Mackie SR40.8 Owner's Manual - Introduction

Other manuals for SR40.8: Service Manual
Manual is about: Mackie SR40.8 Mixing Console: User Guide

Summary of SR40.8

  • Page 1

    Sr40•8/sr56•8 owner’s manual u o o +15 u o o +15 u o o +15 u o o +15 u o o +15 u o o +15 u o o +15 u o o +15 o o o o o o o o u o o +15 u o o +15 u o o +15 u o o +15 u o o +15 u o o +15 u o o +15 lr o o u +10 o o u +10 o o u +10 o o u +10 o o u +10 o o u +10 o o u +10 o o u +10 o o u +10 o o u +10 o ...

  • Page 2: Safety Instructions

    Caution avis risk of electric shock do not open risque de choc electrique ne pas ouvrir caution: to reduce the risk of electric shock do not remove cover (or back) no user-serviceable parts inside refer servicing to qualified personnel attention: pour eviter les risques de choc electrique, ne pas en...

  • Page 3: Read This Page!!!

    3 read this page!!! Part no. 820-052-00 rev. B 6/97 ©1997 mackie designs inc., all rights reserved. Printed in the u.S.A. We realize that you must have a powerful hankerin’ to try out your new sr40•8. Or you might be one of those people who never read manuals. Either way, all we ask is that you read...

  • Page 4: Introduction

    4 introduction feature descriptions: mind-boggling details each and every knob, button and connector on the sr40•8 is explained in depth here in- cluding the points before and after in the signal chain. This is to give you a better sense of exactly where in the signal path a particular control or co...

  • Page 5

    5 special icons throughout these chapters you’ll find illus- trations, with each feature numbered. If you’re curious about a feature, simply locate it on the appropriate illustration, note the number at- tached to it, and find that number in the nearby paragraphs. This icon marks information that is...

  • Page 6: Contents

    6 contents read this page!!! .................................................... 3 level-setting procedure ......................... 3 hyper-quick-turbo method .................... 3 alternate method .................................... 3 other nuggets of wisdom ...................... 3 introductio...

  • Page 7

    7 aux send masters ................................... 34 flip ..................................................... 34 level ................................................... 34 mute ................................................... 35 solo ................................................... 35...

  • Page 8: Sr40•8 Hookup Examples

    8 sr40•8 hookup examples main inserts (bal/unbal) headphones r l left return 2 1 4 3 6 5 8 7 r r r r l l l l 2 1 4 3 6 5 8 7 right send left send monitor (bal/unbal) aux send (bal/unbal) "b" aux returns (bal/unbal) sub inserts (bal/unbal) 1 2 3 4 (mono) (mono) (mono) (mono) r r r r l l l l a1 a2 a3 ...

  • Page 9

    9 main inserts (bal/unbal) headphones r l left return 2 1 4 3 6 5 8 7 r r r r l l l l 2 1 4 3 6 5 8 7 right send left send monitor (bal/unbal) aux send (bal/unbal) "b" aux returns (bal/unbal) sub inserts (bal/unbal) 1 2 3 4 (mono) (mono) (mono) (mono) r r r r l l l l a1 a2 a3 a4 (mono) c a d b (mono...

  • Page 10

    10 overview: the sr40•8 in a nutshell stage monitors & effects every channel, as well as each of the four main aux returns (a1–a4), has eight aux send controls. Per channel, aux sends 1–4 can be switched to be post-fader (for effects sends) or pre-eq/pre-fader (for stage monitors). Aux sends 5–8 hav...

  • Page 11

    11 monitoring, solo, & metering usually an engineer listens to the left/right mix (with the center mix blended in), just as the audience is hearing it. Signals available for monitoring by the engineer are available via ei- ther of the high-powered headphone outputs, with level control, or a line-lev...

  • Page 12: Patch Panel

    12 patch panel all we ask is that you perform the level- setting procedure every time you patch in a new sound source. So stop worrying, and start mixing! Mic input point before: balanced microphone-level cable with male xlr connector (pin 2 = hot, pin 3 = cold, pin 1 = shield). Point after: channel...

  • Page 13

    13 line in point before: balanced or unbalanced mic- or line-level cable with 1 ⁄ 4 " trs or ts connector, (tip = hot, ring = cold, sleeve = shield). Point after: channel . This input is similar to the mic input, but without phantom power. Both signals mix together at the mic preamp. Mic-level signa...

  • Page 14

    14 main aux returns (a1–a4) point before: balanced or unbalanced line- level cable with 1 ⁄ 4 " trs or ts connector, (tip = hot, ring = cold, sleeve = shield). Point after: main aux returns (a1–a4) . The left jack’s signal is normalled to the right jack — a mono signal, patched into the left jack on...

  • Page 15

    15 tape input point before: unbalanced line-level cable with rca connector. Point after: tape returns . Rca jacks, bless their little hearts, have no normalling — if you need a mono signal to ap- pear on both sides, that will require a y-splitter so that both jacks can be patched. This is a good pla...

  • Page 16

    16 main outputs point before: left/right/center mixes , main inserts , left/right/center faders . Point after: balanced or unbalanced cable with female xlr connector (pin 2 = hot, pin 3 = cold, pin 1 = shield). Unless you’ve created an elaborate main mix using the matrix , patch these outputs to you...

  • Page 17

    17 sub inserts point before: sub 1–8 mixes , air , flip . Point after: subs 1–8 faders . Both the send and return jacks are balanced, but can accommodate unbal- anced ts cables. Signal feeding the send jack is also sent to the return jack’s normalling pins. With nothing plugged into the return jack,...

  • Page 18

    18 monitor point before: insert (headphones) . Point after: balanced or unbalanced cable with 1 ⁄ 4 " trs or ts connector. Patch these outputs to an amp’s inputs, and patch the amp’s outputs to speakers mounted at the console. Alternatively, the monitor outputs can deliver the foh (front-of-house) h...

  • Page 19

    19 intercom point before: externally supplied clear- com ™ or compatible party-line intercom line, with power. Point after: sr40•8 intercom interface, headphone amplifiers, and talkback system. This connector accepts a 3-pin male xlr connector connected to a clear-com or com- patible party-line inte...

  • Page 20: Channel

    20 channel trim point before: mic and line in jacks, summed at mic preamp input. Point after: channel path, at 0/ (polarity reversal) switch. Have you read the level-setting procedure yet? If not, go to item right now and read it — it’s at the beginning of this manual. That procedure is basically “h...

  • Page 21

    21 eq point before: channel mic/line preamp, channel insert send and return . Point after: mute , pfl feed to channel meter and solo . The sr40•8 has a 4-band, dual-mid-sweep equalization: hi shelving at 12khz; hi-mid bandpass, swept from 500hz to 15khz; low- mid bandpass, swept from 45hz to 3khz; a...

  • Page 22

    22 low mid and freq the low-mid eq has a fixed bandwidth of 1.5 octaves. The low-mid knob sets the amount of boost or cut up to 15db, and is flat at the cen- ter detent. The freq knob sets the center frequency, sweepable from 45hz to 3khz. 20 hz 100 hz 1k hz 10k hz 20k hz –15 –10 –5 0 +5 +10 +15 20 ...

  • Page 23

    23 150 220 350 45 75 800 30 u +15 -15 u +15 -15 u +15 -15 u +15 -15 250 700 70 3k 45 2.5k 6k 700 15k 500 hi 12k freq freq freq 80hz eq in hpf low 40 mute eq 1-2 3-4 5-6 7-8 l-r center hi mid low mid pan db o o 5 5 u 60 50 solo r l almost all other signals call for higher hpf frequency points (at lea...

  • Page 24

    24 fader point before: mute . Point after: pan , center (assign) , direct out , aux (with pre switch up), afl channel meter . The fader is almost the last control in a channel’s signal path. It’s placed after the eq and the mute controls but before the pan control. The “ u” mark, about three-quarter...

  • Page 25

    25 150 220 350 45 75 800 30 u +15 -15 u +15 -15 u +15 -15 u +15 -15 250 700 70 3k 45 2.5k 6k 700 15k 500 hi 12k freq freq freq 80hz eq in hpf low 40 mute eq 1-2 3-4 5-6 7-8 l-r center hi mid low mid pan db o o 5 5 u 60 50 solo r l left/right mix . If you want to create a subgroup of certain channels...

  • Page 26

    26 be further aware: if this happens, remem- ber that you still have the subgroup 1 solo switched engaged, even though you can’t hear it. In this situation, to get out of solo mode you’ll have to disengage all the solo switches, even the ones you can’t hear. Meter point before: eq in switch (with me...

  • Page 27

    27 pre fdr/post eq (aux sends 5–8) point before: fader (switch up), eq in (switch down). Point after: aux sends 5–8 . This switch has one difference from the pre switch for aux sends 1–4: in the pre mode (named post eq), the tap point is still before the channel fader, but after the eq, instead of b...

  • Page 28

    28 u o o +15 u o o +15 u o o +15 u o o +15 u o o +15 u o o +15 u o o +15 u o o +15 1 pre 2 3 5 6 aux 4 pre fdr post eq 7 8 a4 l r 1-2 3-4 5-6 7-8 l-r solo center pan 10 db 30 20 10 o o 40 5 5 u 60 50 a4 mute pan being that these are stereo channels, their pan controls are similar to a balance contro...

  • Page 29: Output Section

    29 output section fader link some engineers prefer to have the left and right sides of the main mix travel through separate faders, as described above. Others prefer the accuracy and simplicity of one stereo fader. This switch allows you to set up the left and right mix faders either way. With the f...

  • Page 30

    30 center fader point before: main inserts . Point after: main outputs . The center mix is off with this fader fully down, the “ u” marking is unity gain, and fully up provides 10db additional gain. Remember that the center mix is not actu- ally related to the left and right mix (except that they us...

  • Page 31

    31 remember: inputs solo has precedence over outputs solo — you can’t combine these signals. Subs (sub 1-8 mixes) this is where everything assigned via the 1-2, 3-4, 5-6, and 7-8 channel assignment switches gets mixed together. Just after the mix stage, the signals are sent out to the sub inserts , ...

  • Page 32

    32 a secondary feed, you’ll want to use the matrix section. Use matrix a for the left and matrix b for the right secondary mix out- puts. Turn matrix a’s left knob and matrix b’s right knob to their “u” markings. On matrix a and b, turn their center knobs about one-third of the way up (10:00 positio...

  • Page 33

    33 “b” aux returns and tape returns the four “b” aux returns and the two tape returns are basically the same, but with different input hardware . They’re your basic, no-frills, stereo channels. Aux returns b1, b2, b3, tape a and tape b are dedicated to the left/right mix, and aux return b4 is dedica...

  • Page 34

    34 u o o +15 u o o +15 u o o +15 u o o +15 u o o +15 u o o +15 u o o +15 u o o +15 1 2 3 4 5 6 7 8 flip flip flip flip flip flip flip flip aux send masters solo solo solo solo solo solo solo solo mute mute mute mute mute mute mute mute aux send masters the aux send masters, as with all the signal pa...

  • Page 35

    35 u o o +15 u o o +15 u o o +15 line out level level mute inputs monitor solo tape b tape a tape returns pfl afl pfl afl mute solo mute solo rude solo light outputs mute point before: level . Point after: aux send . Muting removes the signal from its aux send output and afl solo. The pfl solo and p...

  • Page 36

    36 u o o +15 u o o +15 u o o +15 line out level level mute inputs monitor solo tape b tape a tape returns pfl afl pfl afl mute solo mute solo rude solo light outputs solo level point before: inputs pfl/afl and outputs pfl/afl switches. Point after: headphones and monitor . This controls the signal l...

  • Page 37

    37 max low max low input section output section pfl afl pfl afl meter v.+ power supply status v.- 5 v 12 v 48 v dimmer metering lamp u o o +15 u o o +15 u o o +15 line out level level mute inputs monitor solo tape b tape a tape returns pfl afl pfl afl mute solo mute solo rude solo light outputs moni...

  • Page 38

    38 max low max low input section output section pfl afl pfl afl meter v.+ power supply status v.- 5 v 12 v 48 v dimmer metering lamp output section pfl/afl this switch determines the meter’s source signal for the main/left/right and sub meters. With the switch up, in pfl mode (pre- fader listen), si...

  • Page 39

    39 assign point before: talkback switch point after: (per switch): aux 1–4, aux 5–8, external, l/r, matrix a, matrix b, matrix c and matrix d. Engage the switches for locations you want to receive talkback (or oscillator) sig- nals. For instance, if your stage monitors are being fed by aux send mast...

  • Page 40

    40 o o max o o max o o max assign talkback mic talkback aux 1-4 matrix a aux 5-8 matrix b external matrix c l/r matrix d intercom phones solo level level talkback level on ignore call communications oscillator receive 400hz pink noise talkback co c o s o o max o o max on point before: talkback level...

  • Page 41

    41 matrix the matrix can be used to create special mixes for recording, delay towers, lobby, back- stage, nursery “cry” rooms, audio-for-video feeds, ada systems, and the like. Think of it as a “mixer within a mixer.” although it may look complicated, the matrix is simply four separate 12 x 1 mixers...

  • Page 42

    42 ultra mute ™ automation almost every signal path in the sr40•8 and sr56•8 has an electronically-controlled mute switch, including all channels, main aux returns (a1-a4), subs 1-8, aux send masters, and matrix a-d. Thanks to the on-board microprocessor-based ultra mute system, these mute switches ...

  • Page 43

    43 clear do it store system by pass mute preview grp snap mode ultra mute ™ 0 1 2 3 4 5 6 7 8 9 0-9 use sysex messages for backup. We’re going to repeat that in case you weren’t paying atten- tion. Use sysex messages to backup your snapshots and groups!!! We can’t stress the importance of this enoug...

  • Page 44

    44 operation some of the buttons in the ultra mute section of the console behave differently depending on whether you are in group or snapshot mode. Let’s look at how the buttons work in each mode of operation separately. Group mode programming mute groups 1. Before creating and storing a mute group...

  • Page 45

    45 clear do it store system by pass mute preview grp snap mode ultra mute ™ 0 1 2 3 4 5 6 7 8 9 0-9 the mute configurations of each group add together (if you’re boolean-savvy, this is a logical or function). For example, if group 1 mutes channels 1 and 2, and group 2 mutes chan- nels 3 and 4, engag...

  • Page 46

    46 snapshot mode programming snapshots 1. Before creating and storing a snapshot, you may want to “clear the board” of any active mutes. One easy way to do this is by pressing and holding the clear button for two seconds, or engage snapshot 00 if it is preprogrammed with “no mutes.” 2. Make sure you...

  • Page 47

    47 45, press 4 and then 5, followed by the do it button. If you’re at snapshot 45 and you want to jump to snapshot 3, press 0 and then 3, fol- lowed by the do it button. If you make a mistake, simply press the clear button and reenter the number, or just enter the new numbers. You can scroll through...

  • Page 48: Ultra Mute Summary

    48 ultra mute summary system bypass • turns off ultra mute. Disables all automation, including all midi commands received through the midi or data ports. Note: sysex messages are still recognized while in bypass mode. A sysex data move does not affect the console’s current mute status. Mute preview ...

  • Page 49

    49 store • in group mode, press store followed by a number button (0-9) to store a mute configuration in ultra mute’s memory. • in snapshot mode, press store twice to store a mute configuration in ultra mute’s memory. • press clear to exit store mode without saving. Clear • in group mode, used to tu...

  • Page 50

    50 midi implementation using the midi ports there are three types of midi messages that can be used to control ultra mute: midi note messages, program change mes- sages, and midi system exclusive (sysex) messages. The standard midi implementation table is located in appendix a. Note: the letter “h” ...

  • Page 51

    51 msg no. Description examples 00h requests the sr40•8/sr56•8 [f0 00 00 66 03 0f 00 00 f7] for sr40•8, send all at once. To send all its snapshots to the host [f0 00 00 66 04 0f 00 01 f7] for sr56•8, send all, one at a time. 01h requests the sr40•8/sr56•8 to request snapshot 5: to send one snapshot...

  • Page 52

    52 using the data port the data port on the sr40•8/56•8 mirrors the midi ports, transferring midi information between an external computer’s rs-232 serial port and ultra mute. The only difference be- tween using the data and midi ports is the rate of transmission of the data and the gen- eral physic...

  • Page 53

    53 use the multiple string f0 00 00 66 03 0f 03 00 f7 (request groups from set 1) f0 00 00 66 03 0f 03 01 f7 (request groups from set 2) f0 00 00 66 03 0f 03 02 f7 (request groups from set 3) f0 00 00 66 03 0f 03 03 f7 (request groups from set 4) f0 00 00 66 03 0f 03 04 f7 (request groups from set 5...

  • Page 54

    54 table of midi note messages parameter midi note message (hex) no. Parameter name mute on mute off note* 1 channel 1 9f 00 40 9f 00 00 c-1 2 channel 2 9f 01 40 9f 01 00 c#-1 3 channel 3 9f 02 40 9f 02 00 d-1 4 channel 4 9f 03 40 9f 03 00 d#-1 5 channel 5 9f 04 40 9f 04 00 e-1 6 channel 6 9f 05 40 ...

  • Page 55

    55 parameter midi note message (hex) no. Parameter name mute on mute off note* 45 channel 45 9f 54 40 9f 54 00 c6 46 channel 46 9f 55 40 9f 55 00 c#6 47 channel 47 9f 56 40 9f 56 00 d6 48 channel 48 9f 57 40 9f 57 00 d#6 49 channel 49 9f 58 40 9f 58 00 e6 50 channel 50 9f 59 40 9f 59 00 f6 51 channe...

  • Page 56: Sr40•8 Block Diagram

    56 hpf 30– 800 hz mid hi 80 45–3k 12k lo mid 500–15k insert (balanced) send return solo pfl afl (sip) hpf 150hz mid hi 80 800 12k lo mid 3k mid hi 80 800 12k lo mid 3k hpf 150hz solo pfl afl (sip) 22 10 7 4 2 0 2 4 7 10 20 30 solo pfl afl (sip) phantom mic in line in trim hpf (low cut) freq eq in ga...

  • Page 57

    57 l (left main mix) r (right main mix) c (center main mix) aux sends 2–4 and 6–8 not shown sub 1 sub 2 subs 3–8 not shown aux send 1 aux send 5 solo audio (pfl, afl-l & afl r) solo logic mute logic meter logic insert (balanced) send return insert (balanced) l mix return pfl afl (sip) pfl afl (sip) ...

  • Page 58

    58 sr40•8 gain structure diagram unb al. In mic in gain 0db t o +60db line in gain –22db to +38db eq ± 15db pan center –4db channel aux send +15db max l/r/c master fader 0db max –10db nominal mix level –6db b alanced out 0db –10 –20 –16 +10 +20 0db –10 +10 +20 0db –10 –20 –16 +10 +20 +22 –30 –40 –50...

  • Page 59

    59 this page was intentionally left blank until we put this message on it!.

  • Page 60: Sr40•8 Specifications

    60 sr40•8 specifications noise master fader @ unity, channel gains down –90dbu master fader @ unity, channel gains @ unity –86dbu signal to noise ratio (ref +4) ≥ 90db total harmonic distortion below 0.005% crosstalk channel fader down, channels @ unity –95dbu channel muted, other channels @ unity –...

  • Page 61

    61 77.45" (196.7cm) 60.30" (153.2cm) 30.30" (77.0cm) 4.00" (10.2cm) 5.75" (14.6cm) 9.50" (24.1cm) 5.50" (14.0cm) 76.72" (194.9cm) 79.10" (200.9cm) 59.57" (151.3cm) 14.90" (37.9cm) 27.40" (69.6cm) 11.00" (27.9cm) 7.20" (18.3cm) 0.50" (1.27cm) 10.50" (26.7cm) 9 ° 22.50" (57.2cm) 30.50" (77.5cm) 62.05"...

  • Page 62: Appendix A: Service Info

    62 appendix a: service info details concerning warranty service are spelled out on the warranty card included with your mixer (if it’s missing, let us know and we’ll rush one to you). If you think your mixing board has a prob- lem, please do everything you can to confirm it before calling for servic...

  • Page 63: Appendix B: Glossary

    63 this glossary contains brief definitions of many of the audio and electronic terms used in discussions of sound mixing and recording. Many of the terms have other meanings or nuances or very rigorous technical definitions which we have sidestepped here because we figure you already have a lot on ...

  • Page 64

    64 condenser another term for the electronic component generally known as a capacitor. In audio, condenser usually refers to a type of micro- phone that uses a capacitor as the sound pickup element. Condenser microphones require electrical power to run internal ampli- fiers and maintain an electrica...

  • Page 65

    65 dynamic in sound work, dynamic refers to the class of microphones that generate electrical signals by the movement of a coil in a magnetic field. Dynamic microphones are rugged, relatively inexpensive, capable of very good performance and do not require external power. Dynamic range the range bet...

  • Page 66

    66 filter a simple equalizer designed to remove cer- tain ranges of frequencies. A low-cut filter (also called a high-pass filter) reduces or eliminates frequencies below its cutoff fre- quency. There are also high-cut (low-pass) filters, bandpass filters, which cut both high and low frequencies but...

  • Page 67

    67 haas effect a psychoacoustic effect in which the time of arrival of a sound to the left and right ears affects our perception of direction. If a signal is presented to both ears at the same time at the same volume, it appears to be directly in front of us. But if the signal to one ear, still at t...

  • Page 68

    68 mixer an electronic device used to combine various audio signals into a common output. Different from a blender, which combines various fruits into a common libation. Monaural literally, pertaining to or having the use of only one ear. In sound work, monaural has to do with a signal which, for pu...

  • Page 69

    69 phasing a delay effect, where the original signal is mixed with a short (0 to 10 msec) delay. The time of the delay is slowly varied, and the combination of the two signals results in a dra- matic moving comb-filter effect. Phasing is sometimes imitated by sweeping a comb-filter eq across a signa...

  • Page 70

    70 reverberation, reverb the sound remaining in a room after the source of sound is stopped. It’s what you hear in a large tiled room immediately after you’ve clapped your hands. Reverberation and echo are terms that can be used interchangeably, but in audio parlance a distinction is usually made: r...

  • Page 71

    71 trs acronym for tip-ring-sleeve, a scheme for connecting three conductors through a single plug or jack. 1 ⁄ 4 " phone plugs and jacks and 1 ⁄ 8 " mini phone plugs and jacks are commonly wired trs. Since the plug or jack can carry two signals and a common ground, trs con- nectors are often referr...

  • Page 72: Appendix C: Connections

    72 “xlr” connectors mackie mixers use 3-pin female “xlr” con- nectors on all microphone inputs, with pin 1 wired to the grounded (earthed) shield, pin 2 wired to the “high” (”hot” or positive polarity) side of the audio signal and pin 3 wired to the “low” (“cold” or negative polarity) side of the si...

  • Page 73

    73 special mackie connections the balanced-to-unbalanced connection has been anticipated in the wiring of mackie jacks. A 1 ⁄ 4 " ts plug inserted into a 1 ⁄ 4 " trs balanced input, for example, will automatically unbalance the input and make all the right connections. Conversely, a 1 ⁄ 4 " trs plug...

  • Page 74

    74 this allows you to tap out the channel or bus signal at that point in the circuit without interrupting normal operation. If you push the 1 ⁄ 4 " ts plug in to the second click, you will open the jack switch and create a direct out, which does interrupt the signal in that channel. See figure e. No...

  • Page 75

    75 appendix d: balanced lines, phantom powering, grounding, and other arcane mysteries what is it, exactly? The obvious external power source for any modern microphone is a battery. About the only electronic advantage that a battery has is that its output is pure dc. The only other ad- vantage is to...

  • Page 76

    76 microphones that do not require power sim- ply ignore the dc present between pin 2/pin 3 and pin 1. If you measure with a voltmeter between pin 2 and pin 3, you will read 0 volts dc. This is what your dynamic microphone sees. Measuring between pin 2 and pin 1, or between pin 3 and pin 1, you will...

  • Page 77

    77 do’s and don’ts of fixed installations if you install sound systems into fixed in- stallations, there are a number of things that you can do to make your life easier and that increase the likelihood of the sound system op- erating in a predictable manner. Even if you don’t do fixed installations,...

  • Page 78

    78 many “authorities” tell you that shields should only be connected at one end. Some- times this can be true, but for most (99%) audio systems, it is unnecessary. If you do ev- erything else correctly, you should be able to connect every component of your audio system using standard, off-the-shelf ...

  • Page 79

    79 free t-shirt offer we love to hear what folks have created us- ing our mixers. If you use your sr40•8 to track and/or mix a live or studio performance onto cd that is commercially released, we’ll trade you a disc for a genuine mackie t-shirt! By “commercially released,” we mean “offered for sale,...

  • Page 80: Appendix E: Track Sheets

    80 150 220 350 45 75 800 30 150 220 350 45 75 800 30 150 220 350 45 75 800 30 150 220 350 45 75 800 30 150 220 350 45 75 800 30 250 700 70 3k 45 2.5k 6k 700 15k 450 u o o +15 u o o +15 u o o +15 u o o +15 u +15 -15 u +15 -15 u o o +15 u o o +15 u o o +15 u o o +15 250 350 220 3k 45 3k 5k 1k 15k 500 ...

  • Page 81

    81 l r 250 700 70 3k 45 2.5k 6k 700 15k 450 u o o +15 u o o +15 u o o +15 u o o +15 u +15 -15 u +15 -15 u o o +15 u o o +15 u o o +15 u o o +15 250 350 220 3k 45 3k 5k 1k 15k 500 mi c gain +10db -40db -10dbv u 0 60 150 220 350 45 75 800 30 l r 250 700 70 3k 45 2.5k 6k 700 15k 450 u o o +15 u o o +15...

  • Page 82

    82 sr40•8/sr56•8 channels 25-40 and master section u o o +15 u o o +15 u o o +15 u o o +15 u o o +15 u o o +15 u o o +15 u o o +15 o o o o o o o o u o o +20 u o o +20 u o o +20 u o o +20 u o o 10 u o o +20 u o o +20 l r o o u +10 o o u +10 o o u +10 o o u +10 o o u +10 o o u +10 o o u +10 o o u +10 ...

  • Page 83: Addendum/errata

    Addendum/errata for the sr40•8/sr56•8 owner’s manual: okay kidz! It’s time to sharpen up your number 2 pencil and make a few changes in your manual. 1. On page 19: in the section intercom , the pin outputs should read: pin 1 = ground/0v, pin 2 = 28–30vdc, pin 3 = audio + dc signalling. 2. On page 44...

  • Page 84

    6. On page 51: in the midi sysex message numbers chart, message 44h is ignored by the console. System status is a “request-only” message (04h), and cannot be written to the console with a sysex message. The data structure for sysex dumps is as follows (this replaces the data structure chart shown on...

  • Page 85

    8. Regarding altered states (of ultra mute): ultra mute has a built-in method of letting you know when a mute configuration has been altered, either deliberately or accidentally, from its nominal state. In preview mode: when you enter preview mode, then select a different group or snapshot to previe...

  • Page 86

    Mackie designs inc. • 16220 wood-red road n.E. Woodinville • wa • 98072 • 800/258-6883 outside the u.S. Call 425/487-4333 • fax 425/487-4337 www.Mackie.Com © 2001 mackie designs inc. All rights reserved. Printed in the usa. Part no. 820-052-10 rev. B 1/2001.