SR24•4-VLZ PRO 24-Channel Sound Reinforcement ... - Mackie

Introduction
� 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 Mackie mixers, the SR24•4-VLZ PRO is designed
for rugged, 24-hour-a-day use. With its multiple 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
SMT-plated fiberglass circuit boards, and 60 mm faders
with ultra-tight lip seals for keeping out dust and other
contaminants. Impact-resistant knobs are mounted so they
“ride” just above the steel chassis.
� The SR24•4-VLZ PRO has 20 mono mic/line input channels,
with XLR mic inputs and 1/4" TRS line inputs, and 2
stereo line input channels with 1/4" TRS inputs. All mono
channels have TRS insert jacks (tip = send, ring = return).
Each channel strip has an input trim, 6 aux sends (2 prefader,
2 post-fader, and 2 switchable pre or post), 3-band
EQ with sweepable midrange (4-band EQ on the stereo channels),
pan control, and mute, solo, and bus assign switches.
A 60 mm fader provides output gain for each channel.
� Twenty XDR mic preamps provide high-headroom and
low-noise. They are impedance-independent, so the frequency
response remains constant whether the mic preamp
is presented with an extremely high- or low-impedance
load. Additionally, each channel has its own switchable
low-cut filter (18 dB/octave @ 75 Hz).
� The mono channel EQs provide a range of ±15 dB at the
following frequencies: 12 kHz shelving high-frequency EQ,
100 Hz to 8 kHz sweepable peaking mid-frequency EQ,
and 80 Hz shelving low-frequency EQ. The stereo channels
(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 L A T E D P R O D U C T S
SR32•4-VLZ PRO
SR24•4-VLZ PRO
24-Channel Sound Reinforcement Console
Features
MIXER
SR24•4-VLZ PRO
� Low noise/high headroom XDR (Extended Dynamic
Range) mic preamps with excellent RFI rejection
� New high-performance 2068 op-amps for incredibly low
noise and distortion
� Improved cooling for even greater thermal protection
� 20 mic/line mono, and 2 stereo line channels
� True 4-bus design
� Solo, pan, and 16 kHz Air EQ on each submaster
� 6 individual aux sends per channel (2 pre, 2 post,
2 switchable pre/post)
� 3-band swept midrange EQ on mic channels;
4-band fixed on stereo line channels
� 75 Hz low-cut filters on mic channels
� Mute, solo, signal present and OL LEDs on every channel
� 6 aux send masters with individual solos
� 4 stereo aux returns with EFX monitor
� Separate Talkback section with mic preamp
� Double-bused sub outs for easy multi-track routing
� Balanced stereo TRS & XLR main outputs
� Balanced XLR mono output with level control
Applications
� Live sound mixing
� Multi-track recording
1 O F 8 P A G E S

MIXER
SR24•4-VLZ PRO
SR24•4-VLZ PRO
Specifications
Noise
(20 Hz to 20 kHz bandwidth, Line inputs to Main L/R outputs,
all channels assigned, panned L/R):
Master fader down, Ch. gains down –94.7 dBu
Master fader @ unity, Ch. gains down –87.4 dBu
Master fader @ unity, Ch. gains @ unity –83.5 dBu
Total Harmonic Distortion
(1 kHz @ +14 dBu, 20 Hz-20 kHz):
Mic input insert output

SR24•4-VLZ PRO
SR24•4-VLZ PRO Top
WITH PREMIUM XDRTM SR SERIES 24•4•2 4–BUS MIXING CONSOLE MIC PREAMPLIFIERS
SR24•4-VLZPRO
-10dBV
-10dBV
-10dBV
-10dBV
-10dBV
-10dBV
-10dBV
-10dBV
-10dBV
-10dBV
-10dBV
-10dBV
-10dBV
-10dBV
-10dBV
-10dBV
-10dBV
-10dBV
-10dBV
-10dBV
MIC GAIN
MIC GAIN
MIC GAIN
MIC GAIN
MIC GAIN
MIC GAIN
MIC GAIN
MIC GAIN
MIC GAIN
MIC GAIN
MIC GAIN
MIC GAIN
MIC GAIN
MIC GAIN
MIC GAIN
MIC GAIN
MIC GAIN
MIC GAIN
MIC GAIN
MIC GAIN
LAMP
TRIM
23
24
CLIP
28
10
7
4
2
0
2
4
7
10
20
30
40
U
U
U
1
1
1
+15
O
O
+20
O
O
SOLO
+15
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
U
U
U
2
2
2
+15
O
O
+20
O
O
SOLO
+15
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
TO AUX
SEND
1-2
(EFX TO MONITOR)
U
U
U
3
3
+20
O
O
SOLO
+15
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
U
U
4
4
+20
O
O
+20
O
O
SOLO
+15
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
TAPE
RETURN
U
LEFT RIGHT
OPERATING LEVEL
0dB = 0dBu
5
ASSIGN
TO SUB
GLOBAL
AUX RETURN
1-2
3-4
SUB SOLO
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
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
+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
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
4
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
POST
POST
POST
POST
POST
POST
POST
POST
POST
POST
POST
POST
POST
POST
POST
POST
POST
POST
POST
POST POST
POST
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
POST
POST
POST
POST
POST
POST
POST
POST
POST
POST
POST
POST
POST
POST
POST
POST
POST
POST
POST
POST
POST
POST
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
12k
HI
EQ
12k
HI
1
PRE
2
PRE
3
PRE
5
6
EQ
12k
HI
TRIM
1
AUX
1
PRE
2
PRE
3
PRE
5
6
EQ
12k
HI
TRIM
2
AUX
1
PRE
2
PRE
3
PRE
5
6
EQ
12k
HI
TRIM
3
AUX
1
PRE
2
PRE
3
PRE
5
6
EQ
12k
HI
TRIM
4
AUX
1
PRE
2
PRE
3
PRE
5
6
EQ
12k
HI
TRIM
5
AUX
1
PRE
2
PRE
3
PRE
5
6
EQ
12k
HI
TRIM
6
AUX
1
PRE
2
PRE
3
PRE
5
6
EQ
12k
HI
TRIM
7
AUX
1
PRE
2
PRE
3
PRE
5
6
EQ
12k
HI
TRIM
8
AUX
1
PRE
2
PRE
3
PRE
5
6
EQ
12k
HI
TRIM
9
AUX
1
PRE
2
PRE
3
PRE
5
6
EQ
12k
HI
TRIM
10
AUX
1
PRE
2
PRE
3
PRE
5
6
EQ
12k
HI
TRIM
11
AUX
1
PRE
2
PRE
3
PRE
5
6
EQ
12k
HI
TRIM
12
AUX
1
PRE
2
PRE
3
PRE
5
6
EQ
12k
HI
TRIM
13
AUX
1
PRE
2
PRE
3
PRE
5
6
EQ
12k
HI
TRIM
14
AUX
1
PRE
2
PRE
3
PRE
5
6
EQ
12k
HI
TRIM
15
AUX
1
PRE
2
PRE
3
PRE
5
6
EQ
12k
HI
TRIM
16
AUX
1
PRE
2
PRE
3
PRE
5
6
EQ
12k
HI
TRIM
17
AUX
1
PRE
2
PRE
3
PRE
5
6
EQ
12k
HI
TRIM
18
AUX
1
PRE
2
PRE
3
PRE
5
6
EQ
12k
HI
TRIM
19
AUX
1
PRE
2
PRE
3
PRE
5
6
EQ
12k
HI
TRIM
TRIM
20 21
22
AUX
AUX
AUX
1
1
PRE
PRE
2
2
PRE
PRE
3
3
4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4
PRE
PRE
5
5
6
6
EQ
LEVEL SET
SOLO
+15
O
O
U
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
6
POWER
RUDE
SOLO
LIGHT
SOLO
+15
O
O
STEREO
AUX RETURNS
AUX SEND
MASTERS
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
24-Channel Sound
Reinforcement Console
MODE
U
PRE FADER
IN PLACE AFL
+15
LEVEL
O
O
TRACK
4
•
8
TRACK
3
•
7
TRACK
2
•
6
TRACK
1
•
5
+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
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
MID
3k
HI
MID
3k
HI
MID
MID
MID
MID
MID
MID
MID
MID
MID
MID
MID
MID
MID
MID
MID
MID
MID
MID
MID
MID
SUB
AUX
SOLO
+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
5
5
5
5
U
U
600
600
600
600
600
600
600
600
600
600
600
600
600
600
600
600
600
600
600
600
LOW
MID
800Hz
LOW
MID
800Hz
1.5k
1.5k
150
100
1.5k
150
100
1.5k
150
100
1.5k
150
100
1.5k
150
100
1.5k
150
100
1.5k
150
100
1.5k
150
100
1.5k
150
100
1.5k
150
100
1.5k
150
100
1.5k
150
100
1.5k
150
100
1.5k
150
100
1.5k
150
100
1.5k
150
100
1.5k
150
100
1.5k
150
100
1.5k
150
100
MAX
O
O
0
150
100
+15
-15
+15
-15
8k
8k
8k
8k
8k
8k
8k
8k
8k
8k
8k
8k
8k
8k
8k
8k
8k
8k
8k
8k
LEVEL
+10
0 +10
0 +10
0 +10
AIR AIR AIR AIR
16kHz
16kHz
16kHz
16kHz
SOLO SOLO SOLO SOLO
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
MAIN MIX
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
LOW
80Hz
LOW
80Hz
LOW
80Hz
LOW
80Hz
LOW
80Hz
LOW
80Hz
LOW
80Hz
LOW
80Hz
LOW
80Hz
LOW
80Hz
LOW
80Hz
LOW
80Hz
LOW
80Hz
LOW
80Hz
LOW
80Hz
LOW
80Hz
LOW
80Hz
LOW
80Hz
LOW
80Hz
LOW
80Hz
LOW
80Hz
LOW
80Hz
AUX 1-2
+15
-15
+15
-15
LOW CUT
75 Hz
18dB/OCT
+15
-15
-15 +15
LOW CUT
75 Hz
18dB/OCT
-15 +15
LOW CUT
75 Hz
18dB/OCT
LOW CUT
75 Hz
18dB/OCT
+15
-15
-15 +15
LOW CUT
75 Hz
18dB/OCT
-15 +15
LOW CUT
75 Hz
18dB/OCT
-15 +15
LOW CUT
75 Hz
18dB/OCT
-15 +15
LOW CUT
75 Hz
18dB/OCT
LOW CUT
75 Hz
18dB/OCT
+15
-15
-15 +15
LOW CUT
75 Hz
18dB/OCT
-15 +15
LOW CUT
75 Hz
18dB/OCT
-15 +15
LOW CUT
75 Hz
18dB/OCT
-15 +15
LOW CUT
75 Hz
18dB/OCT
LOW CUT
75 Hz
18dB/OCT
+15
-15
LOW CUT
75 Hz
18dB/OCT
+15
-15
LOW CUT
75 Hz
18dB/OCT
+15
-15
LOW CUT
75 Hz
18dB/OCT
+15
-15
LOW CUT
75 Hz
18dB/OCT
+15
-15
+15
-15
+15
-15
LOW CUT
75 Hz
18dB/OCT
LOW CUT
75 Hz
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
MAX
O
O
TAPE RETURN
TO PHONES / C R
L R L R L R L R
PAN PAN
PAN
PAN
L/R ASSIGN L/R ASSIGN L/R ASSIGN L/R ASSIGN
-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
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
MAIN MIX
LEFT/RIGHT
23 24
MUTE
21 22
MUTE
20
MUTE
19
MUTE
18
MUTE
17
MUTE
16
MUTE
15
MUTE
14
MUTE
13
MUTE
12
MUTE
11
MUTE
10
MUTE
9
MUTE
8
MUTE
7
MUTE
6
MUTE
5
MUTE
4
MUTE
3
MUTE
2
MUTE
1
MUTE
TAPE RETURN
TO MAIN MIX
SUB SUB SUB SUB
1 2 3 4
MUTE /
SOLO
MUTE /
SOLO
MUTE /
SOLO
MUTE /
SOLO
MUTE /
SOLO
MUTE /
SOLO
MUTE /
SOLO
MUTE /
SOLO
MUTE /
SOLO
MUTE /
SOLO
MUTE /
SOLO
MUTE /
SOLO
MUTE /
SOLO
MUTE /
SOLO
MUTE /
SOLO
MUTE /
SOLO
MUTE /
SOLO
MUTE /
SOLO
MUTE /
SOLO
MUTE /
SOLO
MUTE /
SOLO
MUTE /
SOLO
dB
10
dB
10
dB
10
dB
10
dB
10
5
5
5
5
5
U
U
U
U
U
5
5
5
5
5
10
10
10
10
10
20
30
20
30
20
30
20
30
20
30
dB
dB
dB
dB
dB
dB
dB
dB
dB
dB
dB
dB
dB
dB
dB
dB
dB
dB
dB
dB
dB
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
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
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
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
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
30
30
30
30
30
30
30
30
30
30
30
30
30
30
30
30
30
30
30
30
30
dB
10
5
U
5
10
20
30
40
50
40
50
40
50
40
50
40
50
40
50
40
50
40
50
40
50
40
50
40
50
40
50
40
50
40
50
40
50
40
50
40
50
40
50
40
50
40
50
40
50
40
50
40
50
40
50
40
50
40
50
40
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
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
3
O F 8 P A G E S

SR24•4-VLZ PRO
SR24•4-VLZ PRO Rear Panel
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
23 21
SUB INSERTS
(BAL OR UNBAL)
SUB OUTS
(BAL OR UNBAL)
1 5 1
STEREO AUX RETURNS
(BAL OR UNBAL)
AUX SENDS
(BAL OR UNBAL)
1 4
MAIN OUTS
(BAL OR UNBAL)
L
R
1
L
L
MONO MONO
L
INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT
2
6
2
L
2
R
2 5
24-Channel Sound
Reinforcement Console
R R
R
LINE IN
(BAL OR UNBAL)
LINE IN
(BAL OR UNBAL)
LINE IN
(BAL OR UNBAL)
LINE IN
(BAL OR UNBAL)
LINE IN
(BAL OR UNBAL)
LINE IN
(BAL OR UNBAL)
LINE IN
(BAL OR UNBAL)
LINE IN
(BAL OR UNBAL)
LINE IN
(BAL OR UNBAL)
LINE IN
(BAL OR UNBAL)
MIC 10 MIC 9
LINE IN
(BAL OR UNBAL)
LINE IN
(BAL OR UNBAL)
LINE IN
(BAL OR UNBAL)
LINE IN
(BAL OR UNBAL)
LINE IN
(BAL OR UNBAL)
LINE IN
(BAL OR UNBAL)
LINE IN
(BAL OR UNBAL)
LINE IN
(BAL OR UNBAL)
LINE IN
(BAL OR UNBAL)
LINE IN
(BAL OR UNBAL)
22
24
3 6 R
L 3
7 3
3
MIC 1
MIC 2
MIC 3
MIC 4
MIC 5
MIC 6
MIC 7
MIC 8
MIC 11
MIC 12
MIC 13
MIC 14
MIC 15
MIC 16
MIC 17
MIC 18
MIC 19
MIC 20
L
XDR MIC PRE
XDR MIC PRE
XDR MIC PRE
XDR MIC PRE
XDR MIC PRE
XDR MIC PRE
XDR MIC PRE
XDR MIC PRE
XDR MIC PRE
XDR MIC PRE
XDR MIC PRE
XDR MIC PRE
XDR MIC PRE
XDR MIC PRE
XDR MIC PRE
XDR MIC PRE
XDR MIC PRE
XDR MIC PRE
XDR MIC PRE
XDR MIC PRE
L L
4
8
4
L R
L
4
(BAL OR UNBAL)
R
R
R
R
TAPE OUT
TAPE IN
(MONO)
CONTROL ROOM OUT
MAIN INSERTS
THE FOLLOWING ARE TRADEMARKS OR REGISTERED TRADEMARKS OF MACKIE DESIGNS INC.: "MACKIE.", AND THE "RUNNING MAN" FIGURE • US PATENT NUMBER Des. 380,760 XDR TM EXTENDED DYNAMIC RANGE MIC PREAMPLIFIERS ARE PROPRIETARY TO MACKIE DESIGNS INC.
MONO
MAIN OUT
LEFT
MAIN OUT
RIGHT
MAIN OUT
TALK BACK
MIC
PHANTOM
ON
POWER
ON
OUTPUT
LEVEL
PHONES
2
PHONES
1
120VAC
50/60 HZ 60W
1A/250V SLO BLO
FUSE INSIDE
INSERT CAUTION WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT
SERIAL NUMBER MANUFACTURING DATE
EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. DO NOT REMOVE COVER.
STEREO
RISK OF ELECTRIC SHOCK
PLUG
NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.
DO NOT OPEN
AVIS: RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR
TIP OUT TO EFFECTS DEVICE
REPLACE WITH THE SAME TYPE FUSE AND RATING.
UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE.
RING RETURN FROM EFFECTS
DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE
DEBRANCHER AVANT DE REMPLACER LE FUSIBLE
24•4•2 4 BUS MIXING CONSOLE
WITH PREMIUM XDR TM MIC PREAMPLIFIERS
24•4-VLZPRO
MAIN
BALANCED
OUTPUTS
PIN 2 = HOT
PIN 3 = COLD
+6
O
O
CAUTION: TO REDUCE
THE RISK OF FIRE, REPLACE
WITH THE SAME TYPE FUSE
AND RATING
OFF
OFF
CONCEIVED, DESIGNED, AND MANUFACTURED
BY MACKIE DESIGNS INC. • WOODINVILLE • WA
98072 • USA • MADE IN USA • FABRIQUE AU USA
4
O F 8 P A G E S

SR24•4-VLZ PRO
5
SR24•4-VLZ Pro Dimensions
O F 8 P A G E S
1.80"
1.30"
18.90"
19.20"
31.00"
24-Channel Sound
Reinforcement Console
2.80"
5.60"
2.80"
0.50"
19.20"
24•4
WEIGHT
31 lbs.

SR24•4-VLZ PRO
6
SR24•4-VLZ PRO Block Diagram
GAIN
LEFT
OUT
SUB
OUT
1
FADER
SOLO L
SOLO R
PFL
LOGIC
AUX 1
AUX 2
AUX 3
AUX 4
AUX 5
AUX 6
L MIX
R MIX
SUB 1
SUB 2
SUB 3
SUB 4
ASSIGN
SWITCHES
INSERT -20 dB LED
•
•
O/L LED
AIR
16kHz
•
•
•
•
• •
Vp
INSERT
∑
EQ
O F 8 P A G E S
•
•
MUTE
PHANTOM POWER
(GLOBAL SWITCH)
MACKIE XDR
•
MIC PREAMP
L
TAPE OUT
SUB
OUT
5
1-2
•
•
•
•
•
•
PAN
LO MID HI
100-
80 8k 12k
•
•
•
2
1
R
•
SUB OUT 1 (1 OF 4)
ASSIGN
TO L-R
SOLO
75Hz
HPF
LO CUT
+
-
•
•
•
•
FADER
•
MIC
IN
3
•
PFL
•
•
3-4
RIGHT
OUT
•
•
• •
•
MONO
LEVEL
•
LOGIC
•
•
•
•
•
TRIM: MIC GAIN-
0 to +60 dB
LINE GAIN-
-15 to +45 dB
PAN
GAIN GAIN
FREQ GAIN
LINE
IN
•
•
•
L-R
MONO
XLR
OUT
1
2
•
3
•
TAPE TO L-R
∑
L MIX INSERTS FADER
•
•
SOLO IN
PLACE
MUTE
LED
PRE-FADER
POST-FADER
AUX 1
BOLD LINES INDICATE
SIGNAL PATH FROM MIC
INPUT TO LEFT MAIN OUTPUT.
LEFT
XLR
OUT
1
2
•
•
AUX 2
•
•
3
R MIX
•
PFL
•
PRE
•
AUX 3
•
•
LOGIC
RIGHT
XLR
OUT
1
2
∑
•
•
AUX 4
•
3
• • • • • •
MONO
INPUT
CHANNEL
(1 of 20)
MONITOR LEVEL
SOLO RELAY
AUX 5
•
• ∑ •
TAPE IN
•
L
CONTROL
ROOM OUT
•
•
AUX 6
•
∑
•
•
•
TAPE TO
MONITOR
•
R
LEVEL
24-Channel Sound
Reinforcement Console
•
RUDE SOLO LED
•
•
•
•
MID MID
• • •
80 800 3k 12k
LO LO- HI- HI
1-2
MUTE
FADER
+
-
•
PFL/SIP
PAN
•
•
•
•
•
•
LEFT
(MONO)
L
•
∑
•
O/L
LED
PHONES
OUTPUTS
PHONES
AMPS
SOLO
LEVEL
•
3-4
•
•
•
•
-20dB
LED
•
•
•
•
•
•
TRIM
R
RELAY
•
∑
∑
•
∑
•
•
L-R
•
•
+22
+10
+7
+4
+2
0
-2
-4
-7
-10
-20
-30
-40
•
AUX SEND 1 (2)
•
•
∑
•
•
•
LO LO- HI- HI
MID MID
80 800 3k 12k
•
+
-
RIGHT
•
SOLO IN
PLACE
•
MUTE
LED
•
LINE GAIN-
-20 TO +20dB
L
•
+ -
•
•
•
•
PFL
•
•
•
R
+
-
LEVEL
•
SOLO
LOGIC
• •
•
AUX RET 1 (2) IN
•
PRE-FADER
POST-FADER
AUX 1
STEREO
INPUT
CHANNEL
(1 OF 2)
• • • • • •
•
•
•
METERS
ØdBu=Ø VU
L
+ -
•
•
•
•
∑
•
AUX 2
•
+
-
∑ • •
•
•
•
PRE
LEVEL
R
AUX 3
•
LEVEL
•
•
∑
AUX RET 3 IN
•
•
•
•
AUX 4
•
SOLO
L
•
+
-
•
AUX 5
•
AUX 1
OUTPUT
•
+ -
•
TB TO AUX 1-2
LEVEL
AUX 6
R
1-2
3-4 L-R/SUBS LEVEL
•
•
•
•
•
•
• •
•
•
•
AUX
SEND
(1 OF 6)
AUX RET 4 IN
•
TALKBACK
XLR INPUT
•
SR24•4-VLZ PRO
BLOCK DIAGRAM REV 1 3/28/2000
SOLO LED
TB TO L-R MIX

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

MIXER
SR24•4-VLZ PRO
SR24•4-VLZ PRO
9. OUTPUT AND MONITORING CONTROLS AND SWITCHES.
The mixer shall include one linear fader control for gain
adjustment of main L/R outputs, covering a range from
infinite attenuation to +10 dB above unity gain. A tape
monitor switch shall alternately select either the main L/R
outputs or the signal at the tape inputs as the source for
the control room and headphones monitoring circuits.
There shall be a stereo dual-channel rotary control for gain
adjustment of the control room and headphone monitor
output. The mixer shall have a stereo dual-channel control
for adjustment of the monitoring level of the internal solo
signals, and a light to indicate channel solo condition.
The solo system shall be capable of switching between
PFL (pre-fader listen) and AFL (after-fader listen––solo in
place) operation.
10. OUTPUT METERING. The mixer frame shall include
two 13-segment LED meters each displaying a signal range
from –40 dBU to +10 dBu, each with an additional LED
indicating mixer clipping level at +22 dBu. The meters
shall monitor the main left and right output channels;
alternately, the meters shall monitor the tape return signals
when the tape monitor switch is depressed; or, the
soloed input channel signals when the solo switch is
depressed.
11. AUXILIARY SEND CONNECTIONS. The mixer shall
include impedance balanced, line-level outputs from the
six auxiliary send buses, appearing on the rear panel as
1/4" TRS phone jacks.
12. AUXILIARY RETURN CONNECTIONS. The mixer shall
include 4 stereo auxiliary return inputs. Each auxiliary
return shall have a left and a right balanced line-level
input, accommodating a nominal line level of between
–10 dBu and +4 dBu, and shall appear on the rear panel
as 1/4" TRS phone jacks. The jacks shall be fitted with
internal switching contacts to accommodate monaural
configuration.
www.mackie.com
16220 Wood-Red Road NE, Woodinville, WA 98072 USA
800.898.3211, fax 425.487.4337, sales@mackie.com
UK +44.1268.570.808, fax +44.1268.570.809, uk@mackie.com
24-Channel Sound
Reinforcement Console
13. AUXILIARY RETURN CONTROLS AND SWITCHES. The
mixer shall include 4 dual-channel auxiliary return gain
controls, each feeding the main stereo buses. Auxiliary
returns 1-2 shall have their signals assignable to auxiliary
send buses 1 and 2, respectively, through rotary level controls.
Auxiliary return 4 shall be assignable to three different
pairs of destinations, feeding either the main left and
right buses or the submix buses.
14. PHYSICAL CONFIGURATION. The mixer shall have
a steel chassis frame painted grey-black and designed to
rest on a horizontal surface. The SR24•4-VLZ PRO’s dimensions
shall be 6.1" (155mm) high by 31" (787mm) wide by
19.2" (487mm) deep.
15. SPECIFICATIONS. In addition to specifications
previously cited, the mixer shall meet or exceed the following
specifications. Frequency response, microphone
input to any output, 20 kHz to 60 kHz, +0 dB/ –1 dB;
Total Harmonic Distortion (THD), any input to any output,
1 kHz @ +14dBu, 0.004%; Equivalent Input Noise (EIN),
microphone input to insert send, –129.5 dBm; Common
Mode Rejection (CMR), microphone input to insert send,
maximum gain, 1 kHz, better than 90 dB; Typical Main
Output noise, all channels assigned, odd channels panned
left, even channels panned right, all faders down –94.7
dBu; Signal to Noise ratio, ref +4 dBu operating level, 90
dB; Attenuation, ref. 0 dB @ 1 kHz, Main Mix level control
down, –85 dBu; Channel Mute engaged, –84 dBu;
Channel Gain control down, –83 dBu; Input impedance,
microphone inputs, 1.5 kΩ; Channel Insert return, 2.5 kΩ;
all other inputs, greater than 10 kΩ; Output impedance,
Tape Out, 1.1 kΩ; All other outputs, 120Ω.
16. DESIGNATION. The mixer shall be a Mackie
SR24•4-VLZ PRO.
Electronic files for this product available at:
www.mackie.com/installed
This Specification Sheet SR24VLZPRO_SS.PDF
Owner/Operator’s Manual SRVLZPRO_OM.PDF
LOUD Technologies continually engages in research related to product improvement. New material,
production methods, and design refinements are introduced into existing products without notice as
a routine expression of that philosophy. For this reason, any current LOUD Technologies product may
differ in some respect from its published description, but will always equal or exceed the original
design specifications unless otherwise stated. ©1999–2004 LOUD Technologies Inc. All rights
reserved. Mackie and the “Running Man” figure are registered trademarks of LOUD Technologies Inc.
8
Part No. 0003711 Rev A2 9/04
O F 8 P A G E S