Mackie 1604-VLS PRO Owner's Manual

1604-VLZ PRO 16-CHANNEL MIC/LINE MIXER OWNER’S MANUAL

120 VAC 50/60 Hz 20W

1A/250V SLO-BLO

UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE. DEBRANCHER AVANT DE REMPLACER LE FUSIBLE

INSERT

LINE

BAL UNBAL

MIC 16

M

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16-CHA NNEL MIC/ LINE MIXER

WITH PREMIUM XDR

TRIM

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1

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060

-45dB

+15dB

AUX

U

1

OO

+15

U

2

OO

+15

PRE

U

3

OO

+15

U

4

OO

+15

5/6

SHIFT

EQ

U

+15-15

U

+15-15

800

8k

100

U

+15-15

LOW CUT

75 Hz

18dB/OCT

PAN

LR LR LR LR LR LR LR LR LR LR LR LR LR LR LR LR

1

MUTE

-

SOLO

1–2

3–4

L - R

OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO

PHANTOM

POWER

ON

CAUTION:

TO REDUCE THE RISK OF

FIRE REPLACE WITH SAME

TYPE FUSE AND RATING

INSERT

LINE

16

15

BAL

UN-

BAL

MIC 15 MIC 14

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1604-VL ZPRO

TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM

1234 5 6 7 8 9 10 11 12 13

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0

1

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+15dB

AUX

U

12121212121212121212121212121

OO

U

OO

PRE PRE

U

5

3

OO

U

6

4

OO

5/6

SHIFT

EQ

HI

U

12k

U

MID

800

2k200

LOW

U

80Hz

LOW CUT

75 Hz

18dB/OCT

PAN

2

MUTE

OL

20

D

R

X

E

TM

MIC PREAMPLIFIERS

B

V

G

A

I

N

-45dB

+15dB

AUX

+15

5

3

+15

6

4

+15

SHIFT

EQ

HI

12k

+15-15

MID

+15-15

2k200

8k100

LOW

80Hz

+15-15

LOW CUT

75 Hz

18dB/OCT

PAN

3

MUTE

OL

20

SOLO

1–2

3–4

L - R

d

0

1

-

G

C

I

M

060

U

OO

U

OO

U

OO

U

OO

5/6

U

800

U

P

D

R

X

B

V

A

I

N

-45dB

+15dB

AUX

+15

5

3

+15

6

4

+15

SHIFT

EQ

HI

12k

+15-15

MID

+15-15

2k200

8k100

LOW

80Hz

+15-15

LOW CUT

75 Hz

18dB/OCT

PAN

4

MUTE

OL

20

SOLO

1–2

3–4

L - R

MAIN INSERT

MAIN OUT

BAL/UNBAL

RING RETURN)

L

MONO

R

OO

+6

INSERT

LINE

14 13

BAL

UN-

BAL

MIC 13

M

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R

P

D

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X

E

DESIGNED BY MACKOIDS IN WOODINVILLE, WA, USA • COPYRIGHT ©1998 • THE FOLLOWING ARE TRADEMARKS OR REGISTERED TRADEMARKS OF MACKIE DESIGN INC.: "MACKIE", "VLZ", "XDR", AND THE "RUNNING MAN" FIGURE • US PATENT NUMBER 29/049,129

d

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-45dB

+15dB

AUX

U

OO

+15

U

OO

+15

PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE

U

5

3

OO

+15

U

6

4

OO

+15

5/6

SHIFT

EQ

HI

U

12k

+15-15

U

MID

+15-15

800

2k200

8k100

LOW

U

80Hz

+15-15

LOW CUT

75 Hz

18dB/OCT

PAN

5

MUTE

OL

-

20

SOLO

1–2

3–4

L - R

TAPE

(TIP SEND

INPUT

L

R

INSERT

LINE

12 11 10

BAL UNBAL

MIC 12 MIC 11

M

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d

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0

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1

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060

-45dB

+15dB

AUX

U

OO

+15

U

OO

+15

U

5

3

OO

+15

U

6

4

OO

+15

5/6

SHIFT

EQ

HI

U

12k

+15-15

U

MID

+15-15

800

2k200

8k100

LOW

U

80Hz

+15-15

LOW CUT

75 Hz

18dB/OCT

PAN

6

7

MUTE

OL

20

SOLO

1–2

3–4

L - R

TAPE

OUTPUT

L

R

M

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P

R

E

I

N

AUX

5

3

6

4

EQ

HI

12k

MID

2k200

8k100

LOW

80Hz

LOW CUT

18dB/OCT

PAN

MUTE

OL

20

SOLO

1–2

3–4

L - R

SUB OUT

C-R OUT

BAL/UNBAL

3

d

0

1

-

C

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060

+15dB

U

OO

U

OO

U

OO

U

OO

5/6

SHIFT

U

800

U

75 Hz

9

MUTE

42

INSERT

BAL UNBAL

MIC 9

M

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B

V

G

A

I

N

-45dB

AUX

+15

5

3

+15

6

4

+15

EQ

HI

12k

+15-15

MID

+15-15

2k200

8k100

LOW

80Hz

+15-15

LOW CUT

18dB/OCT

PAN

MUTE

OL

20

SOLO

1–2

3–4

L - R

TRACK

1

(MONO)

INSERT

876

9

LINELINE

BAL UNBAL

MIC 8

M

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E

d

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0

V

1

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060

-45dB

+15dB

AUX

U

OO

+15

U

OO

+15

U

5

3

OO

+15

U

6

4

OO

+15

5/6

SHIFT

EQ

HI

U

12k

+15-15

U

MID

+15-15

800

2k200

100

8k

8k100

LOW

U

80Hz

+15-15

LOW CUT

75 Hz

18dB/OCT

PAN

10

11

MUTE

OL

-

20

SOLO

1–2

3–4

L - R

TRACK

3

2

L

R

INSERT

LINE

BAL UNBAL

MIC 10

M

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TM

EXTENDED DYNAMIC RANGE MIC PREAMPLIFIERS ARE PROPRIETARY TO MACKIE DESIGNS, INC.

XDR

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-45dB

+15dB

AUX

U

OO

+15

U

OO

+15

U

5

3

OO

+15

U

6

4

OO

+15

5/6

SHIFT

EQ

HI

U

12k

+15-15

U

MID

+15-15

800

2k200

8k100

LOW

U

80Hz

+15-15

LOW CUT

75 Hz

18dB/OCT

PAN

8

OL

20

SOLO

1–2

3–4

L - R

L

R

BAL UNBAL

MIC 7

X

UUUUUUUUUUUU

+15dB

AUX

5

3

6

4

SHIFT

EQ EQ

HI

12k

100

LOW CUT

75 Hz

18dB/OCT

PAN

12

MUTE

AUX RETURN

BAL/UNBAL

INSERT

LINE

M

R

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1

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U

OO

U

OO

U

OO

U

OO

5/6

U

800

U

L

(MONO)

R

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P

R

E

B

V

A

I

N

-45dB

+15

+15-15

MID

+15-15

2k200

8k

LOW

80Hz

+15-15

OL

20

SOLO

1–2

3–4

L - R

TRACK

4

BAL UNBAL

M

060

+15dB

AUX

5

3

6

4

5/6

SHIFT

HI

12k

100

LOW CUT

75 Hz

18dB/OCT

PAN

13

MUTE

234

L

(MONO)

R

INSERT

LINE

MIC 6 MIC 5

M

R

D

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d

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0

V

1

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G

A

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-45dB

U

OO

+15

U

OO

+15

U

OO

+15

U

OO

+15

U

+15-15

U

+15-15

800

8k

U

+15-15

OL

-

SOLO

1–2

3–4

L - R

TRACK

5

AUX SEND

BAL/UNBAL

5

1

64

INSERT

5

LINE

BAL

UN-

BAL

M

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E

14

15 16

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1

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-45dB

+15dB

AUX

U

OO

+15

U

OO

+15

PRE

U

5

3

OO

+15

U

6

4

OO

+15

5/6

SHIFT

EQ

HI

U

12k

+15-15

U

MID MID MID MID

+15-15

800

2k200

LOW

80Hz

20

2k200

100

8k

LOW

U

80Hz

+15-15

LOW CUT

75 Hz

18dB/OCT

PAN

14

15

MUTE

OL

-

20

SOLO

1–2

3–4

L - R

TRACK

7

6

DIRECT OUT

BAL/UNBAL

75

1

3

64

8

2

INSERT

4321

LINE

MIC 4

M

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P

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X

E

d

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0

V

1

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G

A

C

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N

M

UUUU

060

-45dB

+15dB

AUX

U

OO

+15

U

2

OO

+15

PRE

U

5

3

OO

+15

U

6

4

OO

+15

5/6

SHIFT

EQ

HI

U

12k

+15-15

U

+15-15

800

8k100

U

+15-15

LOW CUT

75 Hz

18dB/OCT

PAN

16

MUTE

LINE

BAL UNBAL

MIC 3

M

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1604-VL ZPRO

16-CHANNEL MIC / LINE MIXER

WITH PREMIUM XDR

U

1

OO

+10

U

2

OO

+10

AUX

SEND

1

5

SOLO

2

SOLO

6

PWR

PHAN

HI

12k

OO

MAX

CTL ROOM / PHONES

TAPE

SUBS 1–2

2k200

LOW

SUBS 3–4

80Hz

MAIN MIX

CTL ROOM

SOURCE

ASSIGN TO MAIN MIX

LEFT

RIGHT

1234

OL

20

BAL UNBAL

1

2

3

4

LEFT

RIGHT

LINE

MIC 2

M

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TM

MIC PREAMPLIFIERS

U

OO

+20

U

OO

+20

U

OO

+20

U

OO

+20

STEREO AUX RETURN

U

OO

+20

TAPE IN

TAPE TO

MAIN MIX

OO

MAX

SOLO

MODE

(AFL)

NORMAL

(PFL)

LEVEL SET

LEFT

RIGHT

BAL UNBAL

1

2

ASSIGN OPTIONS

MAIN MIX TO SUBS

C-R / PHNS

ONLY

LEVEL SET

LEFT

RIGHT

RUDE SOLO LIGHT

SOLO

1–2

3–4

L - R

TRACK

8

1

3

2

INSERT

LINE

MIC 1

M

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16151413121110987654321

12V

0.5A

LAMP

U

TO AUX SEND 1

OO

+15

EFFECTS TO MONITORS

U

TO AUX SEND 2

OO

+15

1–2 3–4

RETURNS

SOLO

LEFT RIGHT

0 dB=0 dBu

28

10

7

4

2

0

2

4

7

10

20

30

PHONES

MAIN

MIX

dB

10

5

U

5

10

20

30

40

50

60

OO

CAUTION AVIS

RISK OF ELECTRIC

RISQUE DE

CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK

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

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.

DO NOT OPEN

CHOC

NE PAS OUVRIR

DO NOT REMOVE COVER (OR BACK)

A LA PLUIE OU A L'HUMIDITE

SHOCK

ELECTRIQUE

SAFETY INSTRUCTIONS

1. Read Instructions — All the safety and operation instructions should be read before this Mackie product is operated.

2. Retain Instructions — The safety and operating instructions should be kept for future reference.

3. Heed Warnings — All warnings on this Mackie product and in these operating instructions should be followed.

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

5. Water and Moisture — This Mackie product 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. Cleaning — Clean only with a dry cloth.

7. Ventilation — This Mackie product should be situated so that its

location or position does not interfere with its proper ventilation. For example, the Component should not be situated on a bed, sofa, rug, or similar surface that may block any ventilation openings, or placed in a built-in installation such as a bookcase or cabinet that may impede the flow of air through ventilation openings.

8. Heat — This Mackie product should be situated away from heat sources such as radiators, or other devices which produce heat.

9. Power Sources — This Mackie product should be connected to a power supply only of the type described in these operation instructions or as marked on this Mackie product.

10 . 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 this Mackie product.

11 . Object and Liquid Entry — Care should be taken so that objects do not fall on, and liquids are not spilled into, this Mackie product.

12 . Damage Requiring Service — This Mackie product should be serviced only by qualified service personnel when:

A. The power-supply cord or the plug has been damaged; or

B. Objects have fallen, or liquid has spilled into this Mackie

product; or

C. This Mackie product has been exposed to rain; or

D. This Mackie product does not appear to operate normally or

exhibits a marked change in performance; or

E. This Mackie product has been dropped, or its chassis damaged.

13 . Servicing — The user should not attempt to service this Mackie product

beyond those means described in this operating manual. All other servicing should be referred to the Mackie Service Department.

14 . 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 prévenir 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.

15 . Grounding or Polarization — Precautions should be taken so that the grounding or polarization means of this Mackie product is not defeated.

16 . Power Precautions — Unplug this Mackie product during lightning storms or when unused for long periods of time. Note that this Mackie product is not completely disconnected from the AC mains service when the power switch is in the OFF position.

17 . 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.

18 .

Exposure to extremely high noise levels may cause permanent hearing loss. Individuals vary considerably in susceptibility to noise-induced hearing loss, but nearly everyone will lose some hearing if exposed to sufficiently intense noise for a period of time. The U.S. Government’s Occupational Safety and Health Administration (OSHA) has specified the permissible noise level exposures shown in the following chart.

According to OSHA, any exposure in excess of these permissible limits could result in some hearing loss. To ensure against potentially dangerous exposure to high sound pressure levels, it is recommended that all persons exposed to equipment capable of producing high sound pressure levels use hearing protectors while the equipment is in operation. Ear plugs or protectors in the ear canals or over the ears must be worn when operating the equipment in order to prevent a permanent hearing loss if exposure is in excess of the limits set forth here.

Duration Per Day Sound Level dBA, Typical

In Hours Slow Response Example

8 90 Duo in small club 692 4 95 Subway Train 397 2 100 Very loud classical music

1.5 102 1 105 Tami screaming at Adrian about deadlines

0.5 110

0.25 or less 115 Loudest parts at a rock concert

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

2

READ THIS PAGE!!!

We realize that you must have a powerful hankerin’ to try out your new 1604-VLZ you might be one of those people who never reads manuals. Either way, all we ask is that you read this page NOW, and the rest can wait until you’re good and ready. But do read it — you’ll be glad you did.

PRO. Or

LEVEL-SETTING PROCEDURE

Message to seasoned pros: do NOT set levels using the old “Turn the trim up until the clip light comes on, then back off a hair” trick. When a Mackie Designs mixer clip light comes on, you really are about to clip.

This procedure really works — it assures low noise and high headroom. Please read on.

It’s not even necessary to hear what you’re doing to set optimal levels. But if you’d like to: Plug headphones into the then set the quarter of the way up.

The following steps must be performed one

channel at a time:

1. Turn the

2. Be sure the

3. Set the

4. Connect the signal source to the

5. Engage (push in) the channel’s

6. Push in the

7. Play something into the selected input, at

8. Adjust the

9. If you’d like to apply some

10. Disengage that channel’s 11 . Repeat for each of channels 1–16.

C-R PHONES

controls fully down.

assignment switches are all disengaged.

EQ

LINE

channel input.

switch.

section (

LEVEL SET

real-world levels.

display on the meter stays around “0.” (Only the left meter is active in the Level-Setting Procedure.)

now and return to the previous step.

PHONES

TRIM, AUX

1–2, 3–4

knobs at the center detents.

MODE

switch in the output

LEVEL SET (PFL)

LED will light.

TRIM

control so that the

output jack,

knob about one-

send and fader

and

L–R

channel

MIC

SOLO

mode) — the

EQ

, do so

SOLO

switch.

or

Other Nuggets of Wisdom

For optimum sonic performance, the channel

faders and the

U

” (unity gain) markings.

the “

Always turn the

ROOM/PHONES nections to and from your 1604-VLZ

If you shut down your equipment, turn off your amplifiers first. When powering up, turn on your amplifiers last.

Save the shipping box! You may need it someday, and you don’t want to have to pay for another one.

MAIN MIX

knob down before making con-

fader should be set near

fader and

PRO.

CTL

INSTANT MIXING

Here’s how to get going right away, assuming you own a microphone and a keyboard:

1. Plug your microphone into Channel 1’s input.

2. Turn on the 1604-VLZ

3. Perform the Level-Setting Procedure .

4. Connect cords from the

your amplifier.

5. Hook up speakers to the amp and turn it on.

6. Set channel 1’s fader to the “ U” mark.

7. Engage (push in) Channel 1’s

8. Set the

9. Sing like a canary!

10. Plug your keyboard into channels 3 and 4.

11. Turn channel 3’s

12 . Set those faders to the “ U” mark. 13 . 14 . 15 . Play like a madman and sing like a canary!

MAIN MIX

way up.

channel 4’s

Perform the Level-Setting Procedure . Engage the

It’s your first mix!

PAN

L-R

PRO.

MAIN OUT

L-R

fader one-quarter of the

PAN

knob fully left and

knob fully right.

switch on these channels.

MIC

jacks to

switch.

Please write your serial number here for future reference (i.e. insurance claims, tech support, return authorization, etc.):

Purchased at:

Part No. 0006982-90 Rev. A1 06/03

Date of purchase:

3

INTRODUCTION

Thank you for choosing a Mackie Designs professional compact mixer. The 1604-VLZ PRO is equipped with our new precision-engineered

TM

Extended Dynamic Range premium

XDR studio-grade mic preamp featuring:

• Full gain range from 0 to 60dB

• +22 dBu line signal handling capability

• 130 dB dynamic range

• Distortion less than 0.0007%, 20Hz to 20kHz

• Bullet-proof RF rejection using DC pulse transformer circuitry

Now that you have your 1604-VLZ PRO, find out how to get the most from it. That’s where this manual comes in.

HOW TO USE THIS MANUAL

Since many of you folks will want to hook up your 1604-VLZ you will encounter after the table of contents are the ever popular hookup diagrams. These show typical mixer setups for Record/Mixdown, Video, Disc Jockey and Stereo PA. After this section is a detailed tour of the entire mixer.

Every feature of the 1604-VLZ described “geographically;” in other words, in order of where it is physically placed on the mixer’s top or rear panel. These descriptions are divided into the first three manual chapters, just as your mixer is organized into three distinct zones:

1. PATCHBAY: The zillion jacks on the back

of the “pod.”

2. CHANNEL STRIP: The sixteen channel

strips on the left.

3. OUTPUT SECTION: The output section on

the right.

PRO immediately, the first pages

PRO will be

Whenever a specific 1604-VLZ

PRO component is mentioned, it’ll be in all capital letters sans-serif type. That can help you find references to specific controls much faster, without slowing you down as you read normally. For example: The quick brown fader jumped over the

RUDE SOLO LIGHT

.

Throughout these chapters you’ll find illustrations, with each feature numbered. If you’re curious about a feature, simply locate it on the appropriate illustration, note the number attached to it, and find that number in the nearby paragraphs or refer to the table of contents.

You’ ll also find cross-references to these numbered features within a paragraph. For instance, if you see “To wire your own cables:

,” simply find that number in the manual and you’ ve found your answer. (These are not page numbers.)

You’ll also notice feature numbers just float-

ing in space, like this

. These numbers

direct you to relevant information.

This icon marks information that is critically important or unique to the 1604-VLZ

PRO. For your

own good, read them and

remember them. They will be on the final test.

This icon will lead you to in-depth explanations of features and practical tips. While not mandatory, they’ll have some valuable information.

A PLUG FOR THE CONNECTORS SECTION

Appendix is a section on connectors: XLR connectors, balanced connectors, unbalanced connectors, special hybrid connectors.

120 VAC 50/60 Hz 20W

POWER

1A/250V SLO-BLO

ON

CAUTION:

TO REDUCE THE RISK OF FIRE REPLACE WITH SAME

TYPE FUSE AND RATING

UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE. DEBRANCHER AVANT DE REMPLACER LE FUSIBLE

INSERT

LINE

16

BAL

UN-

BAL

MIC 16

MIC 15 MIC 14

M

I

C

R

P

D

R

X

E

TRIM

TRIMTRIMTRIMTRIMTRIMTRIMTRIMTRIMTRIMTRIMTRIMTRIMTRIMTRIMTRIM

1234 5 6 7 8 9 10 11 12 131415 16

d

B

0

V

1

-

G

A

C

I

N

M

060

+15dB -45dB

AUX

U

1

12121212121212121212121212121

OO

+15

U

2

OO

+15

PRE

PRE PRE

U

5

3

OO

+15

U

6

4

OO

+15

5/6

SHIFT

EQ

HI

U

12k

+15-15

U

MID

+15-15

800

2k200

8k

100

8k100

LOW

U

80Hz

+15-15

LOW CUT

75 Hz

18dB/OCT

PAN

LR LR LR LR LR LR LR LR LR LR LR LR LR LR LR LR

1

2

MUTE

OL

-

20

SOLO

1–2

3–4

L - R

OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO

MAIN INSERT

MAIN OUT

PHANTOM

(TIP SEND

BAL/UNBAL

ON

RING RETURN)

L

MONO

R

OO

+6

INSERT

LINE

15 14 13 12 11 10

BAL

UN-

BAL

MIC 12 MIC 11

MIC 13

M

I

C

R

P

D

R

X

E

DESIGNED BY MACKOIDS IN WOODINVILLE, WA, USA • COPYRIGHT ©1998 • THE FOLLOWING ARE TRADEMARKS OR REGISTERED TRADEMARKS OF MACKIE DESIGN INC.: "MACKIE", "VLZ", "XDR", AND THE "RUNNING MAN" FIGURE • US PATENT NUMBER 29/049,129

d

B

0

V

1

-

G

A

C

I

N

M

060

+15dB -45dB

U

OO

+15

U

OO

+15

U

OO

+15

U

OO

+15

5/6 SHIFT

U

+15-15

U

+15-15

800

U

+15-15

75 Hz

3

V

1

-

G

A

C

I

N

M

060

+15dB -45dB

AUX

U

OO

+15

U

OO

+15

PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE

U

5

3

OO

+15

U

6

4

CHANNEL STRIPS

OO

+15

5/6

SHIFT

EQ

HI

U

12k

+15-15

U

MID

+15-15

800

2k200

8k100

LOW

OL

20

SOLO

1–2

3–4

L - R

2k200

8k100

LOW

U

80Hz

+15-15

LOW CUT

75 Hz

18dB/OCT

PAN

4

5

6

MUTE

OL

-

20

SOLO

1–2

3–4

L - R

SUB OUT

C-R OUT

TAPE

BAL/UNBAL

OUTPUT

INPUT

3

1

L

R

42

R

INSERT

LINE

BAL UNBAL

M

I

C

R

P

D

R

X

E

d

B

0

V

1

-

G

A

C

I

N

M

060

+15dB -45dB

AUX

U

OO

+15

U

OO

+15

U

5

3

OO

+15

U

6

4

OO

+15

5/6 SHIFT

EQ

HI

U

12k

+15-15

U

MID

+15-15

800

2k200

8k100

LOW

U

80Hz

+15-15

LOW CUT

75 Hz

18dB/OCT

PAN

7

MUTE

OL

20

SOLO

1–2

3–4

L - R

INSERT

98765

LINELINE

LINE

PATCHBAY

BAL

UN-

BAL

MIC 8

MIC 9

MIC 10

M

I

C

R

P

D

R

X

E

TM

EXTENDED DYNAMIC RANGE MIC PREAMPLIFIERS ARE PROPRIETARY TO MACKIE DESIGNS, INC.

XDR

d

B

0

V

1

-

G

A

C

I

N

M

060

+15dB -45dB

OO

5/6

SHIFT

8

M

060

+15dB -45dB

AUX

U

OO

+15

U

OO

+15

U

5

3

OO

+15

U

6

4

OO

+15

5/6

SHIFT

EQ

HI

U

12k

+15-15

U

MID

+15-15

800

2k200

100

8k100

8k

LOW

U

80Hz

+15-15

LOW CUT

75 Hz

18dB/OCT

PAN

9

10

11

MUTE

OL

-

20

SOLO

1–2

3–4

L - R

1

I

C

0

1

C

I

800

P

R

E

d

B

V

G

A

I

N

U

+15

U

+15

U

+15

U

+15

U

+15-15

U

+15-15

8k100

LOW

U

+15-15

OL

-

SOLO

1–2

3–4

L - R

(MONO)

12k

MID

2k200

80Hz

20

L

R

BAL UN- BAL

AUX

5

3

6

4

EQ EQ

HI

LOW CUT

18dB/OCT

PAN

MUTE

UUUUUUUUUUUU

75 Hz

12

AUX RETURN

BAL/UNBAL

L

(MONO)

R

INSERT

LINE

MIC 7

M

I

C

R

P

D

R

X

E

d

B

0

V

1

-

G

A

C

I

N

M

060

+15dB -45dB

AUX

U

OO

+15

U

OO

+15

U

5

3

OO

+15

U

6

4

OO

+15

5/6 SHIFT

HI

U

12k

+15-15

U

MID

+15-15

800

2k200

100

8k

LOW

U

80Hz

+15-15

LOW CUT

18dB/OCT

PAN

OL

20

SOLO

1–2

3–4

L - R

234

L

(MONO)

R

INSERT

LINE

BAL UN- BAL

MIC 6

M

R

D

X

d

B

0

V

1

-

G

A

C

I

N

M

060 +15dB -45dB

U

OO

+15

U

OO

+15

U

OO

+15

U

OO

+15

5/6

SHIFT

U

+15-15

U

MID MID MID MID

+15-15

800

2k200

100

8k

LOW

U

80Hz

+15-15

75 Hz

13

MUTE

OL

20

SOLO

1–2

3–4

L - R

AUX SEND

BAL/UNBAL

5

1

64

INSERT

LINE

BAL UN- BAL

MIC 5

M

I

C

R

P

D

R

X

E

d

B

0

V

1

-

G

A

C

I

N

M

060

+15dB -45dB

AUX

U

OO

+15

U

OO

+15

PRE

U

5

3

OO

+15

U

6

4

OO

+15

5/6

SHIFT

EQ

HI

U

12k

+15-15

U

+15-15

800

2k200

100

8k

LOW

U

80Hz

+15-15

LOW CUT

75 Hz

18dB/OCT

PAN

14

15

MUTE

OL

20

SOLO

1–2

3–4

L - R

4

BAL UNBAL

B

V

A

I

N

+15

+15-15

2k200

8k

LOW

80Hz

+15-15

OL

20

SOLO

1–2

3–4

L - R

3

INSERT

LINE

MIC 4

M

I

C

R

P

D

X

M

UUUU

060

+15dB -45dB

AUX

OO

2

OO

PRE

5

3

OO

6

4

OO

5/6

SHIFT

EQ

HI

12k

LOW CUT

75 Hz

18dB/OCT

PAN

16

MUTE

R

E

0

1

-

C

I

800

4

d

B

V

G

A

I

N

U

+15

U

+15

U

+15

U

+15

U

+15-15

U

+15-15

8k100

U

+15-15

SOLO

TRACK8TRACK7TRACK6TRACK5TRACK4TRACK3TRACK2TRACK

2k200

LOW

80Hz

OL

20

1–2

3–4

L - R

1

2

BAL UNBAL

5

6

HI

12k

WITH PREMIUM XDR

1

2

1

2

CTL ROOM / PHONES

INSERT

LINE

MIC 3

M

I

R

D

X

16-CHANNEL MIC/ LINE MIXER

OO

AUX SEND

SOLO

PHAN

OO

TAPE

SUBS 1–2

SUBS 3–4

MAIN MIX

CTL ROOM

SOURCE

LEFT

RIGHT

DIRECT OUT

BAL/UNBAL

3

75

64

8

INSERT

32

LINE

BAL

UN-

BAL

MIC 1

MIC 2

C

M

I

C

R

P

D

R

X

E

1604-VLZ PRO

TM

MIC PREAMPLIFIERS

U

1

OO

+20

+10

U

2

OO

+20

+10

U

ASSIGN OPTIONS

3

MAIN MIX

OO

+20

TO SUBS

U

4

C-R / PHNS

OUTPUT

OO

+20

ONLY

PWR

STEREO AUX RETURN

U

SECTION

OO

+20

MAX

TAPE IN

TAPE TO MAIN MIX

OO

MAX

LEVEL

SET

SOLO

MODE

RUDE

NORMAL

(AFL)

SOLO

(PFL)

LEVEL SET

LIGHT

ASSIGN TO MAIN MIX

LEFT

RIGHT

1234

dB

10

5

U

5

10

20

30

40 50 60

1

More resources on our website @

2

www.mackie.com

1

LINE

M

I

C

R

P

R

E

THE GLOSSARY: A Haven of Non-Techiness For The Neophyte

12V

0.5A

LAMP

+15

1–2 3–4

RETURNS

SOLO

LEFT RIGHT

0 dB=0 dBu

PHONES

MAIN

OO

The "Glossary of Terms" is a fairly compre-

TO AUX

SEND 1

EFFECTS TO MONITORS

TO AUX

SEND 2

hensive dictionary of pro-audio terms. If terms like “clipping,” “noise floor,” or “unbalanced” leave you blank, refer to this glossary for a

28

10

7

4

2

quick explanation.

0

2

4

7

10

20

30

ARCANE MYSTERIES ILLUMINATED

"Arcane Mysteries" discusses some of the down ’n’

MIX

dB

10

5

U

dirty practical realities of microphones, fixed installa-

5

10

20

30

tions, grounding, and balanced versus unbalanced

40 50 60

OO

lines. It’s a goldmine for the neophyte and even the seasoned pro might learn a thing or two.

CONTENTS

LEVEL-SETTING PROCEDURE ............................ 3

INSTANT MIXING ............................................ 3

HOOKUP DIAGRAMS ....................................... 6

CONVERTING TO RACKMOUNT MODE .............. 9

PATCHBAY DESCRIPTION ............................... 10

E-Z INTERFACE ........................................ 10

MIC/LINE INPUTS ON EVERY CHANNEL.... 10

MIC INPUTS ............................................ 10

PHANTOM POWER .................................. 10

LINE INPUTS ........................................... 11

TRIM ...................................................... 11

INSERT ................................................... 11

DIRECT OUT ............................................ 11

SPLIT MONITORING ................................ 12

AUX SEND OUTPUTS ............................... 12

EFFECTS: SERIAL OR PARALLEL? ............... 13

AUX RETURN INPUTS .............................. 13

SUB OUTS ............................................... 13

C-R OUTS (CONTROL ROOM OUTPUTS) .... 14

PHONES OUTPUT .................................... 14

TAPE OUTPUT ......................................... 14

TAPE INPUT ............................................ 14

MAIN INSERT .......................................... 15

MAIN OUTS ............................................ 15

MONO OUTPUT....................................... 15

MONO LEVEL .......................................... 15

POWER CONNECTION .............................. 15

FUSE....................................................... 15

POWER SWITCH ...................................... 16

POWER LED ............................................ 16

PHANTOM SWITCH ................................. 16

PHANTOM LED ........................................ 16

BNC LAMP SOCKET ................................. 16

CHANNEL STRIP DESCRIPTION ....................... 17

“U” LIKE UNITY GAIN ............................. 17

FADER..................................................... 17

ASSIGN (1-2, 3-4, L-R) ........................... 17

SOLO ...................................................... 18

–20 (SOLO) LED ...................................... 18

OL (MUTE) LED ........................................ 18

MUTE ..................................................... 19

PAN........................................................ 19

3-BAND MID-SWEEP EQ .......................... 19

LOW CUT ................................................ 20

AUX ....................................................... 20

PRE ........................................................ 21

5/6 SHIFT .............................................. 21

OUTPUT SECTION DESCRIPTION ..................... 22

MAIN MIX FADER.................................... 22

VLZ MIX ARCHITECTURE ......................... 22

SUB FADERS............................................ 22

ASSIGN TO MAIN MIX ............................. 22

TAPE IN (LEVEL) ...................................... 23

TAPE TO MAIN MIX ................................. 23

SOURCE .................................................. 23

CTL ROOM/PHONES ............................... 23

MODE (NORMAL (AFL)/LEVEL SET (PFL)) ... 24

LEVEL SET LED ......................................... 24

SOLO (LEVEL) .......................................... 24

RUDE SOLO LIGHT................................... 24

METERS .................................................. 25

AUX TALK............................................... 25

AUX SEND (MASTER)............................... 25

AUX SENDS SOLO ................................... 26

AUX RETURNS (LEVEL) ............................ 26

EFFECTS TO MONITOR ............................. 26

MAIN MIX TO SUBS (AUX RET 3) ............. 26

1-2/3-4 (AUX RET 3) ............................. 26

C-R/PHNS ONLY (AUX RET 4) ................. 27

RETURNS SOLO....................................... 27

MODIFICATIONS.......................................... 27

1604-VLZ PRO BLOCK DIAGRAM ................... 28

GAIN STRUCTURE DIAGRAM.......................... 29

SPECIFICATIONS............................................ 30

SERVICE INFO ............................................... 31

APPENDIX A: CONNECTIONS ................................. 32

TRACK SHEET ....................................................... 36

COLOPHON .......................................................... 38

1604-VLZ PRO LIMITED WARRANTY .................... 39

5

21

HOOKUP DIAGRAMS

Keyboard, or other line-level input

ON

OFF

OL

PWR

HIGH RESOLUTION

STUDIO MONITOR

ON

OFF

OL

PWR

Studio Monitors

HIGH RESOLUTION

STUDIO MONITOR

Stereo EQ w/Compressor

Cassette or DAT

CH

1

FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN

Stereo Power Amplifier

Guitar Effects

Bass Preamp

Drum

Machine

out

in

out

in

CH

2

34

5

6

7

8

9

10

11

12

13

14

15

16

MONOSTEREO

LR

L

R

L

R

L

R

L

R

4

3

12

CHANNEL INSERTS

CHANNEL INPUTS

BAL/UNBAL

DIRECT OUT

BAL/UNBAL

MAIN OUT

MAIN

INSERT

BAL/UNBAL

IN

AUX SENDS

TAPE

OUT

TAPE

1

C/R OUT

BAL/UNBAL

2

3

AUX RETURNS

BAL/UNBAL

SUB OUTS

4

OUT

PHONES

Digital

8-track

16151413121110987654321

out

in

1

2

3

4

8-track outputs

5

6

7

8

12

3

4

5

6

L

R

L

R

L

R

LR

Stereo Compressor

Mono in / stereo out

Reverb

Digital Delay

1604-VLZ PRO 8-Track Tracking

6

Keyboard, or other line-level input

Right PA Speaker

Left PA Speaker

out

in

out

in

Stereo EQ

Stereo

Compressor

r

e

d

r

o

c

e

R

Guitar Effects

Drum

Machine

Stereo

CH

2

FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN

CH

1

NOTE: for mono PA, use

Power Amplifier

CD Player

21

34

5

6

7

8

9

CHANNEL INPUTS

10

11

12

13

14

15

16

mono output to feed FOH.

MONOSTEREO

LR

L

R

L

R

L

R

L

R

4

3

12

BAL/UNBAL

MAIN OUT

MAIN

INSERT

IN

TAPE

OUT

TAPE

C/R OUT

BAL/UNBAL

SUB OUTS

OUT

PHONES

CHANNEL INSERTS

16151413121110987654321

1

2

3

4

5

BAL/UNBAL

DIRECT OUT

6

7

8

12

3

4

BAL/UNBAL

AUX SENDS

5

6

L

1

R

L

2

R

L

3

AUX RETURNS

R

LR

4

Digital Delay

Mono EQMono EQ

Stereo CompressorStereo Compressor

Stage Monitor

Mono in / stereo out

Reverb

k

c

a

r

t

i

t

l

u

M

Optional Live Recording

1604-VLZ PRO Stereo P.A.

7

Video Deck

21

Video Deck

out

Multi-VCR

Video Switcher

with Time Code

ON

OFF OL PWR

HIGH RESOLUTION

STUDIO MONITOR

ON

OFF OL PWR

Studio Monitors

HIGH RESOLUTION

STUDIO MONITOR

Keyboard, or other line-level input

CD Player

Sampler

Interface

CH

2

FULL SYMMETRY DUAL D IFFERENTIAL HIGH CURRENT DESIGN

CH

1

in

Stereo

Power Amplifier

Master

Video

34

5

6

7

8

9

10

11

12

13

14

15

16

MONOSTEREO

LR

L

R

L

R

L

R

L

R

4

3

12

CHANNEL INSERTS

CHANNEL INPUTS

BAL/UNBAL

DIRECT OUT

BAL/UNBAL

MAIN OUT

MAIN

INSERT

BAL/UNBAL

IN

AUX SENDS

TAPE

OUT

TAPE

1

C/R OUT

BAL/UNBAL

2

3

AUX RETURNS

BAL/UNBAL

SUB OUTS

4

OUT

PHONES

16151413121110987654321

1

2

3

4

5

6

7

8

12

3

4

5

6

L

R

Mono in / stereo out

Reverb

L

R

L

R

LR

Digital Delay

Stereo Compressor

Computer

with Audio Card

1604-VLZ PRO Video Setup

8

CONVERTING TO RACKMOUNT MODE

Not only is the new 1604-VLZ PRO a compact, professional-quality tabletop mixer, it’s rackmountable! Its unique rotating input pod makes this possible.

One of the things that revolutionized the compact mixer industry was the “convertible pod” found on the original, classic CR-1604. Using an ordinary Phillips screwdriver, the mixer could be converted from desktop mode (as it comes from the factory) to rackmount mode.

Fear not. We wouldn’t dare take that feature out of the New Improved 1604-VLZ

PRO. It’s still there and still takes just a few minutes with your trusty screwdriver. Here’s how it’s done:

1. Remove ALL the cords from the mixer — audio, power, lamps, everything.

2. Place the mixer, face down, on a clean soft surface, like a blanket or very large dog.

3. Remove the four screws securing the cable cover

and set the plate aside.

4. Replace two of the screws; the ones at the pod end of the mixer

.

5. Remove two pod-mounting screws on each side of the mixer

.

6. Gently pull the pod away from the slots, rotate it, and place it, tabs first, into the rackmount tabs

, located on the underside of the main chassis. Be careful not to constrict or pinch any of the ribbon or power cables.

7. Carefully install the podmounting screws in their new locations

.

8. Install the rack ears that came with the mixer. They can be installed in either of two depths:

mixer’s surface flush with the rack rails, like ordinary rackmount equipment, or mixer’s surface sunken into the rack, to protect the knobs from being bumped.

An optional accessory called the ROTOPODVLZ is available and can be used in desktop or rackmount installations. It will put the patchbay jacks on the same plane as all the knobs, buttons and faders. This is a lifesaver in applications that demand frequent repatching, and costs a heck of a lot less than an external patchbay, not to mention all the interface and patch cords:

. Please visit your dealer for more exciting details. Be sure to order the “VLZ” version so you don’t end up with the one for the classic CR-1604!

remove screws

remove

plate

replace screws

flush mount

remove screws

rotate

pod

rackmount

tab slots

sunken

9

replace screws

PATCHBAY DESCRIPTION

120 VAC 50/60 Hz 20W

1A/250V SLO-BLO

UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE. DEBRANCHER AVANT DE REMPLACER LE FUSIBLE

INSERT

POWER

ON

CAUTION:

TO REDUCE THE RISK OF

FIRE REPLACE WITH SAME

TYPE FUSE AND RATING

INSERT

PHANTOM

ON

At the risk of stating the obvious, this is where you plug everything in: microphones, line-level instruments and effects, and the ultimate destination for your sound: a tape recorder, PA system, etc. A few of the features described in this section are on top of the mixer, but most are out back on the “pod.”

E-Z INTERFACE

Concerned about levels, balancing, impedances, polarity, or other interface goblins? Don’t be. On your

1604-VLZ

PRO, you can patch anything almost

anywhere, with nary a care. Here’s why:

• Every input and output is balanced

(except insert, phones and RCA jacks).

• Every input and output will also accept

unbalanced lines (except XLR jacks).

• Every input is designed to accept virtually

any output impedance.

• The main left and right mix outputs can

deliver 28dBu into as low as a 600 ohm load.

• All the other outputs can deliver 22dBu

into as low as a 600 ohm load.

• All the outputs are in phase with the inputs. All we ask is that you perform the Level-Setting

Procedure

every time you patch in a new

sound source. So stop worrying and start mixing!

MIC/LINE INPUTS ON EVERY CHANNEL

The original CR-1604 had six mic/line channels and ten line-only channels. That was fine for most applications, but live sound users were forced to go out and buy the XLR-10 mic input add-on module. No more. Each and every channel on the New Improved 1604-VLZ

PRO has the legendary Mackie mic/line input circuit. It’s like getting a free XLR-10 with your mixer!

MIC INPUTS

We use phantom-powered, balanced microphone inputs just like the big studio megaconsoles, for exactly the same reason: This kind of circuit is excellent at rejecting hum

INSERT

MAIN OUT

BAL/UNBAL

L

R

INSERT

MONO

MAIN INSERT

TAPE

(TIP SEND

INPUT

RING RETURN)

L

R

OO

+6

R

INSERT

TAPE

OUTPUT

C-R OUT

BAL/UNBAL

L

R

INSERT

L

R

SUB OUT

BAL/UNBAL

3

42

INSERT

and noise. You can plug in almost any kind of mic that has a standard XLR-type male mic connector. Always be sure to perform the Level-Setting Procedure nals are routed from these inputs:

. To learn how sig-

. If you

wire your own, connect them like this:

COLD

2

HOT

1

3

1

3

2

HOT

1

3

2

SHIELD

COLD

HOT

SHIELD

Pin 1 = ground or shield Pin 2 = positive (+ or hot) Pin 3 = negative (– or cold)

Professional ribbon, dynamic, and condenser mics will all sound excellent through these inputs. The 1604-VLZ

PRO’s mic inputs will handle almost any kind of mic level you can toss at them, without overloading.

PHANTOM POWER

Most condenser mics require phantom power, where the mixer sends low-current DC voltage to the mic’s electronics through the same wires

1

2

INSERT

MIC

75

8

PRO’s phantom

PHANTOM

input jacks if

DIRECT OUT

BAL/UNBAL

3

64

INSERT

1

2

that carry audio. The 1604-VLZ power is globally controlled by the switch on the rear panel .

Semipro condenser mics often have batteries to accomplish the same thing. “Phantom” owes its name to an ability to be “unseen” by

®

dynamic mics (Shure

SM57/SM58, for instance) that don’t need external power and aren’t affected by it anyway.

Unless you know for certain it is safe to do so, never plug single-ended (unbalanced) microphones, instruments or

electronic devices into the the phantom power is on.

AUX RETURN

(MONO)

BAL/UNBAL

INSERT

(MONO)

23

L

(MONO)

R

INSERT

4

L

R

1

INSERT

1

AUX SEND

BAL/UNBAL

5

64

INSERT

3

INSERT

16

15 14 13

BAL

UN-

BAL

MIC 16

MIC 15 MIC 14

M

I

C

R

P

D

R

X

R

X

E

BAL

UN-

BAL

MIC 13

M

R

D

X

I

C

R

P

D

R

X

E

12 11 10

BAL

UN-

BAL

MIC 12 MIC 11

M

I

C

R

P

D

R

X

E

LINE

BAL UNBAL

MIC 10

M

I

C

R

D

X

C

R

P

D

R

X

E

98765

LINELINE

BAL

BAL UNBAL

MIC 9

M

I

C

R

P

D

R

X

E

UN-

BAL

MIC 7

MIC 8

M

I

C

R

P

D

R

X

E

LINE

M

I

C

R

P

R

E

LINE

BAL UNBAL

MIC 6 MIC 5

M

I

C

R

P

D

R

X

E

LINE

BAL

UN-

BAL

M

I

C

R

P

D

R

X

E

4321

LINE

BAL

UN-

BAL

MIC 3

MIC 4

M

I

C

R

P

D

R

X

E

LINE

BAL UNBAL

MIC 2

M

I

C

M

I

R

D

C

R

P

D

R

X

E

LINE

BAL UNBAL

MIC 1

M

I

C

R

P

D

R

X

E

LINE

10

TM

XDR

DESIGNED BY MACKOIDS IN WOODINVILLE, WA, USA • COPYRIGHT ©1998 • THE FOLLOWING ARE TRADEMARKS OR REGISTERED TRADEMARKS OF MACKIE DESIGN INC.: "MACKIE", "VLZ", "XDR", AND THE "RUNNING MAN" FIGURE • US PATENT NUMBER 29/049,129

EXTENDED DYNAMIC RANGE MIC PREAMPLIFIERS ARE PROPRIETARY TO MACKIE DESIGNS, INC.

LINE INPUTS

These 1/4" jacks share circuitry (but not phantom power) with the mic preamps. You can use these inputs for virtually any signal you’ll come across, from instrument levels as low as –50dB to operating levels of –10dBV to +4dBu, as there is 60dB of gain available via

TRIM

the the

knob . Always be sure to perform

Level-Setting Procedure

.

To learn how signals are routed from these inputs: inputs, use a

. To connect balanced lines to these

1

/4" tip-ring-sleeve (TRS) plug,

the type found on some stereo headphones:

TIPSLEEVE

SLEEVERING

TIP

RING

TIP

SLEEVE

Tip = positive (+ or hot) Ring = negative (– or cold) Sleeve = shield or ground

To connect unbalanced lines to these in-

1

puts, use a

/4" mono (TS) phone plug or

standard instrument cable:

SLEEVE

TIP

Tip = signal (+) Sleeve = ground

TIPSLEEVE

TIP

SLEEVE

TRIM

Yes it’s true, these controls are not located in the patchbay section at all. They’re found along the top row of knobs in the channel strip section. But their purpose is so closely linked

MIC

and

LINE

with the couldn’t bear to separate them. Here’s why: Every time you plug something into a

LINE

input jack, you should perform the Setting Procedure basically “how to use the

TRIM

adjusts the input sensitivity of the

MIC

and

LINE

inputs. This allows signals from the outside world to be adjusted to optimal internal operating levels.

Through the XLR jack ( 0dB of gain with the knob fully down, ramping to 60dB of gain fully up.

Through the of attenuation fully down and 45dB of gain fully

U

up, with a “

” (unity gain) mark at 10:00.

input jacks that we

, and that procedure is

TRIM

knob.”

MIC

1

/4" input (

LINE

), there is 15dB

MIC

or

Level-

), there will be

This 15dB of attenuation can be very handy when you are inserting a signal that is very hot, or you want to add a lot of EQ gain, or both. Without this “virtual pad,” a scenario like that might lead to channel clipping.

INSERT

These 1/4" jacks are for connecting serial effects processors such as compressors, equaliz-

. The

INSERT

ers, de-essers, or filters

TRIM

after the

EQ, LOW CUT,

control, but before the channel’s

fader and

MUTE

point is

controls. Insert

cables must be wired thusly:

ring

tip

This plug connects to one of the mixer’s Channel Insert jacks.

sleeve

(TRS plug)

SEND to processor

RETURN from processor

“tip”

“ring”

Tip = send (output to effects device) Ring = return (input from effects device) Sleeve = common ground

Even though channels 1–8 already have

DIRECT OUT

be used as channel direct outputs; post-

LOW CUT

preyou can use the

Direct out with no signal interruption to master.

(TIP = SEND to effect, RING = RETURN from effect.)

jacks ,

INSERT

jacks can also

TRIM

, and pre-EQ. Here’s three ways

INSERT

jacks:

MONO PLUG

Channel Insert jack

Insert only to first “click.”

MONO PLUG

Channel Insert jack

Direct out with signal interruption to master.

Insert all the way in to the second “click.”

STEREO

PLUG

For use as an effects loop.

Channel Insert jack

DIRECT OUT

Found only on channels 1–8, these 1/4" jacks deliver the signal from the very end of the

TRIM

channel path; post-

, post-fader and post-

CUT

, post-EQ, post-

MUTE

. They are the key player in “split monitoring,” making the 1604-VLZ

wire your own cables:

PRO perfect for an 8-track studio. To

.

LOW

TRIM

1

d

B

0

V

1

-

G

A

C

I

N

M

U

060

-45dB

+15dB

AUX

U

1

OO

+15

U

2

OO

+15

PRE

U

5

3

OO

+15

U

6

4

OO

+15

5/6

SHIFT

EQ

HI

U

12k

+15-15

U

MID

+15-15

800

2k200

8k

100

LOW

U

80Hz

,

LOW CUT

75 Hz

18dB/OCT

PAN

MUTE

LR

1

+15-15

OL

-

20

SOLO

1–2

3–4

L - R

OO

11

SPLIT MONITORING

With split monitoring, you use the first eight channels for your sound sources: vocal mics, drum mics, keyboard/synth outputs, guitar effects outputs, that sort of thing. From there, the channels manipulate the sound, but are not assigned to the output section. Instead, they’re patched from the channel’s

jacks to the corresponding multitrack

OUT

DIRECT OUT 1

input (

to multitrack input 1, 2 to 2, 3 to 3, etc.). The signals will now be recorded or pass directly through the multitrack, depending on each track’s record-ready status.

multitrack machine

sound sources

1–8 9–16

direct outputs

The outputs of the multitrack are then patched to the next eight 1604-VLZ

PRO (multitrack out 1 to

LINE

9, 2 to 10, 3 to 11, etc.). Aha! That’s why it says

TRACK 1

“

” next to channel 9’s fader, “ next to channel 10, and so forth. These channels (9–16) will be assigned to the mixer’s output section, delivering the signals to their ultimate destination, which may be your mixdown 2-track, your control room system, or your headphones.

DIRECT

group

outputs

inputs on the

LINE

TRACK 2

input

But let’s not forget that the 1604-VLZ

a 4-bus mixer. These buses lead to the

, and are designed to accomplish the

OUTS

task of getting channels to the multitrack without using the direct outputs.

For example, a channel is assigned to

SUB OUT 1. SUB OUT 1

’s output is patched to multitrack input 1. From there, the multitrack output goes to the mixer’s channel 9 as we just discussed. (Hot tip: To feed an 8-track deck with 4 sub outputs, simply use Y-cords:

SUB OUT 1

6,

3

feeds 3 and 7, and 4 feeds 4 and 8. Tracks in

feeds tracks 1 and 5, 2 feeds 2 and

record mode will accept the signal, and tracks in safe mode will ignore the signal.)

The advantages: You can assign any channel to any track, without repatching. You can assign multiple channels to one track and control the overall level of that subgroup bounce tracks without this feature.

Perhaps the best method is to do both: Use

SUB OUTS

the

to feed multichannel submixes

(like a drum kit) to some of the tracks, and

DIRECT OUT

the

jacks to feed single-channel

signals (like bass guitar) to the other tracks.

The point is that you never listen directly to the source channels (1–8). You listen to the monitor channels (9–16) and they’re listening to the multitrack that is listening to the source channels. The main advantage is that you won’t be forced to constantly repatch your multitrack — just set it up and forget it. You’ll also know for certain that the signals are indeed getting to the multitrack, since you’re constantly listening to it.

Another method of interfacing a multitrack is called inline monitoring, and requires a mixing console dedicated to that, like the Mackie 8•Bus. Each of its channels is actually two channels: one carrying the mic/line sound source and the other carrying the multitrack output.

”

AUX SEND OUTPUTS

These 1/4" jacks usually patch to the inputs of your parallel effects devices

or to the inputs of your stage monitor amps. To learn how signals are routed to these outputs:

your own cables:

.

PRO is

SUB

LINE

input,

. You can’t

. To wire

12

Mackie 1604-VLS PRO Owner's Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

LEVEL-SETTING PROCEDURE

INSTANT MIXING

INTRODUCTION

HOOKUP DIAGRAMS

CONVERTING TO RACKMOUNT MODE

PATCHBAY DESCRIPTION

E-Z INTERFACE

MIC/LINE INPUTS ON EVERY CHANNEL

MIC INPUTS

PHANTOM POWER

LINE INPUTS

TRIM

INSERT

DIRECT OUT

SPLIT MONITORING

AUX SEND OUTPUTS