tape-style transport with memory location recall and
weighted Jog/Shuttle wheel
• Comprehensive automation system with event editing
and dynamic/scene automation
• LTC (SMPTE), MTC, MMC, and Word Clock sync
• Mackie Control Universal™ Layer for all 25 faders
• Various metering options, including VU meter, full size
meter bridge, and scalable metering ranges
• Full Control Room section including dual phones,
talkback, surround level control and calibration to
reference level
• Multiple USB 2.0 ports for connecting CD ROM drives,
Flash drives, keyboard/mouse, or other peripherals
• Internal white & pink noise and variable tone generator
with spectrum analyzer display
• Unique “Fader Swap” function to use faders for
controlling all parameters, including EQ and VST plugins
• RS-422 (Sony® 9-pin) Control
• Custom cherry wood side panels
Knobs Galore for the
The Ultimate Rotary Control Surface for Logic 7, Sonar, Tracktion 2 and
Reason, Now Controls Your MIDI Hardware and Software.
Mackie Control C4
32-Knob Hardware / Software Control Surface
• 32-knob control surface with complete integration with
Logic 7, Sonar, Reason, and Tracktion 2
• Control of up to 32 simultaneous parameters without
switching banks
• Intuitive control of multiple plug-ins at once
• Four 55 x 2 character backlit LCDs for in-depth visual
parameter feedback
• 32 rotary V-Pot encoders with integrated pushbuttons, arranged in groups of eight
• Works in harmony with Mackie Control Universal
and Mackie Control Universal Extender
• Support for other DAW applications coming soon
800-898-3211 (Toll free within U.S.) • 425-487-4333 (Outside U.S.) • • [email protected]
Desktop Hardcore
New C4 Commander Software
Logic 7
ogic Pro®, Sonar®, Reason® and Tracktion users are
blessed with an abundance of fantastic virtual
C4 Commander brings the world of Mackie’s ultra-hip C4 hardware
controller to your new or vintage MIDI hardware—opening up control
possibilities once buried in menus and limited display. Imagine,
keyboardists can finally tweak all the parameters in their favorite
synths, guitarists can tweak their guitar processors, and audio
engineers can unlock all the power of their rackmount reverbs while
staying in the monitoring “sweet spot.”
instruments and plug-ins. But as these plug-in effects
and instruments become more powerful and complex,
utilizing them to their fullest with a mouse and keyboard
alone can be frustrating and time consuming. To truly
tweak those sounds, you need real hardware knobs... lots
of them. Not to mention multiple LCDs to let you know
Using an intuitive drag-and-drop visual interface, C4 Commander
allows users to map parameters of hundreds of popular MIDI hardware
devices to the V-pots and scribble strips of the C4, delivering hands-on
control and visual feedback to the rest of your studio.
exactly what you’re tweaking as you tweak it. That’s why
we developed the Mackie Control C4: the ultimate plug–
in controller for Logic 7, Sonar, Reason and Tracktion—
and now your hardware and software MIDI synths!
More than 180 instrument profiles are included, and custom C4 layouts
are easily constructed. You can even map parameters of different
devices to a single page on the
C4 for an incredibly wicked live
performance controller. (Imagine
having control of filter cutoff for
all your synths, both hard and
software, on a single C4 controller
page!) The level of hardcore
tweakability is limited merely
by having only 10 fingers and 24
hours in a day.
V-Pots: More Than Your Average Knobs
With its 32 V–Pots™ and four giant virtual
“scribble strip” displays, the Mackie
Control C4 can simultaneously access
and display up to 32 plug–in parameters
without switching banks. The 32 push–button V–Pots are
arranged in groups of eight directly below the four 55x2
backlit LCD displays, and surrounded by LED rings that
display current knob positions. So you can actually see, in
plain English, the software functions you are modifying.
C4 Commander
Function buttons beneath the displays and knobs allow
you to select the arrangement of software parameters
• Completely customizable layouts; users can even map
parameters of multiple devices on a single C4 page
exactly how they show up on screen. It’s a level of tight
software/hardware integration and feedback that simply
• Integrated layout editor allows user to apply custom
labeling to upper row of scribble strip, for easy to read and
navigate custom layouts
isn’t available on other control surfaces.
Plays Well With Mackie Control Universal
• Use C4 hardware buttons to select different layouts,
choose screen spits, and more
your production environment, and can be used
• Ships with pre-existing library of more than 180
instruments and effects processors, plus ability for user to
create new profiles
independently as a stand–alone module, or in concert
with Mackie Control Universal and Mackie Control
• Upcoming website allows for sharing user created layouts
You can even combine
• Ideal for keyboard players, recording engineers,
guitarists, sound designers and more
• Works on both Mac and PC; uses very little CPU power
Onyx 400F and 1200F
Onyx 400F
here are plenty of FireWire audio
interfaces on the market today. But if
Mic Preamp & 192kHz FireWire Interface
you’re a musician or engineer who insists on
• Premium FireWire-based studio recording preamp/audio
• 4 acclaimed Onyx mic preamps with class-leading fidelity and
dynamic range
• Superb AKM® 24-bit/192kHz A/D and D/A converters
• Internal 64-bit floating point processing for superior sound and
minimal CPU drain
• 10 x 10 DSP Matrix Mixer with powerful software interface and
flexible, recallable routing
• Onboard DSP provides custom Control Room / Headphone
mixes at near-zero latency
• Stand-alone operation: DSP mixer retains settings even when
computer is not connected
• No channel count sacrifices, even at 192kHz sampling rate
• 4 additional balanced line inputs; 8 balanced line outputs
•TRS inserts on Inputs 1, 2, 3 and 4
•Control Room and Dual Headphone Outputs with independent
level controls
•Dual FireWire ports for daisy chaining and direct
connection to Mac or PC
•MIDI, Word Clock and S/PDIF I/O
• Includes Tracktion 2 Audio Production software and
plug-in bundle
absolute quality, then the Onyx 400F Studio
Recording Preamp with 192kHz FireWire
I/O is the pre-eminent professional choice.
The 400F is a no-compromise recording
interface that brings superior sound, robust
construction, and several “world’s first”
features to those looking to record on Mac
or PC. And it comes bundled with Mackie’s
popular Tracktion 2 software for easy
recording right out of the box.
800-898-3211 (Toll free within U.S.) • 425-487-4333 (Outside U.S.) • • [email protected]
For most folks, any FireWire interface will do.
For the obsessed, there’s Onyx.
The Onyx 400F is a 10-channel premium mic preamp and FireWire
audio interface featuring four boutique-quality Onyx mic preamps.
These highly acclaimed preamps offer superior headroom, sonic
detail, and clarity vs. the competition—delivering 123dB dynamic
range and an amazing .0007% THD—plus a sound that has been
widely praised as exceptionally “open” and “revealing.” The Onyx
400F also offers TRS inserts for inserting your favorite outboard gear
into your signal path before sending it to your Mac or PC, plus an
internal DSP Matrix Mixer with full recall and 64-bit floating point
processing—a feature only found on the Onyx 400F
and 1200F interfaces.
With four premium Onyx mic
preamps, four line inputs and stereo
S/PDIF digital inputs, the 400F is the
ideal box for tracking small groups and
overdub-style projects. Operation is
refreshingly straightforward. You simply
plug in your mics and instruments to the
front or rear panel, and plug a FireWire
cable into your Mac or PC. The 400F’s eight
individual outputs can be used for surround
mixing, or for sending four discrete stereo
headphone mixes to a headphone amp. For
overdubs, the 400F’s dual headphone outputs give
both the engineer and musician their own headphone
outs with independent volume control. And the internal
10 x 10 DSP Matrix Mixer allows near-zero-latency routing
of any input to any output—very handy for users of older
Engineered to Over-Perform
A common question regarding the sound quality of any digital audio
interface is “What converters does it use?” Specifically, the Onyx
400F features mastering-grade 24-bit/192kHz AKM® 5385 and 4358
audio converters. But at the same time, the 400F’s “sound quality” is a
function of its entire system — the superb Onyx preamps, the
well-engineered summing circuitry, the 64-bit floating point
processing, and more. Unlike other audio interface manufacturers,
who started out making sequencing software or MIDI gear, Mackie
has a grizzled team of veteran analog engineers in-house. So we
didn’t just design the 400F, we over-designed it, calling upon our
years of analog know-how and paying attention to every last detail.
Onboard 10 x 10 Matrix Mixer With 64-bit Processing
The Onyx 400F and 1200F are the first FireWire audio interfaces
with true 64-bit onboard Matrix Mixers with floating-point DSP. The
DSP-controlled mixer lets you route any input to any output with
panning, level control, mute and solo controls, storing your mixes for
instant recall. And it operates with or without a computer. So you can,
for example, make five custom mixes of incoming live inputs, plus
two channels coming back from your computer—patch in external
compressors or reverbs—and send individual near-zero-latency
stereo headphone mixes to up to four musicians, with an extra
independent digital mix to your DAT or CD recorder. The
400F remembers how you have set the Matrix Mixer via
control panel software and retains this routing when
you power it up, even with no computer attached, for
convenient standalone mixer functionality.
Thoughtful Extras and Robust Construction
In fine Mackie tradition, the Onyx 400F offers a host
of helpful “extras” to make life easier. These
include dual high-impedance instrument
inputs so you can connect an acoustic,
electric, or bass guitar directly to
the unit, eliminating the need for
an external direct box. There’s also
stereo Control Room outputs and
dual stereo headphone outputs on
the front panel, each with individual
volume controls. In addition to 192kHz
S/PDIF and Word Clock (BNC) I/O connections,
the rear panel of the 400F offers dual FireWire
connectors for daisy-chaining devices like external hard
drives, optical drives, and even another Onyx 400F (Mac 10.4;
PC coming soon).
On the construction side of things, the Onyx 400F is also exceptional.
The unit features an extremely robust design with an all-steel chassis,
aluminum faceplate and front-panel knobs, long-life switches, and
ultra high-quality connectors on front and rear panels.
Includes Tracktion 2 Music Production Software
The Onyx 400F makes a perfect recording preamp and audio
interface for all the major audio software applications. But for those
looking to record and produce music with minimal hassle, we’ve
included Mackie’s Tracktion 2 Music Production Software. This
popular new application is drawing raves from the press and users
alike, thanks to its refreshingly simple single-screen interface and
fast workflow. Yet it offers serious features like a 64-bit mix engine,
unlimited track count, QuickTime support and much more. There’s
even a plug-in bundle with a complete suite of Mackie Mixing and
Mastering tools.
Onyx 400F and 1200F
Onyx 1200F
Recording Preamp & 192kHz FireWire Interface
• Premium 30 input x 34 output FireWire audio interface
• 12 flagship Onyx mic preamps with class-leading fidelity and
dynamic range
• 8 balanced line outputs via 25-pin d-sub connector
• 16 x 16 ADAT I/O @ 48kHz (8x8 @ 96kHz, 4x4 @ 192kHz)
• 4 headphone outputs with volume control and discrete stereo feeds
• Superb AKM® 24-bit/192kHz A/D and D/A converters
• Powerful Onboard DSP Matrix Mixer: connect any input to any
output at near-zero latency
• Built-in control room functions include A/B Monitor Switching,
Talkback, plus stereo and up to 7.1 surround output main volume
• Balanced TRS send and return insert jacks on Inputs 1 and 2
• Dual FireWire ports for daisy chaining and direct connection to Mac
or PC
• 2x2 MIDI I/O plus Word Clock, stereo AES/EBU and stereo S/PDIF I/O
• Stand-alone mixer functionality for field and studio use without
• Includes Tracktion 2 Music Production Software and Final Mix
Mastering Tools
ake a look at the I/O and
processing setup in most
computer-based studios. Chances
are, it’s a mish-mash of mic preamps,
processors, submixers and audio and
MIDI interfaces, cobbled together
from various manufacturers over
the years. Sure, its impressive in an
80’s “I’ve got a massive rack of gear”
way, but it doesn’t really make for
an efficient or particularly greatsounding way to work in the 21st
century. Enter the Onyx 1200F Studio
Recording Preamp & 192kHz FireWire
interface: a total studio solution that
combines 12 premium Onyx mic
preamps, 30 x 34 I/O, mastering-grade
192kHz converters, monitor control,
FireWire connections and more into a
single, ultra-convenient interface for
Mac or PC.
800-898-3211 (Toll free within U.S.) • 425-487-4333 (Outside U.S.) • • [email protected]
A Premium 30-Input/34-Output 192kHz
FireWire Interface for Mac or PC!
12 Boutique Mic Preamps and Massive I/O
Over-Engineered vs. Over-Marketed
The Onyx 1200F is a no-compromise 30-input, 34-output studio
recording preamp and FireWire audio interface featuring 12
boutique-quality Onyx mic preamps with individually-switchable
phantom power. These highly acclaimed preamps have been
garnering rave reviews and giving those snobby, mega-buck
standalone mic preamps a run for their money—thanks to superior
headroom, sonic detail, and clarity (namely, a whopping 123dB
dynamic range and an amazingly low .0007% THD). But we all know
when it comes to preamps, it’s the sound that counts. And Onyx
preamps have been widely praised as exceptionally
“open” and “revealing” by music
press and artist alike. For guitar
and bass, Inputs 11 and 12 are
switchable to HI-Z instrument
inputs, so you can ditch the
direct boxes and improve your
tone at the same time.
So many FireWire audio interfaces have hit the market recently,
lumberjacks have been working overtime to produce enough wood
to make paper for all the advertising. So one thing that can get lost in
the rush to produce “me-too” FireWire products is quality. As a wise
man once said, “haste makes lousy audio quality,” so we took the
extra time to over-engineer the entire 1200F signal path, including
mastering-grade AKM® AK4358 8-channel ADC(s) and AK5385 Stereo
DAC(s) converters—the same top-notch, phase-accurate converters
you’ll find in our flagship Digital X Bus consoles. Of course, the Onyx
1200F’s “sound quality” is a function of its
entire system — the superb Onyx preamps,
the well-engineered summing circuitry, 64bit floating point processing, and just plain
good audio design. Put simply, there is no
other box that does so much or sounds this
good, at any price.
The Right Connections
And because what goes
in, sometimes needs to go
back out, and then come
back in again, the Onyx 1200F
includes balanced Sends and Returns
for inserting outboard gear like compressors or guitar processors
into the signal path before sending it to your Mac or PC. The 1200F’s
rear panel is brimming with modern connections including FireWire,
wordclock, S/PDIF, AES/EBU, two ADAT Optical I/O ports, and a 25-pin
d-Sub connection with eight assignable balanced analog outputs.
(Okay, take a breath here.) Also remarkably crammed into this
production powerhouse are dual MIDI Ins and Outs, footswitchable
Talkback facilities, two sets of control room monitor outputs, and four
fully assignable headphone mix outputs. Try putting an I/O package
like this together for anywhere near this price, and you’ll see why the
Onyx 1200F is such an incredibly sweet solution for anyone serious
about recording and producing audio on their computer.
A Matrix Sequel That Doesn’t Suck
The Onyx 1200F’s little brother, the 400F,
was the first FireWire audio interface with
a true 64-bit onboard Matrix Mixer with
floating-point DSP. In the 1200F, a nextgeneration 30 x 34 DSP-controlled Matrix
Mixer lets you route any input to any output
with panning, level control, mute and solo controls, storing your
mixes for instant recall at a later date. (It’s also worth noting that this
high-powered DSP Matrix Mixer is the reason you can route any input
to any output with an amazingly low .65 milliseconds of latency.)
When tracking, you can even create four distinct headphone mixes,
one for each musician. All settings can be stored via included 1200F
control panel software, and this routing is retained when the unit
powers back up—even with no computer attached. In this way, the
1200F can also serve as a standalone rackmount digital mixer (just in
case its five thousand other features weren’t enough).
When I put my bass through the Onyx preamp, I have to say I was completely
shocked and almost appalled. I love my vintage gear, but the Onyx had all
the fatness, and also this little extra ‘thing’ the vintage pres didn’t have. It was
amazing how rich and wide it sounded.
Beck, Air, Imarobot
On Display for the
First Time Ever at
Winter NAMM
Desktop Musicians Are Now
Cleared for Lift-Off
Desktop musicians spend enough time as it is plugging,
like, without disconnecting your studio every time.
unplugging, and untangling cables. And this is doubly
The Satellite FireWire Recording System is revolutionary
true if you use your computer to record on location at
two-part audio interface featuring a sleek, portable
gigs, rehearsals and other home studios. It’s almost
FireWire recording pod and an optional Base Station.
enough to make you stay home and write techno. But
Together, this innovative system gives you superior sound
leave it to the freethinking minds at Mackie to come
quality and flexibility—not to mention never having to
up with a solution that lets you record anywhere you
disconnect your studio when you hit the road.
800-898-3211 (Toll free within U.S.) • 425-487-4333 (Outside U.S.) • • [email protected]
The Satellite FireWire Recording Pod
The Satellite Pod is the brains of the team. Enclosed within its brushed aluminum skin is one of the
finest two-channel Firewire interfaces available. With two premium Onyx preamps specially designed
for bus power through FireWire, and top-notch 24-bit/96kHz capable A/D and D/A converters, the
Satellite brings sound quality in force. In addition to the highly acclaimed dual Onyx mic preamps,
the Satellite Pod offers two headphone/control room outputs with individual level control. And for
those with four-pin FireWire ports that don’t support bus power, the Satellite Pod can be plugged in and powered traditionally (unlike our
competitors’ boxes). With its compact, rugged design, professional mic pres and converters,
the Satellite Pod is a convenient way to get great sound anywhere you record.
All Your Base Are Belong To Us*
The beauty of the Satellite system becomes clear when the Satellite Pod is docked into the
optional Base Station. The Pod snaps right into place to give you A/C power, additional I/O,
talkback, and monitor switching—without connecting or disconnecting a single cable. In this
way, you can quickly disconnect the Satellite Pod to go record some guitar or vocal overdubs
at a friend’s house, for example, then bring it back to your desktop studio without any hassle.
But the Base Station is not simply a place to park the Satellite Pod on your desktop. No, this
is where system becomes a two-input, six-output Firewire audio interface with an advanced
input-patching matrix, Talkback, Monitoring, and Surround Speaker control. When docked,
both inputs can be switched between four sources: mic, instrument, and two balanced line
level signals. So you can plug in a microphone, guitar or bass, and a couple of synths,
and switch between them as needed—confident that you won’t have to unplug
them till the cables rot or you quit making music, whichever comes first.
* Our proofreader thought this headline was a typo. We told him to Google it. Just kidding... We don’t have a proofreader.
Talkback, Monitoring and Surround Control
The Base Station’s Talkback section has a built in mic, so you can talk to talent over
one of the two headphone outputs, or go old-school and use it to slate your DAW
takes. The Control Room section allows you to select between two monitor outs for
multiple monitor speaker setups, and as an added caveat, you can switch between
monitoring your DAW outputs, or switch to monitoring the inputs—so you can plug
in to jam or listen to your iPod without having to boot your DAW software. Lastly,
the Satellite/Base Station combo allows you to control the volume of six outputs for
surround sound with a single volume knob—a feature that would cost you around
$700 if you had to buy it separately!
Tracktion Recording Action
The Satellite system comes with Mackie’s popular Tracktion 2 Music Production
Software. Tracktion 2’s hallmark single-screen interface and intuitive workflow
make it the perfect audio and MIDI production solution for both novice and
seasoned DAW users alike. T2’s feature set is immense: unlimited track count, VST
and ReWire support, a high-definition 64-bit mix engine, QuickTime video import,
external synchronization, MIDI controller mapping, integrated
Mackie Control Universal and C4 support, and Mac
and PC compatibility, just to name a few. But more
importantly, Tracktion 2 does it all in a way that never
gets in the way of your creativity.
But wait, there’s more. We’ve also included a full
complement of Mackie Mixing and Mastering tools
plug-ins, plus an easy-to-use sampler. These powerful
and great-sounding plug-ins round out the Satellite’s
Tracktion 2 software bundle and make it the perfect
out-of-the-box solution.
* Note that this bundled version of Tracktion 2 does not include the additional plug-ins from LinPlug, IK Multimedia, reFX, etc. that are available
in the standalone boxed version of T2.
FireWire Recording System
• Innovative 2-piece FireWire
Recording System for professional
recording to Mac or PC
• Dual Onyx mic preamps for superior
sound quality versus competing
• 8 inputs (2 active at any time) for
connection of microphones, line
sources, and instruments
• 6 line-level outputs
• 24-bit/96kHz capable sound quality
• Built in Control room functions
include talkback and A/B monitor
• 6-channel volume control allows for
surround sound mixing
• Firewire protocol for low latency real
time recording
• Satellite pod can be bus powered for
field use, or externally powered as
well, for added convenience
• Works with all ASIO and Core Audio
compatible software, Mac and PC
• Bundled with full version of Tracktion
2 software for complete recording
• Indestructo Mackie all-metal
construction holds up in the field
Tracktion 2.1
Serious Recording Software
For Serious Productivity
f you’re a musician
and easy to master. Everything
looking to record
is done on a single screen with
and share your music
all the necessary tools right at
without distraction or
your fingertips. Popup menus
compromise, you need
make it a breeze to navigate,
Tracktion. With its clean,
allowing the creative process to
single-screen interface
flow naturally from beginning to
and intuitive layout,
end. Want to record something?
Tracktion was designed to
Just drag the audio or MIDI
let you get right to what
input icon to whatever track you
you like doing best—
want and hit record. Need to
creating music. Whether
add a VST instrument or effect?
you’re just getting started, or are a frustrated “big-name” DAW
Drag a plug-in filter into place, right next to the track you want to
user, Tracktion can increase your productivity and yield stunning,
effect. It sounds simple because it is simple.
professional results with almost no learning curve. Thousands
of satisfied users and scores of glowing reviews can’t be wrong:
Tracktion rocks!
If you’re a seasoned DAW user, you’ll be impressed with the
surprising affordability of Tracktion and all its sophisticated features;
Don’t let the simple appearance fool you — Tracktion runs deep on
Your Music Comes Naturally To You...
Now Recording Can Too.
many levels. Even experienced DAW users have found Tracktion is a
Tracktion is incredibly easy-to-use Mac- and PC-compatible music
Attn: Composers, Producers And Recording Engineers
production software that contains everything most people will ever
need for creating, mixing, and mastering music. Its hallmark clean,
single-screen interface makes a simple work of setting up, recording
tracks, programming MIDI, mastering, or mixing down. Whether
you’re running the latest bleeding-edge Mac or PC, or an older
model held together by prayers, all of Tracktion’s functionality is at
your disposal.
Easy To Use Real Music Production Software
package they can continue to grow with, as they step up their game.
Tracktion is for you too! Stop humming into chintzy micro-cassette
recorders; Tracktion can be up and running in a matter of seconds,
ready to record your ideas while they’re fresh. And if you need to
share your project files with folks across town (or on the other side
of the planet), T2 can package them to send out for collaboration
with others.
Tracktion has a large and rapidly growing loyal-user base and is
quickly becoming one of the best-selling music production software
While many other music production programs require massive user
packages on the market. Download the Tracktion demo at mackie.
setup and configuration, Tracktion is incredibly simple to install
com/tracktion and find out why.
800-898-3211 (Toll free within U.S.) • 425-487-4333 (Outside U.S.) • • [email protected]
Now With An Even Fuller
Suite Of Plug-ins!
For T2, we partnered with everyone who would return
our calls to bring you a full suite of high-quality “namebrand” effects plug-ins, virtual instruments, and loops.
From guitar and bass sounds to keys, drums and effects,
it has everything you need to make great-sounding
music—at a ridiculously affordable price. Here’s just a
partial list of the included plug-ins:
Tracktion 2.1: Same Great Interface,
Even More New Features!
As easy as it is to build in new features, our engineers are intent preserving
Tracktions’s elegantly simple interface at all costs—after all, that’s what
attracts most people to Tracktion in the first place. Case in point, our new
update, v2.1, adds a bevy of powerful new features without any operational
complexity. Here’s some highlights.
T2.1 New Features
Custom Control Surface creation • MP3 Import and
MP3/Ogg Export MIDI Loop Recording • Support
• IK Multimedia Amplitube LE and Sample Tank 2 SE
• Lin Plug RMIV Drum Sampler
• reFX Slayer 2 and Claw
• Mackie Final Mix, Dynamics Suite, Instrument Suite,
SoundFont player
• BigTick Ticky Clav, Cheese Machine, and Hexaline
• And more from Big Tick, Maxim Digital Audio, and Raw
Material Software
New Mackie Plug-Ins for 2006!
CM-1 Mono Compressor
CS-1 Stereo Compressor
EQ6M Mono Multi-Mode EQ
EQ6S Six-Band EQ
SP-1 Stereo Panner Plus
MRVB-1 Studio Reverb
* Final T2 plug-in bundle is subject to change.
for Frontier Design Group® Tranzport™ • Filter Icon
“Quick Control Parameter” • File Import Improvements
Support for MIDI Bank Select Messages • Advanced
Program and Bank Naming with MIDNAM Import •
Filter Selection Menu Behaviours • Solo Isolate • Level
Control on the Aux Send Filter Icon • Global Setting for
Soloing Behaviour • Improved Organization of Settings
Tab • Hide Control Section at bottom of Edit tab • Filter
GUI Locked Default • MIDI Channel and MIDI Volume
changed for multiple clips • Added support for FLAC,
CAF, AU, VOC to export/import
* In the spirit of “hands-across-the water” and all that, we proudly recognise the Queen’s English whenever we
write about Tracktion. Its initial design was begun in “Ol’ Blighty,” after all. Cheery-oh!
Tracktion 2 is very intuitive, simple, and powerful. Plus, at its price point, its going to be
hard to whoop. It’s very easy to just grab a filter and move it to the track I want. It’s so
simple to get a track done, it works fast just like me.
Producer & Keyboardist for Prince and Maceo Parker
HM Series
Custom Headphone Mixes,
Loud and Clean.
In the modern world, walls can be pretty thin. So many desktop recordists and producers have a need for multi-headphone amplification
and mixing. Whether you’re collaborating on a mix in your spare bedroom, or tracking a jam in the garage, everybody needs their own cans.
Unfortunately, powered headphone mixers that sound good are pricey and rare. We’ve corrected all this with our HM Series High Power
Headphone Mixers and Amplifiers. Now everyone can have a custom mix and still afford rent.
6-channel Headphone Matrix Mixer
five sources, the HMX-56 is equally at home in the studio or on stage. High
output drives headphones loud and clean, and an effects loop allows each
performer to add personal external effects.
Designed for up to six musicians to dial in their own personalized mixes from
• Six-Channel Matrix Mixer allows six musicians to
dial in individual headphone mixes from main L/R
and four additional inputs
• Six low noise, high-fidelity/high power headphone
• Effects loop with
individual level
control on each
• Powerful
output for stage
or studio use
• Magnetic labels
for easy input
4-channel Headphone Amplifier
The HM-54 is a four-channel rackmount headphone amplification system
with a master stereo input and separate direct stereo input for each channel.
Users can switch between a shared or individual mix.
• Four stereo source-selectable channels, allowing
listener to monitor master or individual stereo
• Balanced stereo 1/4” inputs per channel
• Main input and individual channel level controls
• Powerful headphone outputs on front and rear
800-898-3211 (Toll free within U.S.) • 425-487-4333 (Outside U.S.) • • [email protected]
The Good Word
(from our good friends).
With the dual touchscreens, the Digital X Bus is the
first digital console I’ve found that keeps my music
moving, not stuck in menus.
The preamps on the Onyx have an excellent
sound, and the EQ feels just right to me. I run
most of my keyboard modules through it. It’s
also built really solid.
Linkin Park
In a world dominated by steep learning curves and hugely
expensive, soul-deadening, mass-market computer recording
software, there is an alternative! Tracktion 2 is a unique,
powerful, and above all user-friendly platform for making music.
It’s a professional level product that’s fun and inspiring to use.
Living Colour
[Usher has] a fast moving show, and with our last digital
mixer it sometimes took too long to step through all the
menus to make a change. If I needed to pull something
up in a stage wedge, sometimes I had to go through six or
seven pages worth of menus to get there. With the TT24, I
can get to everything within two steps. The TT24 is as quick
as I am.
Audio Supervisor, Usher World Tour ☎ 425 487 4333 (Outside U.S.) ☎ 800 898 3211 (Toll free within U.S.)
© 2006 LOUD Technologies Inc. All Rights Reserved. “Mackie” and the “Running Man” figure are registered trademarks of LOUD Technologies Inc.
All other trademarks are property of their respective owners. All specifications are subject to change.
P/N 0014621 Rev. B
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