Mackie HD1221 DJ Equipment User Manual


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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 PLATE REVERB
02 VOCAL PLATE
03 WARM ROOM
04 BRIGHT ROOM
05 WARM LOUNGE
06 SMALL STAGE
13 CHORUS
14 CHORUS + REVERB
15 DOUBLER
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 WARM HALL
10 CONCERT HALL
11 CATHEDRAL
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 23/2417 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 AUXAUX
2404
M
U
T
E
1
M
UT
E
2
M
U
T
E
3
M
UT
E
4
M
U
T
E
5
M
UT
E
6
M
U
T
E
7
M
UT
E
8
M
U
T
E
9
M
U
T
E
10
M
U
T
E
11
M
U
T
E
12
M
UT
E
13
M
U
T
E
14
M
U
T
E
15
M
U
T
E
18
M
UT
E
19
M
U
T
E
20
M
U
T
E
21/22
M
U
T
E
23/24
M
U
T
E
16
M
U
T
E
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
RL RL RL RL RL RL RL RL RL RL RL RL RL RL RL
RL RL RL RL RL RLRL
INT FX
AUX 5/6
PRE
HI
12k
LOW
80
Hz
MID
INT FX
AUX 5/6
PRE
HI
1
2k
L
O
W
80Hz
M
ID
INT FX
AUX 5/6
PRE
HI
12k
LOW
80
Hz
MID
INT FX
AUX 5/6
PRE
HI
12
k
LOW
80Hz
M
ID
INT FX
AUX 5/6
PRE
HI
12k
LOW
80
H
z
MID
INT FX
AUX 5/6
PRE
HI
12
k
LOW
80Hz
MID
INT FX
AUX 5/6
PRE
HI
12k
LOW
80Hz
MID
INT FX
AUX 5/6
PRE
HI
12k
LOW
8
0Hz
MID
INT FX
AUX 5/6
PRE
H
I
1
2k
L
O
W
80Hz
MID
INT FX
AUX 5/6
PRE
HI
12k
LOW
8
0Hz
MID
INT FX
AUX 5/6
PRE
HI
1
2k
L
O
W
80Hz
MID
INT FX
AUX 5/6
PRE
HI
12k
LOW
80
Hz
MID
INT FX
AUX 5/6
PRE
HI
1
2k
L
O
W
80Hz
M
ID
INT FX
AUX 5/6
PRE
HI
12k
LOW
80
Hz
M
ID
INT FX
AUX 5/6
PRE
HI
12
k
LOW
80Hz
M
ID
FREQ
FREQ
FREQ
FREQ
FREQ
F
REQ
F
REQ
FRE
Q
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
12
k
LOW
80Hz
MID
INT FX
AUX 5/6
PRE
HI
12k
LOW
80Hz
MID
INT FX
AUX 5/6
PRE
H
I
12k
LOW
8
0Hz
MID
H
I
1
2k
L
O
W
80Hz
MID
HI
12k
LOW
8
0Hz
HI
1
2k
L
O
W
80Hz
LOW
M
I
D
400Hz
HI
MID
2.5k
LOW
M
ID
40
0Hz
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
80
H
z
MID
FREQ
F
REQ
FR
EQ
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
TALKBACKGROUPS
MAIN
RI
GHT
AUX 1-4
STEREO
RI
GHT
S
O
L
O
LEF
T
TO AUX 1
TO AUX 2
SOLO
PHONES
MONITOR
TAP
DELAY
INT FX
MUTE
TO AUX 1
TO AUX 2
RI
GHT
SOL
O
STEREO
LEFT
RI
GHT
SO
L
O
LE
FT
SEND MASTERSEND MASTER
TO MAINTO 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 RETURNSAUX MASTERS
SOLO
SOLO
SOLO
SOLO
+15
OO
+15
OO
+15
OO
SOLO
U
MAX
OO
U
U
MAX
OO
U
MAX
OO
FX 2
U
MAX
OO
U
MAX
OO
SIG/OLSIG/OL
AUX
AUX
AUX
AUX
MAIN
MIX
0 dB=0 dBu
RUDE SOLO
20
1
0
7
4
2
0
2
4
7
10
20
3
0
LEFT RIGHT
SOLO
MAX
OO
U
MAX
OO
U
MAX
OO
U
MAX
OO
U
MAX
OO
U
MAX
OO
U
+20
OO
TO MAIN
PFL
AFL
GRP 1-2
CH 1-2 CH 3-4
AUX 5-6
PWR
4
8V
TAPE
USB
2-TRACK RETURN USB OUT
GRP 3-4
MAIN L/R
LEVEL
SET
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U U
MAX
OO
OFFMAX
COMP
OFFMAX
COMP
OFFMAX
COMP
OFFMAX
COMP
LEVEL
U
+15
OO
3
1
5
6
2
U
U
+15
OO
U
+15
OO
+15
OO
U
+15
OO
U
4
U
U
+20-20
U
+20-20
12V
0.5A
50%
25% 75%
0% 100%
SUCK
OFFMAX OFFMAX OFFMAX OFFMAX
COMP COMP COMP COMP
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
SOLO
3-
4
1-
2
L/
R
2k
060
-45dB+15dB
U
800
200
8k100
U
-15
U
+15
-15+15
-15+15
U
OL
S
I
G
SI
G
SI
G
SI
G
SI
G
SI
G
SI
G
SI
G
SI
G
S
I
G
SI
G
S
I
G
SI
G
SI
G
SI
G
U
U
M
I
C
G
A
I
N
-
1
0
d
B
V
M
I
C
G
A
I
N
dB
30
20
10
OO
40
50
5
5
U
60
10
SOLO
3-
4
1-
2
L/
R
O
L
dB
30
20
10
OO
40
50
5
5
U
60
10
SOLO
3-
4
1-
2
L/
R
OL
dB
30
20
10
OO
40
50
5
5
U
60
10
SOLO
3-
4
1-
2
L/
R
O
L
dB
30
20
10
OO
40
50
5
5
U
60
10
SOLO
3-
4
1-
2
L/
R
OL
dB
30
20
10
OO
40
50
5
5
U
60
10
S
O
L
O
3-
4
1-
2
L/
R
O
L
dB
30
20
10
OO
40
50
5
5
U
60
10
SOLO
3-
4
1-
2
L/
R
OL
dB
30
20
10
OO
40
50
5
5
U
60
10
S
O
L
O
3
-
4
1
-
2
L/
R
OL
dB
30
20
10
OO
40
50
5
5
U
60
10
SOLO
3-
4
1-
2
L/
R
OL
dB
30
20
10
OO
40
50
5
5
U
60
10
SOLO
3-
4
1
-
2
L
/
R
OL
dB
30
20
10
OO
40
50
5
5
U
60
10
SOLO
3-
4
1-
2
L/
R
OL
dB
30
20
10
OO
40
50
5
5
U
60
10
SOLO
3-
4
1-
2
L/
R
OL
dB
30
20
10
OO
40
50
5
5
U
60
10
SOLO
3-
4
1-
2
L/
R
O
L
dB
30
20
10
OO
40
50
5
5
U
60
10
SOLO
3-
4
1-
2
L/
R
OL
dB
30
20
10
OO
40
50
5
5
U
60
10
SO
L
O
3-
4
1-
2
L/
R
O
L
dB
30
20
10
OO
40
50
5
5
U
60
10
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
2k
060
-45dB+15dB
U
800
200
8k100
U
-15
U
+15
-15+15
-15+15
U
U
U
M
I
C
G
A
I
N
-
1
0
d
B
V
M
I
C
G
A
I
N
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
2k
060
-45dB+15dB
U
800
200
8k100
U
-15
U
+15
-15+15
-15+15
U
U
U
M
I
C
G
A
I
N
-
1
0
d
B
V
M
I
C
G
A
I
N
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
2k
060
-45dB+15dB
U
800
200
8k100
U
-15
U
+15
-15+15
-15+15
U
U
U
M
I
C
G
A
I
N
-
1
0
d
B
V
M
I
C
G
A
I
N
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
2k
060
-45dB+15dB
U
800
200
8k100
U
-15
U
+15
-15+15
-15+15
U
U
U
M
I
C
G
A
I
N
-
1
0
d
B
V
M
I
C
G
A
I
N
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
2k
060
-45dB+15dB
U
800
200
8k100
U
-15
U
+15
-15+15
-15+15
U
U
U
M
I
C
G
A
I
N
-
1
0
d
B
V
M
I
C
G
A
I
N
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
2k
060
-45dB+15dB
U
800
200
8k100
U
-15
U
+15
-15+15
-15+15
U
U
U
M
I
C
G
A
I
N
-
1
0
d
B
V
M
I
C
G
A
I
N
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
2k
060
-45dB+15dB
U
800
200
8k100
U
-15
U
+15
-15+15
-15+15
U
U
U
M
I
C
G
A
I
N
-
1
0
d
B
V
M
I
C
G
A
I
N
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
2k
060
-45dB+15dB
U
800
200
8k100
U
-15
U
+15
-15+15
-15+15
U
U
U
M
I
C
G
A
I
N
-
1
0
d
B
V
M
I
C
G
A
I
N
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
2k
060
-45dB+15dB
U
800
200
8k100
U
-15
U
+15
-15+15
-15+15
U
U
U
M
I
C
G
A
I
N
-
1
0
d
B
V
M
I
C
G
A
I
N
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
2k
060
-45dB+15dB
U
800
200
8k100
U
-15
U
+15
-15+15
-15+15
U
U
U
M
I
C
G
A
I
N
-
1
0
d
B
V
M
I
C
G
A
I
N
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
2k
060
-45dB+15dB
U
800
200
8k100
U
-15
U
+15
-15+15
-15+15
U
U
U
M
I
C
G
A
I
N
-
1
0
d
B
V
M
I
C
G
A
I
N
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
2k
060
-45dB+15dB
U
800
200
8k100
U
-15
U
+15
-15+15
-15+15
U
U
U
M
I
C
G
A
I
N
-
1
0
d
B
V
M
I
C
G
A
I
N
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
2k
060
-45dB+15dB
U
800
200
8k100
U
-15
U
+15
-15+15
-15+15
U
U
U
M
I
C
G
A
I
N
-
1
0
d
B
V
M
I
C
G
A
I
N
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
2k
060
-45dB+15dB
U
800
200
8k100
U
-15
U
+15
-15+15
-15+15
U
U
U
M
I
C
G
A
I
N
-
1
0
d
B
V
M
I
C
G
A
I
N
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
2k
060
-45dB+15dB
U
800
200
8k100
U
-15
U
+15
-15+15
-15+15
U
U
U
M
I
C
G
A
I
N
-
1
0
d
B
V
M
I
C
G
A
I
N
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
2k
060
-45dB+15dB
U
800
200
8k100
U
-15
U
+15
-15+15
-15+15
U
U
U
M
I
C
G
A
I
N
-
1
0
d
B
V
M
I
C
G
A
I
N
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
2k
060
-45dB+15dB
U
800
200
8k100
U
-15
U
+15
-15+15
-15+15
U
2k
800
200
8k100
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
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M
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A
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N
-
1
0
d
B
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M
I
C
G
A
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N
U
+15
OO
U
+15
OO
U
+15
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U
+15
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U
+15
OO
U
+15
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060
-45dB+15dB
U
U
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M
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G
A
I
N
-
1
0
d
B
V
M
I
C
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U
+15
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+15
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OO
U
+15
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U
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U
dB
30
20
10
OO
40
50
5
5
U
60
10
dB
30
20
10
OO
40
50
5
5
U
60
10
dB
30
20
10
OO
40
50
5
5
U
60
10
dB
30
20
10
OO
40
50
5
5
U
60
10
dB
30
20
10
OO
40
50
5
5
U
60
10
SI
G
SOLO
3-
4
1-
2
L/
R
OL
dB
30
20
10
OO
40
50
5
5
U
60
10
SI
G
S
O
L
O
3-
4
1
-
2
L/
R
OL
dB
30
20
10
OO
40
50
5
5
U
60
10
SI
G
SOLO
3-
4
1-
2
L/
R
OL
dB
30
20
10
OO
40
50
5
5
U
60
10
SI
G
S
O
L
O
3
-
4
1
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2
L/
R
OL
dB
30
20
10
OO
40
50
5
5
U
60
10
SI
G
SOLO
3-
4
1-
2
L/
R
OL
dB
30
20
10
OO
40
50
5
5
U
60
10
S
I
G
SOLO
3-
4
1
-
2
L
/
R
OL
dB
30
20
10
OO
40
50
5
5
U
60
10
SI
G
SOLO
3-
4
1-
2
L/
R
O
L
dB
30
20
10
OO
40
50
5
5
U
60
10
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
U
+15
OO
2k
060
-45dB+15dB
U
800
200
8k100
U
-15
U
+15
-15+15
-15+15
U
U
U
M
I
C
G
A
I
N
-
1
0
d
B
V
M
I
C
G
A
I
N
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
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