1604-VLZ3
16-Channel Mic/Line Mixer
O W N E R ’ S M A N U A L
1604-VLZ3
1.Read these instructions.
2.Keep these instructions.
3.Heed all warnings.
4.Follow all instructions.
5.Do not use this apparatus near water.
6.Clean only with a dry cloth.
7.Do not block any ventilation openings. Install in accordance with the manufacturer’s instructions.
8.Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat.
9.Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding-type plug has two blades and a third grounding prong. The wide blade or the third prong are provided for your safety. If the provided plug does not fit into your outlet, consult an electrician for replacement of the obsolete outlet.
10.Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles, and the point where they exit from the apparatus.
11.Only use attachments/accessories specified by the manufacturer.
12.Use only with a cart, stand, tripod, bracket, or table specified by the manufacturer, or sold with the apparatus. When a cart is used, use caution when moving the cart/apparatus combination to avoid injury from tip-over.
PORTABLE CART WARNING
Carts and stands - The Component should be used only with a cart or stand that is recommended by the manufacturer.
A Component and cart combination should be moved with care. Quick stops, excessive force, and uneven surfaces may cause the Component and cart combination to overturn.
13.Unplug this apparatus during lightning storms or when unused for long periods of time.
14.Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such as powersupply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped.
15.This apparatus shall not be exposed to dripping or splashing, and no object filled with liquids, such as vases or beer glasses, shall be placed on the apparatus.
16.This apparatus has been designed with Class-I construction and must be connected to a mains socket outlet with a protective earthing connection (the third grounding prong).
17.This apparatus has been equipped with an all-pole, rocker-style AC mains power switch. This switch is located on the rear panel and should remain readily accessible to the user.
18.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 réglement sur le brouillage radioélectrique édicté par les ministere des communications du Canada.
19.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 permanent hearing loss if exposure is in excess of the limits set forth here.
|
|
Duration Per Day |
Sound Level dBA, |
Typical |
|
CAUTION |
AVIS |
In Hours |
Slow Response |
Example |
|
8 |
90 |
Duo in small club |
|||
RISK OF ELECTRIC SHOCK |
|||||
DO NOT OPEN |
6 |
92 |
|
||
RISQUE DE CHOC ELECTRIQUE |
4 |
95 |
Subway Train |
||
NE PAS OUVRIR |
|||||
|
|
|
|||
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK |
3 |
97 |
|
||
|
|
|
|||
DO NOT REMOVE COVER (OR BACK) |
2 |
100 |
Very loud classical music |
||
NO USER-SERVICEABLE PARTS INSIDE |
1.5 |
102 |
|
||
REFER SERVICING TO QUALIFIED PERSONNEL |
|
||||
ATTENTION: POUR EVITER LES RISQUES DE CHOC |
1 |
105 |
Dave screaming at Steve about deadlines |
||
ELECTRIQUE, NE PAS ENLEVER LE COUVERCLE. AUCUN |
|||||
|
|
|
|||
ENTRETIEN DE PIECES INTERIEURES PAR L'USAGER. CONFIER |
0.5 |
110 |
|
||
L'ENTRETIEN AU PERSONNEL QUALIFIE. |
0.25 or less |
115 |
Loudest parts at a rock concert |
||
AVIS: POUR EVITER LES RISQUES D'INCENDIE OU |
|||||
D'ELECTROCUTION, N'EXPOSEZ PAS CET ARTICLE |
|
|
|
||
A LA PLUIE OU A L'HUMIDITE |
WARNING — To reduce the risk of fire or |
||||
The lightning flash with arrowhead symbol within an equilateral |
|||||
triangle is intended to alert the user to the presence of uninsulated |
electric shock, do not expose this apparatus |
||||
of sufficient magnitude to constitute a risk of electric shock to persons. |
|||||
"dangerous voltage" within the product's enclosure, that may be |
|
to rain or moisture. |
|||
l'intérieur du coffret de "voltage dangereux" non isolé d'ampleur |
|
||||
Le symbole éclair avec point de flèche à l'intérieur d'un triangle |
|
|
|
||
équilatéral est utilisé pour alerter l'utilisateur de la présence à |
|
|
|
||
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. |
|
|
|
|
2 |
1604-VLZ3 |
|
|
|
We realize that you must be keen to
try out your new 1604-VLZ3. 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.
WARNING: Before you plug the AC power
cord into the mixer, make sure the VOLTAGE SELECTOR switch is set to the same voltage as your local AC mains supply (see page 13).
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 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 PHONES output jack, then set the CTL ROOM/ PHONES knob about one-quarter of the way up.
The following steps must be performed one channel at
atime:
1.Turn the GAIN, AUX send and fader controls fully down.
2.Be sure the 1–2, 3–4 and L–R channel assignment switches are all disengaged.
3.Set the EQ knobs at the center detents.
4.Connect the signal source to the MIC or LINE channel input.
5.Engage (push in) the channel’s SOLO switch.
6.Push in the MODE switch in the output section (LEVEL SET (PFL) mode) — the LEVEL SET LED will light.
7.Play something into the selected input, at realworld levels.
8.Adjust the GAIN control so that the display on the meter stays around “0.” (Only the left meter is active in the Level-Setting Procedure.)
9.If you’d like to apply some EQ, do so now and return to the previous step.
10.Disengage that channel’s SOLO switch.
11.Repeat for each of channels 1–16.
Part No. 0019816 Rev. C
©2007 LOUD Technologies Inc. All Rights Reserved. Printed in China. Loosely based on a dream sequence in which the entire Mackie marketing department dance "The Twist" on a live TV pop music show back in 1966.
Other Nuggets of Wisdom
For optimum sonic performance, the channel faders and the MAIN MIX fader should be set near the “U” (unity gain) markings.
Always turn the MAIN MIX fader and CTL ROOM/ PHONES knob down before making connections to and from your 1604-VLZ3.
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.
Instant Mixing
Here’s how to get going right away, assuming you have a microphone and a keyboard:
1.Plug your mic into Channel 1’s MIC input.
2.Turn on the 1604-VLZ3.
3.Perform the Level-Setting Procedure.
4.Connect cords from the MAIN OUT jacks to 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 L-R switch.
8.Set the MAIN MIX fader one-quarter of the way up.
9.Sing like a canary!
10.Plug your keyboard into channels 3 and 4.
11.Turn channel 3’s PAN knob fully left and channel 4’s PAN knob fully right.
12.Set those faders to the “U” mark.
13.Perform the Level-Setting Procedure.
14.Engage the L-R switch on these channels.
15.Play like a madman and sing like a canary!
Please write your serial number here for future reference (i.e., insurance claims, tech support, return authorization, make dad proud, etc.)
Purchased at:
Date of purchase:
Manual Owner’s
Owner’s Manual |
3 |
1604-VLZ3
Thank you for choosing a Mackie professional compact mixer. The 1604-VLZ3 is equipped with our preci- sion-engineered XDR2TM Extended Dynamic Range premium studio-grade mic preamp.
Now that you have your 1604-VLZ3, find out how to get the most from it. That’s where this manual comes in.
Since many of you folks will want to hook up your 1604-VLZ3 immediately, the first pages you will encounter after the table of contents are the ever-popular hookup diagrams. These show typical mixer setups for Recording and Stereo PA. After this section is a detailed tour of the entire mixer.
Every feature of the 1604-VLZ3 is 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 sections, just as your mixer is organized into three distinct zones:
Patchbay: The patchbay along the top and back, where you connect things.
Channel Strip: The sixteen channel strips on the left where you adjust each channel.
Output Section: The output section on the right.
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, notice the number attached to it, and find that number in the nearby paragraphs.
This icon marks information that is critically important or unique to the 1604-VLZ3. 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 usually have some valuable nuggets of information.
Appendix A is a section on troubleshooting and repair information.
Appendix B is a section on connectors: XLR connectors, TRS balanced connectors, TS unbalanced connectors, and Insert connectors.
Appendix C shows the technical specifications, and a block diagram showing the internal signal path and general goings-on within the mixer.
Need help with your new mixer?
•Visit www.mackie.com and click Support to find:
FAQs (Frequently Asked Questions), manuals, addendums, and user forums.
•Email us at: techmail@mackie.com.
•Telephone 1-800-898-3211 to speak with one of our splendid technical support chaps, (Monday through Friday, from 7 a.m. to 5 p.m. PST).
4 |
1604-VLZ3 |
Contents |
|
|
IMPORTANT SAFETY INSTRUCTIONS ........................ |
2 |
|
INTRODUCTION ...................................................... |
4 |
|
HOOKUP DIAGRAMS............................................... |
6 |
|
CONVERTING TO RACKMOUNT MODE...................... |
8 |
|
PATCHBAY DESCRIPTION ......................................... |
9 |
|
|
E-Z INTERFACE ......................................... |
9 |
1. |
MIC INPUTS............................................. |
9 |
|
PHANTOM POWER .................................... |
9 |
2. |
LINE INPUTS .......................................... |
10 |
3. |
GAIN .................................................... |
10 |
4. |
INSERT .................................................. |
10 |
5. |
DIRECT OUT ........................................... |
10 |
|
SPLIT MONITORING ............................... |
10 |
6. |
AUX SEND OUTPUTS ............................. |
11 |
|
EFFECTS: SERIAL OR PARALLEL? .............. |
11 |
7. |
STEREO RETURNS................................... |
12 |
8. |
SUB OUTS ............................................. |
12 |
|
DOUBLE BUSING .................................... |
12 |
9. |
C-R OUTS (CONTROL ROOM OUTPUTS)... |
12 |
10. |
PHONES OUTPUT (ON FRONT PANEL)...... |
12 |
11. |
TAPE OUTPUT ........................................ |
12 |
12. |
TAPE INPUT ........................................... |
13 |
13. |
MAIN INSERT......................................... |
13 |
14. |
MAIN OUTS .......................................... |
13 |
15. |
MONO OUTPUT...................................... |
13 |
16. |
MONO LEVEL ......................................... |
13 |
17. |
VOLTAGE SELECTOR................................ |
13 |
18. |
POWER CONNECTION............................. |
13 |
19. |
FUSE...................................................... |
14 |
20. |
POWER SWITCH..................................... |
14 |
21. |
POWER LED ........................................... |
14 |
22. |
PHANTOM SWITCH ................................ |
14 |
23. |
48V LED ................................................ |
14 |
24. |
BNC LAMP SOCKET................................. |
14 |
CHANNEL STRIP DESCRIPTION............................... |
15 |
|
|
“U” LIKE UNITY GAIN ............................ |
15 |
25. |
CHANNEL FADER..................................... |
15 |
|
A CLEAN FADE........................................ |
15 |
26. |
ASSIGN (1–2, 3–4, L–R) ........................ |
15 |
27. |
SOLO..................................................... |
16 |
28. |
–20 (SOLO) LED ..................................... |
16 |
29. |
OL (MUTE) LED....................................... |
16 |
30. |
MUTE .................................................... |
16 |
31. |
PAN....................................................... |
17 |
|
STEREO SOURCES................................... |
17 |
|
CONSTANT LOUDNESS ! ! ! ...................... |
17 |
32. |
3-BAND MID-SWEEP EQ ......................... |
17 |
33. |
LOW CUT .............................................. |
18 |
34. |
AUX 1, 2, 3, & 4.................................... |
18 |
35. |
PRE ....................................................... |
18 |
36. |
5/6 SHIFT ............................................. |
18 |
OUTPUT SECTION DESCRIPTION............................. |
19 |
|
37. |
MAIN MIX FADER................................... |
19 |
38. |
SUBGROUP FADERS ............................... |
19 |
39. |
ASSIGN TO MAIN MIX............................ |
19 |
40. |
TAPE IN (LEVEL) ..................................... |
20 |
41. |
TAPE TO MAIN MIX................................ |
20 |
42. |
SOURCE ................................................ |
20 |
43. |
CTL ROOM/PHONES .............................. |
20 |
44. |
MODE (NORMAL (AFL)/LEVEL SET (PFL)). 21 |
|
45. |
LEVEL SET LED........................................ |
21 |
46. |
SOLO (LEVEL)......................................... |
21 |
47. |
RUDE SOLO LIGHT.................................. |
21 |
48. |
METERS ................................................. |
22 |
|
METERS VS. REALITY.............................. |
22 |
|
AUX TALK .............................................. |
23 |
49. |
AUX SENDS (MASTER)............................ |
23 |
50. |
AUX SENDS SOLO .................................. |
23 |
51. |
STEREO RETURNS (LEVEL)....................... |
23 |
52. |
TO AUX 1 AND TO AUX 2....................... |
24 |
53. |
MAIN MIX TO SUBS (STEREO RET 3) ....... |
24 |
54. |
1–2/3–4 (STEREO RETURN 3)................ |
24 |
55. |
C-R/PHNS ONLY (STEREO RETURN 4) ..... |
25 |
56. |
RETURNS SOLO AND LED........................ |
25 |
APPENDIX A: SERVICE INFORMATION.................... |
26 |
|
APPENDIX B: CONNECTIONS.................................. |
27 |
|
APPENDIX C: TECHNICAL INFORMATION ................ |
30 |
|
SPECIFICATIONS ............................................. |
30 |
|
TRACK SHEET.................................................. |
32 |
|
BLOCK DIAGRAM............................................ |
34 |
|
1604-VLZ3 LIMITED WARRANTY........................... |
35 |
Manual Owner’s
Owner’s Manual |
5 |
1604-VLZ3
Bass
Keyboard
|
Mic 1-2 |
|
Guitar |
1 |
1 |
Processors |
2 |
2 |
3 |
|
|
|
|
|
|
4 |
|
Drum Machine
and Stereo EQ |
MONO OUT |
Stereo Compressor |
|
|
STEREO MAIN |
|
MAIN |
Stereo Tape Deck |
TAPE |
|
|
|
TAPE |
|
C/R OUT |
HR824s or |
OUTS |
other Powered |
SUB |
Studio Monitors |
|
Headphones |
PHONES |
|
CHANNEL INPUTS
OUT BAL/UNBAL BAL/UNBAL OUT IN INSERT BAL/UNBAL
CHANNEL INSERTS
|
|
1 |
|
|
|
2 |
|
|
|
3 |
|
|
|
4 |
|
DIRECT OUT BAL/UNBAL |
8 7 6 5 |
|
|
AUXSENDS BAL/UNBAL |
1 |
|
|
2 |
4 |
||
|
|
|
3 |
|
|
5 |
|
|
|
6 |
|
|
1 |
L |
|
|
R |
|
|
RETURNS |
2 |
|
|
STEREO |
3 |
|
|
|
4 |
|
|
Recording System
Stereo Compressor
Multi-track
Digital Recorder
Reverb
Delay
Mono in
Stereo out
6 |
1604-VLZ3 |
|
Stereo |
Mics 1-4 |
Compressors |
1 |
1 |
2 |
2 |
3 |
3 |
|
|
Guitar |
4 |
4 |
|
5 |
|
Processor |
7 6 |
CHANNELINPUTS |
INSERTS |
Drum Machine |
910 |
CHANNEL |
|
8 |
|
|
11 |
Active Stage Monitors |
|
|
12 |
|
Keyboard or other line-level input |
13 |
|
14 |
Left and Right |
15 |
|
|
Active PA Speakers |
16 |
|
STEREOMONO MAIN OUT |
CD/DVD Player
Stereo Compressor
and Stereo EQ
Multi-track
Digital Recorders
for Optional Live Recording
SUB OUTS C/R OUT TAPE TAPE MAIN
Headphones |
PHONES |
|
OUT BAL/UNBAL BAL/UNBAL OUT IN INSERT BAL/UNBAL
|
|
1 |
|
|
2 |
|
|
3 |
|
|
4 |
DIRECT OUT BAL/UNBAL |
8 7 6 5 |
|
|
|
1 |
AUXSENDS BAL/UNBAL |
2 |
|
4 3 |
||
|
|
5 |
|
|
6 |
|
|
L |
|
1 |
R |
RETURNS |
2 |
R L |
STEREO |
3 |
|
|
4 |
|
Mono EQ
Mono EQ
Reverb
Delay
Manual Owner’s
Live Stereo PA System
Owner’s Manual |
7 |
1604-VLZ3
Not only is the new 1604-VLZ3 a compact, profes- sional-quality tabletop mixer, it’s rackmountable. The unique rotating input pod makes this possible.
With a trusty phillips screwdriver, nerves of steel, grit, determination, your charming good looks, and a few moments of your valuable time, it can be converted from desktop mode (from the factory) to rackmount mode:
1.Turn off the power and remove ALL the cords from the mixer — power cord, audio, 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 [a] and set the plate aside.
4.Replace two of the screws; the ones at the pod end of the mixer [b].
5.Remove two pod-mounting screws on each side of the mixer [c].
6.Gently pull the pod away from the slots, rotate it, and place it, tabs first, into the rackmount tabs [d], 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 pod-mounting screws in their new locations [d].
8.Install the rack ears that came with the mixer, using the supplied packet of screws. These screws are a bit longer than the ones you have to take out. The rack ears can be installed in either of two depths as shown at the bottom of this page: [e] mixer’s surface flush with the
rack rails, like ordinary rackmount equipment, or [f] mixer’s surface sunken into the rack, to protect the knobs from being bumped.
NOTE: If you remove the rack ears at a later date, use the original (shorter) screws to secure the sides.
An optional accessory called the ROTOPOD-VLZ 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 “VLZ3” version so you don’t end up with the one for the classic CR-1604!
remove |
replace |
screws |
screws |
remove plate
rackmount tab slots
|
remove |
rotate |
|
|
|
pod |
|
replace |
|
|
screws |
|
||
|
|
|
|
screws |
flush mount |
use the longer screws |
|
sunken |
use the longer screws |
|
that come in a little bag |
|
position |
that come in a little bag |
8 |
1604-VLZ3 |
Patchbay Description |
Owner’s |
|
|
1 |
Manual |
|
At the risk of stating the obvious, this is where you plug everything in: microphones, line-level instruments and effects, headphones, 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 this “pod.”
See Appendix B (page 27) for further details and some rather lovely drawings of the connectors you can use with the 1604-VLZ3.
Concerned about levels, balancing, impedances, polarity, or other interface goblins? Don’t be. On your 1604-VLZ3, 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 when phantom power is on).
•Every input is designed to accept virtually any output impedance.
•The main left and right mix outputs can deliver 28 dBu into as low as a 600 ohm load.
•All the other outputs can deliver 22 dBu 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!
We use phantom-powered, balanced microphone inputs just like the big studio mega-consoles, for exactly the same reason: This kind of circuit is excellent at rejecting hum and noise. You can plug in almost any kind of mic that has a standard XLR-type male mic connector.
Professional ribbon, dynamic, and condenser mics will all sound excellent through these inputs. The 1604-VLZ3’s mic inputs will handle any kind of mic level you can toss at them, without overloading. Be sure to perform the Level-Setting Procedure on page 3.
Not every instrument is made to connect directly to a mixer. Guitars commonly need a Direct Injection (DI) box to connect to the mixer's MIC inputs. These boxes convert unbalanced line-level signals from your guitar, into balanced mic-level outputs, and provide signal and impedance matching. They also let you send your gifted guitar renditions over long cables or audio snakes, with minimum interference or high-frequency signal loss. Ask your dealer or guitar maker about their recommendations for a good DI box.
Most modern professional condenser mics
are equipped for Phantom Power, which lets
the mixer send low-current DC voltage to the mic’s electronics through the same wires that carry
audio. (Semi-pro 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), which don’t need external power and aren’t affected by it anyway.
The 1604-VLZ3’s phantom power is globally controlled by the PHANTOM [22] switch on the rear panel. (This means the phantom power for all channels is turned on and off together.)
Never plug single-ended (unbalanced) microphones, or ribbon mics into the MIC input jacks if phantom power is on.
Do not plug instrument outputs into the MIC input jacks with phantom power on unless you know for certain it is safe to do so.
Owner’s Manual |
9 |
-VLZ3 |
|
6 |
5 |
4 |
|
|
|
1604 |
|
|
|
2 |
|
|
|
|
|
|
|
|
2. LINE INPUTS |
4. INSERT |
|
These 1/4" jacks share circuitry (but not phantom power) with the mic preamps, and can be driven by balanced or unbalanced sources at almost any level. You can use these inputs for virtually any signal you’ll come across, from instrument levels as low as –50 dBu, to operating levels of –10 dBV to +4 dBu, since there is –15 to +45 dB of gain (60 dB range) available for line inputs via the GAIN [3] knob. Always make sure to perform the Level-Setting Procedure on page 3.
To connect balanced lines to these inputs, use a 1⁄4"
|
Tip-Ring-Sleeve (TRS) plug, the type found on stereo |
|
headphones: |
|
To connect unbalanced lines to these inputs, use a |
|
1⁄4" mono (TS) phone plug or instrument cable: |
|
3. GAIN |
3 |
Yes it’s true, these controls are not 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 with the |
|
MIC [1] and LINE [2] input jacks that we |
|
couldn’t bear to separate them. Here’s why: |
|
Every time you plug something into a MIC or |
|
LINE input jack, you should perform the Level- |
|
Setting Procedure, and that procedure is basi- |
|
cally “how to use the GAIN knob.” |
|
GAIN 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 (MIC), there will |
|
be 0 dB of gain with the knob fully down, |
|
ramping to 60 dB of gain fully up. |
|
Through the 1/4" input (LINE), there is 15 dB of at- |
|
tenuation fully down and 45 dB of gain fully up, with a |
|
“U” (unity gain) mark at 10:00. |
|
This 15 dB 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,” this |
|
scenario might lead to channel clipping. |
10 |
1604-VLZ3 |
These unbalanced 1/4" jacks are for connecting serial effects processors such as compressors, equalizers, de-essers, or filters. The insert point is after the GAIN [3] control, but before the channel’s EQ [32], LOW CUT [33], FADER [25] and MUTE [30] controls. Insert cables must be wired thusly:
|
ring |
|
SEND to processor |
|
tip |
(TRS plug) |
“tip” |
||
sleeve |
|
|||
This plug connects to one of the |
“ring” |
|||
mixer’s Channel Insert jacks. |
||||
RETURN from processor |
Tip = send (output to effects device)
Ring = return (input from effects device)
Sleeve = common ground
Even though channels 1–8 already have DIRECT OUT [5] jacks , INSERT jacks can also be used as channel direct outputs; post-GAIN, pre-LOW CUT, and pre-EQ. See the connector section on page 29 (figure F) showing three ways to use insert cables.
Found only on channels 1–8, these balanced 1/4" jacks deliver the signal from the very end of the channel path; post-GAIN [3], post-EQ [32], post-LOW CUT [33], post-FADER [25], and post-MUTE [30]. They are the key player in “split monitoring,” making the 1604-VLZ3 perfect for an 8-track studio.
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 DIRECT OUT [5] jacks to the corresponding multitrack input (DIRECT OUT 1 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 group outputs outputs
to some of the tracks, and the DIRECT OUT 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. (Make sure to assign the monitor channels 9-16 to the L/R mix, and not the source channels 1-8.) 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 dedicated mixing console, 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.
Manual Owner’s
The outputs of the multitrack are then patched to the next eight LINE [2] inputs on the 1604-VLZ3 (multitrack out 1 to LINE input 9, 2 to 10, 3 to 11, etc.). Aha! That’s why it says “TRACK 1” next to channel 9’s fader, “TRACK 2” 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.
These 1/4" jacks usually patch to the inputs of your parallel effects devices or to the inputs of your stage monitor amps. For details see "Aux Talk" on page 23.
You’ve heard us carelessly toss around the terms “serial” and “parallel.” Here’s what we mean by them:
“Serial” means that the entire signal leaves the mixer (INSERT [4] send), is routed through the effects device, and returns to the mixer (INSERT return). Examples: compressor, limiter, graphic equalizer. Line-lev- el sources can also be patched through a serial effects device before or after the mixer.
But let’s not forget that the 1604-VLZ3 is a 4-bus mixer. These buses lead to the SUB OUTS [8], and are
designed to accomplish the 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 LINE input, as we just discussed. (Hot tip:
To feed an 8-track deck with 4 sub outputs, simply use Y-cords: SUB OUT 1 feeds tracks 1 and 5, 2 feeds 2 and 6, 3 feeds 3 and 7, and 4 feeds 4 and 8. Tracks in 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. You can’t bounce tracks without this feature.
Perhaps the best method is to do both: Use the SUB OUTS to feed multichannel submixes (like a drum kit)
|
Insert |
Insert |
|
Send |
Return |
|
Signal Processor |
|
Dry Signal |
(e.g., Compressor) |
Processed |
|
|
Signal |
“Parallel” means that a portion of the signal in the mixer is tapped off to the device (AUX SEND [6]), processed, and returned to the mixer (STEREO RETURN [7]) to be mixed with the original “dry” signal. This way, multiple channels can all make use of the same effects device. Examples: reverb, digital delay.
Aux |
Aux |
Output |
|
Send |
Return |
Section |
|
Signal Processor |
|
|
|
(e.g., Reverb) |
|
Wet Signal |
|
|
|
Mix |
Processed |
Channel Path |
|
Stage |
Signal |
|
|
|
|
Dry Signal(s) |
|
Dry Signal(s) |
|
Owner’s Manual |
11 |