MACKIE BEDIENUNGSANLEITUNG HD1221 - Handbuch (Seite 6)

HD1221: MONITOR-SETUP
Mackie HD1221 powered loudspeakers strewn across the stage in monitor position
Power
Cord Power
Cord Power
Cord Power
Cord
AUX SENDS 1-3 to Mackie HD1221
powered loudspeaker MAIN INPUTS
Mackie HD1221 powered
loudspeaker LOOP OUT to
Mackie HD1221 powered
loudspeaker MAIN INPUT for the
prima donna lead singer who
needs two monitors
LEFT/RIGHT MAIN OUTS to house PA
(Mackie HD1801 Power Subwoofers and
Mackie HD1531 Powered Loudspeakers
not shown, but that would be a great setup!)
Mixing Console
(Mackie 2404-VLZ3 shown)
01 P L A T E R E V E R B
02 V O C A L P L A T E
03 W A R M R O O M
04 BRIGHT ROOM
05 WARM LOUNGE
06 SMALL STAGE 13 CHORUS
14 CHORUS + REVERB
15 D O U B L E R
16 TAPE SLAP
17 DLY 1 BRIGHT (350ms)
18 DLY 1 WARM (300ms) 19 DLY 2 BRIGHT (250ms)
20 DLY 2 WARM (200ms)
21 DLY 3 BRIGHT (175ms)
22 DLY 3 WARM (150ms)
23 CHORUS + DLY (300ms)
24 REVERB + DLY (200ms) FX PRESETS TAP TO EDIT 07 WARM THEATER
08 BRIGHT STAGE
09 W A R M H A L L
10 CONCERT HALL
11 C A T H E D R A L
12 GATED REVERB
GAIN 1 GAIN 2 GAIN 3 GAIN 4 GAIN 5 GAIN 6 GAIN 7 GAIN 8 GAIN 9 GAIN GAIN GAIN GAIN GAIN GAIN 10 11 12 13 14 15 GAIN GAIN GAIN GAIN GAIN GAIN 20 21/22 23/24 17 18 19 GAIN 16
LOW CUT 100 Hz 18dB/OCT LOW CUT 100 Hz 18dB/OCT LOW CUT 100 Hz 18dB/OCT LOW CUT 100 Hz 18dB/OCT LOW CUT 100 Hz 18dB/OCT LOW CUT 100 Hz 18dB/OCT LOW CUT 100 Hz 18dB/OCT LOW CUT 100 Hz 18dB/OCT LOW CUT 100 Hz 18dB/OCT LOW CUT 100 Hz 18dB/OCT LOW CUT 100 Hz 18dB/OCT LOW CUT 100 Hz 18dB/OCT LOW CUT 100 Hz 18dB/OCT LOW CUT 100 Hz 18dB/OCT LOW CUT 100 Hz 18dB/OCT
PAD -20dB PAD -20dB PAD -20dB PAD -20dB PAD -20dB PAD -20dB PAD -20dB PAD -20dB PAD -20dB PAD -20dB PAD -20dB PAD -20dB PAD -20dB PAD -20dB PAD -20dB
LOW CUT 100 Hz 18dB/OCT LOW CUT 100 Hz 18dB/OCT LOW CUT 100 Hz 18dB/OCT LOW CUT 100 Hz 18dB/OCT
PAD -20dB
LOW CUT 100 Hz 18dB/OCT
AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX
2404
MUTE 1 MUTE 2 MUTE 3 MUTE 4 MUTE 5 MUTE 6 MUTE 7 MUTE 8 MUTE 9 MUTE 10 MUTE 11 MUTE 12 MUTE 13 MUTE 14 MUTE 15 MUTE 18 MUTE 19 MUTE 20 MUTE 21/22 MUTE 23/24 MUTE 16 MUTE 17
EQ
PAN
EQ
PAN
EQ
PAN
EQ
PAN
EQ
PAN
EQ
PAN
EQ
PAN
EQ
PAN
EQ
PAN
EQ
PAN
EQ
PAN
EQ
PAN
EQ
PAN
EQ
PAN
EQ
PAN
EQ EQ EQ EQ EQ EQ
PAN PAN PAN PAN BAL BAL
EQ
PAN
R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L
INT FX AUX 5/6
PRE
HI 12k
LOW 80Hz
MID
INT FX AUX 5/6
PRE
HI 12k
LOW 80Hz
MID
INT FX AUX 5/6
PRE
HI 12k
LOW 80Hz
MID
INT FX AUX 5/6
PRE
HI 12k
LOW 80Hz
MID
INT FX AUX 5/6
PRE
HI 12k
LOW 80Hz
MID
INT FX AUX 5/6
PRE
HI 12k
LOW 80Hz
MID
INT FX AUX 5/6
PRE
HI 12k
LOW 80Hz
MID
INT FX AUX 5/6
PRE
HI 12k
LOW 80Hz
MID
INT FX AUX 5/6
PRE
HI 12k
LOW 80Hz
MID
INT FX AUX 5/6
PRE
HI 12k
LOW 80Hz
MID
INT FX AUX 5/6
PRE
HI 12k
LOW 80Hz
MID
INT FX AUX 5/6
PRE
HI 12k
LOW 80Hz
MID
INT FX AUX 5/6
PRE
HI 12k
LOW 80Hz
MID
INT FX AUX 5/6
PRE
HI 12k
LOW 80Hz
MID
INT FX AUX 5/6
PRE
HI 12k
LOW 80Hz
MID
FREQ FREQ FREQ FREQ FREQ FREQ FREQ FREQ FREQ FREQ FREQ FREQ FREQ FREQ FREQ
INT FX AUX 5/6
PRE
SOLO
LEFT
TAP DELAY
INT FX MUTE
INT FX AUX 5/6
PRE
HI 12k
LOW 80Hz
MID
INT FX AUX 5/6
PRE
HI 12k
LOW 80Hz
MID
INT FX AUX 5/6
PRE
HI 12k
LOW 80Hz
MID
HI 12k
LOW 80Hz
MID
HI 12k
LOW 80Hz
HI 12k
LOW 80Hz
LOW MID 400Hz
HI MID 2.5k
LOW MID 400Hz
HI MID 2.5k
INT FX AUX 5/6
PRE
INT FX AUX 5/6
PRE
INT FX AUX 5/6
PRE
HI 12k
LOW 80Hz
MID
FREQ FREQ FREQ FREQ FREQ
1
2
3
4
PRE
PRE
5
6
FX1
FX2
1
2
3
4
PRE
PRE
5
6
FX1
FX2
1
2
3
4
PRE
PRE
5
6
FX1
FX2
1
2
3
4
PRE
PRE
5
6
FX1
FX2
1
2
3
4
PRE
PRE
5
6
FX1
FX2
1
2
3
4
PRE
PRE
5
6
FX1
FX2
1
2
3
4
PRE
PRE
5
6
FX1
FX2
1
2
3
4
PRE
PRE
5
6
FX1
FX2
1
2
3
4
PRE
PRE
5
6
FX1
FX2
1
2
3
4
PRE
PRE
5
6
FX1
FX2
1
2
3
4
PRE
PRE
5
6
FX1
FX2
1
2
3
4
PRE
PRE
5
6
FX1
FX2
1
2
3
4
PRE
PRE
5
6
FX1
FX2
1
2
3
4
PRE
PRE
5
6
FX1
FX2
1
2
3
4
PRE
PRE
5
6
FX1
FX2
1
2
3
4
PRE
PRE
5
6
FX1
FX2
1
2
3
4
PRE
PRE
5
6
FX1
FX2
1
2
3
4
PRE
PRE
5
6
FX1
FX2
1
2
3
4
PRE
PRE
5
6
FX1
FX2
1
2
3
4
PRE
PRE
5
6
FX1
FX2
1
2
3
4
PRE
PRE
5
6
FX1
FX2
1
2
3
4
PRE
PRE
5
6
FX1
FX2
PUSH TO TALK
TALKBACK GROUPS
MAIN RIGHT
AUX 1-4
STEREO
RIGHT
SOLO
LEFT
TO AUX 1
TO AUX 2
SOLO
PHONES
MONITOR TAP DELAY
INT FX MUTE
TO AUX 1
TO AUX 2
RIGHT
SOLO
STEREO
LEFT
RIGHT
SOLO
LEFT
SEND MASTER SEND MASTER
TO MAIN TO MAIN
FX 2 FX 1
1 2 3 4 MAIN MIX
SOLO
1
SOLO
1
2
3
4
2
SOLO
SOLO MODE
MAIN
FX 1
USB STEREO RETURNS AUX MASTERS
SOLO
SOLO
SOLO
SOLO +15 O O +15 O O
+15 O O SOLO
U
MAX O O
U
U
MAX O O
U
MAX O O
FX 2
U
MAX O O
U
MAX O O
SIG/OL SIG/OL
AUX
AUX
AUX
AUX
MAIN MIX
0 dB=0 dBu
RUDE SOLO
20 10 7 4 2 0 2 4 7 10 20 30
LEFT RIGHT
SOLO
MAX O O
U
MAX O O
U
MAX O O
U
MAX O O
U
MAX O O
U
MAX O O
U
+20 O O TO MAIN
PFL AFL
GRP 1-2
CH 1-2 CH 3-4
AUX 5-6
PWR 48V
TAPE USB
2-TRACK RETURN USB OUT
GRP 3-4 MAIN L/R
LEVEL SET
U
+15 O O
U
+15 O O U
+15 O O
U
+15 O O U
+15 O O
U
+15 O O U
+15 O O
U
+15 O O U U
MAX O O OFF MAX COMP OFF MAX COMP OFF MAX COMP OFF MAX COMP LEVEL
U
+15 O O
3
1
5
6
2
U
U
+15 O O U
+15 O O
+15 O O U
+15 O O U
4 U
U
+20 -20
U
+20 -20 12V 0.5A
50% 25% 75%
0% 100% SUCK
OFF MAX OFF MAX OFF MAX OFF MAX COMP COMP COMP COMP
U
+15 O O U
+15 O O U
+15 O O U
+15 O O
U
+15 O O U
+15 O O
SOLO
3-4
1-2
L/R
2k
0 60 -45dB +15dB
U
800 200 8k 100 U
-15
U
+15
-15 +15
-15 +15
U
OL
SIG SIG SIG SIG SIG SIG SIG SIG SIG SIG SIG SIG SIG SIG SIG
U
U
MI C GAIN -10 dBV
MI C GAIN
dB
30 20
10
O O
40
50
5
5
U
60
10
SOLO
3-4
1-2
L/R
OL dB
30 20
10
O O
40
50
5
5
U
60
10
SOLO
3-4
1-2
L/R
OL dB
30 20
10
O O
40
50
5
5
U
60
10
SOLO
3-4
1-2
L/R
OL dB
30 20
10
O O
40
50
5
5
U
60
10
SOLO
3-4
1-2
L/R
OL dB
30 20
10
O O
40
50
5
5
U
60
10
SOLO
3-4
1-2
L/R
OL dB
30 20
10
O O
40
50
5
5
U
60
10
SOLO
3-4
1-2
L/R
OL dB
30 20
10
O O
40
50
5
5
U
60
10
SOLO
3-4
1-2
L/R
OL dB
30 20
10
O O
40
50
5
5
U
60
10
SOLO
3-4
1-2
L/R
OL dB
30 20
10
O O
40
50
5
5
U
60
10
SOLO
3-4
1-2
L/R
OL dB
30 20
10
O O
40
50
5
5
U
60
10
SOLO
3-4
1-2
L/R
OL dB
30 20
10
O O
40
50
5
5
U
60
10
SOLO
3-4
1-2
L/R
OL dB
30 20
10
O O
40
50
5
5
U
60
10
SOLO
3-4
1-2
L/R
OL dB
30 20
10
O O
40
50
5
5
U
60
10
SOLO
3-4
1-2
L/R
OL dB
30 20
10
O O
40
50
5
5
U
60
10
SOLO
3-4
1-2
L/R
OL dB
30 20
10
O O
40
50
5
5
U
60
10
U
+15 O O U
+15 O O U
+15 O O U
+15 O O
U
+15 O O U
+15 O O
2k
0 60 -45dB +15dB
U
800 200 8k 100 U
-15
U
+15
-15 +15
-15 +15
U
U
U
MI C GAIN -10 dBV
MI C GAIN
U
+15 O O U
+15 O O U
+15 O O U
+15 O O
U
+15 O O U
+15 O O
2k
0 60 -45dB +15dB
U
800 200 8k 100 U
-15
U
+15
-15 +15
-15 +15
U
U
U
MI C GAIN -10 dBV
MI C GAIN
U
+15 O O U
+15 O O U
+15 O O U
+15 O O
U
+15 O O U
+15 O O
2k
0 60 -45dB +15dB
U
800 200 8k 100 U
-15
U
+15
-15 +15
-15 +15
U
U
U
MI C GAIN -10 dBV
MI C GAIN
U
+15 O O U
+15 O O U
+15 O O U
+15 O O
U
+15 O O U
+15 O O
2k
0 60 -45dB +15dB
U
800 200 8k 100 U
-15
U
+15
-15 +15
-15 +15
U
U
U
MI C GAIN -10 dBV
MI C GAIN
U
+15 O O U
+15 O O U
+15 O O U
+15 O O
U
+15 O O U
+15 O O
2k
0 60 -45dB +15dB
U
800 200 8k 100 U
-15
U
+15
-15 +15
-15 +15
U
U
U
MI C GAIN -10 dBV
MI C GAIN
U
+15 O O U
+15 O O U
+15 O O U
+15 O O
U
+15 O O U
+15 O O
2k
0 60 -45dB +15dB
U
800 200 8k 100 U
-15
U
+15
-15 +15
-15 +15
U
U
U
MI C GAIN -10 dBV
MI C GAIN
U
+15 O O U
+15 O O U
+15 O O U
+15 O O
U
+15 O O U
+15 O O
2k
0 60 -45dB +15dB
U
800 200 8k 100 U
-15
U
+15
-15 +15
-15 +15
U
U
U
MI C GAIN -10 dBV
MI C GAIN
U
+15 O O U
+15 O O U
+15 O O U
+15 O O
U
+15 O O U
+15 O O
2k
0 60 -45dB +15dB
U
800 200 8k 100 U
-15
U
+15
-15 +15
-15 +15
U
U
U
MI C GAIN -10 dBV
MI C GAIN
U
+15 O O U
+15 O O U
+15 O O U
+15 O O
U
+15 O O U
+15 O O
2k
0 60 -45dB +15dB
U
800 200 8k 100 U
-15
U
+15
-15 +15
-15 +15
U
U
U
MI C GAIN -10 dBV
MI C GAIN
U
+15 O O U
+15 O O U
+15 O O U
+15 O O
U
+15 O O U
+15 O O
2k
0 60 -45dB +15dB
U
800 200 8k 100 U
-15
U
+15
-15 +15
-15 +15
U
U
U
MI C GAIN -10 dBV
MI C GAIN
U
+15 O O U
+15 O O U
+15 O O U
+15 O O
U
+15 O O U
+15 O O
2k
0 60 -45dB +15dB
U
800 200 8k 100 U
-15
U
+15
-15 +15
-15 +15
U
U
U
MI C GAIN -10 dBV
MI C GAIN
U
+15 O O U
+15 O O U
+15 O O U
+15 O O
U
+15 O O U
+15 O O
2k
0 60 -45dB +15dB
U
800 200 8k 100 U
-15
U
+15
-15 +15
-15 +15
U
U
U
MI C GAIN -10 dBV
MI C GAIN
U
+15 O O U
+15 O O U
+15 O O U
+15 O O
U
+15 O O U
+15 O O
2k
0 60 -45dB +15dB
U
800 200 8k 100 U
-15
U
+15
-15 +15
-15 +15
U
U
U
MI C GAIN -10 dBV
MI C GAIN
U
+15 O O U
+15 O O U
+15 O O U
+15 O O
U
+15 O O U
+15 O O
2k
0 60 -45dB +15dB
U
800 200 8k 100 U
-15
U
+15
-15 +15
-15 +15
U
U
U
MI C GAIN -10 dBV
MI C GAIN
U
+15 O O U
+15 O O U
+15 O O U
+15 O O
U
+15 O O U
+15 O O
U
+15 O O U
+15 O O U
+15 O O U
+15 O O
U
+15 O O U
+15 O O
2k
0 60 -45dB +15dB
U
800 200 8k 100 U
-15
U
+15
-15 +15
-15 +15
U
U
U
MI C GAIN -10 dBV
MI C GAIN
U
+15 O O U
+15 O O U
+15 O O U
+15 O O
U
+15 O O U
+15 O O
2k
0 60 -45dB +15dB
U
800 200 8k 100 U
-15
U
+15
-15 +15
-15 +15
U
U
U
MI C GAIN -10 dBV
MI C GAIN
U
+15 O O U
+15 O O U
+15 O O U
+15 O O
U
+15 O O U
+15 O O
2k
0 60 -45dB +15dB
U
800 200 8k 100 U
-15
U
+15
-15 +15
-15 +15
U
2k 800 200 8k 100 U
-15
U
+15
-15 +15
-15 +15
U
U
-15 +15
-15 +15
U
U
-15 +15
-15 +15
U
-15 +15
U
-15 +15
U
-15 +15
U
-15 +15
U
U
U
MI C GAIN -10 dBV
MI C GAIN
U
+15 O O U
+15 O O U
+15 O O U
+15 O O
U
+15 O O U
+15 O O
0 60 -45dB +15dB
U
U
U
MI C GAIN -10 dBV
MI C GAIN
U
+15 O O U
+15 O O U
+15 O O U
+15 O O
U
+15 O O U
+15 O O
U
U
dB
30 20
10
O O
40
50
5
5
U
60
10
dB
30 20
10
O O
40
50
5
5
U
60
10
dB
30 20
10
O O
40
50
5
5
U
60
10
dB
30 20
10
O O
40
50
5
5
U
60
10
dB
30 20
10
O O
40
50
5
5
U
60
10
SIG
SOLO
3-4
1-2
L/R
OL dB
30 20
10
O O
40
50
5
5
U
60
10
SIG
SOLO
3-4
1-2
L/R
OL dB
30 20
10
O O
40
50
5
5
U
60
10
SIG
SOLO
3-4
1-2
L/R
OL dB
30 20
10
O O
40
50
5
5
U
60
10
SIG
SOLO
3-4
1-2
L/R
OL dB
30 20
10
O O
40
50
5
5
U
60
10
SIG
SOLO
3-4
1-2
L/R
OL dB
30 20
10
O O
40
50
5
5
U
60
10
SIG
SOLO
3-4
1-2
L/R
OL dB
30 20
10
O O
40
50
5
5
U
60
10
SIG
SOLO
3-4
1-2
L/R
OL dB
30 20
10
O O
40
50
5
5
U
60
10
U
+15 O O U
+15 O O U
+15 O O U
+15 O O
U
+15 O O U
+15 O O
2k
0 60 -45dB +15dB
U
800 200 8k 100 U
-15
U
+15
-15 +15
-15 +15
U
U
U
MI C GAIN -10 dBV
MI C GAIN
Das ist das perfekte Setup, um die HD1221 als leistungsstarke, professionelle Bühnenmonitore zu nutzen. Das
Setup könnte in lokalen Clubs, auf Festival-Bühnen, in Kirchen usw. Anwendung finden.
In diesem Beispiel versorgen AUX SEND 1-3 eines Mixers die MAIN INPUTS von drei Mackie HD1221
Aktivboxen, die über die Bühnenfront als Monitore für die Band verteilt sind. Zusätzlich ist eine vierte Mackie
HD1221 Aktivbox über die LOOP OUT XLR-Buchse von einer der anderen HD1221 durchgeschleift, wodurch
man das Signal eines AUX SENDs an zwei Monitoren anliegen hat. Auf Seite 15 („Anhang B: Verbindungen“)
finden Sie Details über das Durchschleifen von Boxen.
Der rechte und der linke Main-Out des selben Mixers sind mit den MAIN INPUTS der PA verbunden. Auf
der vorherigen Seite („HD1221: 3-Wege-System mit Aktiv-Subwoofern”) sehen Sie, wie der Mixer an die PA
angeschlossen wird.
6
HD1221
HD1221