Mackie CR1604-VLZ User Manual
CR1604-VLZ
MIC/LINE MIXER
OWNER’S MANUAL
120 VAC 50/60 Hz 20W
POWER
315mA/250V SLO-BLO
CAUTION:
TO REDUCE THE RISK OF
FIRE REPLACE WITH SAME
TYPE FUSE AND RATING
INSERT
INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT
16
BAL
BAL
UN-
UN-
BAL
BAL
MIC 16
MIC 15 MIC 14 MIC 13 MIC 12 MIC 11 MIC 10 MIC 9 MIC 8 MIC 7 MIC 6 MIC 5
CR1604-VLZ
16-CHANNEL MIC/LINE MIXER
TRIM
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
d
d
B
B
0
0
V
V
1
1
-
-
G
G
A
A
C
C
I
I
I
I
N
N
M
M
U
U
U
60
60
10
10
+10dB -40dB
+10dB -40dB
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
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
+10dB -40dB
AUX
AUX
U
12121212121212121212121212121
OO
+15
U
OO
+15
PRE PRE
U
5
5
3
3
OO
+15
U
6
6
4
4
OO
+15
5/6
SHIFT
EQ
EQ
HI
HI
U
12k
12k
+15-15
U
MID
MID
+15-15
800
2k200
2k200
8k
8k100
LOW
LOW
U
80Hz
80Hz
+15-15
LOW CUT
LOW CUT
75 Hz
75 Hz
18dB/OCT
18dB/OCT
PAN
PAN
2
MUTE
MUTE
OL
OL
-
-
20
20
SOLO
SOLO
1–2
1–2
3–4
3–4
L - R
L - R
OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO
MAIN OUT
PHANTOM
BAL/UNBAL
L
MONO
R
OO
15 14 13 12 11 10 9 8 7 6 5
BAL
BAL
UN-
UN-
BAL
BAL
d
d
B
0
V
1
-
G
A
C
I
I
N
M
60
10
U
OO
+15
U
OO
+15
U
5
OO
+15
U
6
OO
+15
5/6
SHIFT
HI
U
12k
+15-15
U
MID
+15-15
800
2k200
8k100
LOW
U
80Hz
+15-15
3
OL
20
SOLO
1–2
3–4
L - R
d
B
B
0
0
V
V
1
1
-
-
G
G
A
A
C
C
I
I
I
N
M
M
U
U
60
10
10
+10dB -40dB
+10dB -40dB
AUX
AUX
U
U
OO
OO
+15
+15
U
U
OO
OO
+15
+15
PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE
U
U
5
3
3
OO
OO
+15
+15
U
U
6
4
4
OO
OO
+15
+15
5/6
5/6
SHIFT
SHIFT
EQ
EQ
HI
U
U
12k
+15-15
+15-15
U
U
MID
+15-15
+15-15
800
800
2k200
8k100
LOW
U
U
80Hz
+15-15
+15-15
LOW CUT
LOW CUT
75 Hz
75 Hz
18dB/OCT
18dB/OCT
PAN
PAN
4
5
MUTE
MUTE
OL
20
SOLO
1–2
3–4
L - R
TAPE TAPE
INPUT OUTPUT
L
L
L
R
R
R
+6
LINELINELINELINELINELINE
BAL
BAL
UN-
UN-
BAL
BAL
d
d
B
B
0
0
V
V
1
1
-
-
G
G
A
A
C
I
N
60
MID
2k200
8k100
LOW
80Hz
OL
20
SOLO
1–2
3–4
L - R
C
I
I
I
I
N
N
M
M
U
U
U
60
60
10
10
+10dB -40dB
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
+15-15
800
U
+15-15
LOW CUT
75 Hz
18dB/OCT
PAN
6
MUTE
10
+10dB -40dB
+10dB -40dB
AUX
AUX
U
OO
+15
U
OO
+15
U
5
5
3
3
OO
+15
U
6
6
4
4
OO
+15
5/6
SHIFT
SHIFT
EQ
EQ
HI
HI
U
12k
12k
+15-15
U
MID
MID
+15-15
800
2k200
2k200
8k100
8k100
LOW
LOW
U
80Hz
80Hz
+15-15
LOW CUT
LOW CUT
75 Hz
75 Hz
18dB/OCT
18dB/OCT
PAN
PAN
7
8
MUTE
MUTE
OL
OL
-
20
20
SOLO
SOLO
1–2
1–2
3–4
3–4
L - R
L - R
SUB OUTSC-R OUTSMAIN INSERT
BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL
3
L
R
42
BAL
BAL
UN-
UN-
BAL
BAL
d
d
U
AUX
3
4
EQ
LOW CUT
18dB/OCT
PAN
+10dB -40dB
75 Hz
MUTE
d
B
B
0
0
V
V
1
1
-
-
G
G
A
A
C
C
I
I
I
I
N
N
M
M
U
60
60
10
10
+10dB -40dB
AUX
U
U
OO
OO
+15
+15
U
U
OO
OO
+15
+15
U
U
5
3
OO
OO
+15
+15
U
U
6
4
OO
OO
+15
+15
5/6
5/6
SHIFT
SHIFT
EQ
HI
U
U
12k
+15-15
+15-15
U
U
MID
MID
+15-15
+15-15
800
800
2k200
2k200
100
8k100
8k
LOW
LOW
U
U
80Hz
80Hz
+15-15
+15-15
LOW CUT
75 Hz
18dB/OCT
PAN
9
10
MUTE
OL
OL
-
20
20
SOLO
SOLO
1–2
1–2
3–4
3–4
L - R
L - R
TRACK
TRACK
2
1
B
0
V
1
-
G
A
C
I
I
N
M
60
U
OO
+15
U
OO
+15
U
5
OO
+15
U
6
OO
+15
5/6
HI
U
12k
+15-15
U
MID
+15-15
800
2k200
8k100
LOW
U
80Hz
+15-15
OL
20
SOLO
1–2
3–4
L - R
1
BAL
UNBAL
d
B
0
V
1
-
G
A
C
I
I
N
M
U
60
10
+10dB -40dB
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
11
MUTE
OL
20
SOLO
1–2
3–4
L - R
TRACK
3
AUX RETURN
BAL
UNBAL
d
B
0
V
1
-
G
A
C
I
I
N
M
U
60
10
+10dB -40dB
AUX
U
OO
+15
U
OO
+15
U
3
OO
+15
U
4
OO
+15
5/6
SHIFT
EQ EQ
U
+15-15
U
+15-15
800
100
8k
U
+15-15
LOW CUT
75 Hz
18dB/OCT
PAN
12
MUTE
-
SOLO
1–2
3–4
L - R
TRACK
4
L
(MONO)
(MONO)(MONO)(MONO)
R
R
R
BAL
UNBAL
d
B
0
V
1
-
G
A
C
I
I
N
M
U
60
10
+10dB -40dB
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
MID MID MID MID
+15-15
800
2k200
2k200
100
8k
LOW
LOW
U
80Hz
80Hz
+15-15
LOW CUT
75 Hz
18dB/OCT
PAN
13
MUTE
OL
OL
20
20
SOLO
1–2
3–4
L - R
TRACK
5
LLL
R
5
6
HI
12k
5
6
HI
12k
U
AUX
3
4
EQ
LOW CUT
18dB/OCT
PAN
+10dB -40dB
75 Hz
14
MUTE
1234
LINELINELINELINELINELINE
BAL
UNBAL
14
d
B
0
V
1
-
G
A
C
I
I
N
M
60
10
U
OO
+15
U
OO
+15
U
5
OO
+15
U
6
OO
+15
5/6
SHIFT
HI
U
12k
+15-15
U
+15-15
800
2k200
100
8k
LOW
U
80Hz
+15-15
OL
20
SOLO
1–2
3–4
L - R
TRACK
6
AUX SEND
5
642
BAL
UNBAL
15 16
d
B
0
V
1
-
G
A
C
I
I
N
M
U
60
10
+10dB -40dB
AUX
U
OO
+15
U
OO
+15
PRE
U
3
OO
+15
U
4
OO
+15
5/6
SHIFT
EQ
U
+15-15
U
+15-15
800
2k200
100
8k
LOW
U
80Hz
+15-15
LOW CUT
75 Hz
18dB/OCT
PAN
15
MUTE
OL
20
SOLO
1–2
3–4
L - R
TRACK
7
DIRECT OUT
31
753
864
INSERT INSERT INSERT
4321
LINELINELINE
BAL
BAL
UNBAL
BAL
UN-
UN-
BAL
BAL
MIC 4 MIC 3 MIC 2
d
B
0
V
1
U
+10dB -40dB
AUX
2
5
3
6
4
EQ
HI
12k
LOW CUT
75 Hz
18dB/OCT
PAN
16
MUTE
-
G
A
C
I
I
N
M
60
10
U
1
OO
+15
U
2
OO
+15
PRE
U
5
OO
+15
U
6
OO
+15
5/6
SHIFT
HI
U
12k
+15-15
U
+15-15
800
2k200
8k100
LOW
U
80Hz
+15-15
OL
20
SOLO
1–2
3–4
L - R
TRACK
8
CR1604-VLZ
16-CHANNEL MIC/LINE MIXER
U
OO
U
OO
AUX
SENDS
1
SOLO
2
SOLO
PHAN
OO
C-R / PHONES
TAPE
SUBS 1–2
SUBS 3–4
MAIN MIX
SOURCE
LEFT
RIGHT
1234
1
+10
2
+10
3
4
PWR
MAX
ASSIGN TO MAIN MIX
LEFT
RIGHT
U
OO
+20
U
OO
+20
U
OO
+20
U
C-R / PHNS
OO
+20
STEREO AUX RETURNS
U
OO
+20
TAPE IN
TAPE TO
MAIN MIX
OO
MAX
SOLO
MODE
(AFL)
NORMAL
(PFL)
LEVEL SET
LEFT
RIGHT
TM
1
2
ASSIGN OPTIONS
MAIN MIX
TO SUBS
ONLY
CLIP
LEVEL
SET
RUDE
SOLO
LIGHT
LEFT
RIGHT
1
2
INSERT
LINE
MIC 1
PATENT PENDING
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
L-R MIX
dB
dB
10
10
5
5
U
U
5
5
10
10
20
20
30
30
40
40
50
50
60
60
OO
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. Heat — This Mackie product should be situated away
from heat sources such as radiators, or other devices which
produce heat.
7. 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.
8. Power Cord Protection — Power supply cords should be
routed so that they are not likely to be walked upon or
pinched by items placed upon or against them, paying
particular attention to cords at plugs, convenience receptacles,
and the point where they exit this Mackie product.
9. Object and Liquid Entry — Care should be taken so that
objects do not fall into and liquids are not spilled into the
inside of this Mackie product.
10. 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.
11. 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.
12. To prevent electric shock, do not use this polarized plug
with an extension cord, receptacle or other outlet unless the
blades can be fully inserted to prevent blade exposure.
Pour préevenir les chocs électriques ne pas utiliser cette fiche
polariseé avec un prolongateur, un prise de courant ou une
autre sortie de courant, sauf si les lames peuvent être insérées
à fond sans laisser aucune pariie à découvert.
13. Grounding or Polarization — Precautions should be taken
so that the grounding or polarization means of this Mackie
product is not defeated.
14. 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.
15. To prevent hazard or damage, ensure that only
microphone cables and microphones designed to IEC 268-15A
are connected.
WARNING — To reduce the risk of fire or electric shock, do
not expose this appliance to rain or moisture.
READ THIS P AGE!!!
We realize that you must have a powerful
hankerin’ to try out your new CR1604-VLZ.
Or 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.
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
jack, then set the
one-quarter of the way up.
The following steps must be performed
one channel at a time:
1. Turn the
controls fully down.
2. Be sure the
assignment switches are all disengaged.
3. Set the
4. Connect the signal source to the
or
LINE
5. Engage (push in) the channel’s
switch.
6. Push in the
section (
LEVEL SET
the
7. Play something into the selected input,
at real-world levels.
8. Adjust 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
now and return to the previous step.
10. Disengage that channel’s
11. Repeat for each of channels 1–16.
C-R PHONES
TRIM, AUX
1–2, 3–4
EQ
knobs at the center detents.
channel input.
MODE
LEVEL SET (PFL)
TRIM
PHONES
send and fader
and
switch in the output
LED will light.
control so that the
SOLO
output
knob about
L–R
channel
MIC
SOLO
mode) —
EQ
, do so
switch.
Other Nuggets of Wisdom
For optimum sonic performance, the channel
faders and the
set near the “
Always turn the
PHONES
to and from your CR1604-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 L-R MIX
U
” (unity gain) markings.
MAIN L-R MIX
knob down before making connections
fader should be
fader and
C–R/
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
MIC
input.
2. Turn on the CR1604-VLZ.
3. Perform the Level-Setting Procedure .
4. Connect cords from the
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
8. Set the
of the way up.
9. Sing like a canary!
10. Plug your keyboard into channels 3 and 4.
11. Turn channel 3’s
channel 4’s
12. Set those faders to the “U” mark.
13.
Perform the Level-Setting Procedure .
14.
Engage the
15. Play like a madman and sing like a canary!
It’s your first mix!
MAIN L-R MIX
PAN
knob fully right.
L-R
switch on these channels.
MAIN OUT
fader one-quarter
PAN
knob fully left and
L-R
jacks
switch.
Please write your serial number here for
future reference (i.e. insurance claims, tech
support, return authorization, etc.):
Purchased at:
Part No. 820-034-00 Rev. C 4/97
©1997 Mackie Designs, All Rights Reserved.
Printed in the U.S.A.
Date of purchase:
3
INTRODUCTION
Thank you! There are a lot of makes and
models of compact mixers out there, all competing for your bucks… but you have voted with
your wallet for the folks in W oodinville who
specialize in American-made mixers.
Now that you have your CR1604-VLZ, 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 CR1604-VLZ immediately, the first pages
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 CR1604-VLZ will be
described “geographically;” in other words, in
order of where it is physically placed on the
mixer’s top or r ear panel. These descriptions ar e
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.
Whenever a specific CR1604-VLZ 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
120 VAC 50/60 Hz 20W
315mA/250V SLO-BLO
INSERT
BAL
UNBAL
MIC 16
TRIM
1234 5 6 7 8 9 10 11 12 131415 16
d
B
0
V
1
-
G
A
C
I
I
N
M
U
60
10
+10dB -40dB
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
+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
OL
20
SOLO
1–2
3–4
L - R
OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO
MAIN OUT
PHANTOM
POWER
BAL/UNBAL
L
L
L
MONO
R
R
CAUTION:
TO REDUCE THE RISK OF
FIRE REPLACE WITH SAME
TYPE FUSE AND RATING
INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT
16
15 14 13 12 11 10 9 8 7 6 5
BAL
BAL
UN-
UN-
BAL
BAL
MIC 15 MIC 14 MIC 13 MIC 12 MIC 11 MIC 10 MIC 9 MIC 8 MIC 7 MIC 6 MIC 5
TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM
d
d
B
B
0
0
V
V
1
1
-
-
G
G
A
A
C
C
I
I
I
I
N
N
M
M
U
U
U
60
60
10
10
+10dB -40dB
+10dB -40dB
AUX
AUX
AUX
U
U
12121212121212121212121212121
OO
OO
+15
+15
U
U
OO
OO
+15
+15
PRE PRE
U
U
5
5
3
3
3
OO
OO
+15
+15
U
U
6
6
4
4
4
OO
OO
+15
+15
5/6
5/6
SHIFT
SHIFT
EQ
EQ
EQ
HI
HI
U
U
12k
12k
+15-15
+15-15
U
U
MID
MID
+15-15
+15-15
800
800
2k200
2k200
8k100
8k100
LOW
LOW
U
U
80Hz
80Hz
+15-15
+15-15
LOW CUT
LOW CUT
LOW CUT
75 Hz
75 Hz
75 Hz
18dB/OCT
18dB/OCT
18dB/OCT
PAN
PAN
PAN
2
3
MUTE
MUTE
MUTE
OL
OL
-
-
20
20
SOLO
SOLO
1–2
1–2
3–4
3–4
L - R
L - R
R
OO
+6
BAL
BAL
UN-
UN-
BAL
BAL
d
d
d
B
B
B
0
0
0
V
V
V
1
1
1
-
-
-
G
G
G
A
A
A
C
C
C
I
I
I
I
I
I
N
N
N
M
M
M
U
U
U
60
60
60
10
10
10
+10dB -40dB
+10dB -40dB
+10dB -40dB
AUX
AUX
U
U
U
OO
OO
OO
+15
+15
+15
U
U
U
OO
OO
OO
+15
+15
+15
PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE
U
U
U
5
5
5
3
3
3
OO
OO
OO
+15
+15
+15
U
U
U
6
6
6
4
4
CHANNEL STRIPS
4
OO
OO
OO
+15
+15
+15
5/6
5/6
5/6
SHIFT
SHIFT
SHIFT
EQ
EQ
EQ
HI
HI
HI
U
U
U
12k
12k
12k
+15-15
+15-15
+15-15
U
U
U
MID
MID
MID
+15-15
+15-15
+15-15
800
800
800
2k200
2k200
2k200
8k100
8k100
8k100
LOW
LOW
LOW
U
U
U
80Hz
80Hz
80Hz
+15-15
+15-15
+15-15
LOW CUT
LOW CUT
LOW CUT
75 Hz
75 Hz
18dB/OCT
18dB/OCT
18dB/OCT
PAN
PAN
PAN
4
5
6
MUTE
MUTE
OL
OL
OL
-
-
-
20
20
20
SOLO
SOLO
SOLO
1–2
1–2
1–2
3–4
3–4
3–4
L - R
L - R
L - R
.
SUB OUTSC-R OUTSMAIN INSERT
TAPE TAPE
BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL
INPUT OUTPUT
L
L
R
R
LINELINELINELINELINELINE
PATCHBAY
BAL
BAL
BAL
UN-
UN-
UN-
BAL
BAL
BAL
d
d
d
B
B
B
0
0
0
V
V
V
1
1
1
-
-
-
G
G
G
A
A
A
C
C
C
I
I
I
I
I
I
N
N
N
M
M
M
U
U
60
60
60
10
10
10
+10dB -40dB
+10dB -40dB
+10dB -40dB
AUX
AUX
AUX
U
U
U
OO
OO
OO
+15
+15
+15
U
U
U
OO
OO
OO
+15
+15
+15
U
U
U
5
5
3
3
OO
OO
OO
+15
+15
+15
U
U
U
6
6
4
4
OO
OO
OO
+15
+15
+15
5/6
5/6
5/6
SHIFT
SHIFT
SHIFT
EQ
EQ
HI
HI
U
U
U
12k
12k
+15-15
+15-15
+15-15
U
U
U
MID
MID
+15-15
+15-15
+15-15
800
800
800
2k200
2k200
8k100
8k100
LOW
LOW
U
U
U
80Hz
80Hz
+15-15
+15-15
+15-15
LOW CUT
LOW CUT
75 Hz
75 Hz
75 Hz
18dB/OCT
18dB/OCT
PAN
PAN
7
8
9
MUTE
MUTE
MUTE
OL
OL
-
-
20
20
SOLO
SOLO
1–2
1–2
3–4
3–4
L - R
L - R
3
42
U
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
1
+10dB -40dB
SHIFT
75 Hz
10
1
-
C
I
M
10
OO
OO
OO
OO
5/6
100
d
B
0
V
G
A
I
N
60
U
+15
U
+15
U
+15
U
+15
U
+15-15
U
+15-15
800
8k
U
+15-15
SOLO
1
BAL
UN-
BAL
U
AUX
5
3
6
4
EQ
HI
12k
MID
2k200
LOW
80Hz
LOW CUT
75 Hz
18dB/OCT
PAN
MUTE
OL
20
1–2
3–4
L - R
LLL
R
BAL
UN-
BAL
d
B
0
V
1
-
G
A
C
I
I
N
M
U
60
10
+10dB -40dB
+10dB -40dB
AUX
U
OO
+15
U
OO
+15
U
5
3
OO
+15
U
6
4
OO
+15
5/6
SHIFT
SHIFT
EQ EQ
HI
U
12k
+15-15
U
MID
+15-15
800
2k200
100
8k100
LOW
U
80Hz
+15-15
LOW CUT
75 Hz
18dB/OCT
PAN
11
12
MUTE
OL
20
SOLO
1–2
3–4
L - R
AUX RETURN
R
BAL
UN-
BAL
d
B
0
V
1
-
G
A
C
I
I
N
M
U
60
10
10
+10dB -40dB
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
75 Hz
18dB/OCT
PAN
13
MUTE
OL
20
SOLO
1–2
3–4
L - R
1234
L
(MONO)
(MONO)(MONO)(MONO)
R
R
LINELINELINELINELINELINE
BAL
UN-
BAL
d
d
B
B
0
0
V
V
1
1
-
-
G
G
A
A
C
C
I
I
I
I
N
N
M
M
U
U
60
60
10
+10dB -40dB
+10dB -40dB
AUX
AUX
U
U
OO
OO
+15
+15
U
U
OO
OO
+15
+15
U
U
5
5
3
3
OO
OO
+15
+15
U
U
6
6
4
4
OO
OO
+15
+15
5/6
5/6
SHIFT
EQ
EQ
HI
HI
U
U
12k
12k
+15-15
+15-15
U
U
MID MID MID MID
+15-15
+15-15
800
800
2k200
2k200
100
8k
8k
LOW
LOW
U
U
80Hz
80Hz
+15-15
+15-15
LOW CUT
LOW CUT
75 Hz
75 Hz
18dB/OCT
18dB/OCT
PAN
PAN
14
15
MUTE
MUTE
OL
OL
-
-
20
20
SOLO
SOLO
1–2
1–2
3–4
3–4
L - R
L - R
AUX SEND
31
5
642
INSERT INSERT INSERT
4321
BAL
BAL
UN-
UN-
BAL
BAL
MIC 4 MIC 3 MIC 2
d
d
B
B
0
0
V
V
1
1
-
-
G
G
A
A
C
C
I
I
I
I
N
N
M
M
U
CR1604-VLZ
16-CHANNEL MIC/LINE MIXER
60
60
10
10
+10dB -40dB
AUX
U
U
U
1
OO
OO
OO
+10
+15
+15
U
U
U
2
2
OO
OO
OO
+10
+15
+15
PRE
PRE
AUX
U
U
SENDS
1
5
5
3
SOLO
OO
OO
+15
+15
U
U
2
SOLO
6
6
4
OUTPUT
OO
OO
+15
+15
PWR
PHAN
5/6
5/6
SHIFT
SHIFT
EQ
HI
HI
U
U
12k
12k
SECTION
OO
MAX
+15-15
+15-15
U
U
C-R / PHONES
TAPE
+15-15
+15-15
800
800
SUBS 1–2
2k200
2k200
100
8k
8k100
LOW
LOW
U
U
SUBS 3–4
80Hz
80Hz
MAIN MIX
+15-15
+15-15
LOW CUT
75 Hz
SOURCE
18dB/OCT
PAN
ASSIGN TO MAIN MIX
LEFT
16
RIGHT
MUTE
1234
OL
OL
-
-
20
20
SOLO
SOLO
1–2
1–2
3–4
3–4
L - R
L - R
TRACK8TRACK7TRACK6TRACK5TRACK4TRACK3TRACK2TRACK
DIRECT OUT
753
864
INSERT
LINELINELINE
BAL
BAL
UN-
UN-
BAL
BAL
MIC 1
TM
U
U
1
1
OO
OO
+20
U
U
2
2
OO
OO
+20
U
ASSIGN OPTIONS
3
MAIN MIX
OO
+20
TO SUBS
U
4
C-R / PHNS
OO
+20
ONLY
STEREO AUX RETURNS
U
CLIP
28
10
OO
+20
TAPE IN
7
4
2
TAPE TO
MAIN MIX
0
2
4
OO
MAX
LEVEL
7
SET
SOLO
10
20
MODE
30
RUDE
(AFL)
NORMAL
SOLO
(PFL)
LEVEL SET
LIGHT
LEFT
LEFT
LEFT
RIGHT
RIGHT
RIGHT
dB
10
5
U
5
10
20
30
40
50
60
OO
Throughout these chapters you’ll find illustrations, with each feature numbered. If you’r e
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.
Y ou’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
CR1604-VLZ. For your own
good, read them and re-
member 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.
THE GLOSSARY: A HAVEN OF
NON-TECHINESS FOR THE NEOPHYTE
Since the CR1604-VLZ is often purchased by
folks who are new to the jargon of professional
audio, we’ve included a fairly comprehensive
dictionary of pro-audio terms. If terms like “clipping,” “noise floor ,” or “unbalanced” leave you
blank, flip to the glossary at the back of this
manual for a quick explanation.
A PLUG FOR THE CONNECTORS SECTION
Also at the back of this manual is a section
1
on connectors: XLR connectors, balanced con-
2
nectors, unbalanced connectors, special hybrid
LINE
connectors. Although we provide diagrams
throughout the manual, the Connections
PATENT PENDING
appendix gives more of the whys and wherefores
12V
0.5A
LAMP
for beginners.
TO AUX
SEND 1
+15
EFFECTS TO
MONITORS
TO AUX
SEND 2
+15
ARCANE MYSTERIES ILLUMINATED
1–2
3–4
RETURNS
SOLO
LEFT RIGHT
0 dB=0 dBu
PHONES
MAIN
L-R MIX
Finally, we’ve included an appendix titled
“Balanced Lines, Phantom Powering, Grounding and Other Arcane Mysteries.” This section
discusses some of the down ’n’ dirty practical
realities of microphones, fixed installations,
dB
10
5
U
grounding, and balanced versus unbalanced
5
10
20
30
lines. It’s a gold mine for the neophyte and even
40
50
60
OO
the seasoned pro might learn a thing or two.
4
CONTENTS
LEVEL-SETTING PROCEDURE.................................... 3
INSTANT MIXING.................................................... 3
HOOKUP DIAGRAMS .............................................. 6
CONVERTING TO RACKMOUNT MODE .................... 9
SWITCHING POSITIONS................................... 9
PA TCHBAY 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 L-R 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
C-R/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 SEND 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
CR1604-VLZ MODIFICATIONS............................. 28
CR1604-VLZ BLOCK DIAGRAM ............................30
GAIN STRUCTURE DIAGRAM................................. 31
SPECIFICATIONS.................................................... 32
SERVICE INFO ....................................................... 33
APPENDIX: Glossary ............................................. 34
APPENDIX: Connections......................................... 42
APPENDIX: Balanced Lines, Phantom Powering,
Grounding and Other Arcane Mysteries .................. 46
*
NEW! IMPROVED!
LOADED WITH
PROFESSIONAL FEATURES!
For those of you accustomed to the original,
classic CR-1604, do not be daunted by all the
new features — we added them just for you!
Asterisked items indicate features that we’ve
added to the New Improved CR1604-VLZ.
5
21
HOOKUP DIAGRAMS
Keyb oard, 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 P ower Am plifier
Guitar Effects
Bass Preamp
Drum
Machine
out
in
out
in
CH
2
34
567
891011
12
131415
16
MONOSTEREO
LR
L
R
L
R
L
R
L
R
4
3
12
CHANNEL INSERTSAUX RETURNS
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
23
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
RLR
Stereo Compressor
Mono in / stereo out
Reverb
Digital Delay
CR1604-VLZ 8-Track Tracking
6
Guitar Effects
567
21
34
Stereo CompressorStereo Compressor
Keyb oard, or other line-level input
Keyb oard, 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
Drum
FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN
Machine
CH
2
CH
1
Stereo
P ower Am plifier
NOTE: for mono PA, use
mono output to feed FOH.
CD Player
891011
12
131415
16
MONOSTEREO
LR
L
R
L
R
L
R
L
R
4
3
12
CHANNEL INSERTSAUX RETURNS
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
23
BAL/UNBAL
SUB OUTS
4
OUT
PHONES
16151413121110987654321
Mono EQMono EQ
2 1
3
4
5
6
8 7
12
3
4
5
6
L
R
L
R
L
RLR
Digital Delay
Stage Monitor
Stage Monitor
Mono in / stereo out
Reverb
k
c
a
r
t
i
t
l
u
M
Optional Live Recording
CR1604-VLZ Stereo P.A.
7
Video Deck
21
Video Deck
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
Keyb oard, or other line-level input
CD Player
Sampler
Interface
CH
2
FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN
CH
1
in
Stereo
P ower Am plifier
Master
Video
34
56
78910
11
12
13
141516
MONOSTEREO
LR
L
R
L
R
L
R
L
R
4
3
12
CHANNEL INSERTSAUX RETURNS
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
23
BAL/UNBAL
SUB OUTS
4
OUT
PHONES
16151413121110987654321
2 1
3
4
5
6
8 7
12
3
4
5
6
L
R
Mono in / stereo out
Reverb
L
R
L
RLR
Digital Delay
Stereo Compressor
Computer
with Audio Card
CR1604-VLZ Video Setup
8
CONVERTING TO RACKMOUNT MODE
Not only is the new CR1604-VLZ 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 CR1604-VLZ. It’s
still there and still takes just a few minutes
with your 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!
SWITCHING POSITIONS
Y ou may have noticed the white stripes printed
just above most of the pushbutton switches on
your CR1604-VLZ. We’ve put them there to
make it easier for you to see if the switch is
engaged (down). Here’s how they work:
With the mixer in desktop mode, you’ll be
sitting just in front of it, viewing the control
panel at an oblique angle. When a switch is
disengaged (up), the button will hide the
white stripe from your field of vision. When
you engage the switch, the stripe will suddenly
appear. Although it may not seem obvious at
first, you’ll soon find that the indicator stripe
really helps you determine switch positions at
a glance. Clever, ain’t it?
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
315mA/250V SLO-BLO
INSERT
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
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:
wire your own, connect them like this:
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
CR1604-VLZ, 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!
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 CR1604-VLZ’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
that carry audio. The CR1604-VLZ’s phantom
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 CR1604-VLZ has
the legendary Mackie mic/line input circuit.
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
stance) that don’t need external power and
aren’t affected by it anyway.
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
PHANTOM
POWER
CAUTION:
TO REDUCE THE RISK OF
FIRE REPLACE WITH SAME
TYPE FUSE AND RATING
INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT
MAIN OUT
BAL/UNBAL
L
R
MONO
OO
+6
L
R
R
TAPE TAPE
INPUT OUTPUT
L
BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL
L
R
L
R
SUB OUTSC-R OUTSMAIN INSERT
1
3
42
electronic devices into the
the phantom power is on.
AUX RETURN
LLL
R
R
1234
L
(MONO)
(MONO)(MONO)(MONO)
R
R
. To learn how sig-
SHIELD
HOT
COLD
SHIELD
3
COLD
HOT
1
3
2
®
SM57/SM58, for in-
Unless you know for certain it is safe to do so,
never plug single-ended
(unbalanced) microphones, instruments or
MIC
AUX SEND
31
5
642
INSERT INSERT INSERT
753
864
. If you
2
1
3
1
2
SHIELD
COLD
HOT
PHANTOM
input jacks if
DIRECT OUT
INSERT
1
2
16
BAL
UNBAL
MIC 16
15 14 13 12 11 10 9 8 7 6 5
BAL
UNBAL
BAL
UNBAL
MIC 15 MIC 14 MIC 13 MIC 12 MIC 11 MIC 10 MIC 9 MIC 8 MIC 7 MIC 6 MIC 5
BAL
UNBAL
BAL
UNBAL
LINELINELINELINELINELINE
BAL
UNBAL
BAL
UNBAL
BAL
UNBAL
BAL
UNBAL
BAL
UN-
BAL
BAL
UNBAL
LINELINELINELINELINELINE
BAL
UNBAL
4321
BAL
UNBAL
BAL
UNBAL
MIC 4 MIC 3 MIC 2
LINELINELINE
BAL
UNBAL
LINE
BAL
UNBAL
MIC 1
10
PATENT PENDING
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 –40dB to operating levels of –10dBV to
+4dBu, as there is 40dB 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:
SLEEVERING
TIP
RING
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 (
10dB of gain with the knob fully down, ramping to 60dB of gain fully up.
Through the
of attenuation fully down and 40dB of gain fully
U
up, with a “
” (unity gain) mark at 9:00.
input jacks that we
, and that procedure is
TRIM
knob.”
MIC
1
/4" input (
LINE
), there is 10dB
MIC
or
Level-
), there will be
This 10dB 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
ers, de-essers, or filters
TRIM
after the
EQ, LOW CUT,
control, but before the channel’s
fader and
INSERT
MUTE
cables must be wired thusly:
TIPSLEEVE
ring
tip
This plug connects to one of the
mixer’s Channel Insert jacks.
sleeve
(TRS plug)
SEND to processor
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
jacks ,
INSERT
jacks can also
be used as channel direct outputs; post-
LOW CUT
preyou can use the
Direct out with no signal interruption to master.
, and pre-EQ. Here’s thr ee ways
INSERT
MONO PLUG
Insert only to first “click.”
jacks:
point is
controls. Insert
“tip”
“ring”
TRIM
Channel Insert jack
,
TRIM
U
10
+10dB -40dB
AUX
1
2
3
4
SHIFT
EQ
100
LOW CUT
75 Hz
18dB/OCT
PAN
1
MUTE
d
0
1
-
G
C
I
M
U
OO
U
OO
PRE
U
OO
U
OO
5/6
U
U
800
U
LR
1
B
V
A
I
N
60
+15
+15
5
+15
6
+15
HI
12k
+15-15
MID
+15-15
2k200
8k
LOW
80Hz
+15-15
OL
-
20
SOLO
1–2
MONO PLUG
Channel Insert jack
Direct out with signal interruption to master.
Insert all the way in to the second “click.”
3–4
L - R
OO
STEREO
PLUG
Channel Insert jack
For use as an effects loop.
(TIP = SEND to effect, RING = RETURN from effect.)
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
CR1604-VLZ perfect for an 8-track studio. To
wire your own cables:
.
LOW
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
LINE
CR1604-VLZ (multitrack out 1 to
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
input 9,
TRACK 2
But let’s not forget that the CR1604-VLZ is 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: T o feed an 8-track
deck with 4 sub outputs, simply use Y-cords:
SUB OUT 1
3
feeds 3 and 7, and 4 feeds 4 and 8. Tracks in
6,
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). Y ou 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. Y ou’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:
.
SUB
LINE
input,
. You can’t
. To wire
12
120 VAC 50/60 Hz 20W
315mA/250V SLO-BLO
INSERT
PHANTOM
POWER
CAUTION:
TO REDUCE THE RISK OF
FIRE REPLACE WITH SAME
TYPE FUSE AND RATING
INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT
MAIN OUT
BAL/UNBAL
L
R
MONO
OO
+6
L
R
TAPE TAPE
INPUT OUTPUT
L
R
BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL
L
R
L
R
SUB OUTSC-R OUTSMAIN INSERT
1
3
42
AUX RETURN
LLL
R
L
(MONO)
(MONO)(MONO)(MONO)
R
R
R
1234
AUX SEND
31
5
642
INSERT INSERT INSERT
DIRECT OUT
753
864
INSERT
1
2
16
BAL
UNBAL
MIC 16
15 14 13 12 11 10 9 8 7 6 5
BAL
UNBAL
BAL
UNBAL
MIC 15 MIC 14 MIC 13 MIC 12 MIC 11 MIC 10 MIC 9 MIC 8 MIC 7 MIC 6 MIC 5
BAL
UNBAL
BAL
UNBAL
LINELINELINELINELINELINE
BAL
UNBAL
EFFECTS: SERIAL OR PARALLEL?
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
send), is routed through the
effects device, and returns to the mixer
INSERT
(
return). Examples: compressor, limiter, graphic equalizer. Line-level sources can
also be patched through a serial effects device
before or after the mixer.
“Parallel” means that a portion of the signal
in the mixer is tapped off to the device (
), processed, and returned to the mixer
SEND
AUX RETURN
(
) to be mixed with the original
AUX
“dry” signal. This way, multiple channels can
all make use of the same effects device.
Examples: reverb, digital delay.
AUX RETURN INPUTS
This is where you connect the outputs of your
parallel effects devices (or extra audio sources).
They’ll accept just about any pro or semipro
effects device on the market. To learn how sig-
nals are routed from these inputs:
your own cables:
.
. To wire
BAL
BAL
UNBAL
BAL
UNBAL
BAL
UNBAL
BAL
UNBAL
BAL
UNBAL
UN-
BAL
Mono: If you have an effects device with a
mono output (one cord), plug that into
put of an
AUX RETURN
and leave the right
input unplugged. That way, the signal will be
sent to both sides, magically appearing in the
center as a mono signal.
SUB OUTS
These 1/4" jacks are usually patched to the inputs of a multitrack deck, or to secondary
amplifiers in a complex installation. To learn
how signals are routed to these outputs:
To wire your own cables:
.
Double Busing
How on earth do you get four jacks to
feed eight tracks? To feed an 8-track deck
with only four
SUB OUTS
Y-cords:
SUB OUT 1
•
SUB OUT 2
•
SUB OUT 3
•
SUB OUT 4
•
feeds tracks 1 and 5
feeds tracks 2 and 6
feeds tracks 3 and 7
feeds tracks 4 and 8
Tracks in record mode will accept the signal,
and tracks in safe mode will ignore the signal.
It’s that easy.
, simply use four
LINELINELINELINELINELINE
BAL
UNBAL
MIC 4 MIC 3 MIC 2
L
in-
.
4321
BAL
UNBAL
BAL
UNBAL
LINE
LINELINELINE
BAL
UNBAL
MIC 1
PATENT PENDING
Serial Device (e.g., Compressor)
Insert
Send
Dry Signal
Parallel Device (e.g., Reverb)
Aux
Send
Dry Signal(s)
Signal Processor
Signal Processor
Channel Path
Insert
Return
Aux
Return
Wet Signal
Dry Signal(s)
Output
Section
Mix
Stage
Processed
Signal
Processed
Signal
13
This method is exactly
the same as the doublebusing feature found in
other mixers. Built-in double
busing is nothing more than
Y-cords living inside the mixer instead of
hanging out the back. If we had room for the
extra jacks, we would have thrown them in,
but we don’t, so we didn’t. Sonically, there is
no difference whatsoever.
Y-cord advice: Do not use the stereo “headphone-to-left/right” splitter adapters. Use the type
that send the same signal to two places; the tip of
the source plug feeds the tips of both destination
®
plugs (Radio Shack
#42-2150, for instance.)
C-R OUTS (CONTROL ROOM OUTPUTS)
These 1/4" jacks are usually patched to the
inputs of your control room amplifier or a
headphone distribution amplifier. To learn
how signals are routed to these outputs:
To wire your own cables:
.
PHONES OUTPUT
The CR1604-VLZ’s stereo 1/4" phones jack
will drive any standard headphone to very loud
levels. Walkperson-type phones can also be
used with an appropriate adapter. To learn
how signals are routed to these outputs:
dB
10
5
U
5
10
20
30
40
50
60
OO
PHONES
PHONES
MAIN
L-R MIX
TIPSLEEVE
RING
RING
TIP
SLEEVE
dB
10
5
U
5
10
20
30
40
50
60
OO
you’re wiring your own cable for the
output, follow standard conventions:
SLEEVERING
TIP
Tip = left channel
Ring = right channel
Sleeve = common ground
ASSIGN TO MAIN MIX
LEFT
LEFT
LEFT
LEFT
RIGHT
RIGHT
1234
RIGHT
RIGHT
WARNING: When we say
the headphone amp is
loud, we’re not kidding. It
can cause permanent ear
damage. Even intermediate levels may be painfully loud with some
earphones. BE CAREFUL!
Always turn the
C-R/PHONES
way down before connecting headphones. Keep
it down until you’ve put the phones on. Then
turn it up slowly. Why? “Engineers who fry
their ears find themselves with short careers.”
TAPE OUTPUT
These unbalanced RCA jacks tap the
outputs to make simultaneous recording
MIX
and PA work more convenient. Connect these
to your 2-track recorder’s inputs. To learn how
signals are routed to these outputs:
Mono: If you want to feed a mono signal to
.
your tape deck or other device, simply use the
1
/4"
MONO
an RCA Y-cord to combine the
output jack . Alternatively, use
TAPE OUTPUT
jacks (Radio Shack® #42-2435, for instance).
Do not attempt this with any other outputs on
the CR1604-VLZ.
TAPE INPUT
. If
These unbalanced RCA jacks are designed
to work with semipro as well as pro recorders.
Connect your 2-track tape recorder’s outputs
here, using standard hi-fi RCA cables. To learn
how signals are routed from these inputs:
Use these jacks for convenient playback of
your mixes. You’ll be able to review a mix, and
then rewind and try another pass without
repatching or disturbing the mixer levels. You
can also use these jacks with a portable tape
or CD player to feed music to a PA system
between sets
.
WARNING: Pushing
TO MAIN MIX
put section can create a
feedback path between
TAPE INPUT
OUTPUT
. Make sure your tape deck is not
in record, record-pause or input monitor
mode when you engage this switch, or
make sure the
TAPE IN
level knob is fully
counterclockwise (off).
knob all the
MAIN
.
TAPE
in the out-
and
TAPE
.
14
MAIN INSERT
OO
+6
PHANTOM
POWER
120 VAC 50/60 Hz 20W
315mA/250V SLO-BLO
16
15 14 13 12 11 10
MIC 16
INSERT
INSERT INSERT INSERT INSERT INSERT INSERT
MIC 15 MIC 14 MIC 13 MIC 12 MIC 11 MIC 10
C-R OUTSMAIN INSERT
TAPE TAPE
MAIN OUT
R
L
MONO
R
L
R
L
R
L
R
L
BAL/UNBAL
BAL/UNBAL
INPUT OUTPUT
BAL
UNBAL
BAL
UNBAL
BAL
UNBAL
BAL
UNBAL
BAL
UNBAL
BAL
UNBAL
BAL
UNBAL
LINE
LINELINELINELINELINELINE
TO REDUCE THE RISK OF
FIRE REPLACE WITH SAME
TYPE FUSE AND RATING
CAUTION:
These 1/4" jacks are for connecting serial
effects such as compressors, equalizers, de-
. The
essers, or filters
INSERT
the mix amps, but before the
point is after
MAIN L-R MIX
fader. 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 = send (output to effects device)
Ring = return (input from effects device)
Sleeve = common ground (connect shield to
all three sleeves)
MAIN OUTS
These 1/4" jacks are usually patched to the
inputs of your 2-track mixdown deck (unless
you’ve chosen to use the
TAPE OUTPUT
jacks), or to the house amplifier during live
sound sessions. To learn how signals are
routed to these outputs:
. To use these outputs to drive balanced inputs, connect
(Tip-Ring-Sleeve) phone plugs like this:
SLEEVERING
TIP
Tip = + (hot)
Ring = – (cold)
Sleeve = ground
To use these outputs to drive unbalanced
1
inputs, connect
plugs like this:
/4" TS (Tip-Sleeve) phone
SLEEVE
RCA
1
/4" TRS
RING
RING
TIP
SLEEVE
TIPSLEEVE
TIPSLEEVE
“tip”
“ring”
ing mono signals to mic inputs like camcorders,
telephone interface boxes, even answering
machines. With the pot all the way up (fully
clockwise), you’ll have 6dB of extra gain with
unity gain halfway between the one and two
o’clock positions.
POWER CONNECTION
Just in case you lose the cord provided with
the CR1604-VLZ, its power jack accepts a standard 3-prong IEC cord like those found on
most professional recorders, musical instruments, and computers. At the other end of our
cord is — get this — a plug! Not a black cube
or, as we’re fond of calling them, a “wall wart.”
We did this for some very good reasons:
The CR1604-VLZ has sophisticated power
requirements that a wall wart cannot provide.
W all warts ar e inconvenient, fragile, radiate huge
hum fields, hog extra jacks on your power strip
and get in the way. If you lose a wall wart, you’r e
in trouble, but if you lose the CR1604-VLZ’s power
cord, you can get a new one at any electronics,
music, or computer store. You can even buy them
®
at Radio Shack
(part # 278-1257).
Plug the CR1604-VLZ into any standard
grounded (3-pin) AC outlet or into a power
strip of proper voltage.
WARNING: Disconnecting
the plug’s ground pin can
be dangerous. Please
don’t do it.
FUSE
TIP
Tip = signal
Sleeve = ground
MONO OUTPUT
It happens to everybody sooner or later:
The forces that govern your world will demand
a monaural output from your painstakinglycreated stereo panorama. The last thing you
want to do is start twirling all your carefully-
PAN
placed
Stick a cord in this
end to Mr. Mono, and you’re done. He’s got his
mono mix and you’ve still got your stereo mix.
MONO
The
of the left and right
MONO LEVEL
So, Mr. Mono comes running back, screaming about the mono mix being so loud that his
camcorder is melting. Just reach for this knob
and turn it down a bit. Just the thing for send-
settings to one side. What to do?
1
/4" jack, hand the other
output is nothing more than a mix
MAIN MIX
The CR1604-VLZ is fused for your (and its
TIP
SLEEVE
own) protection. If you suspect a blown fuse,
disconnect the power cord, pull the fuse drawer
out (located just below the cord receptacle)
and replace the fuse with a 1A SLO BLO, 5x20mm,
available at electronics stores or your dealer
(or a 500mA [0.5 amps] SLO BLO 5x20mm if
your CR1604-VLZ is a 220V-240V unit).
.
15
POWER SWITCH
PHANTOM LED
If this one isn’t self-explanatory, we give up.
You can leave this switch on all the time; the
CR1604-VLZ is conservatively designed, so heat
buildup isn’t a problem even in 24-hour-a-day
operation. There’s nothing that will burn out or
get used up. You may notice that the CR1604VLZ’s “pod” feels quite warm (the pod is the
chassis that contains the jacks). This is perfectly normal.
POWER LED
You’ve probably already figured this out, but
if the
POWER
switch is on, this LED (lightemitting diode), located in the output section,
will light. If the switch is off, well, you get the
idea. If the
POWER
switch is on and the LED
does not glow, one of three things has happened: Somebody tripped over the power cord
and yanked it from the outlet, your electricity
has been turned off due to nonpayment, or the
fuse has blown
.
PHANTOM SWITCH
Located right next to the
POWER
LED in the
output section, this is just to let you know which
way you have the
PHANTOM
switch set. If your
dynamic mics work and your condensers don’t,
chances are this LED is off, so turn it on.
You’ll notice that when you turn the phantom power off, the LED stays on for a while.
This is a natural phenomenon — the LED is
actually a yellow voltmeter telling you that the
phantom power takes time to ramp itself down
to zero volts. So, if you’ve turned phantom
power off to connect something to the mic inputs, wait until the yellow LED stops glowing
and then make your connections safely.
BNC LAMP SOCKET
Located in the top right corner of the output section, this 12V socket will drive any
®
standard BNC-type lamp (a Littlite
#12G-HI (high-intensity), for instance).
#12G or
120 VAC 50/60 Hz 20W
315mA/250V SLO-BLO
INSERT
The
PHANTOM
switch controls the phantom power supply for condenser microphones as
discussed at the start of this section
. When
turned on (or off), the phantom power circuitry
takes a few moments for voltage to ramp up (or
down). This is also perfectly normal. For an
even closer look, refer to Appendix C.
PHANTOM
POWER
CAUTION:
TO REDUCE THE RISK OF
FIRE REPLACE WITH SAME
TYPE FUSE AND RATING
INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT
MAIN OUT
BAL/UNBAL
L
R
MONO
OO
+6
L
R
R
TAPE TAPE
INPUT OUTPUT
L
BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL
L
R
L
R
SUB OUTSC-R OUTSMAIN INSERT
1
3
42
AUX RETURN
LLL
R
R
CR1604
16-CHANNEL MIC/LINE MIXER
U
1
OO
+10
U
2
OO
+10
AUX
SENDS
1
SOLO
2
SOLO
PHAN
1234
L
(MONO)
(MONO)(MONO)(MONO)
R
R
-
VLZ
U
1
OO
+20
U
2
OO
+20
U
3
OO
+20
U
4
OO
PWR
+20
STEREO AUX RETURNS
AUX SEND
31
5
642
INSERT INSERT INSERT
TM
LAMP
U
1
OO
+15
EFFECTS TO
MONITORS
U
2
OO
+15
ASSIGN OPTIONS
MAIN MIX
1–2
3–4
TO SUBS
C-R / PHNS
RETURNS
ONLY
SOLO
DIRECT OUT
753
864
TO AUX
SEND 1
TO AUX
SEND 2
12V
0.5A
1
2
INSERT
16
BAL
UNBAL
MIC 16
15 14 13 12 11 10 9 8 7 6 5
BAL
UNBAL
BAL
UNBAL
MIC 15 MIC 14 MIC 13 MIC 12 MIC 11 MIC 10 MIC 9 MIC 8 MIC 7 MIC 6 MIC 5
BAL
UNBAL
BAL
UNBAL
LINELINELINELINELINELINE
BAL
UNBAL
BAL
UNBAL
BAL
UNBAL
BAL
UNBAL
BAL
UNBAL
BAL
UNBAL
LINELINELINELINELINELINE
BAL
UNBAL
4321
BAL
UNBAL
BAL
UNBAL
MIC 4 MIC 3 MIC 2
LINELINELINE
BAL
UNBAL
LINE
BAL
UNBAL
MIC 1
PATENT PENDING
16
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