Mackie CR-1604 User Manual

4 (1)
Mackie CR-1604 User Manual

CR-1604 OWNER’S MANUAL

 

 

–10 •

 

–10 •

 

–10 •

 

–10 •

 

–10 •

 

–10 •

 

–10 •

 

–10 •

 

–10 •

 

–10 •

 

 

–10

 

–10

 

–10

 

–10

 

–10

 

–10

SENSITIVITY

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

ADD 10dB FOR

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

MIC INPUTS

 

 

+4

–25

+4

–25

+4

–25

+4

–25

+4

–25

+4

–25

+4

–25

+4

–25

+4

–25

+4

–25

+4

–40

+4

–40

+4

–40

+4

–40

+4

–40

+4

–40

 

 

 

U 16

 

U 15

 

U 14

 

U 13

 

U 12

 

U 11

 

U 10

 

U 9

U 8

 

U 7

 

U 6

 

U 5

 

U 4

 

U 3

 

U 2

 

U 1

 

 

 

MAINS

PHANTOM

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

+48V

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

UNBALANCED LINE INPUTS

 

 

 

 

 

 

 

 

 

 

 

BALANCED/UNBALANCED LINE INPUTS

 

 

 

 

 

BAL MAIN OUT

MONO

AUX OUTPUTS

 

ALT 3/4 OUT BUSS INSERT

 

 

 

AUX RETURNS

 

 

CHANNEL ACCESS

TIP=OUT

RING=IN

 

 

 

 

 

LOW Z BALANCED MICROPHONE INPUTS

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

L

 

 

 

 

 

 

 

 

 

 

 

 

 

6

 

5

 

4

 

 

 

3

 

 

2

 

1

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

LEFT

 

 

1

2

 

3

LEFT

LEFT

 

1

 

2

3

 

4

1

 

2

3

 

4

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

R

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

RIGHT

MONITOR

4

5

 

6

RIGHT

RIGHT

 

 

 

 

 

 

5

 

6

7

 

8

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

1

2

 

3

 

4

 

5

 

6

 

7

 

8

 

9

 

10

 

11

 

12

 

13

 

14

 

15

 

16

 

PHANTOM

MAINS

 

CR1604 16 CHANNEL MIC/LINE MIXER

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

LAMP 12 VAC

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

AUX

AUX

AUX

AUX

AUX

AUX

AUX

AUX

AUX

AUX

AUX

AUX

AUX

AUX

AUX

AUX

 

 

STEREO AUX RETURNS

 

U

 

U

 

U

 

U

 

U

 

U

 

U

 

U

 

U

 

U

 

U

 

U

 

U

 

U

 

U

 

U

 

 

U

 

C

 

 

1

 

1

 

1

 

1

 

1

 

1

 

1

 

1

 

1

 

1

 

1

 

1

 

1

 

1

 

1

 

1

 

 

1

 

 

1

 

1

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

 

00

+20

 

L

R

 

MON

 

MON

 

MON

 

MON

 

MON

 

MON

 

MON

 

MON

 

MON

 

MON

 

MON

 

MON

 

MON

 

MON

 

MON

 

MON

 

 

 

U

 

C

 

2

 

U

 

U

 

U

 

U

 

U

 

U

 

U

 

U

 

U

 

U

 

U

 

U

 

U

 

U

 

U

 

U

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

2

 

2

 

2

 

2

 

2

 

2

 

2

 

2

 

2

 

2

 

2

 

2

 

2

 

2

 

2

 

2

 

 

2

 

 

2

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

 

00

+20

 

L

R

3

 

 

U

 

C

 

 

 

U

 

U

 

U

 

U

 

U

 

U

 

U

 

U

 

U

 

U

 

U

 

U

 

U

 

U

 

U

 

U

 

 

 

 

 

3

5

3

5

3

5

3

5

3

5

3

5

3

5

3

5

3

5

3

5

3

5

3

5

3

5

3

5

3

5

3

 

5

3

 

 

3

 

4

 

 

 

 

 

 

 

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

 

00

+20

 

L

R

MONO

 

U

 

U

 

U

 

U

 

U

 

U

 

U

 

U

 

U

 

U

 

U

 

U

 

U

 

U

 

U

 

U

 

 

U

 

C

 

 

4

6

4

6

4

6

4

6

4

6

4

6

4

6

4

6

4

6

4

6

4

6

4

6

4

6

4

6

4

6

4

 

6

4

 

 

4

 

AUX

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

SOLO

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

 

00

+20

 

L

R

 

5/6

 

5/6

 

5/6

 

5/6

 

5/6

 

5/6

 

5/6

 

5/6

 

5/6

 

5/6

 

5/6

 

5/6

 

5/6

 

5/6

 

5/6

 

5/6

 

 

 

 

 

 

 

 

SHIFT

 

SHIFT

 

SHIFT

 

SHIFT

 

SHIFT

 

SHIFT

 

SHIFT

 

SHIFT

 

SHIFT

 

SHIFT

 

SHIFT

 

SHIFT

 

SHIFT

 

SHIFT

 

SHIFT

 

SHIFT

 

 

LEVEL

 

BALANCE

 

 

0

 

0

 

0

 

0

 

0

 

0

 

0

 

0

 

0

 

0

 

0

 

0

 

0

 

0

 

0

 

0

 

 

 

 

 

 

 

 

HI

 

HI

 

HI

 

HI

 

HI

 

HI

 

HI

 

HI

 

HI

 

HI

 

HI

 

HI

 

HI

 

HI

 

HI

 

HI

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

CR1604

 

–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

 

 

16 CHANNEL MIC/LINE MIXER

 

0

 

0

 

0

 

0

 

0

 

0

 

0

 

0

 

0

 

0

 

0

 

0

 

0

 

0

 

0

 

0

 

 

 

 

 

 

 

 

MID

 

MID

 

MID

 

MID

 

MID

 

MID

 

MID

 

MID

 

MID

 

MID

 

MID

 

MID

 

MID

 

MID

 

MID

 

MID

 

CLIP

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

+8

 

 

ALT PREVIEW

–12

+12

–12

+12

–12

+12

–12

+12

–12

+12

–12

+12

–12

+12

–12

+12

–12

+12

–12

+12

–12

+12

–12

+12

–12

+12

–12

+12

–12

+12

–12

+12

 

 

 

+4

 

 

 

 

0

 

0

 

0

 

0

 

0

 

0

 

0

 

0

 

0

 

0

 

0

 

0

 

0

 

0

 

0

 

0

 

 

 

+2

 

 

 

 

LO

 

LO

 

LO

 

LO

 

LO

 

LO

 

LO

 

LO

 

LO

 

LO

 

LO

 

LO

 

LO

 

LO

 

LO

 

LO

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

0

 

 

MAIN OUTPUT

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

-4

 

 

MUTE

–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

 

 

 

-8

 

 

 

EQ

EQ

EQ

EQ

EQ

EQ

EQ

EQ

EQ

EQ

EQ

EQ

EQ

EQ

EQ

EQ

 

 

 

-12

 

 

SOLO

 

0

 

0

 

0

 

0

 

0

 

0

 

0

 

0

 

0

 

0

 

0

 

0

 

0

 

0

 

0

 

0

 

 

 

-16

 

 

TO

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

MAIN

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

-20

 

 

 

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

 

 

 

 

POWER

 

PAN

PAN

PAN

PAN

PAN

PAN

PAN

PAN

PAN

PAN

PAN

PAN

PAN

PAN

PAN

PAN

 

 

 

 

 

 

 

 

 

 

 

 

SOLO

 

SOLO

 

SOLO

 

SOLO

 

SOLO

 

SOLO

 

SOLO

 

SOLO

 

SOLO

 

SOLO

 

SOLO

 

SOLO

 

SOLO

 

SOLO

 

SOLO

 

SOLO

 

 

 

 

 

SOLO

 

1

 

2

 

3

 

4

 

5

 

6

 

7

 

8

 

9

 

10

 

11

 

12

 

13

 

14

 

15

 

16

 

 

 

 

 

LEVEL

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

MUTE

MUTE

MUTE

MUTE

MUTE

MUTE

MUTE

MUTE

MUTE

MUTE

MUTE

MUTE

MUTE

MUTE

MUTE

MUTE

 

 

 

 

 

 

 

ALT 3/4

 

ALT 3/4

 

ALT 3/4

 

ALT 3/4

 

ALT 3/4

 

ALT 3/4

 

ALT 3/4

 

ALT 3/4

 

ALT 3/4

 

ALT 3/4

 

ALT 3/4

 

ALT 3/4

 

ALT 3/4

 

ALT 3/4

 

ALT 3/4

 

ALT 3/4

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

1/LEFT

2/RIGHT

 

LEVEL

 

OL

 

OL

 

OL

 

OL

 

OL

 

OL

 

OL

 

OL

 

OL

 

OL

 

OL

 

OL

 

OL

 

OL

 

OL

 

OL

 

 

 

 

 

SOLO/PHONES

 

+20

 

+ 20

 

+20

 

+20

 

+20

 

+20

 

+20

 

+20

 

+20

 

+20

 

+20

 

+20

 

+20

 

+20

 

+20

 

+20

 

 

 

+10

 

 

U

 

U

 

U

 

U

 

U

 

U

 

U

 

U

 

U

 

U

 

U

 

U

 

U

 

U

 

U

 

 

U

 

 

 

 

U

 

 

00

 

00

 

00

 

00

 

00

 

00

 

00

 

00

 

00

 

00

 

00

 

00

 

00

 

00

 

00

 

00

 

 

 

 

00

00

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

1

 

 

 

 

 

 

 

 

 

 

CAUTION AVIS

RISK OF ELECTRIC SHOCK

DO NOT OPEN

RISQUE DE CHOC ELECTRIQUE

NE PAS OUVRIR

CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK

DO NOT REMOVE COVER (OR BACK)

NO USER-SERVICEABLE PARTS INSIDE

REFER SERVICING TO QUALIFIED PERSONNEL

ATTENTION: POUR EVITER LES RISQUES DE CHOC ELECTRIQUE, NE PAS ENLEVER LE COUVERCLE. AUCUN ENTRETIEN DE PIECES INTERIEURES PAR L'USAGER. CONFIER L'ENTRETIEN AU PERSONNEL QUALIFIE.

AVIS: POUR EVITER LES RISQUES D'INCENDIE OU D'ELECTROCUTION, N'EXPOSEZ PAS CET ARTICLE A LA PLUIE OU A L'HUMIDITE

The lightning flash with arrowhead symbol within an equilateral triangle is intended to alert the user to the presence of uninsulated "dangerous voltage" within the product's enclosure, that may be

of sufficient magnitude to constitute a risk of electric shock to persons.

Le symbole éclair avec point de flèche à l'intérieur d'un triangle équilatéral est utilisé pour alerter l'utilisateur de la présence à l'intérieur du coffret de "voltage dangereux" non isolé d'ampleur suffisante pour constituer un risque d'éléctrocution.

The exclamation point within an equilateral triangle is intended to alert the user of the presence of important operating and maintenance (servicing) instructions in the literature accompanying the appliance.

Le point d'exclamation à l'intérieur d'un triangle équilatéral est employé pour alerter les utilisateurs de la présence d'instructions importantes pour le fonctionnement et l'entretien (service) dans le livret d'instruction accompagnant l'appareil.

SAFETY INSTRUCTIONS

1.Read Instructions — All the safety and operation instructions should be read before the CR-1604 is operated.

2.Retain Instructions and Packaging — The safety and operating instructions should be kept for future reference. Also keep the box and end caps, in case the unit needs to be returned for service.

3.Heed Warnings — All warnings on the CR-1604 and in these operating instructions should be followed.

4.Follow Instructions — All operating and other instructions should be followed.

5.Water and Moisture — The CR-1604 should not be used near water — for example, near a bathtub, washbowl, kitchen sink, laundry tub, in a wet basement, near a swimming pool, swamp or salivating St. Bernard dog, etc.

6.Heat — The CR-1604 should be situated away from heat sources such as radiators, or other devices which produce heat.

7.Power Sources — The CR-1604 should be connected to a power source only of the type described in these operation instructions or as marked on the CR-1604.

8.Power Cord Protection — Power supply cords should be routed so that they are not likely to be walked upon or pinched by items placed upon or against them, paying particular attention to cords at plugs, convenience receptacles, and the point where they exit the CR-1604.

©1995 Mackie Designs. All rights reserved. Printed in the USA.

V 4.1 2/95, Part No. 820-001-00

9.Object and Liquid Entry — Care should be taken so that objects do not fall into and liquids are not spilled into the inside of the CR-1604.

10.Damage Requiring Service — The CR-1604 should be serviced only by qualified service personnel when:

A.Objects have fallen onto, or liquid has spilled into the CR-1604; or

B.The CR-1604 has been exposed to rain; or

C.The CR-1604 does not appear to operate

normally or exhibits a marked change in performance; or

DThe CR-1604 has been dropped, or its chassis damaged.

11.Servicing — The user should not attempt to service the CR-1604 beyond those means described in this operating manual. All other servicing should be referred to the Mackie Service Department. See page 21.

12.To prevent electric shock, do not use this polarized plug with an extension cord, receptacle or other outlet unless the blades can be fully inserted to prevent blade exposure.

Pour préevenir les chocs électriques ne pas utiliser cette fiche polariseé avec un prolongateur, un prise de courant ou une autre sortie de courant, sauf si les lames peuvent être insérées à fond sans laisser aucune pariie à découvert.

13. Grounding or Polarization — Precautions should be taken so that the grounding or polarization means of the CR-1604 is not defeated.

This apparatus does not exceed the Class A/Class B (whichever is applicable) limits for radio noise emissions from digital apparatus as set out in the radio interference regulations of the Canadian Department of Communications.

ATTENTION —Le présent appareil numérique n’émet pas de bruits radioélectriques dépassant las limites applicables aux appareils numériques de class A/de class B (selon le cas) prescrites dans le règlement sur le brouillage radioélectrique édicté par les ministere des communications du Canada.

WARNING — To reduce the risk of fire or electric shock, do not expose this appliance to rain or moisture.

Thank you!!

There are a lot of makes and models of mixers out there today, all competing for your hard earned dough... but you have voted with your wallet for the folks in Woodinville who specialize in mixers.

And you are in good company !! The CR-1604 is the compact mixer of choice for some of the world’s top performing groups, studio players, producers and soundtrack composers. Even when they could buy anything they wanted, they chose the CR-1604. So congratulations on joining the other

2

LOOK CLOSER A

IF YOU IGNORE MANUALS OR ARE JUST HOT TO GET STARTED…

Please at least read the sections marked

with these two icons:

 

 

 

Our

 

 

 

 

 

 

 

Engineering

 

 

 

 

 

 

 

Manager

 

VERY

 

 

 

 

 

thinks this

 

 

 

QUICK

 

 

looks like a

 

 

 

 

 

bomb. But

 

IMPORTANT

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

actually it’s a

 

 

START

 

 

 

genuine Buck

 

 

 

 

 

Rogers-style

 

 

 

 

 

space ship.

 

 

 

 

 

 

They cover information that is absolutely critical or is unique to the CR-1604. But it’s still a good idea to read the whole manual through at some point. We worked and slaved to make this manual readable, understandable and informative and it’s bound to have a few nifty nuggets of knowledge you haven’t picked up from the school of hard nox.

In particular, sections marked with A CLOSER LOOK icon include indepth information...or at least our own opinions.

DESCRIPTION OF CONTROLS

BEGINS ON PG. 4

INPUT/OUTPUT “POD” SECTION DESCRIPTION, PG. 11

CONNECTION TIPS &

HOOKUP , PG. 15

DETAILED LEVEL-SETTING PROCEDURE, PG. 19

POD ROTATION INSTRUCTIONS

PG. 20

SERVICE, BLOCK DIAGRAM, AND SPECS PG. 21-26

CONTROLS & FEATURES

INPUT

OUTPUT

POD

HOOK

UP

LEVEL

SETTING

STEPS

CHANGING THE POD

TECH

STUFF

discerning musicians/recordists who have found in this product the quality and performance that has long been considered unattainable in this class and price range.

Okay, enough stroking. Time to dig in! There are only two things that we ask:

Read this manual. Sounds obvious, but in all the excitement that goes along with the purchase of a new piece of gear the new owner often neglects to become as familiar as they should with the product, and as a result

runs the risk of missing out on many of the cool features and convenience that it can offer.

If this is your first pro-mixer, please flip through the whole book. If you’re a seasoned pro, at least read the sections with “QUICK START” or “VERY IMPORTANT” icons next to them. (However, we’ve found that truly experienced engineers usually read their owner’s manuals cover-to-cover anyway… so they can continue to make those big bucks.)

The following chapters will take you on a guided tour of your new mixer and explain the inner workings of each control, as well as how it relates to the rest of the mixer and your particular application.

3

 

AUX

 

 

Part1— A GUIDED TOUR OF THE

 

 

U

 

 

 

 

1

 

 

 

CR-1604’S CONTROLS

 

 

 

00

+15

 

 

 

 

 

 

 

VERY

IMPORTANT

All the knobs and buttons on the CR-1604’s

 

MON

 

 

 

 

U

 

 

front panel can be broken down into sixteen

 

 

 

IMPORTANT

 

2

 

 

 

SENSITIVITY

identical input modules (channel strips) plus

 

 

 

 

one Master Output section that’s divided into

 

 

 

 

 

 

00

+15

1

ADJUSTMENT

Aux Return and General Output sections (see

 

U

QUICK

 

nifty diagram at right).

 

3

5

 

PROCEDURE

Each input channel strip can be divided

 

00

+15

 

 

START

To fully achieve the

into four specific sections:

 

U

 

 

The AUX SENDs, with knobs color-coded RED

 

 

 

CR-1604’s impressive noise

 

 

 

 

 

EQUALIZATION, color-coded BLUE

 

4

6

 

 

 

 

and headroom specs, you should “tune” chan-

 

 

 

 

 

PAN control, color-coded black, and

 

00

+15

 

 

nel sensitivity of each channel to your

 

5/6

 

 

 

particular setup.

 

the channel LEVEL CONTROL faders

 

SHIFT

 

 

 

 

 

0

HI

 

Can you run the mixer without this adjust-

All modern mixing boards utilize some

 

 

 

ment? Sure. Chances are that you’ll get pretty

variation of this input module arrangement.

 

 

 

 

 

 

–15

+15

 

 

good sound. But take a moment to adjust

Once you’ve mastered the CR-1604’s input

 

 

 

things properly and you’ll get excellent sound.

module layout, you should feel ready to take

 

0

 

 

 

 

MID

 

After all, it’s your music.

on that old 132-channel Neve mixing desk

 

 

 

 

 

 

 

 

Because we really want you to make this

gathering dust in your Aunt Hattie’s garage.

 

–12

+12

 

 

adjustment, we’ve included a slightly more

1 AUX SENDS

 

 

 

 

detailed description of the process on page 19.

 

 

0

LO

 

 

 

 

AUX 1, 2, 3 & 4

 

 

 

 

The basic procedure for adjustment is as

 

 

 

 

 

 

 

 

 

 

 

 

follows.

 

These controls are used to send the signal

 

–15

+15

 

 

A. Set EQ controls approximately the way

 

 

 

out to outboard parallel effects processors

 

EQ

 

 

 

 

 

they’ll be used for that channel. If you don’t

 

 

 

 

 

such as reverbs and delays. You may also use

 

 

 

 

 

know in advance, just set them flat .

 

 

 

 

 

an Aux Send to create a separate monitor mix

 

 

 

 

 

B. Turn the channel’s PAN control all the way

 

 

 

 

 

for stage monitors or headphone cues or gen-

 

 

 

 

 

to either the right or left.

 

 

 

 

 

erate separate mixes for recording.

 

 

 

 

 

C. Set Channel Fader to Unity (center detent).

 

 

 

 

 

There are a total of seven Aux Sends on

A

0

 

9

D

D. Turn the channel’s SENSITIVITY control

each CR-1604 channel strip. A combination of

HI

 

 

 

 

 

–10 •

 

fully counter clockwise (+4 UNITY).

four may be used at the same time.

–15

+15

 

 

 

 

0

+4

–40

 

E. Press the channel’s SOLO button and the

VERY

NOTE: All of the

 

MID

 

 

 

U

15

 

–12

+12

 

 

 

SOLO TO MAIN button over on the main

CR-1604’s Aux sends have

 

 

 

IMPORTANT

 

0

 

9

 

output section of the mixer.

a very wide range of gain.

 

LO

 

 

 

 

–10 •

 

 

 

 

 

 

 

The first half of the

–15

+15

 

 

 

F. Play through the channel at the same

EQ

 

 

 

control’s rotation reaches

 

0

+4

–40

 

volume and intensity that the channel is

B

 

U

15

F

from the off position to Unity Gain (0dB).

 

 

CLIP

going to handle during use. Turn the

L

R

 

 

This half of the control’s range corresponds to

PAN

 

+8

 

channel’s SENSITIVITY control clockwise

ESOLO

 

 

 

the full range of a conventional mixer. The

 

 

 

until the level on the CR-1604 meter (left

9

 

 

+4

 

second half of the control’s rotation provides

MUTE

 

 

 

or right side, depending on which way you

ALT 3/4

 

 

 

 

 

 

 

+2

 

 

 

 

 

you with even more gain, from Unity to

 

OL

 

 

have the PAN set) reads around OdB.

 

 

 

 

 

 

 

 

 

 

 

 

0

 

+15dB. For example, when you want a sound

 

+20

 

 

G. Set the EQ the way you think you’ll want it,

 

 

 

-4

 

super-“wet” (mostly reverb), the extra gain al-

C

 

 

 

then repeat step F.

 

 

-8

 

lows you to bring the channel fader down

 

 

 

 

H. Turn the channel’s SOLO button off and

 

U

 

-12

 

(and the send way up) so that the sound is

 

 

 

 

 

 

 

 

return the PAN control to center detent

 

 

 

-16

 

composed of predominantly reverb return

 

 

 

 

position.

 

 

 

 

 

 

with just a touch of “dry” signal.

 

00

 

 

 

 

 

 

-20

 

I. Repeat this procedure for each channel,

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

AUX 1/MON

 

 

 

 

 

 

using the appropriate kind of source which

 

 

 

 

 

 

will be used with that channel.

This particular Aux control could be

 

 

 

 

 

 

 

viewed as the King of Sends, because of its

 

 

 

 

 

 

 

varied functions.

 

4

 

1

 

2

 

3

 

4

 

5

 

6

 

7

 

 

8

 

9

 

10

 

11

 

12

 

13

 

14

 

15

 

16

PHANTOM

 

MAINS

CONTROLS

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

CR1604 16 CHANNEL MIC/LINE MIXER

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

& FEATURES

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

INPUT/OUTPUT “POD”

 

 

 

 

 

 

 

 

 

 

 

LAMP 12 VAC

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

AUX

AUX

AUX

AUX

AUX

AUX

AUX

AUX

 

AUX

AUX

AUX

AUX

AUX

AUX

AUX

AUX

 

STEREO AUX RETURNS

 

U

 

U

 

U

 

U

 

U

 

U

 

U

 

U

 

 

U

 

U

 

U

 

U

 

U

 

U

 

U

 

U

 

U

 

 

 

C

 

1

 

1

 

1

 

1

 

1

 

1

 

1

 

1

 

 

1

 

1

 

1

 

1

 

1

 

1

 

1

 

1

 

1

 

 

1

 

 

1

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+20

 

 

L

R

 

MON

 

MON

 

MON

 

MON

 

MON

 

MON

 

MON

 

MON

 

 

MON

 

MON

 

MON

 

MON

 

MON

 

MON

 

MON

 

MON

 

 

U

 

 

 

C

2

 

U

 

U

 

U

 

U

 

U

 

U

 

U

 

U

 

 

U

 

U

 

U

 

U

 

U

 

U

 

U

 

U

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

2

 

2

 

2

 

2

 

2

 

2

 

2

 

2

 

 

2

 

2

 

2

 

2

 

2

 

2

 

2

 

2

 

2

 

 

2

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+20

 

 

L

R

3

 

U

 

 

 

C

 

 

U

 

U

 

U

 

U

 

U

 

U

 

U

 

U

 

 

U

 

U

 

U

 

U

 

U

 

U

 

U

 

U

 

 

 

 

 

3

5

3

5

3

5

3

5

3

5

3

5

3

5

3

 

5

3

5

3

5

3

5

3

5

3

5

3

5

3

5

3

5

3

 

 

3

 

 

4

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+20

 

 

L

R

MONO

 

U

 

U

 

U

 

U

 

U

 

U

 

U

 

U

 

 

U

 

U

 

U

 

U

 

U

 

U

 

U

 

U

 

U

 

 

 

C

 

 

LO

 

LO

 

LO

 

LO

CHANNELLO LO LO

LOSTRIPSLO LO

LO

 

LO

 

LO

 

LO

 

LO

 

LO

 

 

0

 

OUTPUT

AUX

4

6

4

6

4

6

4

6

4

6

4

6

4

6

4

 

6

4

6

4

6

4

6

4

6

4

6

4

6

4

6

4

6

4

 

 

4

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

SOLO

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+15

00

+20

 

 

L

R

 

5/6

 

5/6

 

5/6

 

5/6

 

5/6

 

5/6

 

5/6

 

5/6

 

 

5/6

 

5/6

 

5/6

 

5/6

 

5/6

 

5/6

 

5/6

 

5/6

 

 

 

 

 

 

 

 

SHIFT

 

SHIFT

 

SHIFT

 

SHIFT

 

SHIFT

 

SHIFT

 

SHIFT

 

SHIFT

 

 

SHIFT

 

SHIFT

 

SHIFT

 

SHIFT

 

SHIFT

 

SHIFT

 

SHIFT

 

SHIFT

 

LEVEL

 

BALANCE

 

 

0

 

0

 

0

 

0

 

0

 

0

 

0

 

0

HI

 

0

 

0

 

0

 

0

 

0

 

0

 

0

 

0

 

 

 

 

 

 

 

 

HI

 

HI

 

HI

 

HI

 

HI

 

HI

 

HI

 

 

 

HI

 

HI

 

HI

 

HI

 

HI

 

HI

 

HI

 

HI

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

CR1604

 

—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

 

16 CHANNEL MIC/LINE MIXER

 

0

 

0

 

0

 

0

 

0

 

0

 

0

 

0

MID

 

0

 

0

 

0

 

0

 

0

 

0

 

0

 

0

 

 

 

 

 

 

 

 

MID

 

MID

 

MID

 

MID

 

MID

 

MID

 

MID

 

 

 

MID

 

MID

 

MID

 

MID

 

MID

 

MID

 

MID

 

MID

 

CLIP

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

+8

 

 

 

ALT PREVIEW

—12 +12

—12 +12

—12 +12

—12 +12

—12 +12

—12 +12

—12 +12

—12 +12

—12 +12

—12 +12

—12 +12

—12 +12

—12 +12

—12 +12

—12 +12

—12 +12

 

 

+4

 

 

 

 

 

0

 

0

 

0

 

0

 

0

 

0

 

0

 

0

 

 

0

 

0

 

0

 

0

 

0

 

0

 

0

 

0

 

 

+2

 

 

 

 

 

OL

 

OL

 

OL

 

OL

 

OL

 

OL

 

OL

 

 

OL

 

OL

 

OL

 

OL

 

OL

 

OL

 

OL

 

OL

 

OL

 

 

 

 

SECTION

MAIN OUTPUT

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

-4

 

SOLO/PHONES

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

MUTE

—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

 

 

-8

 

 

 

 

EQ

EQ

EQ

EQ

EQ

EQ

EQ

EQ

 

EQ

EQ

EQ

EQ

EQ

EQ

EQ

EQ

 

 

-12

 

 

 

SOLO

 

0

 

0

 

0

 

0

 

0

 

0

 

0

 

0

 

 

0

 

0

 

0

 

0

 

0

 

0

 

0

 

0

 

 

-16

 

 

 

TO

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

MAIN

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

-20

 

 

 

 

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

 

 

 

 

 

POWER

 

PAN

PAN

PAN

PAN

PAN

PAN

PAN

PAN

 

PAN

PAN

PAN

PAN

PAN

PAN

PAN

PAN

 

 

 

 

 

 

 

 

 

 

 

 

 

 

SOLO

 

SOLO

 

SOLO

 

SOLO

 

SOLO

 

SOLO

 

SOLO

 

SOLO

 

 

SOLO

 

SOLO

 

SOLO

 

SOLO

 

SOLO

 

SOLO

 

SOLO

 

SOLO

 

 

 

 

 

 

SOLO

 

1

 

2

 

3

 

4

 

5

 

6

 

7

 

8

 

 

9

 

10

 

11

 

12

 

13

 

14

 

15

 

16

 

 

 

 

 

 

LEVEL

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

MUTE

MUTE

MUTE

MUTE

MUTE

MUTE

MUTE

MUTE

 

MUTE

MUTE

MUTE

MUTE

MUTE

MUTE

MUTE

MUTE

 

 

 

 

 

 

 

ALT 3/4

 

ALT 3/4

 

ALT 3/4

 

ALT 3/4

 

ALT 3/4

 

ALT 3/4

 

ALT 3/4

 

ALT 3/4

 

 

ALT 3/4

 

ALT 3/4

 

ALT 3/4

 

ALT 3/4

 

ALT 3/4

 

ALT 3/4

 

ALT 3/4

 

ALT 3/4

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

1/LEFT

2/RIGHT

LEVEL

 

+20

 

+ 20

 

+20

 

+20

 

+20

 

+20

 

+20

 

 

+20

 

+20

 

+20

 

+20

 

+20

 

+20

 

+20

 

+20

 

+20

 

 

 

 

 

+10

 

 

U

 

U

 

U

 

U

 

U

 

U

 

U

 

 

U

 

U

 

U

 

U

 

U

 

U

 

U

 

U

 

U

 

 

 

 

 

U

 

 

00

 

00

 

00

 

00

 

00

 

00

 

00

 

 

00

 

00

 

00

 

00

 

00

 

00

 

00

 

00

 

00

 

 

 

 

 

00

00

Send 1 may be routed to AUX OUT 1 which taps the signal downstream from the EQ circuitry and Channel Fader (we call this Post-Fader/Post-EQ, meaning that the signal will reflect any adjustments made to the fader or EQ controls.)

Send 1 can also be routed to the MONITOR OUT by pressing the MON button. This signal is intercepted ahead of the EQ circuitry and Channel Fader (known as pre-EQ/pre-Fader… the signal will be the same as it was when it first entered the input module, unaffected by the control adjustments made with the EQ or fader controls).

This arrangement allows for two separate sends. You can use Send 1 on Channels 1–6 as a stage monitor mix for vocals (with mic inputs), and Send 1 on Channels 7–16 as a reverb send (with synth inputs, for example).

AUX 2

This send is Post EQ and Post Fader. Since it’s affected by EQ and gain adjustments, we recommend that it be used as your main reverb send.

AUX 3 & 4

These two sends are also post-EQ/post-Fader.

The “hidden” sends: 5 & 6

The 5/6 SHIFT button “converts” AUX 3 and 4 to AUX Sends 5 and 6. In other words, after you press this button, signal is sent to AUX 5 and AUX 6 but controlled by the AUX 3 and 4 Knobs. We did this to add the flexibility of extra sends without making the mixer so big that it looks like an airport landing strip.

To review

The CR-1604s Aux sends are used to route a portion of the signal out to another source for processing or sub-mixing. They allow you to control how much effect is mixed with each channel.

All channel strips have four Aux sends feeding a total of seven outputs.

All sends are fully off in the extreme counterclockwise position.

5

LOOK CLOSER A

WUTZA DEEE-TENT?

Occasionally in this manual you will see a reference to detents. A detent is a simple but effective control feature that will aid in easy resetting of your mixers controls. It’s simply a notch in the movement of the control component, which determines a neutral setting, such as Unity on faders or center on the PAN control. This way you’re either in de tent or out of de tent, as we say when camping up here in the Northwest.

LOOK CLOSER A
LOOK CLOSER A

AUX

 

U

1

 

00

+15

MON

 

 

U

2

 

00

+15

 

U

3

5

00

+15

 

U

4

6

00

+15

5/6

 

SHIFT

 

 

0

 

HI

–15

+15

 

0

 

MID

–12

+12

 

0

 

LO

–15

+15

EQ

 

0

L

R

PAN

SOLO

 

1

 

MUTE

ALT 3/4

OL

+20

U

00

2

3

We recommend going into a stereo reverb in mono and returning in stereo. We have found that most “stereo” reverbs’ second input just ties up an extra AUX send and adds little or nothing to the sound.

All send buses are isolated from each other and have separate mix amps.

AUX SENDS AND LIVE MIXING

When using microphones in a live performance, we recommend that AUX 1 be set to MONITOR position.

In MONITOR mode, the signal is taken ahead of the EQ and Fader circuitry. When in AUX mode the signal will be taken downstream of the EQ and Fader circuitry. Remember that this means that the signal will reflect any changes brought about by settings made to EQ and channel fader controls, but still can be used.

2 Equalization Controls

These three controls offer you a surprising amount of control over the sonic personality of your mix (although they are not intended to take the place of a parametric or 1/3-octave graphic equalizer).

Through the creative use of the CR-1604’s EQ controls, samplers and other instruments can be contoured to better reflect the real world sound signature they are trying to emulate, mixes can be punched up, vocalists rescued from obscurity, etc.

We’ve carefully selected different points for our equalization and have used circuity which provides an extremely “musical” effect. Some heavy-duty pros have complemented us on how useful they are. So before you immediately plug in an outboard equalizer, give the controls a chance. If all you’ve used are conventional small mixers, you’re in for a pleasant surprise.

EQ HI

15dB boost or cut at 12kHz. There is no effect at the center detent position. This shelving control will affect the higher frequencies of the incoming signal. By shelving, we mean that the circuitry boosts or cuts all frequencies past the specified point, instead of just creating a bump or dip in response the way a graphic equalizer would. Use this control to add sizzle to cymbals and vocals and give a sense of transparency or edge to keyboards and guitars. It can also be turned down a little to reduce sssssibilance.

EQ MID

12dB boost or cut at 2.5 kHz with a 3.3 octave bandwidth (this is NOT a shelving control). Because the majority of musical in-

formation is contained in this range, a little midrange EQ goes a long way. It can increase presence of a mix, enhance intelligibility of a vocal or back off a strident instrument.

EQ LO

15dB boost or cut at 80Hz. This control affects the lower frequencies of your input signal. It can be used to put punch in bass drums, bass guitar, fatten synth patches and add bottom end to male vocals. Cutting the LO EQ slightly can do wonders for muddy tracks and boomy room acoustics as well as helping fix poppy microphones.

3 PAN

This control positions a signal within the stereo sound field. Also a way to “assign” a channel to just left or right for sub-grouping to the mono or ALT-3/4 outputs.

The Mackie CR-1604 incorporates constantpower pan pots which maintain constant acoustic power as you move the channel’s signal to left or right. This is a way cool feature which is explained in detail on the next page.

LECTURE TIME: CONCERNING EQUALIZATION

MODERATION: Proper EQ can focus a mix. Improper EQ can cause distortion. Too much EQ results in mix mush.

The best EQ is none at all. In other words, in live recording situations, you should start by selecting the right mic, positioning it correctly and recording in the right acoustic environment.

When mixing direct inputs, time spent on tweaking with the synth patch, boldly going where the tone module preset hasn’t been before or adjusting the instrument’s own tone controls beats the heck out of “saving it in the mix.”

Save the CR-1604’s EQ for solving problems you can’t work out in advance — particularly in live PA situations (where anything can happen and probably will) or final mix where you’re going for a particular overall sound.

EQ POINTS: Some of you may have probably noticed that theCR-1604 does not have it’s EQ points in the usual (Yawn) “standard” frequency locations.

Why? You may ask.

Well, the story goes that sometime in the Sixties, “Zoltan” (Bureaucratic High Moron from the Drumless planet of Vocal Frustration) descended upon the mixing board designers in Countries to the East and proclaimed the proper EQ points for mixers:

“10kHz for HF and 100Hz for LF”

We can’t figure out why. 100Hz is too high and 10kHz is too low. They might be holdovers from really ancient mixing boards or radio equipment back in the days when recording bandwidth was a lot narrower. It’s irrational and not founded on any particular acoustic or musical principle...but then, Zoltan never visited us.

Being musicians ourselves (and having cursed Zoltanesque EQ in other boards for years), we decided to start from scratch and determine the points which sounded best from a musical standpoint. It goes without saying that Zoltan was not pleased with the Rebels From The Rainforest.

But we trust that you will be.

6

IMPORTANT VERY
LOOK CLOSER A

4 SOLO

This control does just what it’s name implies. By pushing the SOLO button, you can listen in on only that channel while muting the rest of the mixer’s output.

In order to make this function really useful, we have designed the CR-1604’s SOLO section to allow for multiple inputs to be soloed together while retaining the original stereo placement of each channel in the mix. This feature is not often found outside of large mixing consoles, even though it adds significant application potential to the solo function.

The effect of this button follows the setting of the SOLO TO MAIN button (i.e. if SOLO TO MAIN is pressed IN, the main and headphone outputs are replaced with the soloed signals. If it’s left in the OUT position, only the headphones will get the soloed signals).

IMPORTANT: The master level of the SOLO signal is controlled by the HEADPHONE/ SOLO fader, not the master faders.

WHAT CONSTANT POWER

PAN POTS MEAN TO YOU

When you sit between a pair of monitors and pan from side to side, the apparent loudness at your ears should stay the same

no matter where the source is positioned.

The CR-1604’s constant power pan pots are so named because they incorporate special circuitry that maintains consistent acoustic power while panning center to side.

When the input module is set to the center detent, what you will hear is equal amounts of both left and right outputs.

When the module is panned away from center, you will begin to hear only one side. The side that you are panning into must therefore grow louder to make up for the loss of the other side. The effect is a more realistic shift in dimensional perception (Ooooo… sounds pretty cosmic, doesn’t it? )

Here is an example of how stereo sound behaves in real life, why you would want to duplicate the same effect in your productions and how constant power pan pots help:

Imagine that a sax player was standing in front of you playing his horn. You get the same amount of sound at both ears and your ear-brain processing center sez, “This cat is right in front of me.

Now the sax player moves to the left. More sound arrives at your left ear and your brain sez , “He’s over on the left.” But the total amount of sound arriving at your ears is still the same.

Constant power pan pots do the same thing. They move the sound, but don’t reduce the overall amount of sound. Other small mixers don’t have this feature. But like many other of the CR-1604’s nifto-features, we wanted the mixer to perform to the demanding standards of higher priced gear, so that it could be used for professional recording, broadcasting, and film sound where the need for true panning integrity is often an unavoidable reality. And low and behold, the CR-1604 IS being used extensively by Hollywood pros for TV and film sound tracks. End of commercial.

While a channel is in SOLO mode, its signal level is sent to the CR-1604 Level Meters in the Master Output section so you can observe its working level. This allows level setting for each individual channel using just one meter pair.

The SOLO indicator LED will also blink to remind you that you are in the solo mode. We designed it to be so obnoxiously bright that you can get a suntan from it if you get too close for too long. If you’ve ever used a board with a tiny, obscure SOLO light, you know why we made ours large and rude.

5 MUTE-ALT 3/4 (3rd & 4th buses)

Think of this as a “mute button PLUS.” First, it works in the conventional way: push MUTE and that channel goes away, just like you’d expect. But, we reasoned, why send the channel’s output into the ozone when it could go someplace useful? Such as another

set of output buses.

So when you press MUTE, the signal is reassigned to the ALT 3/LEFT and 4/RIGHT stereo outputs.

NOTE: There is no master level control for the ALT-3/4 buses. With the channel set at Unity, the signal will come out at

Unity gain just as if you had a master fader at the center detent position.

There are lot of possibilities via the ALT 3/4 buses with the channel fader set at Unity. Especially combined with the ALT PREVIEW button over in the CR-1604’s Master Output section. For example, you can create two stereo pairs for output to 4-track. Or bounce multiple tracks onto one or two more tracks. Or preview a sound source that hasn’t been introduced into the mix yet.

One of the most common applications for ALT 3/4 is for creating submixes from various combinations of channels. By panning one set of channels hard left and another hard right, you can create two submixes (one from the LEFT ALT and one from the RIGHT ALT output) that can be routed back into spare channels on the board, or AUX returns. (See page 16 for more details.)

6 OL

The OverLoad LED is a visual indicator that warns you when you’re overdriving the channel. Because it monitors multiple points in the channel’s circuitry, it detects more than just input overload.

 

AUX

 

 

U

 

1

 

 

00

+15

 

MON

 

 

 

U

 

2

 

 

00

+15

 

 

U

 

3

5

 

00

+15

 

 

U

 

4

6

 

00

+15

 

5/6

 

 

SHIFT

 

 

 

0

 

 

HI

 

–15

+15

 

 

0

 

 

MID

 

–12

+12

 

 

0

 

 

LO

 

–15

+15

 

EQ

 

 

0

 

L

R

 

PAN

4 SOLO

 

5

1

 

MUTE

ALT 3/4

 

OL 6

+20

U

00

7

AUX

 

U

1

 

00

+15

MON

 

 

U

2

 

00

+15

 

U

3

5

00

+15

 

U

4

6

00

+15

5/6

 

SHIFT

 

 

0

 

HI

–15

+15

 

0

 

MID

–12

+12

 

0

 

LO

–15

+15

EQ

 

0

L

R

PAN

SOLO

 

1

 

MUTE

ALT 3/4

OL

+20

U

7

00

Basically, the OL lights should never blink. If they do, you’re courting the potential of audible distortion.

If you adjust the channel’s input SENSITIVITY too high and compensate by pulling the faders down, the OL light will still flash

— even though you’re seeing conservative levels on the meters.

If you set SENSITIVITY properly but add a LOT of EQ while mixing, you might also trigger the OL indicator. In this case, lowering the channel’s SENSITIVITY trim pot will keep from over driving the EQ, which may be clipping.

7 CHANNEL FADER

Controls the overall output of the channel. All of the AUX SENDS with the exception of AUX 1/MON in Monitor mode are affected by this control (AUX 1/MON in Monitor mode is not affected because it is placed upstream of the Fader and EQ, remember?)

Most mixer channel faders are labeled with arbitrary and confusing ranges of digits (such as 1 thru 10) that don’t correspond to anything. This often leads to mis-adjustment, as well as distortion, noise or all of the above.

On the CR-1604, proper gain settings are facilitated by the click-detent Unity Setting half way up the slider. When the channel’s input control has been adjusted properly, Unity represents NO LOSS OR GAIN when panned left or right.

This means you have a known setting which is easily repeatable, even in the dark. Because levels can be set properly from this reference point, you can achieve very high headroom and low noise at the same time.

And, unlike any other mixer, you have 20dB MORE gain above Unity.

Part 2 — THE MAIN

OUTPUT SECTION

Now that you have become more familiar with the CR-1604’s channel strips, let’s move our guided tour on to the Master control center.

We will start at the top of the section with the Stereo Aux Returns.

8 STEREO AUX RETURNS LEVEL

Located at the upper left of the Master Section, these four controls set the overall level for signals received via the four stereo Aux Returns from whatever effects you’ve connected from the Aux Sends.

As with the sends, these controls are designed to handle a very wide range of signal levels (which is a good thing considering the wildly varying output levels of many outboard signal processors). Remember how the gain was divided on the Aux Send controls? The same approach is used on these controls. The first half of the knob’s rotation operates from off to Unity Gain (0dB) center position. The second half of the rotation provides gain from 0dB up to 20dB gain which can be very useful for bringing the level of some low output effects up to professional operating levels.

9 AUX RETURN BALANCE

The four Aux Return Balance controls are used to control the left/right balance of each return’s signal (just like on your stereo) within the main mix.

10 AUX RETURN MONO

These four buttons are used to combine left and right Stereo Aux Return signals into a monaural signal, which is then sent on in equal proportions to the left and right Master Mix Buses.

NOTE: If all four Stereo Aux Returns are set to mono, a total of 8 separate mono feeds can be routed to the main mix.

If you are connecting an effects device which only has a mono out, pressing the AUX RETURN MONO button will route the effect to both the Left and Right main buses.

11 AUX RETURN SOLO

This button is used to solo the four Aux Returns for more detailed scrutiny. This function is the same as that of the Solo control on the individual channel strips, except that it solos all four AUX returns at the same time.

8

IMPORTANT VERY
IMPORTANT VERY

 

STEREO AUX RETURNS

 

 

down or click track in your headphones,

 

 

 

and then just before the down beat, UN-

 

U

C

 

 

 

 

 

 

 

 

 

mute the CR-1604.

1

 

1

 

1

 

For live performance intermissions, use

00

+20

L

R

 

 

10

the MAIN OUTPUT MUTE to kill hum and

 

 

noise from the room and prevent drunken

 

U

C

 

2

 

 

 

 

 

head bangers from mounting the stage and

2

 

2

 

 

 

 

screaming the name of a rival band.

 

 

 

 

When recording at home and the tele-

00

+20

L

R

3

 

 

 

phone rings, hit the MAIN mute instead of

 

U

C

 

 

 

 

 

 

 

 

 

pulling down your main faders. Now you

 

 

 

 

 

 

 

3

 

3

 

4

 

 

can monitor that quality near field loud-

00

+20

L

R

MONO

 

 

speaker in your answering machine and

 

 

decide whether or not to SOLO the caller.

 

 

 

 

 

U

C

 

 

 

14

SOLO TO MAIN

4

 

4

 

AUX

 

 

 

 

 

 

 

 

 

 

SOLO

 

 

This switch determines what happens when

00

+20

L

R

 

11

 

 

you press channel or Aux Return SOLO buttons.

 

 

 

 

 

LEVEL

BALANCE

 

IN — The CR-1604’s Main output is

 

8

9

 

 

 

 

 

 

 

 

interrupted whenever a Solo

 

 

 

 

 

 

 

 

 

 

 

 

 

 

button is activated.

The effect of this button follows the setting of the SOLO TO MAIN button (i.e. if SOLO TO MAIN is pressed IN, the phones and the main output are replaced with the Aux Return signals. If it’s left in the OUT position, only the headphones will get the soloed Aux Return signals).

12 ALT PREVIEW

This button allows all channels assigned to the ALT 3/4 to be monitored through the headphone output.

This can come in very handy when you need to hear a cue from one of the tracks that is currently assigned to the ALT 3/4 Bus

(Muted). All the inputs that are currently assigned to the ALT 3/4 output can be heard through your headphones when the ALT PREVIEW button is depressed.

You can also use this feature to monitor a second mix if you have decided to hook up a second tape deck to the ALT 3/4 outputs.

13 MAIN OUTPUT MUTE

This button mutes the main stereo and mono outputs of the CR-1604. All other outputs are blissfully unaffected.

A useful application for this control is to help reduce perceived noise from your multitrack tape machine and musical instruments prior to the start of the song.

Mute the mixer while monitoring the count

OUT — Only the Headphone output is interrupted during solo monitoring. This is great for live work so that the sound person can solo into his phones without affecting the main mix. Sorry, but this button is not effective against poorly played or excessively lengthy guitar solos. If the problem persists, consult a physician or perhaps try the MUTE-ALT 3/4 on the offending player’s channel.

In the studio, SOLO TO MAIN can allow you to listen to your solo channels through the same speakers that you use for the mixdown if you are using the Main Outputs for your control room monitoring.

12 ALT PREVIEW

13

MAIN OUTPUT

MUTE

SOLO

TO

MAIN

14

15

LEVEL

SOLO/PHONES

15 HEADPHONE JACK

The stereo PHONE jack will drive any standard headphones. Walk-Per-

son-type mini phones can also be used with an appropriate adaptor.

WARNING:

When we say the headphone amp is 00 loud, we’re not

kidding. Even intermediate levels may be unpleasantly loud with some headphones. Be careful, please!

INPUT OUTPUT POD

9

16
00
IMPORTANT VERY

Always turn the SOLO/PHONES LEVEL control down before you put the phone on. Then advance it for best levels with a typical sound source. Engineers who fry their ears find themselves with short careers.

You can also use the PHONES output to in-

INPUT

dependently drive a separate tape recorder,

PA system or studio monitor amp. Instead of

OUTPUT

using a low-cost “headphone amp” chip, we

POD

use a high-current version of our main output

 

 

 

 

amplifier circuity — which is why it can re-

 

 

ally clean out your cochlea if you crank it up

 

 

too far. But that’s also what makes it a very

 

 

clean signal source that’s, in fact, identical to

 

 

the quality of the other outputs (see APPLI-

 

 

CATIONS GUIDE for various hookups which

 

 

use the PHONES output).

 

 

 

NOTE: When you press any SOLO button, a

 

 

slight click will be heard in the headphones

 

 

when a solo switch is activated.

 

16 SOLO/PHONES LEVEL

 

 

This control adjusts the Solo and Headphone

 

 

levels simultaneously. The control range is from

 

 

off to loud enough to cause a frontal lobotomy

 

 

 

 

(see warning on the

 

CLIP

 

 

previous page). Be-

+8

ALT PREVIEW

cause SOLO/

+4

 

 

PHONES LEVEL is

+2

 

 

completely indepen-

0

MAIN OUTPUT

dent of the Master

18-4

MUTE

Faders, you can use

 

 

 

 

-8

 

 

it to preview your

-12

SOLO

mix before fading up

 

 

TO

-16

MAIN

the main outputs.

 

 

 

 

-20

 

 

CAUTION: To

 

 

 

 

 

POWER

avoid speaker dam-

 

age, this control

 

 

 

 

 

SOLO

should never be set

 

LEVEL

 

higher than the Main

 

 

 

 

 

 

 

 

Output (1/LEFT 2/

 

1/LEFT 2/RIGHT

LEVEL

RIGHT) level prior to

 

 

 

 

activating the SOLO

 

 

SOLO/PHONES

TO MAIN button.

+10

17

U

00

10

171/LEFT 2/RIGHT

(MAIN OUTPUT LEVEL FADERS)

This gallant team stands guard over your precious main output level. They prefer to be stationed below or at the “U” (Unity) setting.

The outputs on the other end are capable of delivering up to +28dBm. Many amplifiers or other equipment inputs will go into clipping before that. Consult the specs on your amplifier/device. You may have to keep the CR-1604’s Main and Phone faders below the Unity gain level.

18 LEVEL

This 10-segment meter reflects the “unbalanced” output signal strength at the left and right main outputs.

When the meter shows “0”, the unbalanced output level is 0dBu (0.775 VAC RMS).

Remember that “balanced” output levels are 6dB hotter than the level indicated on the bar graph meter.

L BNC LAMP CONNECTOR

The CR-1604 includes a socket and power supply for a 12-volt goose-neck lamp. We recommend LittleLite lamps PN #12G or 12G-HI (with high-intensity bulb). Consult your dealer for the gory details.

NOTE: When the CR-1604 has been “Rotopodded” (pod jack to the front) the BNC lamp connector becomes inaccessable.

This concludes our guided tour of the CR-1604’s controls. After a short intermission, we will re-board the bus (HA! Get it? Pun? bus......? Oh well.) and explore the CR-1604’s input/output “pod.”

1 2 3 4 5 6 7 8 9 10 11 12 13

CR1604 16 CHANNEL MIC/LINE MIXER

L

LAMP 12 VAC

AUX

 

AUX

 

AUX

 

AUX

 

AUX

 

AUX

 

AUX

 

AUX

 

AUX

 

AUX

 

AUX

 

AUX

 

AUX

 

 

U

 

 

U

 

 

U

 

 

U

 

 

U

 

 

U

 

 

U

 

 

U

 

 

U

 

 

U

 

 

U

 

 

U

 

 

U

 

1

 

 

1

 

 

1

 

 

1

 

 

1

 

 

1

 

 

1

 

 

1

 

 

1

 

 

1

 

 

1

 

 

1

 

 

1

 

1

00

+15

 

00

+15

 

00

+15

 

00

+15

 

00

+15

 

00

+15

 

00

+15

 

00

+15

 

00

+15

 

00

+15

 

00

+15

 

00

+15

 

00

+15

0

MON

 

 

MON

 

 

MON

 

 

MON

 

 

MON

 

 

MON

 

 

MON

 

 

MON

 

 

MON

 

 

MON

 

 

MON

 

 

MON

 

 

MON

 

MO

 

U

 

 

U

 

 

U

 

 

U

 

 

U

 

 

U

 

 

U

 

 

U

 

 

U

 

 

U

 

 

U

 

 

U

 

 

U

 

2

 

 

2

 

 

2

 

 

2

 

 

2

 

 

2

 

 

2

 

 

2

 

 

2

 

 

2

 

 

2

 

 

2

 

 

2

 

2

00

+15

 

00

+15

 

00

+15

 

00

+15

 

00

+15

 

00

+15

 

00

+15

 

00

+15

 

00

+15

 

00

+15

 

00

+15

 

00

+15

 

00

+15

 

 

U

 

 

U

 

 

U

 

 

U

 

 

U

 

 

U

 

 

U

 

 

U

 

 

U

 

 

U

 

 

U

 

 

U

 

 

U

 

3

 

5

3

 

5

3

 

5

3

 

5

3

 

5

3

 

5

3

 

5

3

 

5

3

 

5

3

 

5

3

 

5

3

 

5

3

5

3

00

+15

 

00

+15

 

00

+15

 

00

+15

 

00

+15

 

00

+15

 

00

+15

 

00

+15

 

00

+15

 

00

+15

 

00

+15

 

00

+15

 

00

+15

 

 

U

 

 

U

 

 

U

 

 

U

 

 

U

 

 

U

 

 

U

 

 

U

 

 

U

 

 

U

 

 

U

 

 

U

 

 

U

 

4

 

6

4

 

6

4

 

6

4

 

6

4

 

6

4

 

6

4

 

6

4

 

6

4

 

6

4

 

6

4

 

6

4

 

6

4

6

4

00

+15

 

00

+15

 

00

+15

 

00

+15

 

00

+15

 

00

+15

 

00

+15

 

00

+15

 

00

+15

 

00

+15

 

00

+15

 

00

+15

 

00

+15

 

5/6

 

 

5/6

 

 

5/6

 

 

5/6

 

 

5/6

 

 

5/6

 

 

5/6

 

 

5/6

 

 

5/6

 

 

5/6

 

 

5/6

 

 

5/6

 

 

5/6

 

5

SHIFT

 

 

SHIFT

 

 

SHIFT

 

 

SHIFT

 

 

SHIFT

 

 

SHIFT

 

 

SHIFT

 

 

SHIFT

 

 

SHIFT

 

 

SHIFT

 

 

SHIFT

 

 

SHIFT

 

 

SHIFT

 

SH

 

0

 

 

0

 

 

0

 

 

0

 

 

0

 

 

0

 

 

0

 

 

0

 

 

0

 

 

0

 

 

0

 

 

0

 

 

0

 

Part 3 — INPUT/OUTPUTPOD

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

–10 •

 

–10 •

 

–10 •

 

–10 •

 

–10 •

 

–10 •

 

–10 •

 

–10 •

 

 

–10 •

 

–10 •

 

 

–10

 

–10

 

–10

 

–10

 

–10

 

–10

SENSITIVITY

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

ADD 8dB FOR

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

MIC INPUTS

 

 

 

+4

–25

+4

–25

+4

–25

+4

–25

+4

–25

+4

–25

+4

–25

+4

 

–25

+4

–25

+4

–25

+4

–40

+4

–40

+4

–40

+4

–40

+4

–40

+4

–40

 

 

 

 

U 16

U 15

 

U 14

 

U 13

 

U 12

 

U 11

 

U 10

 

U 9

 

U 8

 

U 7

 

U 6

 

U 5

 

U 4

 

U 4

 

U 4

 

U 4

 

 

 

MAINS

 

PHANTOM

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

+48V

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

UNBALANCED LINE INPUTS

 

 

 

 

 

 

 

 

 

 

 

 

BALANCED/UNBALANCED LINE INPUTS

 

 

 

 

 

BAL MAIN OUT

MONO

 

AUX OUTPUTS

 

ALT 3/4 OUT BUSS INSERT

 

 

 

AUX RETURNS

 

 

CHANNEL ACCESS

TIP=OUT RING=IN

 

 

 

 

 

LOW Z BALANCED MICROPHONE INPUTS

 

 

 

 

 

 

 

 

 

 

 

 

 

L

 

 

 

 

 

 

 

 

 

 

 

 

 

 

6

 

5

 

 

4

 

3

 

 

2

 

1

INPUT

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

LEFT

 

1

2

3

LEFT

 

LEFT

 

1

 

2

3

4

 

1

 

2

 

 

3

4

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

R

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

OUTPUT

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

RIGHT

MONITOR

4

5

6

RIGHT

 

RIGHT

 

 

 

 

 

 

 

5

 

6

 

 

7

8

 

 

 

 

 

 

 

 

 

 

 

 

 

 

POD

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

OUTPUTS/SENDS

 

RETURNS/INSERTS

 

 

 

 

 

 

 

INPUTS

 

 

 

 

 

19 INPUT SENSITIVITY CONTROLS

The first set of items on our tour are the sensitivity controls for the 16 input channels. These knobs adjust the input sensitivity of the mic and line inputs so signals from the outside world are brought into the mixer at optimum internal operating levels. INPUT SENSITIVITY controls for channels 1–6 have up to 40dB of gain for line inputs and 50dB for XLR inputs; controls for channels 7–16 have 25dB of gain. Note that all SENSITIVITY controls are marked with a –10 setting. This is the amount of gain needed to raise –10dBv operating level equipment up to professional +4dB levels.

21

–10

 

–10

 

–10

 

–10

 

–10

 

–10

 

–10

 

–10

 

+4

–40

+4

–40

+4

–40

+4

–40

+4

–40

+4

–40

+4

–40

+4

–40

 

U

16

U

15

U

14

U

13

U

12

U

11

U

10

U

9

PHANTOM

When using microphone XLR input jacks, you will get 10dB more gain than what the SENSITIVITY trim marking indicates.

21 PHANTOM POWER SWITCH

What is Phantom Power? No, it’s not the arch enemy of Captain America or anything like that. Most modern professional condenser mics are equipped for Phantom Power, which lets the mixer send DC power to the mic’s electronics over the same wires that carry audio (hence “phantom” since the DC voltage is “unseen” by dynamic and ribbon mics which don’t need external power and are unaffected by it anyway).

–10

 

–10

 

 

–10

 

–10

 

–10

 

–10

 

–10

 

–10

SENSITIVITY

 

19

 

 

 

 

 

 

 

ADD 8dB FOR

 

 

 

 

 

 

 

 

MIC INPUTS

+4

–40

+4

–40

+4

–40

+4

–40

+4

–40

+4

–40

+4

–40

+4

–40

 

U 8

 

U 7

 

U 6

 

U 5

 

U 4

 

U 3

 

U 2

 

U 1

 

 

 

 

UNBALANCED LINE INPUTS

 

 

 

 

BALANCED/UNBALANCED LINE INPUTS

 

 

 

 

 

 

 

 

 

 

LOW Z BALANCED MICROPHONE INPUTS

 

 

 

 

6

5

4

3

 

2

1

20 MICROPHONE INPUTS (Channels1–6)

We use true phantom-powered, balanced inputs just like the big, studio mega-consoles for the same reason they do: This kind of circuit is excellent at rejecting hum and noise. You can plug in any kind of professional microphone that has a standard “XLR-type male” mic connector, an impedance of between 50 ohms and 600 ohms.

If you wire your own male XLR’s, connect them like this:

Pin 2= Positive (+ or hot) Pin 3 = Negative ( – or cold) Pin 1 = Shield (ground)

Basically, Inputs 1–6 will handle any kind of mic level you can toss at them. Professional ribbon, dynamic and condenser mics will all sound excellent through these inputs — especially if you follow the Level Setting instructions on page 19. Lower-cost electret-type, unbalanced mics should be plugged into Inputs 7–16 but will require additional gain and thus not be as quiet.

20

NEED MORE THAN SIX MIC INPUTS?

We have determined that six mic inputs takes care of most users’ needs. But if you’re miking a complex drum kit, lots of vocalists or a complete musical (our mixers have been used in several hit Broadway shows, by the way), you can add the XLR10 Mic Input Expander. It adds 10 more high quality discrete, balanced preamplifiers just like the ones on the CR-1604’s Channels 1–6. The unit installs in minutes and forms an integral, structural part of the mixer (in pod-to-back or tabletop configuration, it doesn’t take up any more rack space either). Plus, you can still use the line inputs on the CR-1604’s Channel’s 7–16! Such a deal. Ask your Mackie dealer for more details.

11

INPUT OUTPUT POD

–10

 

–10

 

–10

 

–10

 

–10

 

–10

 

–10

 

–10

 

–10

 

–10

 

 

–10

 

–10

 

–10

 

–10

 

–10

 

–10

SENSITIVITY

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

ADD 8dB FOR

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

MIC INPUTS

+4

–40

+4

–40

+4

–40

+4

–40

+4

–40

+4

–40

+4

–40

+4

–40

+4

–40

+4

–40

+4

–40

+4

–40

+4

–40

+4

–40

+4

–40

+4

–40

 

U 16

 

U 15

 

U 14

 

U 13

 

U 12

 

U 11

 

U 10

 

U 9

 

U 8

 

U 7

 

U 6

 

U 5

 

U 4

 

U 3

 

U 2

 

U 1

 

22

PHANTOM

 

 

 

 

 

 

 

 

 

 

 

 

23

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

UNBALANCED LINE INPUTS

 

 

 

 

 

 

 

 

 

BALANCED/UNBALANCED LINE INPUTS

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

LOW Z BALANCED MICROPHONE INPUTS

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

6

 

5

 

 

4

 

3

 

 

2

 

1

 

DC Power is applied to Pins 2 and 3. Maximum current is 10mA per microphone.

When turned off, the phantom power circuitry takes a moment for voltage to bleed to zero. Do not attempt to adjust your set.

There is only one “freak” way to damage a ribbon mic with phantom power. If the connector on the mic cable is worn, it may not make contact with both “hot” pins exactly at the same time when being plugged in. This could cause a momentary DC spike that could, in turn, damage or dislodge the ribbon. To avoid this remote possibility, always plug in ribbon mics before you turn the PHANTOM power switch on or off.

WARNING: If you’re connecting electrettype microphones, plug them into Channel 7–16. Avoid the temptation to use Channel 1–6 XLR sockets via 1/4"-to-XLR adaptors and then turn on the PHANTOM switch. If you do, the microphone will be toast. Also, don’t connect electronically balanced components such as CD players or the output of a tape deck to the XLR inputs. Use Channel 1–6 balanced 1/4" inputs instead.

22 BALANCED LINE INPUTS (Channels1–6)

These six line inputs share circuitry (but not phantom power) with the six mic preamps, and can be driven by balanced and unbalanced devices. In other words, you can use these inputs for virtually any signal you’ll come across, from instrument levels to –10dBV to +4dBu, since there is 40dB of gain available.

To connect these inputs to balanced sources, use a Tip-Ring-Sleeve (3-conductor) plug:

Tip

= Positive (+ or hot)

Ring

= Negative ( – or cold)

Sleeve = Shield (ground)

To connect unbalanced sources to the balanced inputs, use a mono phone plug or standard instrument cable. The jack on the CR-1604 input will sense the plug and disable the balancing circuits.

Line inputs 1–6 are a good place to connect instruments which have low output such as older keyboards. Or keyboards in general for that matter, since you can adjust the corresponding channel INPUT SENSITIVITY controls so the mixer has plenty of gain, but you can still keep the keyboard volume set around the halfway mark.

23 UNBALANCED INPUTS (Channels 7–16)

These inputs are designed for mono unbalanced signals from instrument level to –10dBV or +4dBu. They can be used with just about any pro or semipro instrument, effect or tape recorder.

24 MAINS

If you leave this switch in the OFF position, you won’t hear anything. You can leave the CR-1604’s MAINS power switch ON all the time since the mixer is conservatively designed so that heat buildup isn’t a problem, even in 24-hour-a-day operation. Or just plug everything into a good quality, grounded power strip for 1-button turn-on.

If you leave it on all the time, don’t worry about the top of the pod being warm to the touch. We use the pod chassis as a heatsink for the voltage regulators which in turn dissipates a very mild amount of heat constantly throughout the chassis. All is well.

25 AC RECEPTACLE

Look mom, no wall wart! Plug the AC power cord in here, and enjoy the convenience of the CR-1604’s built-in power supply. The other end goes to your power source. If some nasty

25

26

MAINS

PHANTOM

ON OFF

24

+48V

 

 

 

 

 

 

 

 

 

A

WHY NO WALL WART?

 

CLOSER

Building a power supply into

 

the CR-1604 wasn’t any picnic.

LOOK

But we think that you’ll appre-

ciate it for several reasons:

 

• The CR-1604 has separate regulated power supplies for the audio, meter, 12VAC lamp and microphone phantom circuits. That’s part of why it sounds so good. No wall wart can provide this kind of sophisticated power.

Wall warts and “line lumps” are inconvenient, generate huge hum fields, hog extra jacks on your power strip and get in the way when you move.

The thin cable coming out of a wall wart or

in-line power supply breaks easily, especially on the road. Then you need a whole new one, possibly of some esoteric breed that’s only available from the manufacturer on alternate Thursdays via an unlisted phone number. If the rugged cord on the CR-1604 wears out, you can score one anywhere fast. Except maybe in the far reaches of the galaxy.

12

 

 

34

 

 

 

 

 

 

 

 

 

 

 

 

 

 

BAL MAIN OUT

MONO

 

AUX OUTPUTS

 

ALT 3/4 OUT BUSS INSERT

 

AUX RETURNS

 

CHANNEL ACCESS TIP=OUT RING=IN

33

 

 

 

 

31

 

 

 

L

 

 

 

 

 

 

 

LEFT

 

1

2

3

LEFT

LEFT

1

2

3

4

1

2

3

4

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

R

 

 

 

 

 

 

 

 

RIGHT

MONITOR

4

5

 

6

RIGHT

RIGHT

 

 

28

 

5

6

7

8

 

 

32

 

 

 

 

30 29

 

 

 

 

 

27

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

fate befalls the cord, you can use any standard IEC cord like those found on most professional recorders, musical instruments and computers (for example Radio Shack #278-1257 {6-ft} or #278-1261 {12-ft.}). NOTE: Disconnecting the plug’s ground pin can be dangerous. Don’t do it.

26 FUSE

The CR-1604 is fused for your (and its own) protection. If you suspect a blown fuse, disconnect the power cord, pull the fuse drawer just below the AC receptacle and replace the fuse with a 1-amp SLO BLO fuse (or 1/2-amp SLO BLO fuse if the unit is a 230V model). 230V models have a bright red 230V sticker both on the shipping box and on the mixer itself. If two fuses blow in a row, something is very wrong. Call our toll-free number and find out what to do.

27 CHANNEL ACCESS, TIP=OUT, RING=IN

This is where you connect series processors such as compressors, equalizer, de-essers, or filters. Since most people don’t have more than a few of these gadgets, we’ve included connections for just the first eight channels. If you want to use this kind of processing on Channels 9–16, simply plug into and out of the device before you plug into the CR-1604 channels. Connecting a processor here will affect only the associated channel.

Tip=output (send to external device), Ring=input (return from external device)

The insert points are after the mic preamps, channel faders and equalizers (Post-Fader/ Post-EQ). This can be modified with a little technical knowledge found on pages 33–34.

CHANNEL ACCESS outputs are low-imped- ance (120-ohm) and are capable of driving all processors (except Cuisinart food processors).

For best results the device should be capable of at least +18dB input/output (any professional unit). Do not use “stomp box”-style devices. They simply can’t keep up with the operating level needed to match CR-1604 performance.

The CR-1604’s CHANNEL ACCESS jacks are of a special design that gives more flexibility than regular jacks. What kind of plug you use and how far you plug it in varies the function of

CHANNEL ACCESS jacks For example, a mono plug inserted only to the first click does not interrupt the master (main outputs, headphone output, ALT-3/4 outputs). Plugged all the way in, it becomes a direct out and interrupts. This may seem weird at first, but it’s the way. See page 16 for a picture describing the plug and inserts.

28 AUX RETURNS TO MASTER

This is where you connect the output of your effects devices or, in some cases, return the signal of a multitrack tape machine/mixdown deck.

Many mixers simply have a passive input circuit for AUX returns. We have active input gain circuitry which allows use of a wider range of external devices. The circuits will handle stereo or mono unbalanced signals at instrument level or –10dBV to +4dBu.

These eight inputs can be used for a variety of effects. (For more detailed information on functions and their relationships to practical application in the production of your music, see the Applications Guide in our In Your Face magazine.

29 BUS INSERT

These are the send and receive jacks for inserting an effect such as final compression, limiting or EQ into the Main Left/Right Buses. Inserting a processor here will affect your entire mix. See page 16 for a picture describing the plug and inserts.

The BUS INSERTS can also be used as an output with no interuption to signal.

NOTE: The BUS INSERTS are pre-main faders. If you are using them for output, make sure the connecting device has some way to adjust incoming level.

Tip=output (send to external device), Ring=input (return from external device)

The BUS INSERT is before the Master fader controls and after the main L/R mix amps.

Inputs and outputs are unbalanced and designed to work with pro devices with at least 18dB of input/output.

The BUS INSERT can also be used as a tape out if plugged in the first “click”. Master adjustments will not affect level.

INPUT OUTPUT POD

13

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