Mackie Compact Mixer User Manual
Inputs, Outputs, and Related Controls
MIXER ANATOMY: CHAPTER 2
Mackie E-Z Interfacing
Concerned about levels, balancing, impedance,
polarity, or other interface goblins? Don’t be. On
your Mackie mixer, you can connect almost anything
almost anywhere, with nary a care. Here’s why:
• Every main input and output is balanced .
• Every 1/4" input and output jack also accepts
unbalanced connections.
• Every input is designed to accept virtually any
output impedance.
• The main left and right mix outputs can deliver +28 dBu into a 600 ohm load (that’s hot!)
• All the other outputs can deliver +22 dBu into
a 600 ohm load (that’s plenty).
• All the outputs are in phase with the inputs.
All Mackie mixers have both microphone and linelevel inputs. Some channels have both, some channels have only line-level inputs. Consult your mixer’s
quick start guide (or just look at the connector
panel) for the exact arrangement. Below is the rear
panel of the 1604-VLZ PRO.
Mic? Line? – What’s The Difference?
Microphones produce a relatively low
voltage, generally in the range of 1 to 250
millivolts, depending on the sensitivity of
the mic, and how loud the sound is. Voltages in the
0.15 to 3 volt range are considered to be line-level.
These aren’t rules or standards, just ways of talking
about two widely different operating voltage ranges,
both of which are common in audio.
A microphone typically requires 20 to 60 dB of gain
in order to bring its signal up to the mixer’s operating level. A line-level signal requires little if any gain,
and may need to be brought down in level to match
the mixer. So, while there’s a wide adjustment range
for both mic and line inputs, the mic inputs have
higher gain.
Don’t forget the Level-Setting Procedure at the beginning of this book. Mic
and line inputs are happiest when run-
ning at the optimum levels. That procedure will get
you there.
Check the Tips section and Glossary for more information about terms we’ll be using here like operating
level, impedance, balanced, unbalanced, XLR, and
TRS. Also study the mixer block diagrams, as each
one is worth a thousand words or more.
Mic Inputs
Mackie mixers include phantom-powered, balanced XLR microphone inputs just like the big studio
mega-consoles, and for exactly the same reason:
A fully balanced circuit is excellent at rejecting
hum and noise, and phantom powering means that
condenser mics can be used without external power
supplies or batteries.
You can plug in almost any kind of mic that has a
standard male XLR-type connector without fear of
overloading the preamp. Professional ribbon, dynamic, and condenser mics all sound great through
these inputs.
XLR Input Connectors – Mic wiring
Nearly all professional mics are designed to connect to a low impedance input, and employ balanced
wiring terminating in an XLR-style plug. You’ll fi nd an
illustration and wiring diagram in the Tips section,
chapter 9. We use the wiring convention:
Pin 1 = shield
Pin 2 = positive (+ or hot)
Pin 3 = negative (- or cold)
120 VAC 50/60 Hz 20W
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UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE. DEBRANCHER AVANT DE REMPLACER LE FUSIBLE
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CONCEIVED, DESIGNED, AND MANUFACTURED BY MACKIE DESIGNS INC • WOODINVILLE • WA • USA • MADE IN USA • FABRIQUE AU 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
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Compact Mixer Reference Guide
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MIXER ANATOMY: CHAPTER 2
Even though microphones produce alternating current (AC), they have a defi nite
polarity orientation. Be sure that you don’t
reverse the wires between pins 2 and 3.
Did you pick up a cool retro mic at a yard sale that
has a 1/4" phone plug instead of an XLR? Chances are
it’s a high impedance mic and it will require a matching transformer in order to sound its best with your
mixer. Plug-in transformers available from several
sources will not only match the impedance and signal
level, but will adapt the plug too.
Phantom Power
Most condenser mics require phantom power, a
system whereby the mixer supplies a DC voltage to
the mic’s electronics through the same wires that
carry audio.
The phantom power on all Mackie mixers (except
the Onyx series) is globally controlled by the PHANTOM switch on the rear panel (one switch for each
group of 8 mics on the 8-Bus). A PHAMTOM LED on
the front panel will remind you that phantom power
is turned on. The Onyx mixers have a 48V switch and
LED indicator on each channel for selective control of
phantom power.
“Phantom” owes its name to the ability to disappear
when it’s not needed, like when connecting dynamic
mics (Shure
require external power.
®
SM57/SM58, for instance) that don’t
Barenekked Preamps!
People have thought highly of Mackie mic preamps for a long time, so when it was time to put the
engineers to work on some new designs, they brought
us the Onyx series, which includes the 800R. This answers a popular customer request for a rack-mounted
unit with eight mic preamps, but no other mixer
features. The 800R has a few neat tricks up its sleeve
which we’ll discuss later, but we wanted to mention it
in this discussion about microphone preamps.
Dynamic and ribbon mics don’t like to
see DC voltage applied to their sensitive
insides. Normally it won’t be, but a shorted
or miswired mic cable can cause the full voltage to
appear across the sensitive microphone element. Be
sure that your cables are in good condition before applying phantom power.
Also, unless you know for certain that it is safe to
do so, never plug single-ended (un bal anced) microphones, instruments, or electronic devices into the
MIC input jacks if the phantom power is on.
Practice safe phantom powering! Plug in
your mics with phantom power switched
off! The XDR preamps used in many Mackie
mixers have extra protection against damage from
“hot plugging,” but your mics don’t. Get into the habit
of plugging mic cables in with the phantom power off,
then turning it on.
The most common phantom power supply is 48
volts. All Mackie mixers have a 48 volt phantom
supply with the exception of the PPM series, which
provide 15 volts. Some microphones will operate just
fi ne on lower voltages while others require the full 48
volts. Check your mics’ specs.
Here’s what the phantom powering circuit looks
like:
2
1
3
48 V
0 V
48 V
There’s 48 volts between pins 1 and 2 and between
pins 1 and 3. Since pins 2 and 3 are both at the same
DC potential, the voltage difference between them is
zero. That’s why an unpowered mic doesn’t “see” the
voltage.
Line Inputs
Line inputs on Mackie mixers are on 1/4" TRS (tipring-sleeve - the parts of the mating plug) jacks. All
Mackie line inputs are balanced and present a moderately high impedance load, around 10 kΩ, depending on the model and the particular input. As we’ve
seen from our block diagram tour, LINE IN jacks on
channels with both line and mic inputs share circuitry
(but not phantom power) with the mic preamps.
You can use these inputs for virtually any line-level
signal. With proper adjustment of the TRIM control,
they’ll accept signals over a range of approximately
–45 to +16 dBu.
Some Mackie mixers are equipped with stereo line
inputs. These have two line-level input jacks which
share a common set of controls. To learn how signals
are routed from these inputs, consult the block diagram or quick start guide for your mixer, or check the
Controls section of this manual.
18
Compact Mixer Reference Guide
MIXER ANATOMY: CHAPTER 2
Always be sure to perform the Level-Setting Procedure when connecting to LINE inputs that have
TRIM controls, and check the level and adjust it
externally on the stereo inputs without TRIMs.
To connect balanced sources to the line-level
inputs, use a 1/4" tip-ring-sleeve (TRS) plug, the type
found on some stereo headphones:
TIPSLEEVE
SLEEVERING
TIP
RING
RING
TIP
SLEEVE
To connect unbalanced line-level sources, use
a cable with 1/4" mono (TS) plugs. In music store
lingo, that’s an “instrument cable” or “quarter inch
patch cord.” When a TS plug is inserted into a TRS
jack, the Ring (low signal) and Sleeve (ground) get
connected together.
See the Mixer Tips section for more information on
balanced and unbalanced connections.
The TRIM Control
sound, but the guitar will lose punch and treble. The
proper way to connect an instrument pickup directly
to a Mackie mixer is to use a Direct Box (or DI =Direct Injection) between the guitar and a MIC input.
Hi-Z Guitar Inputs
After all that, we decided that it
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+40dB
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GAIN
The Hi-Z jack also serves as a line input jack (it
has the same gain as the line inputs on the other
channels). When using line inputs with channels 1
and 2, don’t forget to push the “Guitar” button.
would be a good idea to build a direct in-
P
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strument input into some of our mixers.
On channels 1 and 2 of the Onyx series
mixers and 800R preamp, the MIC/HI-Z
HI-Z
1
switch switches the channel input from
MIC
HI-Z
the XLR mic connector to the 1/4" input
jack. This jack provides a high imped-
48V
ance input suitable for directly connecting an instrument pickup, saving you
60
the cost and fuss of using a DI. We’re not
stuffy – you can plug your bass in here,
too.
TRIM
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The TRIM control adjusts the
input sensitivity of the MIC or LINE
IN jack, to match the input signal
060
+15dB -45dB
to the operating range of the mixer.
On all Mackie mixing consoles with
the exception of the PPM series,
the TRIM control is located at the top of the channel
strip. That makes it easy to fi nd, since TRIM is the
fi rst control the signal encounters on its way through
the console. The PPM series has an Input Level Set
control and LED indicator above each channel’s
VOLUME control.
Whenever you connect a new input, or the input
source changes (you move the mic from the dulcimer
to the kick drum), you should perform the Level-Setting Procedure. That procedure is “how to use the
TRIM control.”
Connecting Electronic Instruments
Synthesizers, guitar processors, other
electronic instruments, and computer
sound cards work fi ne when connected
to the LINE inputs. The pickups on electric guitars
and basses, even though the plug fi ts, are a different
animal, however. Pickups require a higher input impedance than the Mackie LINE IN provides. Plugging
a guitar into a LINE IN jack will probably make some
Tape Returns (8-Bus Only)
The TAPE RETURN jacks on the rear panel of the
8-Bus console are for connecting the outputs of a
multitrack recorder.
15
16 14 12 10
13 11 9
+4 / –10 BALANCED / UNBALANCED
TAPE RETURNS 9-16
OPERATING
LEVEL CH. 9-16
IN –10dBV
OUT +4dBu
These are balanced 1/4" TRS jacks which will
also accommodate unbalanced connections. They’re
grouped in sets of eight, with each group having an
OPERATING LEVEL switch to properly match the
gain of these inputs to pro (+4 dBu) or semi-pro
(-10 dBV) recorders.
TAPE RETURN jacks can be routed to either the
channel (for mixing) or Mix-B (during tracking).
Their fate is determined by the FLIP and MIX-B
SOURCE switches.
Tape Inputs
These unbalanced RCA TAPE INPUT jacks are
designed to work with semi-pro as well as pro recorders. The provide an unbalanced input at 0 dBu. Connect your 2-track tape recorder’s outputs here, using
standard RCA cables.
Compact Mixer Reference Guide
19
MIXER ANATOMY: CHAPTER 2
In recording applications, the TAPE INPUT jacks
provide a convenient way to play back your mixes
through the Control Room monitors. You’ll be able
to listen to a mix, then rewind and try another pass
without repatching or disturbing the mixer levels. In
sound reinforcement applications, you can use these
jacks to feed intermission music from a tape or CD
player without tying up a mixer channel.
If your mixdown recorder has balanced XLR outputs at the “pro” operating level of +4 dBu, then in
order to use the TAPE INPUTs, you will have to adapt
the connector type, as well as attenuating the signal
level by approximately 10 dB to avoid overloading.
If the recorder has an output level control, just turn
it down. Otherwise, you’ll need to purchase or build
an in-line attenuator. Alternately, you can connect
the recorder outputs through an XLR-TRS cable to a
channel line input.
Control and routing of the TAPE inputs varies
among models. Check the Control Room Source controls in the Master section for particulars.
Auxiliary Return Inputs
Auxiliary Returns are line-level inputs designed
for connecting the outputs of effects devices. They
can also be used to connect extra line-level audio
sources. They’re balanced 1/4" TRS jacks, and will
accept signals from just about any pro or semi-pro
effects device on the market.
Typically, Auxiliary Returns from effects are routed
to the main L/R busses, but on certain models, they
can also be easily routed to AUX sends or subgroup
busses for more fl exibility.
Talkback Microphone Input
Some Mackie consoles are equipped with a connector for a dedicated talkback microphone. A mic
plugged into this XLR jack can be routed to the main
mix, allowing you to speak to the audience (“And
now, let’s give a warm welcome to The SLOUGHTONES - YEAH!!”) or via AUX Sends 1-2 to stage
monitors or headphones (“Hey Flash! Your D string is
fl at!”).
bus outputs to slate the tape. (“Purple Tears, take
seventeen.”)
The Onyx series mixers let you have it both ways.
There’s a built-in talkback mic as well as a connector
for an external talkback mic. It has 48 V phantom
power (always applied), so you can use a condenser
mic if you wish. Remember, though, that it’s not a
good idea to “hot plug” a mic to a connector that has
phantom power. Turn your mixer off before plugging
or unplugging your talkback mic whether it’s a condenser or a dynamic. It could save your mic!
Don’t feel left out if your console isn’t equipped
with dedicated talkback circuitry. You can accomplish the same thing by plugging a mic into a spare
input channel and routing it to wherever you want to
be heard.
Main Outputs
When we speak of the main outputs, we’re talking
about outputs from the left and right (stereo) busses. These outputs are controlled by the MAIN MIX
fader. This is where the fully mixed audio enters the
real world.
The MAIN OUTPUTS on XLR connectors are differential, providing an extra 6 dB of output level, up
to +28 dBu.
The Main outputs are duplicated on impedance
balanced 1/4" TRS jacks. These provide up to +22
dBu output level, and work equally well when connected to either balanced or unbalanced inputs.
When connected to a balanced input using a TRS
plug, they appear to the input as a balanced output
with nearly all the benefi ts of a differential, balanced
source. When connected to an unbalanced input,
they appear as an unbalanced source, at the same
output level as the balanced TRS outputs.
The PPM series mixers, since they’re intended
primarily for use with their own internal amplifi ers,
have only 1/4" unbalanced jacks for the main mix
outputs.
The talkback mic has its own volume control and
routing switches located in the Master area of the
console.
The 8-Bus console has the talkback mic built
into the console. Just push the button and talk. In
addition to communication with the players, the
Talkback mic on the 8-Bus console can be sent to the
20
Compact Mixer Reference Guide
MIXER ANATOMY: CHAPTER 2
Main Output Level Switch
Several compact mixer models
are equipped with a switch that
attenuates the XLR main outputs
by 30 dB, bringing them down
to approximately the level of a
microphone. If you’re submixing
a group of instruments on stage
(say a bunch of keyboards), by
switching the output to MIC level,
you can send this submix back to
the main mixer just as if it were
another microphone. It’s also handy for connecting to
the one mic input they give you in the hotel meeting
room.
MAIN
OUTPUT
LEVEL
+4
MIC
MAIN OUTS
L
R
Mono Output
Several Mackie mixers have a dedicated Mono
output for those requirements that seem to pop up
now and then, demanding a monaural mix of a painstakingly-created stereo panorama. The last thing you
want to do is start twirling all your carefully-placed
PAN settings to one side. What to do? Stick a cable in
the MONO output, hand the other end to Mr. Mono,
and you’re done. He’s got his mono mix and you’ve
still got your stereo mix. The MONO output is nothing
more than an equal mix of the left and right MAIN
MIX outputs.
Mono Level Control
So, Mr. Mono comes running back, screaming about
the level being so loud that his camcorder is melting.
Just reach for this knob and turn it down a bit. Just
the thing for sending mono signals to mic inputs like
camcorders, telephone interface boxes, even answering machines.
Don’t confuse this subwoofer output with its simi-
larly named neighbors, the SUB (subgroup) outputs.
Tape Outputs
These unbalanced RCA jacks tap the MAIN MIX
outputs to make simultaneous recording and sound
reinforcement more convenient. They’re also handy
for interfacing consumer recorders or semi-pro computer sound cards.
Direct Outputs
The 1/4" jacks on the 1604-VLZ PRO, 1642-VLZ
PRO, and 8-Bus, deliver the signal from nearly the
tail end of the channel path: post-TRIM, post-EQ,
post-LOW CUT, post-fader, and post-MUTE.
The Onyx mixers also have direct outputs, but
they’re a bit different, both in form and function,
and they’re labeled RECORDING OUTS. Rather than
using separate 1/4" jacks, these mixers use 25-pin D
Subminiature (D-Sub) connectors, providing eight
fully balanced direct outputs on each connector.
The direct outputs on the Onyx series are more truly
“direct,” coming straight from the mic preamp stage
(which also incorporates the instrument and line inputs). These outputs are unaffected by the equalizer
or fader settings and are designed for the cleanest
recording of the direct microphone signal.
Optional for the Onyx is a FireWire
card, which provides direct outputs in digital format.
This is great for recording your live gigs with a laptop
computer.
Not all compact mixer models have direct outputs.
Some have direct outputs on only the lower-numbered channels, and only the 8-Bus and Onyx have a
DIRECT output on every channel.
®
(IEEE-1394)
Subwoofer (75 Hz) Output
The CFX series of mixers is
equipped with a unique feature – a
mono output followed by a 3rd order
75 Hz low-pass fi lter. It sums the left
and right main outputs and removes
everything but the deepest bass.
Connect this output to a highpowered subwoofer, and the music
police will be right over. The level of
the subwoofer output is fi xed relative
to the main outputs, so be sure that
your subwoofer amplifi er (or powered
sub) has an adjustable input level for balancing the
bass level.
MAIN OUT
SUB OUT
75Hz
Direct outputs are useful for sending the channel
straight to a track of a multitrack recorder. A direct
output can also be used to send a single channel’s
L
signal to an effects processor without using up an
Auxiliary send.
R
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Compact Mixer Reference Guide
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