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General| Channels | 16 |
|---|---|
| Aux Sends | 6 |
| Subgroups | 4 |
| Phantom Power | Yes |
| Type | Analog Mixer |
| Outputs - Main | 2 x XLR, 2 x 1/4" TRS |
| Bus Outputs | 4 |
| Headphone Outputs | 1 |
| Inputs - Line | 16 |
| Outputs - Other | 4 (Subgroups) |
| Main Outputs | 2 |
| Mic Preamps | 16 |
| EQ Bands | 3-band |
Comprehensive safety and operating guidelines to follow before using the mixer.
Step-by-step guide to setting optimal input levels for low noise and high headroom.
A quick guide to setting up and getting a basic mix with a microphone and keyboard.
Tips for optimal sonic performance, power management, and gear care.
Details on the mixer's rear panel connectors and their functions.
Explains the layout and function of the mixer's individual channel strips.
Describes the mixer's output section controls and connections.
Discussion on mixer connectivity and how it handles various signal types.
Details on the mixer's unified mic/line input circuit design for all channels.
Information on using balanced mic inputs, XLR connectors, and noise rejection.
Explanation of how phantom power is supplied to condenser microphones.
Information on connecting line-level sources via 1/4" jacks, including balanced and unbalanced.
Explanation of the trim control for adjusting input sensitivity and setting optimal levels.
How to use insert jacks for connecting external effects processors like compressors and EQs.
Using direct outputs for individual channel signal routing, especially for multitracking.
A technique for using the mixer's direct outputs for multitrack recording and monitoring.
Details on using auxiliary sends for monitor mixes or external effects units.
Explains the two methods of integrating external effects devices into the signal path.
Connecting outputs from effects processors back into the mixer.
Details on using subgroup outputs for routing signals to multitrack decks or secondary amplifiers.
Outputs for control room monitors, allowing independent listening.
Information on connecting headphones and controlling the output volume.
Outputs for simultaneous recording of the main mix to a tape deck.
Inputs for playback from a tape deck or other stereo sources.
Insert point for processing the main mix signal before it reaches the main outputs.
The primary stereo outputs for connecting to amplifiers or recording devices.
A dedicated mono mix output derived from the main stereo mix.
Guidelines for connecting the mixer to a power source and understanding the power requirements.
Location and type of fuse for protection and replacement.
The main switch to power the mixer on and off.
How the phantom power switch affects condenser microphones and its operation.
Indicator confirming the phantom power status.
Socket for connecting an external gooseneck lamp for console illumination.
Explanation of the "U" symbol indicating unity gain on level controls.
Explanation of the channel fader's role in controlling signal level post-EQ and pre-PAN.
How assignment switches route channel signals to subgroups or the main mix.
Functionality of the solo switches, including NORMAL (AFL) and LEVEL SET (PFL) modes.
LED that indicates signal activity or when a channel's SOLO is engaged.
LED that indicates overload (clip) or when a channel's MUTE is engaged.
How the mute switch interrupts the channel signal and affects sends and outputs.
Explanation of the pan control for stereo placement and its "Constant Loudness" feature.
Details on the equalizer controls for shaping the tonal characteristics of each channel.
How the low cut filter reduces unwanted low-frequency noise and subsonic debris.
Controls for routing signals to auxiliary sends for monitors or effects.
Determines if aux send signals follow EQ/fader or just TRIM/LOW CUT.
Switches between AUX SEND 3/4 and 5/6 outputs for greater flexibility.
Control for the overall stereo output level sent to the main outputs.
Faders controlling levels for signals routed to the subgroup outputs.
Routing subgroup signals to the main mix for master control.
Control for the playback level of stereo signals from the Tape Input jacks.
Selecting which signals are routed to the control room and headphone outputs for monitoring.
The main control for headphone and control room monitor levels.
Choosing between AFL and PFL modes for the solo system.
Indicator confirming the mixer is in Level Set (PFL) mode for setting levels.
Control for the solo system's output level sent to monitors and meters.
Flashing LED that indicates when a channel's SOLO switch is engaged.
How the LED meter displays indicate signal levels based on SOURCE or SOLO selections.
Master level controls for AUX SEND 1 and 2, influencing monitor mix levels.
Solo switches for auxiliary sends to check monitor mixes independently.
Controls for setting the overall level of effects returned from stereo aux inputs.
Knobs for routing effects signals to stage monitor mixes.
Switch to route AUX RETURN 3 to the main mix or subgroups.
Routes AUX RETURN 4 exclusively to the control room/phones output.
Solo switch for all stereo aux returns to check processed signals.
Instructions and warnings regarding modifications to the mixer's circuitry.
Details a modification to route aux sends post-EQ instead of pre-EQ.
Details a modification to route the main mix stereo signal pre-fader to the source matrix.
A visual representation of the mixer's internal signal flow and component connections.
A diagram illustrating signal levels and gain stages throughout the mixer.
Technical details including noise, levels, impedances, EQ, and physical dimensions.
Guidance on troubleshooting common issues and contacting Mackie for service.
Step-by-step checks for identifying and resolving common channel and output problems.
Definition of After Fade Listen, a solo monitoring mode.
Definition of routing signals to specific paths or combinations of paths.
Definition of the frequency range a device passes with minimal loss.
Unit of measurement for audio signal level expressed in decibels.
An electronic effect that creates a time-shifted repetition of an audio signal.
Refers to the original, unprocessed signal, without added effects.
A distinct repetition of a sound, often used interchangeably with reverberation.
A graph representing the frequency response of an equalizer.
The process of adjusting the frequency response of audio signals.
The measure of how much a circuit amplifies a signal, often expressed in decibels.
Unwanted noise caused by multiple ground connections in a system.
The difference between nominal operating level and peak clipping.
Amplifier that boosts low microphone signals to line level, setting noise performance.
Acronym for Pre Fade Listen, allowing channel soloing with the fader down.
Electrical power supplied to condenser microphones via the audio cable.
Bass frequency boost in directional mics at close distances.
Standard connector for consumer audio and unbalanced signals.
The decaying sound reflections in a room, simulating acoustic space.
Audio reproduction using two independent channels for spatial separation.
A circuit that outputs a signal at the same level it receives, with no amplification or attenuation.
Mackie's Very Low Impedance technology for reduced noise.
Details on the 3-pin female XLR connectors used for microphone inputs.
Information on stereo or balanced 1/4" connectors and their wiring.
Information on mono or unbalanced 1/4" connectors and their wiring.
How inserted plugs activate internal switches for routing or circuit changes.
Description of RCA connectors, commonly used for consumer audio and unbalanced signals.
Guidelines for connecting balanced outputs to unbalanced inputs and vice-versa.
Using TRS insert jacks for sending and receiving signals to/from external processors.
How to connect mono and stereo sources to the mixer's stereo inputs and returns.
Explanation of using mults and Y-cords to split signals from one output to multiple inputs.
Benefits of balanced audio lines for noise immunity and signal integrity.
Explanation of phantom power and its requirements for condenser microphones.
A chart outlining recommended practices and potential issues with phantom power.
List of devices and microphones compatible with phantom power systems.
Practical advice for installing sound systems in permanent locations.
Explanation of grounding for safety and noise reduction in audio systems.
