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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) Features ■ 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 RELATED PRODUCTS Applications SR32«4-VLZ PRO ■ Live sound mixing ■ Multi-track recording 1 OF 8 PAGES SR24 4-VLZ PRO MIXER SR244-VLZ PRO 24-Channel Sound Reinforcement Console (continued from page 1) 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 <0.0007% Other outputs <0.004% Crosstalk (1 kHz @ 0 dBu, 20 Hz to 20 kHz bandwidth, channel in to Main Left outputs): Channel fader down, channels at Unity -89.5 dB Channel muted, channels 2-16 at Unity -88.7 dB Frequency Response (any input to any output): 20 Hz to 60 kHz +0/-1dB 10 Hz to 100 kHz +0/-3dB Maximum Levels Mic preamp input +22 dBu All other inputs +22 dBu Balanced XLR outputs +28 dBu All other outputs +22 dBu Impedances Mic preamp input 1.5 kQ All other inputs >10 kQ All outputs 120 Q Equalization Lo EQ Shelving 80 Hz +15 dB Mid EQ (mono ch) Peak 100 Hz-8 kHz +15 dB Hi EQ Shelving 12 kHz +15 dB Microphone Preamp E.I.N. (150 Q terminated, max gain) -129.5 dBm Power Requirements 60 watts ■ Channels can be assigned to buses 1-2, 3-4, and Main Mix L/R, and the 4 subs can be assigned to Left and Right Main Mix. Furthermore, each bus is “double-bused,” providing eight outputs that can be connected to an 8-track recorder without repatching. Each sub out (1-4) and main out (L/R) has a TRS insert jack. Furthermore, Mackie’s unique “AIR” EQ circuit is included on each of the four subgroups. It provides a gentle nudge to the extreme high-end, without affecting lower treble octaves. ■ Outputs include XLR and 1/4" TRS line outputs for the left and right mains, 1/4" TRS line outputs for subs 1-4, and an XLR mono main output. The mono main out has its own level control, so a mono mix can be sent to another zone and adjusted accordingly. ■ The Phones/Control Room switch and level control are connected to two stereo headphone outputs and the left and right Control Room output, allowing the stereo Tape Return, Left/Right Main Mix, and Solo to be monitored. ■ A stereo playback device can be monitored via the Tape Return Inputs. Ta...