SR24•4-VLZ PRO™

MIXER
24-Channel Sound Reinforcement Console
Introduction

SR24•4-VLZ PRO
 THE SR24•4-VLZ PRO is the latest update of our SR24•4
sound reinforcement console, incorporating our ultra-high
quality XDR™ (Extended Dynamic Range) mic preamps with
the best RFI rejection of any sound reinforcement mixer
design on the market.
 Like all of Mackie Designs’ mixers, the SR24•4-VLZ PRO
is designed for rugged, 24-hour-a-day use. With its mul-
tiple input/output configurations, true 4-bus architecture,
6 aux sends, and extensive routing capabilities, it can be
used in a variety of live sound and recording applications.
Its sturdy steel construction houses rugged, double-sided Features
SMT-plated fiberglass circuit boards, and 60 mm faders
with ultra-tight lip seals for keeping out dust and other  Low noise/high headroom XDR™ (Extended Dynamic
contaminants. Impact-resistant knobs are mounted so they Range) mic preamps with excellent RFI rejection
“ride” just above the steel chassis.  New high-performance 2068 op-amps for incredibly low
 The SR24•4-VLZ PRO has 20 mono mic/line input chan- noise and distortion
nels, with XLR mic inputs and 1/4" TRS line inputs, and 2  Improved cooling for even greater thermal protection
stereo line input channels with 1/4" TRS inputs. All mono  20 mic/line mono, and 2 stereo line channels
channels have TRS insert jacks (tip = send, ring = return).
 True 4-bus design
Each channel strip has an input trim, 6 aux sends (2 pre-
 Solo, pan, and 16 kHz Air EQ on each submaster
fader, 2 post-fader, and 2 switchable pre or post), 3-band
EQ with sweepable midrange (4-band EQ on the stereo chan-
 6 individual aux sends per channel (2 pre, 2 post,
nels), pan control, and mute, solo, and bus assign switches. 2 switchable pre/post)
A 60 mm fader provides output gain for each channel.  3-band swept midrange EQ on mic channels;
 Twenty XDR mic preamps provide high-headroom and 4-band fixed on stereo line channels
low-noise. They are impedance-independent, so the fre-  75 Hz low-cut filters on mic channels
quency response remains constant whether the mic preamp  Mute, solo, signal present and OL LEDs on every channel
is presented with an extremely high- or low-impedance  6 aux send masters with individual solos
load. Additionally, each channel has its own switchable
 4 stereo aux returns with EFX monitor
low-cut filter (18 dB/octave @ 75 Hz).
 Separate Talkback section with mic preamp
 The mono channel EQs provide a range of ±15 dB at the
following frequencies: 12 kHz shelving high-frequency EQ,  Double-bused sub outs for easy multi-track routing
100 Hz to 8 kHz sweepable peaking mid-frequency EQ,  Balanced stereo TRS & XLR main outputs
and 80 Hz shelving low-frequency EQ. The stereo channels  Balanced XLR mono output with level control
(21-24) provide ±15 dB of boost and cut at the following
frequencies: 12 kHz shelving high-frequency EQ, 3 kHz
peaking high-mid frequency EQ, 800 Hz peaking low-mid
frequency EQ, and 80 Hz shelving low-frequency EQ.
(continued on page 2)

R E LA TE D PR O D U C TS Applications
SR32•4-VLZ PRO  Live sound mixing
 Multi-track recording

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 24-Channel Sound
MIXER
SR24•4-VLZ PRO Reinforcement Console
Specifications
(continued from page 1)
Noise  Channels can be assigned to buses 1-2, 3-4, and
SR24•4-VLZ PRO

(20 Hz to 20 kHz bandwidth, Line inputs to Main L/R outputs, Main Mix L/R, and the 4 subs can be assigned to
all channels assigned, panned L/R):
Left and Right Main Mix. Furthermore, each bus is
Master fader down, Ch. gains down –94.7 dBu
“double-bused,” providing eight outputs that can be
Master fader @ unity, Ch. gains down –87.4 dBu
connected to an 8-track recorder without repatching.
Master fader @ unity, Ch. gains @ unity –83.5 dBu
Each sub out (1-4) and main out (L/R) has a TRS insert
Total Harmonic Distortion jack. Furthermore, Mackie’s unique “AIR” EQ circuit is
(1 kHz @ +14 dBu, 20 Hz-20 kHz): included on each of the four subgroups. It provides a
Mic input insert output <0.0007% gentle nudge to the extreme high-end, without affect-
Other outputs <0.004% ing lower treble octaves.
 Outputs include XLR and 1/4" TRS line outputs for
Crosstalk
the left and right mains, 1/4" TRS line outputs for
(1 kHz @ 0 dBu, 20 Hz to 20 kHz bandwidth, channel in to
Main Left outputs): subs 1-4, and an XLR mono main output. The mono
Channel fader down, channels at Unity –89.5 dB main out has its own level control, so a mono mix can
Channel muted, channels 2-16 at Unity –88.7 dB be sent to another zone and adjusted accordingly.
 The Phones/Control Room switch and level control
Frequency Response
are connected to two stereo headphone outputs and
(any input to any output):
the left and right Control Room output, allowing the
20 Hz to 60 kHz +0/–1dB
stereo Tape Return, Left/Right Main Mix, and Solo to
10 Hz to 100 kHz +0/–3dB
be monitored.
Maximum Levels  A stereo playback device can be monitored via the
Mic preamp input +22 dBu Tape Return Inputs. Tape Return to Phones/C-R routes
All other inputs +22 dBu the tape playback signal into the monitor system and
Balanced XLR outputs +28 dBu meters, and the Tape Return knob adjusts the level of
All other outputs +22 dBu playback, which can be monitored via headphones.
Tape Return signals can also be assigned directly to
Impedances
the Main Mix. The SR24•4-VLZ PRO also has RCA-style
Mic preamp input 1.5 kΩ
All other inputs >10 kΩ Tape Outs for output to conventional stereo recording
All outputs 120 Ω devices.
 Each of the six aux sends has its own individual
Equalization master send control, driving 1/4" TRS output jacks.
Lo EQ Shelving 80 Hz +15 dB Six stereo aux returns are provided, with 1/4" TRS
Mid EQ (mono ch) Peak 100 Hz-8 kHz +15 dB input jacks. Two aux returns can be folded back into
Hi EQ Shelving 12 kHz +15 dB Aux Sends 1 and 2 via their own volume controls to
Microphone Preamp add effects in stage monitors.
E.I.N. (150 Ω terminated, max gain) –129.5 dBm  An XLR input is provided for a talkback mic, which
can be assigned to the Main Mix or to Aux 1-2. The
Power Requirements talkback mic has a level control in the talkback section.
60 watts

Physical
Dimensions (HxWxD): 5.60" x 31" x 19.20"
142.24 mm x 787.40 mm x 487.68 mm
Net Weight: 24•4-VLZ PRO 31 lbs (14 kg)

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 SR SERIES 24•4•2 4–BUS MIXING CONSOLE WITH PREMIUM XDR TM MIC PREAMPLIFIERS SR24•4-VLZ PRO
SR24•4-VLZ PRO Top

dBV dBV dBV dBV dBV dBV dBV dBV dBV dBV dBV dBV dBV dBV dBV dBV dBV dBV dBV dBV
-10G
C AIN TRIM
-10G
C AIN TRIM
-10G
C AIN TRIM
-10G
C AIN TRIM
-10G
C AIN TRIM
-10G
C AIN TRIM
-10G
C AIN TRIM
-10G
C AIN TRIM
-10G
C AIN TRIM
-10G
C AIN TRIM
-10G
C AIN TRIM
-10G
C AIN TRIM
-10G
C AIN TRIM
-10G
C AIN TRIM
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C AIN TRIM
-10G
C AIN TRIM
-10G
C AIN TRIM
-10G
C AIN TRIM
-10G
C AIN TRIM
-10G
C AIN TRIM U TRIM U TRIM
MI MI MI MI MI MI MI MI MI MI MI MI MI MI MI MI MI MI MI MI
U U U U U U U U U U U U U U U U U U U U
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 23 LAMP
0 60 0 60 0 60 0 60 0 60 0 60 0 60 0 60 0 60 0 60 0 60 0 60 0 60 0 60 0 60 0 60 0 60 0 60 0 60 0 60
22 24
+15dB - 45dB +15dB - 45dB +15dB - 45dB +15dB - 45dB +15dB - 45dB +15dB - 45dB +15dB - 45dB +15dB - 45dB +15dB - 45dB +15dB - 45dB +15dB - 45dB +15dB - 45dB +15dB - 45dB +15dB - 45dB +15dB - 45dB +15dB - 45dB +15dB - 45dB +15dB - 45dB +15dB - 45dB +15dB - 45dB -20 +20 -20 +20

U AUX U AUX U AUX U AUX U AUX U AUX U AUX U AUX U AUX U AUX U AUX U AUX U AUX U AUX U AUX U AUX U AUX U AUX U AUX U AUX U AUX U AUX U U U

CLIP
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 28
PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE

OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 SOLO OO +20 OO +15 10
U U U U U U U U U U U U U U U U U U U U U U U U U 7

2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 4
PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE
2 2 2
SOLO 2
OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +20 OO +15
U U U U U U U U U U U U U U U U U U U U U U U U 0
TO AUX 2
SEND
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 1-2 4
(EFX TO MONITOR)
OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 SOLO OO +20
7
U U U U U U U U U U U U U U U U U U U U U U
10
4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 20
OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 SOLO OO +20 OO +20 30
U
SR24•4-VLZ PRO

TAPE 40
RETURN
U PRE U PRE U PRE U PRE U PRE PRE U PRE U PRE U PRE U PRE U PRE U PRE U PRE U PRE U PRE U PRE U PRE U PRE U PRE U PRE U PRE U PRE 5 LEVEL SET LEFT RIGHT
OO +15 SOLO ASSIGN OPERATING LEVEL
5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 TO SUB 0dB = 0dBu
POST POST POST POST POST POST POST POST POST POST POST POST POST POST POST POST POST POST POST POST POST POST U GLOBAL
OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 AUX RETURN
U U U U U U U U U U U U U U U U U U U U U U 1-2
6 3-4
OO +15 SOLO SUB SOLO RUDE POWER
6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 SOLO
POST POST POST POST POST POST POST POST POST POST POST POST POST POST POST POST POST POST POST POST POST POST LIGHT
OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 AUX SEND STEREO
MASTERS AUX RETURNS

U EQ U EQ U EQ U EQ U EQ U EQ U EQ U EQ U EQ U EQ U EQ U EQ U EQ U EQ U EQ U EQ U EQ U EQ U EQ U EQ U EQ U EQ U MODE

HI HI HI HI HI HI HI HI HI HI HI HI HI HI HI HI HI HI HI HI HI HI TRACK TRACK TRACK TRACK

12k 12k 12k 12k 12k 12k 12k 12k 12k 12k 12k 12k 12k 12k 12k 12k 12k 12k 12k 12k 12k 12k

-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 1 2 3 4 OO +15
PRE FADER
U U U U U U U U U U U U U U U U U U U U U U LEVEL IN PLACE AFL
• • • •
HI HI
MID MID MID MID MID MID MID MID MID MID MID MID MID MID MID MID MID MID MID MID MID MID 5 6 7 8
3k 3k
SOLO AUX SUB
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15
600 600 600 600 600 600 600 600 600 600 600 600 600 600 600 600 600 600 600 600 U U 5 5 5 5

LOW LOW
150 1.5k FREQ 150 1.5k FREQ 150 1.5k FREQ 150 1.5k FREQ 150 1.5k FREQ 150 1.5k FREQ 150 1.5k FREQ 150 1.5k FREQ 150 1.5k FREQ 150 1.5k FREQ 150 1.5k FREQ 150 1.5k FREQ 150 1.5k FREQ 150 1.5k FREQ 150 1.5k FREQ 150 1.5k FREQ 150 1.5k FREQ 150 1.5k FREQ 150 1.5k 150 1.5k FREQ MID MID
800Hz 800Hz
-15 +15 -15 +15 0 +10 0 +10 0 +10 0 +10 OO MAX
100 8k 100 8k 100 8k 100 8k 100 8k 100 8k 100 8k 100 8k 100 8k 100 8k 100 8k 100 8k 100 8k 100 8k 100 8k 100 8k 100 8k 100 8k 100 8k 100 8k MAIN MIX
U U U U U U U U U U U U U U U U U U U U U U AIR AIR AIR AIR LEVEL

LOW LOW LOW LOW LOW LOW LOW LOW LOW LOW LOW LOW LOW LOW LOW LOW LOW LOW LOW LOW LOW LOW
80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 16kHz 16kHz 16kHz 16kHz

-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 SOLO SOLO SOLO SOLO AUX 1-2
LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT
75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz
18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT
TALKBACK

OL OL OL OL OL OL OL OL OL OL OL OL OL OL OL OL OL OL OL OL OL OL

TAPE RETURN OO MAX

L R -20 L R -20 L R -20 L R -20 L R -20 L R -20 L R -20 L R -20 L R -20 L R -20 L R -20 L R -20 L R -20 L R -20 L R -20 L R -20 L R -20 L R -20 L R -20 L R -20 L R -20 L R -20 L R L R L R L R TO PHONES / C R
PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PHONES / C-R
LEVEL
L/R ASSIGN L/R ASSIGN L/R ASSIGN L/R ASSIGN
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24
MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MAIN MIX
SUB SUB SUB SUB TAPE RETURN LEFT/RIGHT
MUTE / MUTE / MUTE / MUTE / MUTE / MUTE / MUTE / MUTE / MUTE / MUTE / MUTE / MUTE / MUTE / MUTE / MUTE / MUTE / MUTE / MUTE / MUTE / MUTE / MUTE / MUTE / TO MAIN MIX
SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO
1 2 3 4
dB dB dB dB dB dB dB dB dB dB dB dB dB dB dB dB dB dB dB dB dB dB dB dB dB dB dB
10 SOLO 10 SOLO 10 SOLO 10 SOLO 10 SOLO 10 SOLO 10 SOLO 10 SOLO 10 SOLO 10 SOLO 10 SOLO 10 SOLO 10 SOLO 10 SOLO 10 SOLO 10 SOLO 10 SOLO 10 SOLO 10 SOLO 10 SOLO 10 SOLO 10 SOLO 10 10 10 10 10

5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5

U 1-2 U 1-2 U 1-2 U 1-2 U 1-2 U 1-2 U 1-2 U 1-2 U 1-2 U 1-2 U 1-2 U 1-2 U 1-2 U 1-2 U 1-2 U 1-2 U 1-2 U 1-2 U 1-2 U 1-2 U 1-2 U 1-2 U U U U U

5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
3-4 3-4 3-4 3-4 3-4 3-4 3-4 3-4 3-4 3-4 3-4 3-4 3-4 3-4 3-4 3-4 3-4 3-4 3-4 3-4 3-4 3-4
10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10

20 L-R 20 L-R 20 L-R 20 L-R 20 L-R 20 L-R 20 L-R 20 L-R 20 L-R 20 L-R 20 L-R 20 L-R 20 L-R 20 L-R 20 L-R 20 L-R 20 L-R 20 L-R 20 L-R 20 L-R 20 L-R 20 L-R 20 20 20 20 20
24-Channel Sound

30 30 30 30 30 30 30 30 30 30 30 30 30 30 30 30 30 30 30 30 30 30 30 30 30 30 30

40 40 40 40 40 40 40 40 40 40 40 40 40 40 40 40 40 40 40 40 40 40 40 40 40 40 40
50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50 50
60 60 60 60 60 60 60 60 60 60 60 60 60 60 60 60 60 60 60 60 60 60 60 60 60 60 60
OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO
Reinforcement Console

3
OF 8 PAGES
 SR24•4-VLZ PRO Rear Panel
SR24•4-VLZ PRO

MAIN OUTS AUX SENDS STEREO AUX RETURNS SUB OUTS SUB INSERTS
(BAL OR UNBAL) (BAL OR UNBAL) (BAL OR UNBAL) (BAL OR UNBAL) (BAL OR UNBAL) 23 21 20 19 18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1
1 4 R L 1 5 1
1
L L L

MONO MONO
INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT
2 5 R L 2 6 2
2
R R R

LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN
3 6 R L 3 7 3 24 22 (BAL OR UNBAL) (BAL OR UNBAL) (BAL OR UNBAL) (BAL OR UNBAL) (BAL OR UNBAL) (BAL OR UNBAL) (BAL OR UNBAL) (BAL OR UNBAL) (BAL OR UNBAL) (BAL OR UNBAL) (BAL OR UNBAL) (BAL OR UNBAL) (BAL OR UNBAL) (BAL OR UNBAL) (BAL OR UNBAL) (BAL OR UNBAL) (BAL OR UNBAL) (BAL OR UNBAL) (BAL OR UNBAL) (BAL OR UNBAL)
3
L MIC 20 MIC 19 MIC 18 MIC 17 MIC 16 MIC 15 MIC 14 MIC 13 MIC 12 MIC 11 MIC 10 MIC 9 MIC 8 MIC 7 MIC 6 MIC 5 MIC 4 MIC 3 MIC 2 MIC 1
MIC PR MIC PR
XD R
MIC PR
E XD R
MIC PR
E XD R
MIC PR
E XD R
MIC PR
E XD R
MIC PR
E XD R
MIC PR
E XD R
MIC PR
E XD R
MIC PR
E XD R
MIC PR
E XD R
MIC PR
E XD R
MIC PR
E XD R
MIC PR
E XD R
MIC PR
E XD R
MIC PR
E XD R
MIC PR
E XD R
MIC PR
E XD R
MIC PR
E XD R
MIC PR
E XDR E XD R E
L L
(BAL OR UNBAL)
R L R L 4 8 4
4
R R R

TAPE IN TAPE OUT

MAIN INSERTS CONTROL ROOM OUT (MONO)

POWER PHANTOM TALK BACK RIGHT LEFT MONO

120VAC MIC MAIN OUT MAIN OUT MAIN OUT THE FOLLOWING ARE TRADEMARKS OR REGISTERED TRADEMARKS OF MACKIE DESIGNS INC.: "MACKIE.", AND THE "RUNNING MAN" FIGURE • US PATENT NUMBER Des. 380,760 XDRTM EXTENDED DYNAMIC RANGE MIC PREAMPLIFIERS ARE PROPRIETARY TO MACKIE DESIGNS INC.
50/60 HZ 60W ON ON PHONES PHONES OUTPUT
1A/250V SLO BLO LEVEL
1 2
FUSE INSIDE
MAIN
BALANCED
OUTPUTS
PIN 2 = HOT INSERT C A U T I ON WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT SERIAL NUMBER MANUFACTURING DATE
CAUTION: TO REDUCE EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. DO NOT REMOVE COVER.
THE RISK OF FIRE, REPLACE OO +6 STEREO RISK OF ELECTRIC SHOCK
PIN 3 = COLD PLUG NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.
WITH THE SAME TYPE FUSE DO NOT OPEN
AND RATING OFF OFF
24•4-VLZPRO AVIS: RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR
CONCEIVED, DESIGNED, AND MANUFACTURED TIP OUT TO EFFECTS DEVICE REPLACE WITH THE SAME TYPE FUSE AND RATING. UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE.
BY MACKIE DESIGNS INC. • WOODINVILLE • WA 24•4•2 4 BUS MIXING CONSOLE RING RETURN FROM EFFECTS DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE DEBRANCHER AVANT DE REMPLACER LE FUSIBLE
98072 • USA • MADE IN USA • FABRIQUE AU USA WITH PREMIUM XDR TM MIC PREAMPLIFIERS
24-Channel Sound
Reinforcement Console

4
OF 8 PAGES
 24-Channel Sound
SR24•4-VLZ PRO Reinforcement Console
SR24•4-VLZ Pro Dimensions

18.90"

2.80"
5.60"
1.80" 1.30" 2.80"
0.50"
19.20"

31.00"

24•4
WEIGHT
31 lbs.

19.20"

5 OF 8 PAGES
6
ASSIGN GAIN
• FADER SUB LEFT
INSERT

AUX 1
AUX 2
AUX 3
AUX 4
AUX 5
AUX 6
SOLO L
SOLO R
PFL
LOGIC
O/L LED

SUB 1
SUB 2
SUB 3
SUB 4
PHANTOM POWER

L MIX
R MIX
-20 dB LED SWITCHES OUT OUT
Vp (GLOBAL SWITCH) • AIR • 1
• ∑ 16kHz INSERT
MACKIE XDR • • EQ
• • •

OF 8 PAGES
MIC PREAMP LO MID HI MUTE 1-2 • SUB L
2 75Hz 100- • SUB OUT 1 (1 OF 4) • •
1 80 8k 12k • • PAN • • OUT TAPE OUT
• • + HPF • SOLO 5
MIC LO CUT ASSIGN R
• • • - • TO L-R •
IN 3 FADER •
TRIM: MIC GAIN- • • PFL
0 to +60 dB • • • 3-4 • •
• RIGHT
LINE GAIN- GAIN GAIN • LOGIC OUT
LINE
-15 to +45 dB
• • MONO
IN FREQ GAIN
• PAN • LEVEL
• •
PRE-FADER L-R • • 2
• ••
1 MONO
BOLD LINES INDICATE POST-FADER • TAPE TO L-R • XLR
SIGNAL PATH FROM MIC • ∑ 3 OUT
INPUT TO LEFT MAIN OUTPUT. AUX 1 • MUTE •
• LED SOLO IN L MIX INSERTS FADER 2
PLACE 1
AUX 2 • LEFT
• • R MIX XLR
MONO PRE PFL 3 OUT
AUX 3 • •
INPUT • • ∑ 2
LOGIC 1
• • RIGHT
CHANNEL • AUX 4 • XLR
SR24•4-VLZ PRO

• 3 OUT
(1 of 20) AUX 5 • SOLO RELAY
• • MONITOR LEVEL
TAPE IN
AUX 6
• • • ∑ •
• • L
• •
• CONTROL
• ∑ • ROOM OUT
TAPE TO
•
SR24•4-VLZ PRO Block Diagram

MONITOR •
• LEVEL R
LO LO- HI- HI MUTE RUDE SOLO LED
+ MID MID 1-2
LEFT • 80 800 3k 12k
• • • • • •
- • FADER PAN PFL/SIP
(MONO) • • L
O/L • • ∑ •
• • •
-20dB LED SOLO PHONES PHONES
LED • • 3-4 LEVEL AMPS OUTPUTS
TRIM
• • ∑
• • • RELAY
• • R •
• • • • ∑ • ∑
• L-R
• +22
• • • +10
+ LO LO- HI- HI AUX SEND 1 (2) ∑
RIGHT +7
-
• MID MID • +4
80 800 3k 12k
SOLO IN • • • +2
LINE GAIN- MUTE PLACE 0
• LED -2
-20 TO +20dB • PFL
• + • -4
• • • L -7
STEREO - •
• -10
INPUT PRE-FADER LOGIC -20
• SOLO + -30
CHANNEL POST-FADER • R -40
• • • LEVEL -
(1 OF 2) AUX 1 • AUX RET 1 (2) IN
• • •
• • METERS
24-Channel Sound

AUX 2 • • ∑ + L
• • • •• - • ØdBu=Ø VU
•
PRE • • +
• AUX 3 • • ∑ •• R LEVEL
-
LEVEL
• •
Reinforcement Console

• AUX 4 AUX RET 3 IN ∑ • •

• •
AUX 5 + L SOLO
• • - •
AUX 6 LEVEL TB TO AUX 1-2 • AUX 1
+ R OUTPUT
1-2 - •
• • • 3-4 LEVEL
L-R/SUBS AUX RET 4 IN
TALKBACK • AUX
SR24•4-VLZ PRO XLR INPUT • SEND
• • (1 OF 6)
BLOCK DIAGRAM REV 1 3/28/2000 • • •
TB TO L-R MIX • • SOLO LED
•
 24-Channel Sound
SR24•4-VLZ PRO

MIXER
Reinforcement Console
Architects’ and Engineers’ Specifications switches, and a stereo pan control. Each stereo input
1. GENERAL CONFIGURATION. The audio mixer shall channel shall be equipped with a dual preamplifier gain
have a free-standing frame fitted with four resilient control, a solo switch, a mute switch, three bus assign-
feet suitable for tabletop placement. The frame shall ment switches and a stereo balance control.

SR24•4-VLZ PRO
be comprised of 20 monaural input channels, 2 stereo 5. INPUT CHANNEL EQUALIZATION. Each monaural
input channels, 4 submix output channels and 2 main input channel shall be equipped with an equalization
output channels. The monaural input channels shall be function. The equalizer shall have three sections: a low-
capable of accepting either microphone- or line-level frequency shelving equalizer with the knee set at 80 Hz
signals, and shall be fitted with trim, equalization, bal- and a range of +15 dB; a mid-frequency peaking equal-
ance, and auxiliary send controls; solo, mute, and bus izer with a center frequency sweepable from a range of
assign switches; level-indicating LEDs and insert jacks. 100 Hz to 8 kHz, and a range of +15 dB; and a high-fre-
The stereo input channels shall be capable of accept- quency shelving equalizer with the knee set at 12 kHz
ing either stereo or monaural line-level signals, and and a range of +15 dB. Each stereo input channel shall
shall be fitted with stereo trim, equalization, balance, be equipped with a stereo equalization function. The
and auxiliary send controls; solo, mute and bus assign equalizer shall have four sections: a low-frequency shelv-
switches; and level indicating LEDs. The submix outputs ing equalizer with the knee set at 80 Hz and a range of
shall each have level, pan, and “air” controls; solo and +15 dB; a low-mid-frequency peaking equalizer centered
assign switches; and a bus access insert jack. The main at 800 Hz and a range of +15 dB; a high-mid-frequency
outputs shall share a stereo master output fader and peaking equalizer centered at 3.5 kHz and a range of
shall be fitted with insert jacks. Additionally, the mixer +15 dB; and a high frequency shelving equalizer with the
shall include a pre-fader/post fader solo function, a knee set at 12 kHz and a range of +15 dB.
main monaural output with level control derived from the 6. INPUT CHANNEL AUXILIARY SENDS. Each mixer
main stereo outputs, 6 monitor/effects send outputs, 4 input channel shall have 6 monaural auxiliary send con-
stereo effects return inputs with switching and control trols. Two auxiliary send controls shall be fixed as pre-
functions, 1 stereo control room monitor output, 2 stereo fader sends; two shall be fixed as post-fader sends; and
headphone outputs, 1 set of stereo tape recorder conve- two shall be switchable between pre-fader and post-fad-
nience outputs, and 1 set of stereo tape monitor inputs. er. All auxiliary sends shall be post-mute switch.
2. POWER SUPPLY. All necessary operating voltages for 7. MAIN OUTPUT CONNECTIONS. The mixer shall have
the mixer shall be provided by an internal power supply. electronically balanced, line-level left and right main
3. INPUT CHANNEL CONNECTIONS. Each monau- outputs, appearing on male XLR-3 type connectors and
ral channel (1-20) shall include an XDR™ (Extended impedance balanced on 1/4" phone TRS jacks on the rear
Dynamic Range) electronically balanced microphone panel. Additionally, the main buses shall offer left and
input, using an XLR-3-F-type connector, accepting right unbalanced insert connections, appearing on the
nominal levels from –60 dBu to +4 dBu via a rotary Trim rear panel as 1/4" phone TRS jacks. Further, there shall be
control. Phantom power shall be globally controlled via a main, electronically balanced, monaural output derived
a rocker-type switch. Each monaural input channel shall from the main stereo output, appearing as a male XLR-3
also have an electronically balanced line level input, type connector on the rear panel. There shall be an output
accommodating a nominal line level of between –10 dBV level control to adjust the main monaural output level.
and +4 dBu, and appearing on the rear panel as a 1/4" 8. OTHER OUTPUT AND MONITORING CONNECTIONS.
TRS phone jack. Each stereo input channel shall have The mixer shall have the following impedance balanced
left and right electronically balanced line level input, line-level connections, appearing as 1/4" TRS jacks on
accommodating a nominal line level of between –10 dBV the rear panel: submix bus outputs 1-4, also wired in
and +4 dBu, and appearing on the rear panel as 1/4" parallel respectively to submix outputs 5-8; left and right
TRS phone jacks. These jacks shall be fitted with internal control room monitor outputs, left and right tape monitor
switching contacts to accommodate monaural configura- outputs, left and right tape monitor inputs. For conve-
tion. Additionally, each of the monaural input channels nience, the left and right main outputs (unbalanced) and
(1-20) shall offer an unbalanced insert connection, the left and right tape monitor inputs shall also appear
appearing on the rear panel as a 1/4" TRS phone jack. as RCA phono jacks on the rear panel. There shall also be
4. INPUT CHANNEL LEVEL AND ASSIGNMENT two stereo headphone outputs on the rear panel of the
CONTROLS AND INDICATORS. Each monaural input chan- mixer, carrying the control room monitor signals at levels
nel shall be equipped with a preamplifier gain control, and impedances proper for headphones. Each head-
a solo switch, a mute switch, three bus assignment phone output connection shall be a stereo 1/4" jack.

7 OF 8 PAGES
 24-Channel Sound
MIXER
SR24•4-VLZ PRO Reinforcement Console

9. OUTPUT AND MONITORING CONTROLS AND SWITCHES. 13. AUXILIARY RETURN CONTROLS AND SWITCHES. The
The mixer shall include one linear fader control for gain mixer shall include 4 dual-channel auxiliary return gain
adjustment of main L/R outputs, covering a range from controls, each feeding the main stereo buses. Auxiliary
SR24•4-VLZ PRO

infinite attenuation to +10 dB above unity gain. A tape returns 1-2 shall have their signals assignable to auxiliary
monitor switch shall alternately select either the main L/R send buses 1 and 2, respectively, through rotary level con-
outputs or the signal at the tape inputs as the source for trols. Auxiliary return 4 shall be assignable to three differ-
the control room and headphones monitoring circuits. ent pairs of destinations, feeding either the main left and
There shall be a stereo dual-channel rotary control for gain right buses or the submix buses.
adjustment of the control room and headphone monitor 14. PHYSICAL CONFIGURATION. The mixer shall have
output. The mixer shall have a stereo dual-channel control a steel chassis frame painted grey-black and designed to
for adjustment of the monitoring level of the internal solo rest on a horizontal surface. The SR24•4-VLZ PRO’s dimen-
signals, and a light to indicate channel solo condition. sions shall be 6.1" (155mm) high by 31" (787mm) wide by
The solo system shall be capable of switching between 19.2" (487mm) deep.
PFL (pre-fader listen) and AFL (after-fader listen––solo in 15. SPECIFICATIONS. In addition to specifications
place) operation. previously cited, the mixer shall meet or exceed the fol-
10. OUTPUT METERING. The mixer frame shall include lowing specifications. Frequency response, microphone
two 13-segment LED meters each displaying a signal range input to any output, 20 kHz to 60 kHz, +0 dB/ –1 dB;
from –40 dBU to +10 dBu, each with an additional LED Total Harmonic Distortion (THD), any input to any output,
indicating mixer clipping level at +22 dBu. The meters 1 kHz @ +14dBu, 0.004%; Equivalent Input Noise (EIN),
shall monitor the main left and right output channels; microphone input to insert send, –129.5 dBm; Common
alternately, the meters shall monitor the tape return sig- Mode Rejection (CMR), microphone input to insert send,
nals when the tape monitor switch is depressed; or, the maximum gain, 1 kHz, better than 90 dB; Typical Main
soloed input channel signals when the solo switch is Output noise, all channels assigned, odd channels panned
depressed. left, even channels panned right, all faders down –94.7
11. AUXILIARY SEND CONNECTIONS. The mixer shall dBu; Signal to Noise ratio, ref +4 dBu operating level, 90
include impedance balanced, line-level outputs from the dB; Attenuation, ref. 0 dB @ 1 kHz, Main Mix level con-
six auxiliary send buses, appearing on the rear panel as trol down, –85 dBu; Channel Mute engaged, –84 dBu;
1/4" TRS phone jacks. Channel Gain control down, –83 dBu; Input impedance,
12. AUXILIARY RETURN CONNECTIONS. The mixer shall microphone inputs, 1.5 kΩ; Channel Insert return, 2.5 kΩ;
include 4 stereo auxiliary return inputs. Each auxiliary all other inputs, greater than 10 kΩ; Output impedance,
return shall have a left and a right balanced line-level Tape Out, 1.1 kΩ; All other outputs, 120Ω.
input, accommodating a nominal line level of between 16. DESIGNATION. The mixer shall be a Mackie Designs
–10 dBu and +4 dBu, and shall appear on the rear panel SR24•4-VLZ PRO.
as 1/4" TRS phone jacks. The jacks shall be fitted with
internal switching contacts to accommodate monaural
configuration.

Electronic files for this product available at:

www.mackie.com/installed
This Specification Sheet SR24VLZPRO_SS.PDF
Owner/Operator’s Manual SRVLZPRO_OM.PDF
CADD files SR24VLZPRO.DXF

Mackie Designs continually engages in research related to product improvement. New material, pro-
duction methods, and design refinements are introduced into existing products without notice as a
www.mackie.com routine expression of that philosophy. For this reason, any current Mackie product may differ in some
16220 Wood-Red Road NE, Woodinville, WA 98072 USA respect from its published description, but will always equal or exceed the original design specifica-
tions unless otherwise stated. ©1999–2002 Mackie Designs Inc. All rights Reserved. Mackie and
888.337.7404, fax 425.487.4337, sales@mackie.com the “Running Man” figure are registered trademarks of Mackie Designs Inc.

Part No. 0003711 Rev A1 10/02

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