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

UN-

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

B

0

V

1

-

G

A

C

I

N

M

U

60

10

+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

U

12121212121212121212121212121

OO

+15

U

OO

+15

PRE PRE

U

5

3

OO

+15

U

6

4

OO

+15

5/6

SHIFT

EQ

HI

U

12k

+15-15

U

MID

+15-15

800

2k200

8k

8k100

LOW

U

80Hz

+15-15

LOW CUT

75 Hz

18dB/OCT

PAN

2

MUTE

OL

-

20

SOLO

1–2

3–4

L - R

OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO

MAIN OUT

PHANTOM

BAL/UNBAL

L

MONO

R

OO

15 14 13 12 11 10 9 8 7 6 5

BAL

UN-

BAL

d

B

0

V

1

-

G

A

C

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

0

V

1

-

G

A

C

I

N

M

U

60

10

+10dB -40dB

AUX

U

OO

+15

U

OO

+15

PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE

U

5

3

OO

+15

U

6

4

OO

+15

5/6

SHIFT

EQ

HI

U

12k

+15-15

U

MID

+15-15

800

2k200

8k100

LOW

U

80Hz

+15-15

LOW CUT

75 Hz

18dB/OCT

PAN

4

5

MUTE

OL

20

SOLO

1–2

3–4

L - R

TAPE TAPE INPUT OUTPUT

L

R

+6

LINELINELINELINELINELINE

BAL

UN-

BAL

d

B

0

V

1

-

G

A

C

I

N

60

MID

2k200

8k100

LOW

80Hz

OL

20

SOLO

1–2

3–4

L - R

C

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

+15-15

800

U

+15-15

LOW CUT

75 Hz

18dB/OCT

PAN

6

MUTE

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

7

8

MUTE

OL

-

20

SOLO

1–2

3–4

L - R

SUB OUTSC-R OUTSMAIN INSERT

BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL

3

L

R

42

BAL

UN-

BAL

d

U

AUX

3

4

EQ

LOW CUT

18dB/OCT

PAN

+10dB -40dB

75 Hz

MUTE

d

B

0

V

1

-

G

A

C

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

100

8k100

8k

LOW

U

80Hz

+15-15

LOW CUT

75 Hz

18dB/OCT

PAN

9

10

MUTE

OL

-

20

SOLO

1–2

3–4

L - R

TRACK

2

1

B

0

V

1

-

G

A

C

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

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

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

BAL UNBAL

d

B

0

V

1

-

G

A

C

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

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

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

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

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-

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

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

10

5

U

5

10

20

30

40

50

60

OO

CAUTION AVIS

RISK OF ELECTRIC

RISQUE DE

CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK

NO USER-SERVICEABLE PARTS INSIDE

REFER SERVICING TO QUALIFIED PERSONNEL

ATTENTION: POUR EVITER LES RISQUES DE CHOC

ELECTRIQUE, NE PAS ENLEVER LE COUVERCLE. AUCUN

ENTRETIEN DE PIECES INTERIEURES PAR L'USAGER. CONFIER

L'ENTRETIEN AU PERSONNEL QUALIFIE.

AVIS: POUR EVITER LES RISQUES D'INCENDIE OU

D'ELECTROCUTION, N'EXPOSEZ PAS CET ARTICLE

The lightning flash with arrowhead symbol within an equilateral triangle is intended to alert the user to the presence of uninsulated "dangerous voltage" within the product's enclosure, that may be of sufficient magnitude to constitute a risk of electric shock to persons.

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

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

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

DO NOT OPEN

CHOC

NE PAS OUVRIR

DO NOT REMOVE COVER (OR BACK)

A LA PLUIE OU A L'HUMIDITE

SHOCK

ELECTRIQUE

SAFETY INSTRUCTIONS

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

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

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

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

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

6. 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

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

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

MONO

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

UN-

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

B

0

V

1

-

G

A

C

I

N

M

U

60

10

+10dB -40dB

AUX

U

12121212121212121212121212121

OO

+15

U

OO

+15

PRE PRE

U

5

3

OO

+15

U

6

4

OO

+15

5/6

SHIFT

EQ

HI

U

12k

+15-15

U

MID

+15-15

800

2k200

8k100

LOW

U

80Hz

+15-15

LOW CUT

75 Hz

18dB/OCT

PAN

2

3

MUTE

OL

-

20

SOLO

1–2

3–4

L - R

R

OO

+6

BAL

UN-

BAL

d

B

0

V

1

-

G

A

C

I

N

M

U

60

10

+10dB -40dB

AUX

U

OO

+15

U

OO

+15

PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE

U

5

3

OO

+15

U

6

4

CHANNEL STRIPS

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

4

5

6

MUTE

OL

-

20

SOLO

1–2

3–4

L - R

.

SUB OUTSC-R OUTSMAIN INSERT

TAPE TAPE

BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL

INPUT OUTPUT

L

R

LINELINELINELINELINELINE

PATCHBAY

BAL

UN-

BAL

d

B

0

V

1

-

G

A

C

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

7

8

9

MUTE

OL

-

20

SOLO

1–2

3–4

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

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

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 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

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

+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

LINELINELINELINELINELINE

BAL UN- BAL

d

B

0

V

1

-

G

A

C

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

5/6 SHIFT

EQ

HI

U

12k

+15-15

U

MID MID MID MID

+15-15

800

2k200

100

8k

LOW

U

80Hz

+15-15

LOW CUT

75 Hz

18dB/OCT

PAN

14

15

MUTE

OL

-

20

SOLO

1–2

3–4

L - R

AUX SEND

31

5

642

INSERT INSERT INSERT

4321

BAL

UN-

BAL

MIC 4 MIC 3 MIC 2

d

B

0

V

1

-

G

A

C

I

N

M

U

CR1604-VLZ

16-CHANNEL MIC/LINE MIXER

60

10

+10dB -40dB

AUX

U

1

OO

+10

+15

U

2

OO

+10

+15

PRE

AUX

U

SENDS

1

5

3

SOLO

OO

+15

U

2

SOLO

6

4

OUTPUT

OO

+15

PWR

PHAN

5/6

SHIFT

EQ

HI

U

12k

SECTION

OO

MAX

+15-15

U

C-R / PHONES

TAPE

+15-15

800

SUBS 1–2

2k200

100

8k

8k100

LOW

U

SUBS 3–4

80Hz

MAIN MIX

+15-15

LOW CUT

75 Hz

SOURCE

18dB/OCT

PAN

ASSIGN TO MAIN MIX

LEFT

16

RIGHT

MUTE

1234

OL

-

20

SOLO

1–2

3–4

L - R

TRACK8TRACK7TRACK6TRACK5TRACK4TRACK3TRACK2TRACK

DIRECT OUT

753

864

INSERT

LINELINELINE

BAL

UN-

BAL

MIC 1

TM

U

1

OO

+20

U

2

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

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 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

Right PA Speaker

Left PA Speaker

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 RLR

Digital Delay

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

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

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

1234

L

(MONO)

(MONO)(MONO)(MONO)

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

MIC 15 MIC 14 MIC 13 MIC 12 MIC 11 MIC 10 MIC 9 MIC 8 MIC 7 MIC 6 MIC 5

BAL UNBAL

LINELINELINELINELINELINE

BAL UNBAL

BAL UN- BAL

BAL UNBAL

LINELINELINELINELINELINE

BAL UNBAL

4321

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

800

U

LR

1

B

V

A

I

N

60

+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

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

MIC 15 MIC 14 MIC 13 MIC 12 MIC 11 MIC 10 MIC 9 MIC 8 MIC 7 MIC 6 MIC 5

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

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

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

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

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

RIGHT

1234

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

INPUT OUTPUT

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

“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

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

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

-

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

MIC 15 MIC 14 MIC 13 MIC 12 MIC 11 MIC 10 MIC 9 MIC 8 MIC 7 MIC 6 MIC 5

BAL UNBAL

LINELINELINELINELINELINE

BAL UNBAL

LINELINELINELINELINELINE

BAL UNBAL

4321

BAL UNBAL

MIC 4 MIC 3 MIC 2

LINELINELINE

BAL UNBAL

LINE

BAL UNBAL

MIC 1

PATENT PENDING

16

CHANNEL STRIP DESCRIPTION

The sixteen channel strips look alike and function identically. The only difference is that the eight on the left have

DIRECT OUT

jacks

and the eight on the right don’t. We’ll start

at the bottom and work our way up.

“U” LIKE UNITY GAIN

Mackie mixers have a “U”

symbol on almost every level

U

control. This “

” stands for

“unity gain,” meaning no change in signal level. Once you have performed the

Level-Setting Procedure

, you can set every control at “U” and your signals will travel through the mixer at optimal levels. What’s more, all the labels on our controls are measured in decibels (dB), so you’ll know what you’re doing level-wise if you choose to change a control’s settings.

You won’t have to check it here and check it there, as you would with some other mixers. In fact, some don’t even have any reference to actual dB levels at all! Ever seen those “0–10” fader markings? We call these AUMs (Arbitrary Units of Measurement), and they mean nothing in the real world. You were smart — you bought a Mackie.

FADER

The fader is almost the last control in a

MUTE

EQ

and

channel’s signal path. It’s placed after the and

MUTE

controls (post-EQ /post-

PAN

before the

control (pre-

PAN

). The “U” mark, about three-quarters of the way up, indicates unity gain, meaning no increase or decrease of signal level. All the way up provides an additional 10dB, should you need to boost a section of a song. If you find that the overall level is too quiet or too loud with a fader near unity, you’ll want to confirm the

TRIM

setting by performing the

Procedure

.

Level-Setting

A Clean Fade

Faders are not rocket science — they operate by dragging a metal pin (the wiper) across a carbon-based

strip (the track). It is possible for airborne crud to land on the track. Should that happen, you may hear scratchy noises or signal dropouts as the wiper stumbles over the crud. Do all you can to keep airborne crud out of your profession. Use air conditioned rooms whenever possible, avoid smoking near the mixer, keep food and drink away from the mixer, and for pity’s sake, never put the mixer in your kitchen! We also recommend “exercising” the faders — give them a few full-travel excursions once a week or so, and that will help scare the crud away. We do not recommend spray cleaners.

ASSIGN (1–2, 3–4, L–R)

Alongside each channel fader are four but-

tons, labeled

SOLO, 1–2, 3–4

latter three are collectively referred to as channel assignment switches. sides of these stereo pairs, and the right sides. Used in conjunction with the

PAN

channel’s

knob , these switches deter-

mine the destination of a channel’s signal:

PAN

With the

knob set at the center detent, the left and right sides receive equal signal levels. To feed only one side or the other, just

PAN

turn the

knob accordingly.

If you’re doing a mixdown to a 2-track, sim-

L–R

ply engage the

switch on each channel

that you want to hear, and they’ll be sent to the

MAIN L-R MIX

. If you want to create a sub-

group of certain channels, engage either the

1–2

or

3–4

switches instead of the

they’ll be sent to the appropriate subgroup fad-

. From there, the subgroups can be sent

ers back to the

MAIN L-R MIX

use the subgroup faders as a master control for those channels.

and

L–R

. The

1, 3

and L are the left

2, 4

and R are

L–R

, and

, allowing you to

TRIM

U

+10dB -40dB

AUX

1

2

3

4

SHIFT

EQ

LOW CUT

75 Hz

18dB/OCT

PAN

1

MUTE

0

1

-

C

I

M

10

U

OO

U

OO

PRE

U

OO

U

OO

5/6

U

800

100

U

LR

1

d

B

V

G

A

I

N

60

+15

5

+15

6

+15

HI

12k

+15-15

MID

+15-15

2k200

8k

LOW

80Hz

+15-15

OL

-

20

SOLO

1–2

3–4

L - R

OO

17

TRIM

10U60

+10dB -40dB

AUX

1

2

3

4

SHIFT

EQ

100

LOW CUT

75 Hz

18dB/OCT

PAN

1

MUTE

d

B

0

1

-

G

C

I

M

U

OO

U

OO

PRE

U

OO

U

OO

5/6

U

800

U

LR

If you’re printing new tracks or bouncing ex-

1–2

and

isting ones, you’ll also use the switches, but not the

L–R

switch. Here, you

3–4

don’t want the subgroups sent back into the

MAIN L-R MIX

1

V

A

I

N

jacks, to your multitrack inputs . However, if you’re printing tracks via the

, but sent out, via the

DIRECT OUT

SUB OUTS

jacks , all the channel assignment switches should be disengaged (up).

The CR1604-VLZ is what we call a “true

+15

4-bus mixer.” Each channel can be assigned or unassigned to any of the subgroups without af-

+15

fecting the other subgroups or settings within the channel, and each subgroup has its own

5

+15

6

+15

master fader fact, since there are 4 subgroups and the

L–R MIX

, it’s actually a true 6-bus mixer. We

could have named it the CR1606-VLZ. Darn!

and dedicated output . In

MAIN

SOLO

HI

12k

+15-15

MID

+15-15

2k200

8k

LOW

80Hz

+15-15

OL

-

20

SOLO

1–2

3–4

L - R

OO

This lovable switch allows you to check

signals through your

without having to assign them to the

OUTS L-R, 1-2

or

3-4

channels as you like.

PHONES

mixes. You can solo as many

SOLO

output or

C-R

does not interrupt any of the other channels, buses or outputs — that’s called nondestructive solo. Not only that, via the

MODE

solo system comes in two flavors:

(sometimes called SIP, or solo-in-place)

(AFL)

LEVEL SET (PFL)

and

switch , the CR1604-VLZ’s

NORMAL

(sometimes called PFL,

or pre-fader-listen).

During

NORMAL (AFL)

channel’s signal is sent directly to the

PHONES

output, and meter display just as it

mode, the soloed

C-R OUTS

would sound to the channel’s assignment

EQ

switches: post-

, post-fader and post-

The only difference is that

SOLO

PAN

works re-

.

gardless of the channel’s assignment positions, and that makes it really handy — you can check out a channel before you assign it.

NORMAL (AFL)

is the preferred mode during mixdown: If the channel has some midrange boost at 4.236kHz, is panned a smidgen to the left, and its fader is at –5.385dB,

SOLO

that’s exactly what you’ll hear if you

NORMAL (AFL)

ing took the time to

LEVEL SET (PFL)

all-important

mode. It’s just as if you

MUTE

all the other channels.

solo is the key player in the

Level-Setting Procedure

dur-

. It’ll send the channel’s actual internal levels to the meters so you’ll know just what’s going on, levelwise. This procedure should be performed every time a new sound source is patched into a

MIC

or

LINE

channel’s

input jacks.

,

LEVEL SET (PFL)

for SR (sound reinforcement, or live sound), to preview channels before they are let into the mix. It won’t give you stereo placement, but will give you signal even if the fader is pulled down.

Remember , nel signal before the fader. If you have a channel’s fader set way below “

SOLO

won’t know that and will send a unity gain signal to the and meter display . That may result in a startling level boost at these outputs, depending on the position of the

In a nutshell, soloed channels are sent to

SOURCE

the

C-R OUTS, PHONES

Whenever lections (

SOLO

MAIN MIX, 1–2, 3–4

defeated, to allow the soloed channel to do just that —

SOLO

–20 (SOLO) LED

An LED that does two completely different things! Saves space, but requires some explanation. First, the “ as “signal activity,” this LED will flicker in time with the signal present in that channel. It’s handy for confirming that a channel is indeed active, and may also lend a clue as to what the signal is. For instance, a kick drum will cause the LED to pulse in time with the drum, and a synth pad will cause it glow a bit more steadily.

Now for the “

SOLO

switch is engaged, this LED will glow steadily, without flickering. It will also be brighter than it would be as a conjunction with the you can find a rogue

OL (MUTE) LED

Another LED that does two completely different things! First, the “ overload, or clip. You don’t want that to happen. Ever. Clipping can happen to any mixer — it’s the point where the signal’s voltage exceeds the supply voltages that power the circuitry . The CR1604-VLZ’s clipping, so if you see it, take immediate action: Perform the doesn’t help, check for excessive use of boost or tend to flicker in time with that channel’s signal.

levels are set correctly, the

fader

Now for the “

is also the preferred mode

LEVEL SET (PFL)

C-R OUTS, PHONES

SOLO

level knob .

taps the chan-

U

” (unity gain),

output

mix , that ultimately feeds your

output and meter display.

is engaged, all

SOURCE

and

TAPE

se-

) are

!

–20

” part: Often referred to

SOLO

” part. When a channel’s

–20

indicator. In

RUDE SOLO LIGHT

SOLO

switch very quickly.

OL

” part: “OL” means

OL

LED will come on just before

Level-Setting Procedure

,

. If that

EQ

gain. Like the

MUTE

–20

LED, it will

” part. Assuming your

OL

LED will never

18

come on as a result of clipping. That’s pretty boring. So, to liven things up, this LED will glow steadily when that channel’s

MUTE

switch is engaged.

If you need a quick reference to these LEDs,

write this on the back of your hand:

name color flickering glowing

–20 (SOLO) green signal is present channel is soloed

OL (MUTE) red channel is clipping channel is muted

MUTE

Engaging a channel’s vides the same results as turning the fader all the way down: Any channel assignment to

L-R, 1-2 AUX DIRECT OUT 8

or

3-4

will be interrupted. All the post

sends will be silenced, as will the

signals on channels 1 through

. And of course, that fun-loving LED will commence to glow. The sends , channel (in

LEVEL SET (PFL)

function during

MUTE

Depending on the audio content in a chan-

nel, engaging its

MUTE

slight popping sound. This is not a problem within the mixer, and it can be avoided: Simply engage the

LOW CUT

channel (unless its low frequency content is vitally important, such as a kick drum or bass guitar).

LOW CUT

bris, which causes the pop, and its effect is usually transparent.

MUTE

switch pro-

OL (MUTE

PRE AUX

INSERT

send and

mode) will continue to

.

switch may cause a

switch on each

eliminates subsonic de-

SOLO

PAN

adjusts the amount of channel signal

sent to the left versus the right outputs. Pan de-

L-R

termines the fate of the

1–2

and

subgroups

LEVEL SET (PFL)

3–4

mode). With the

hard left, the signal will feed the left

, subgroup 1, subgroup 3 and left

MIX

solo mode (assuming their assignment

(AFL)

assignment,

, and the

SOLO

PAN

MAIN L-R

(in knob

NORMAL

switches are engaged). With the knob hard right, signal feeds the right

2

group solo mode. With the

, subgroup 4 and right

PAN

MAIN L-R MIX

NORMAL (AFL)

knob set somewhere

, sub-

in-between left and right, the signal will be divided between the left and right busses.

Stereo Sources

Your life will be easier if you follow this standard convention: When patching stereo sound sources to a mixer, always plug the left

1, 3, 5

signal into an “odd” channel ( the right signal into the adjacent “even” chan-

2, 4, 6

nel (

, etc.). Then pan the odd channel

hard left and the even channel hard right.

, etc.) and

CONSTANT LOUDNESS ! ! !

The CR1604-VLZ’s controls employ a design called “Constant Loudness.” It has nothing to do with

living next to a freeway. As you turn the knob from left to right (thereby causing the sound to move from the left to the center to the right), the sound will appear to remain at the same volume (or loudness).

If you have a channel panned hard left (or right) and reading 0dB, it must dip down about 4dB on the left (or right) when panned center. To do otherwise, like those Brand X mixers, would make the sound appear much louder when panned center.

)

3-BAND MID-SWEEP EQ

The CR1604-VLZ has a 3-band, mid-sweep

LOW

equalization: peaking from 100Hz to 8kHz, and 12kHz. It’s probably all the EQ you’ll ever need! (Shelving means that the circuitry boosts or cuts all frequencies past the specified frequency. For example, the CR1604-VLZ’s bass frequencies starting at 80Hz and continuing down to the lowest note you never heard. Peaking means that certain frequencies form a “hill” around the center frequency.)

LOW EQ

The at 80Hz. The circuit is flat (no boost or cut) at the center detent position. This frequency represents the punch in bass drums, bass guitar , fat synth patches, and some really serious male singers.

+15

+10

+5

0

–5

–10

–15

20Hz 100Hz 1kHz 10kHz 20kHz

Used in conjunction with the switch , you can boost the injecting a ton of subsonic debris into the mix. We recommend using the all channels, except low frequency signals, like kick drums and bass guitars.

MID EQ

The bandwidth of 1.5 octaves. The the amount of boost or cut, up to 15dB, and is effectively bypassed at then center detent. The frequency knob sets the center frequency, sweepable from 100Hz to 8kHz.

shelving at 80Hz,

HI

LOW EQ

provides up to 15dB boost or cut

LOW CUT

LOW EQ

LOW CUT

, or “midrange,” has a fixed

MID

PAN

MID

sweep

shelving at

boosts

without

feature on

knob sets

TRIM

1

d

B

0

V

1

-

G

A

C

I

N

M

10U60

+10dB -40dB

AUX

U

1

OO

+15

U

2

OO

+15

PRE

U

5/6

SHIFT

100

LOW CUT

75 Hz

1

MUTE

OO

+15

U

OO

+15

U

+15-15

U

+15-15

800

U

+15-15

LR

OO

8k

SOLO

1–2

3–4

L - R

LOW

OL

-

MID

2k200

80Hz

20

5

6

HI

12k

3

4

EQ

18dB/OCT

PAN

19

TRIM

10U60

+10dB -40dB

AUX

1

2

3

4

SHIFT

EQ

100

LOW CUT

75 Hz

18dB/OCT

PAN

1

MUTE

d

B

0

1

-

G

C

I

M

U

OO

U

OO

PRE

U

OO

U

OO

5/6

U

800

U

LR

+15

+10

+5

0

1

V

A

I

N

+15

5

+15

6

+15

–5

–10

–15

20Hz 100Hz 1kHz 10kHz 20kHz

+15

+10

+5

0

–5

–10 –15

20Hz 100Hz 1kHz 10kHz 20kHz

Most of the root and lower harmonics that

define a sound are located in the 100Hz–8kHz

HI

12k

frequency range, and you can create drastic changes with these two knobs. Many engineers

+15-15

MID

+15-15

2k200

8k

LOW

80Hz

+15-15

MID EQ

use boost them. One popular trick is to set the

to cut midrange frequencies, not

MID

fully up, turn the frequency knob until you find a point where it sounds just terrible, then back

MID

the

down into the cut range, causing those terrible frequencies to disappear. Sounds silly, but it works. Sometimes.

HI EQ

The

provides you up to 15dB boost or cut at 12kHz, and it is also flat at the detent. Use it to add sizzle to cymbals, an overall sense of transparency , or an edge to keyboards, vocals, guitar and bacon frying. Turn it down a little to reduce sibilance or to mask tape hiss.

SOLO

OO

OL

-

20

1–2

3–4

L - R

+15

+10

+5

0

–5

–10 –15

20Hz 100Hz 1kHz 10kHz 20kHz

With too much EQ, you can screw things up royally. We’ve designed a lot of boost and cut into each equalizer circuit because we know everyone will occasionally need that. But if you

EQ

max the

on every channel, you’ll get mix mush. Equalize subtly and use the left sides of the knobs (cut), as well as the right (boost). If you find yourself repeatedly using full boost or cut, consider altering the sound source, such as placing a mic differently, trying a different kind of mic, changing the strings, or gargling.

LOW CUT

The

LOW CUT

switch, often referred to as a high pass filter (all depends on how you look at it), cuts bass frequencies below 75Hz at a rate of 18dB per octave. This ain’t no thrown-in dime-store filter — an 18dB per octave curve requires an elaborate circuit. Nothing but the best for you.

W e r ecommend that you use

LOW CUT

on every sound source except kick drum, bass guitar, bassy synth patches, or recordings of earthquakes. These aside, there isn’t much down there that you want to hear, and filtering it out makes the low stuff you do want much more crisp and tasty . Not only that, but low cut can help reduce the possibility of feedback in live situations, and it helps to conserve amplifier power.

LOW CUT

With

. Many times, bass shelving eq can really

EQ

benefit voices. Trouble is, adding

, you can safely boost

LOW EQ

LOW

also boosts the subsonic debris: Stage rumble, mic handling clunks, wind noise and breath pops.

LOW CUT

boost the Here’s a frequency curve of with

removes all that debris so you can

LOW EQ

without frying your woofer.

LOW EQ

LOW CUT

+15

+10

+5

–5

–10

–15

:

0

20Hz 100Hz 1kHz 10kHz 20kHz

combined

AUX 1, 2, 3, & 4

These four knobs tap a portion of each channel’s signal, mix them together and send them to the

AUX SEND

off when turned fully down, deliver unity gain at the center detent, and can provide up to 15dB of gain turned fully up. Chances are you’ll never need this extra gain, but it’s nice to know it’s there if you do.

AUX SEND

The parallel effects processor inputs monitor amp inputs. els are controlled not only by the channel’s

AUX

knobs, but also by the

ter knobs

AUX SENDS

.

can also be used to generate separate mixes for recording or “mix-minuses” for broadcast. By using

outputs . They are

output are then patched to

or stage

AUX SENDS 1

AUX SEND

AUX 1

and 2 lev-

or 2 in the

mas-

PRE

mode , these mix levels can be obtained independently of a channel’s fader settings.

20

We recommend going into a stereo reverb in mono and returning in stereo. We have found that on most “stereo” reverbs, the second input just ties up an extra aux send and adds nothing to the sound. There are exceptions, so feel free to try it both ways. Should you choose to use two aux sends, use the “odd” its left input and the “even”

AUX (1, 3

or 5) to feed

AUX (2, 4

or 6) to feed the right input. Remember, if you’re also dealing with a stereo source signal, you’ll want

AUX

to follow the sides — use the odd channel carrying the left side and the even

on the

AUX

on the channel carrying the right.

PRE

This switch determines the tap point of

AUX 1

and 2. Generally, “post” sends are used to feed effects devices, and “pre” sends are used to feed your stage monitors. See the “Pre

AUX 3

vs. Post” diagram below. always in post mode.

In post mode (switch up),

follow the

EQ, LOW CUT

tings. If you fade the channel, you fade the send. This is a must for effects sends, since you want the levels of your “wet” signals to follow the level of the “dry.”

through 6 are

AUX 1

, fader and

and 2 will

MUTE

set-

In

PRE

follow the

EQ, PAN

fect on the

mode (switch down),

TRIM

and

LOW CUT

, fader and

PRE

MUTE

sends. This is the preferred

AUX 1

and

settings only.

settings have no ef-

2

method for setting up stage monitor feeds — they’ll be controlled independently of the fader and mute moves.

5/6 SHIFT

Don’t let the fact that there’s only four knobs per channel fool you — the CR1604-VLZ has six

AUX SEND

up, the knobs labeled their signals to

s. With the

AUX 3

AUX SEND 3

5/6 SHIFT

and

AUX 4

and 4 outputs.

With the shift switch down, the signals appear

AUX SEND 5

at the

We recommend that

and 6 outputs.

AUX SEND 3

patched into your “utility” effects, like a short reverb and slap delay; effects you use all the time.

AUX SEND 5

Use

and 6 for “exotic” effects, like harmonizers and multi-tap delays; they are not likely to be used as often.

AUX

switch deliver

and 4 be

TRIM

+10dB -40dB

AUX

1

2

3

4

SHIFT

EQ

0

1

-

C

I

M

10U60

OO

PRE

OO

5/6

800

100

1

d

B

V

G

A

I

N

U

+15

U

+15

U

5

+15

U

6

+15

HI

U

12k

+15-15

U

MID

+15-15

2k200

8k

LOW

U

80Hz

INPUT TRIM INSERT

LOW CUT

'PRE' SIGNAL

Pre Vs. Post

EQ

MUTE

'POST' SIGNAL

FADER

PAN ASSIGN

PRE SWITCH

AUX 1

AUX 2

LOW CUT

75 Hz

18dB/OCT

PAN

1

MUTE

+15-15

LR

OO

SOLO

1–2

3–4

L - R

OL

-

20

21

OUTPUT SECTION DESCRIPTION

-

CR1604

VLZ

16-CHANNEL MIC/LINE MIXER

U

1

OO

U

2

OO

U

3

OO

U

4

OO

STEREO AUX RETURNS

U

OO

TAPE IN

TAPE TO

MAIN MIX

OO

SOLO

MODE

NORMAL LEVEL SET

LEFT

RIGHT

+20

MAX

LEFT

(AFL)

(PFL)

1

OO

2

OO

AUX

SENDS

1

SOLO

2

SOLO

PHAN

OO

C-R / PHONES

TAPE

SUBS 1–2

SUBS 3–4

MAIN MIX

SOURCE

LEFT

RIGHT

U

+10

U

+10

PWR

MAX

ASSIGN TO MAIN MIX

1234

TM

1

OO

2

OO

ASSIGN OPTIONS

MAIN MIX

TO SUBS

C-R / PHNS

ONLY

CLIP

28

10

7

4

2

0

2

4

LEVEL

7

SET

10

20

30

RUDE SOLO LIGHT

LEFT

RIGHT

10

20

30

40 50 60

LAMP

U

+15

U

+15

1–2 3–4

RETURNS

SOLO

L-R MIX

dB

10

5

U

5

OO

TO AUX SEND 1

EFFECTS TO

MONITORS

TO AUX SEND 2

LEFT RIGHT

0 dB=0 dBu

PHONES

MAIN

12V

0.5A

dB

10

5

U

5

10

20

30

40 50 60

OO

You’ve just learned about the input channels and how the signals get in and out. The signals

MIC

and

LINE

come in via

input jacks, are manipulated by the channels, and then sent to the output section. In the output section, things get a bit more complicated, so put on your thinking caps.

MAIN L-R MIX FADER

As the name implies, this fader controls the levels of signals sent to the

1

/4" TRS jacks and

OUTPUT

RCA jacks . All channels and that are assigned to the

L-R MIX

, not muted and not

turned fully down will appear

MAIN OUT

at the main mix gets to this fader, the signals pass through the

INSERT

The

.

MAIN L-R MIX

are off with the fader fully down, the “

U

gain, and fully up provides 10dB additional gain. This additional gain will typically never be needed, but once again, it’s nice to know it’s there. The fader itself is a stereo version of the channel and subgroup faders — same supersmooth custom taper, same dead silence when turned fully

MAIN OUT

TAPE

AUX RETURN

MAIN

. Before the

MAIN

signals

” marking is unity

down. This is the fader to pull down at the end of the song

when you want “The Great Fade-Out.”

VLZ MIX

ARCHITECTURE

When designing a mixing circuit, the lowest noise and best crosstalk specs are

achieved by using Very Low Impedance (VLZ). To implement VLZ in a mixer, the power supply must be able to deliver plenty of current to the circuitry. That’s why those “wall wart” mixers are often noisy — they can’t power a VLZ circuit.

22

At Mackie, audio quality is much more important than the price of wall warts. All of our mixers now employ VLZ and built-in power supplies that deliver more than enough current, resulting in sonic specifications that rival consoles upwards of $50,000!

SUBGROUP FADERS

As you might expect, these faders control the levels of signals sent to the

SUB OUTS

nels that are assigned to subgroups, not muted and not turned fully down will appear at the

SUB OUTS

. Unlike the

MAIN OUT

group signals do not pass through an insert jack on their way to the subgroup faders. That’s no problem — should you want to send these signals through a serial effects processor, simply

s

patch from the

SUB OUTS

to the effect’s input, and from the effect’s output to whatever the final destination is, usually a multitrack recorder.

The subgroup signals is off when its fader is

U

fully down, the “

” marking is unity gain, and fully up provides 10dB additional gain. Remember that if you’re treating two subgroups

1

as a stereo pair, subgroup

and 2 for example, make sure that both subgroup faders “ride” together, to maintain the left/right balance.

ASSIGN TO MAIN MIX

One popular use of the subgroups is to use them as master faders for a group of channels on their way to the you’ve got a drum kit hogging up seven channels and you’re going to want to fade them out at a different rate than the other channels. You don’t want to try that with seven hands or seven fingers, so just un-assign these channels from reassign them to subgroup

SIGN TO MAIN MIX, LEFT

ASSIGN TO MAIN MIX, RIGHT

the

2

. Now you can ride the entire stereo drum mix

with two faders —

If you engage just one

switch per subgroup (

MIX

the signal sent to the the same level as the the subgroup to appear in the center of the main mix, engage both the

MIX, LEFT

and switches. The signal will be sent to both sides, and will be attenuated just enough to preserve constant loudness , just like the channel

PAN

MAIN L-R MIX

1–2

, engage the

on subgroup 1 and

1

and 2.

ASSIGN TO MAIN

LEFT

MAIN L-R MIX

SUB OUTS

ASSIGN TO MAIN

ASSIGN TO MAIN MIX, RIGHT

knobs when set center.

. All chan-

, the sub-

. Let’s say

on subgroup

or

RIGHT

will be

. If you want

L–R AS-

),

,

TAPE IN (LEVEL)

This knob controls the level of the stereo signal

coming from the

TAPE INPUT

RCA jacks. Its range is off when fully down, unity at the center detent, with 20dB additional gain turned fully up, which may come in handy if you’ve patched in a “walkperson” type device with wimpy output levels. After the

TAPE IN

level is determined, the stereo

tape signal can be sent to either of two places —

MAIN L-R MIX

the

or the

SOURCE

matrix .

TAPE TO MAIN MIX

Engaging this switch is just like engaging

L-R

the stereo in this case, is sent to the

switch on a channel — the signal,

MAIN MIX

. It does not interrupt other signals, just adds itself to them. This switch can be very handy in a live sound situation when you want to play soothing elevator music to an anxious crowd.

WARNING: Engaging

TAPE TO MAIN MIX

can

create a feedback path be-

TAPE INPUT

tween

TAPE OUTPUT

and

. Make sure your tape deck is not in record, recordpause or input monitor mode when you engage this switch, or that the

TAPE IN

level knob is turned fully down.

SOURCE

Typically, the engineer sends the main mix to an audience (if live) or to a mixdown deck (if recording). But what if the engineer needs to hear something other than the main mix? With the New Improved CR1604-VLZ, the engineer has several choices of what to listen to. This is one of those tricky parts — have a double espresso first.

Via the

SOURCE

listen to any combination of

,

SUBS 3-4

1-2 SOURCE

matrix deliver stereo signals to the

C-R OUTS, PHONES

These signals are tapped after their respective level controls — postsubgroup faders and postno switches engaged, there will be no signal at these outputs and no meter indication, with two exceptions

(SOLO

One of those exceptions is the tion

/ . Regardless of the selection, engaging a that selection with the

C-R OUTS, PHONES

to the display. This is what makes the Procedure

switches, you can choose to

MAIN MIX, SUBS

and

TAPE

. Selections made in the

output and meter display.

MAIN L-R MIX

TAPE IN

/ and

AUX RETURN 4

SOURCE

SOLO

switch will replace

SOLO

signal, also sent

output and meter

Level-Setting

so easy to do.

fader , post

knob. With

SOLO

func-

matrix

Now you know how to select the signals you want to send to the engineer’s control room and/or phones. From there, these signals all pass through the same level control, aptly named:

C-R/PHONES

As you might expect, this knob controls the levels of both the stereo

PHONES

output . The control range is from off through unity gain at the detent, with 10dB of extra gain (when turned fully clockwise).

MAIN MIX

When those signals will now pass through two level controls on the way to your control room amp and headphones — the and this

C-R/PHONES

send a nice healthy level to the jacks (

MAIN L-R MIX

eter level to the

PHONES

C-R OUTS

knob wherever you like it).

Whatever your selection, you can also use the

C-R OUTS

for other applications. Its sound quality is just as impeccable as the outputs. It can be used as additional main mix output and this one will have its own level control. However, should you do this, be aware that if you engage a

SOLO

the mix, as we’ve already covered

Once again, engaging a

cause this dramatic turn of events: Any existing

SOURCE

the

PHONES

matrix selections will be replaced by

SOLO

signals, appearing at the

output and at the meter display . The audible solo levels are controlled by the level knob. The meter display

SOLO

are not controlled by anything — you wouldn’t want that. You want to see the actual channel level on the meter regardless of how loud you’re listening.

OO

MAX

).

C-R / PHONES

TAPE

SUBS 1–2

SUBS 3–4

MAIN MIX

SOURCE

C-R OUTS

is your

SOURCE

MAIN L-R MIX

knob. This way, you can

MAIN OUT

fader at “U”), and a qui-

or

PHONES (C-R/

switch, that will interrupt

SOLO

switch will

levels appearing on the

display,

LEVEL

LEFT RIGHT

0 dB=0 dBu

CLIP

28

10

7

4

2

0

2

4

7

SET

10

20

30

RUDE SOLO LIGHT

U

OO

TAPE IN

TAPE TO

MAIN MIX

OO

MAX

SOLO

MODE

NORMAL LEVEL SET

+20

(AFL)

(PFL)

and

selection,

fader

MAIN OUT

.

C-R OUTS

SOLO

,

23

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

LEVEL SET LED

OO

MAX

C-R / PHONES

TAPE

SUBS 1–2

SUBS 3–4

MAIN MIX

SOURCE

U

OO

TAPE IN

TAPE TO

MAIN MIX

OO

SOLO

MODE

NORMAL LEVEL SET

Y ou may have alr eady seen this, but in case you missed it: The CR1604-VLZ’s solo system comes in two flavors: called SIP, or solo-in-place) and

NORMAL (AFL)

LEVEL SET (PFL)

(sometimes called PFL, or pre-fader-listen).

NORMAL (AFL)

LEFT RIGHT

0 dB=0 dBu

CLIP

28

(AFL)

10

7

4

2

0

2

4

LEVEL

7

SET

10

20

30

RUDE SOLO

(PFL)

LIGHT

+20

MAX

In

channel’s signal is sent directly to

C-R OUTS, PHONES

the and meter

display just as it would sound to the channel’s assignment switches: postpost-fader and postonly difference is that works regardless of the channel’s assignment

positions, and that

makes it really handy — you can

check out a channel before you assign it.

NORMAL (AFL)

is the preferred mode during mixdown: If the channel has some midrange boost at 4.236kHz, is panned a smidgen to the left, and its fader is at –5.385dB, that’s exactly what you’ll hear if you

NORMAL (AFL)

ing took the time to

LEVEL SET (PFL)

all-important

mode. It’s just as if you

MUTE

all the other channels.

solo is the key player in the

Level-Setting Procedure send the channel’s actual internal levels to the meters so you’ll know just what’s going on, levelwise. This procedure should be performed every time a new sound source is patched into a

MIC

or

LINE

channel’s

LEVEL SET (PFL)

input jacks.

is also the preferred mode for SR (sound reinforcement, or live sound), to preview channels before they are let into the mix. It won’t give you stereo placement, but will give you signal even if the fader is turned down.

Remember,

LEVEL SET (PFL)

taps the channel signal before the fader. If you have a channel’s fader set way below “

SOLO

won’t know that and will send a unity gain signal to the and meter

C-R OUTS, PHONES

display. That may result in a star-

U

tling level boost at these outputs, depending

SOLO

on the position of the

level knob .

(sometimes

, the soloed

output

EQ

,

PAN

. The

SOLO

dur-

. It’ll

” (unity gain),

output

To quote step 6 of the

Procedure

, “Push in the the output section ( — the solo

SET (PFL)

LEVEL SET

MODE

switch is engaged, it’s in

mode, the mode you must be in to

Level-Setting

MODE

LEVEL SET (PFL)

switch in

mode)

LED will light.” When the

LEVEL

set levels. Now, when you engage any solo switch, this LED will be a “green light” to set levels. If you tried to set levels during

NORMAL (AFL)

mode, the meter display would be at the mercy of the channel fader, and that would be a big problem.

SOLO (LEVEL)

This knob controls the level of the signals

SOLO

coming from the

system. It’s range is off when fully down, unity at the center detent, with 10dB additional gain turned fully up. After

SOLO

the

level is determined, the

will proceed to take over the

PHONES

output and meter display .

Once again,

LEVEL SET (PFL) SOLO

SOLO

C-R OUTS

signals

,

taps

the channel signal before the fader. If you

U

have a channel’s fader set way below “ (unity gain),

LEVEL SET (PFL) SOLO

”

won’t

know that and will send a unity gain signal to

C-R OUTS, PHONES

the

output and meter display. That may result in a startling level boost at these outputs, depending on the

SOLO

position of the

level knob.

RUDE SOLO LIGHT

This flashing LED (light emitting diode)

serves two purposes — to remind you that

SOLO

you’re in you’re mixing on a Mackie. No other company is so concerned about your level of awareness. We even force the soloed chan-

–20

nel’s that rogue switch fast.

If you work on a mixer that has a function with no indicator lights, and you happen to forget you’re in ily be tricked into thinking that something is wrong with your mixer. Hence the

SOLO LIGHT

3:00 in the morning, when no sound is coming out of your monitors, even though your multitrack is playing back like mad.

, and to let you know that

SOLO

LED to play along, so you can find

SOLO

, you can eas-

RUDE

. It’s especially handy at about

24

METERS

AUX TALK

The CR1604-VLZ’s peak metering system is made up of two columns of twelve LEDs. Deceptively simple, considering the multitude of signals that can be monitored by it. If nothing is selected

SOURCE

in the

SOLO

, the meter display will just sit there. To

matrix and no channels are in

put them to work, you must make a selection in

SOURCE

the

matrix (or engage a

SOLO

switch).

Why? You want the meter display to reflect what the engineer is listening to, and as we’ve covered, the engineer is listening either to the

C-R OUTS

or the

PHONES

output. The only difference is that while the listening levels are controlled by the

C-R/PHONES

meter display reads the

SOURCE

knob, the

mix before that control, giving you the real facts at all times, even if you’re not listening at all.

When the solo

SET (PFL)

(down) , all soloed signals will be

MODE

switch is set to

LEVEL

sent to the left meter only. That, combined

LEVEL SET

with enlightenment known as the Procedure

LED , are along the path of

Level-Setting

. During

NORMAL (AFL)

mode,

the meters will behave normally.

Meters vs. Reality

You may already be an expert at the world of “+4” (+4dBu=1.23V) and “–10”

(–10dBV=0.32V) operating levels. Basically, what makes a mixer one or the other is the relative 0dB VU (or 0VU) chosen for the meter display. A “+4” mixer, with a +4dBu signal pouring out the back will actually read 0VU on its meter signal trickling out, will read, you guessed it, 0VU on its meter ally 0dBu? Right now!

Mackie’s compact mixers address the need of both crowds by calling things as they are: 0dBu (0.775V) at the output shows as 0VU on the meter way, the most wonderful thing about standards is that there are so many to choose from.

range, you can get a good mix with peaks flashing anywhere between –20 and +10dB on the

meter

+10dB, and some recorders aren’t so forgiving either. For best real-world results, try to keep your peaks between “0” and “+7.”

just tools to help assure you that your levels are “in the ballpark.” You don’t have to stare at them (unless you want to).

display. A “–10” mixer, with a –10dBV

display. So when is 0VU actu-

At the risk of creating another standard,

display. What could be easier? By the

Thanks to the CR1604-VLZ’s wide dynamic

display. Most amplifiers clip at about

Please remember: Audio meter displays are

First of all, there is no particular alliance

between

AUX SEND 1

and

AUX RETURN 1

. They’re just numbers. They’re like two complete strangers, both named Fred.

Sends are outputs, returns are inputs. The

AUX

knob taps the signal off the channel

and sends it to the

AUX 1

and 2 are sent to the

AUX SEND

and 2 master knobs before the outputs and

AUX 3

through 6 are sent directly.

outputs .

AUX SENDS 1

AUX SEND

These outputs are fed to the inputs of a reverb or other device. From there, the outputs of the external device are fed back to the mixer’s

AUX RETURN

sent through the and finally delivered to the

inputs . Then these signals are

AUX RETURN

level controls,

MAIN L-R MIX

.

So, the original “dry” signals come from the channels to the

MAIN L-R MIX

fected “wet” signals come from the

to the

RETURNS

MAIN L-R MIX

and the af-

AUX

, and once mixed together, the dry and wet signals combine to create a glorious sound. Armed with this knowledge, let’s visit the Auxiliary World:

AUX SENDS (MASTER)

These knobs provide overall level control of

AUX SENDS 1

to their for controlling the level of stage monitors, since you’ll be using

PRE

switches engaged .

SENDS 3

control — they’ll just send their mixes directly to their respective

AUX SEND

This knob goes from off (turned fully down), to unity gain at the center detent, with 10dB of extra gain (turned fully up). As with some other level controls, you may never need the additional gain, but if you ever do, you’ll be glad you bought a Mackie.

This is usually the knob you turn up when the lead singer glares at you, points at his stage monitor, and sticks his thumb in the air. (It would follow suit that if the singer stuck his thumb down, you’d turn the knob down, but that never happens.)

and 2, just before they’re delivered

AUX SEND

outputs . This is perfect

AUX 1

and 2 for this, with their

AUX

through 6 have no such

outputs at unity gain.

-

CR1604

VLZ

16-CHANNEL MIC/LINE MIXER

U

1

OO

+10

U

2

OO

+10

AUX

SENDS

1

SOLO

2

SOLO

PWR

PHAN

OO

MAX

C-R / PHONES

TAPE

SUBS 1–2

SUBS 3–4

MAIN MIX

SOURCE

U

1

OO

+20

U

2

OO

+20

U

3

OO

+20

U

4

OO

+20

STEREO AUX RETURNS

U

OO

+20

TAPE IN

TAPE TO

MAIN MIX

OO

MAX

SOLO

MODE

NORMAL

(AFL)

(PFL)

LEVEL SET

25

TM

1

OO

2

OO

ASSIGN OPTIONS

MAIN MIX

TO SUBS

C-R / PHNS

ONLY

CLIP

28

10

7

4

2

0

2

4

LEVEL

7

SET

10

20

30

RUDE SOLO LIGHT

U

+15

U

+15

RETURNS

LAMP

TO AUX SEND 1

EFFECTS TO

MONITORS

TO AUX SEND 2

1–2 3–4

SOLO

LEFT RIGHT

0 dB=0 dBu

12V

0.5A

AUX SENDS SOLO

EFFECTS TO MONITORS

-

CR1604

VLZ

16-CHANNEL MIC/LINE MIXER

U

1

OO

+20

U

2

OO

+20

U

3

OO

+20

U

4

OO

+20

STEREO AUX RETURNS

U

OO

+20

TAPE IN

TAPE TO

MAIN MIX

OO

MAX

SOLO

MODE

(AFL)

NORMAL

(PFL)

LEVEL SET

1

OO

2

OO

AUX

SENDS

1

SOLO

2

SOLO

PHAN

OO

C-R / PHONES

TAPE

SUBS 1–2

SUBS 3–4

MAIN MIX

SOURCE

U

+10

U

+10

PWR

MAX

Once again, in a live sound situations

SEND 1

and 2 are likely to feed your stage monitors. You’ll want to check the mix you’re sending them, and that’s what these two buttons are for. (

through

AUX 6

have no

AUX 3

such switch.) Below each switch is a green

–20

LED that, just like the channel’s helps you find the rogue

SOLO

The only thing different about

is that it’s not really PFL (pre-fader lis-

SOLO

LED ,

switch.

AUX SENDS

ten), and it’s not really SIP (solo-in-place), it’s actually AFL (after-fader listen, and yes, we know there’s no fader in this case.) During

NORMAL (AFL) SEND 1

’s solo signal, postlevel, in the left side of the

PHONES SEND 2 AUX 1

on the right side. (If you ever you use

and 2 to create a stereo monitor mix,

you’ll understand why.) In

mode , you’ll get

AUX

AUX SENDS

C-R OUTS

,

output and meter display, and

LEVEL SET (PFL)

master

mode, you’ll get the signal dead-center, but still

AUX SENDS

post-

master level.

AUX RETURNS (LEVEL)

These four controls set the overall level of effects received from the stereo input jacks . These controls are designed to handle a wide range of signal levels — each knob goes from off, to unity gain at the detent, to 20dB gain fully clockwise, to compensate for

low-level effects. Signals passing

TM

1

OO

2

OO

ASSIGN OPTIONS

MAIN MIX

TO SUBS

C-R / PHNS

ONLY

CLIP

28

10

7

4

2

0

2

4

LEVEL

7

SET

10

20

30

RUDE SOLO LIGHT

U

+15

U

+15

RETURNS

LAMP

TO AUX SEND 1

EFFECTS TO

MONITORS

TO AUX SEND 2

1–2 3–4

SOLO

LEFT RIGHT

0 dB=0 dBu

through the

12V

0.5A

RETURN

level controls will pro-

ceed directly to the

fader , with exceptions

MIX

that we’ll discuss in a moment.

Typically, these knobs can just live at the center detent, and the effects device’s output control should be set at whatever they call unity gain (check their manual). If that turns out to be too loud or too quiet, adjust the effects device’s outputs, not the mixer. That way, the mixer’s knobs are easy to relocate at the center detent.

AUX RETURN

STEREO AUX

MAIN L-R

AUX

If you want to add reverb or delay to the stage monitor mixes, these are the knobs for you. Operating independently of their respectively numbered

AUX RETURNS

these knobs are exactly the same as the and

AUX 2

knobs found in the channel strip .

These two knobs feed to their respective

AUX SEND 1 SEND 1

master, and

AUX RETURN 2

AUX SEND

feeds

AUX RETURN 1

TO AUX SEND 2

to

AUX SEND 2

level controls,

AUX 1

AUX RETURN

outputs :

to

AUX

feeds

master. They

signals

TO

are off when turned fully down, deliver unity gain at the center detent, and can provide up to 15dB of gain turned fully up.

and

AUX RETURN 4

3

have no such knobs.

AUX RETURN

MAIN MIX TO SUBS (AUX RET 3)

With this switch up, behaves like all the others — it delivers a stereo signal, regulated by its level knob, to the

MAIN L-R MIX

. When you engage this

switch, the signals are removed from the

L-R MIX

buses and sent to the which diverts the signal once more. We’re not finished. Please read on.

AUX RETURN 3

1-2/3-4

switch,

MAIN

1–2/3–4 (AUX RET 3)

As you’ve just read, if the

switch is disengaged, the

SUBS

does absolutely nothing. Let’s now assume it’s engaged. be sent to the ers faders

AUX RETURN 3

MAIN MIX

1

and 2 (

1–2/3–4

3

and 4 (switch down).

Let’s say you’ve made a stereo drum submix on

1

subgroup faders

and 2, so you can ride those two faders instead of the seven channels that the drums came from. Subgroup fader

ASSIGN TO MAIN MIX, LEFT

and subgroup fader

MIX, RIGHT

button engaged, blending the drum

2

submix back into the channels are also sending signals to your reverb

AUX

via the patched into

sends and the reverb outputs are

AUX RETURN 3

Even though you could send

directly to the

switch up), you don’t want to. Instead, en-

SUBS

gage the sure the

MAIN L-R MIX (MAIN MIX TO

MAIN MIX TO SUBS

1–2/3–4

switch is up. Now the reverb return will be blended into the drum submix, and as you ride those two faders, the reverb level will follow.

Why do we want that? Because if you had

just sent the reverb directly to the

MAIN MIX TO

1–2/3–4

switch

’s stereo signal will not

, but to subgroup fad-

switch up) or subgroup

1

has its

button engaged

has its

MAIN L-R MIX

ASSIGN TO MAIN

. The drum

. So far so good.

AUX RETURN 3

switch and make

MAIN L-R

26

MIX (MAIN MIX TO SUBS

did a drum fade-out using subgroup faders

switch up) and you

1

and 2, the “dry” signals would fade out, but the “wet” signals would keep on singing. All you would hear is the drum reverb (the “wet”), and none of the original drum signals (the “dry”). That’s because the reverb is being fed by the

AUX

channel’s

sends, and they have no idea that you’ve pulled down the subgroup faders. That’s why we threw in these switches.

C-R/PHNS ONLY (AUX RET 4)

Once again, the default for all the

AUX RETURNS

MAIN L-R MIX

the

is to feed them directly into

. You’ve just learned about

the optional exceptions involving

RETURN 3

AUX RETURN 4

also has an op-

. tional exception: By engaging the switch, you will remove reo signal from the directly to the

C-R/PHONES SOURCE

AUX RETURN 4

MAIN L-R MIX

. It matters not if any of the

switches are assigned, but it will be inter-

SOLO

rupted, as usual, if a

switch is engaged.

Let’s pretend you’re doing a live mix to a 2-track deck, a house PA, or both, and you want to play along to a click track. You could run the click track directly into the

, but you don’t want the mixdown deck

MIX

and/or audience to hear it. By gum, this is the switch for you. Similarly, it can be used for voice-over tracks, narration, anything you want heard by the engineer and players but not by the audience and mixdown deck.

STEREO

AUX

C-R/PHNS

and send it

matrix

SOURCE

MAIN L-R

’s ste-

matrix

RETURNS SOLO

This switch operates just like the channel

SOLO

switches — engaging it sends signals to

C-R OUTS, PHONES

the play and interrupts whatever happened to be there before you soloed. It follows the switch setting as well. The only difference is that when you engage the switch, it sends all four signals to the

SOLO

Assume you want to solo the snare drum. Hit that channel’s the “dry” (no effects) snare only. That helps, but you want to hear it with the reverb you have patched into an that channel’s gage the

SOLO

RETURNS SOLO

you’ll get the dry snare and its reverb.

Since it is a global feature, you’ll also get the signals from all the other so there may be some sounds that you didn’t want to hear. If they offend your sensibilities, simply turn down the levels of the

AUX RETURNS MUTE

the channels feeding the unwanted sig-

you don’t want to hear, or

nal to the effects device you do want to hear.

Congratulations! You’ve just read about all the features of your CR1604-VLZ. You’re probably ready for a cold one. Go ahead. The rest of the manual can wait.

output and meter dis-

MODE

RETURNS SOLO

STEREO AUX RETURNS

circuit.

SOLO

switch, and you get

AUX RETURN

. Leaving

switch engaged, also en-

switch, and now

AUX RETURNS

STEREO

,

U

3

OO

+20

U

4

OO

+20

STEREO AUX RETURNS

ASSIGN OPTIONS

MAIN MIX

TO SUBS

C-R / PHNS

ONLY

1–2 3–4

RETURNS

SOLO

27

MODIFICA TIONS

BEFORE

AFTER

UL Warning

CAUTION! These modification instructions are for use by qualified personnel only. To avoid

electric shock, do not perform any servicing other than changing the fuse unless you are qualified to do so. Refer all servicing and modifying to qualified personnel.

Mackie Disclaimer

Any modification of any Mackie Designs product must be performed by a competent electronic technician. Mackie Designs accepts no responsibility for any damages or injuries caused by any modification, regardless of the source of the modification instructions or the qualifications of the technician performing them. In the case of such damages, Mackie Designs may declare warranty privileges void. BE CAREFUL!

About Jumpers

W e recommend solid (non-stranded) wir e, 26–28 gauge (wire-wrapping variety). When installing jumpers, do not run their ends through holes in the circuit board. Rather , solder them flat against the desired pad (the flat silver area, possibly with a hole in the middle). Make sure the ends of these flat wires do not extend beyond the pad.

Jumper

Holes

Solder

Ch. 16 Ch. 15

CR1604-VLZ Post-EQ Mod

This changes pre switch engaged, to receive their signals post- instead of pre-EQ. The signal remains post-low cut, pre-mute and pre-fader. With the pre switch disengaged (up), the signals are not affected by the mod. The following must be performed for each channel you wish to modify:

1. Remove all cords, including the power cable,

from the CR1 604-VLZ.

2. Place the mixer upside-down on a dry, non-

marring surface.

3. If you have converted your mixer to the rack-

mount position or have installed a RotoPod, undo those changes and temporarily configure the mixer in the original desktop mode. Y ou do not have to install the pod, just get it out of the way of the bottom cover .

4. Remove the scr ews that attach the bottom

cover . Keep track of what screws go wher e. Remove the bottom cover .

5. Cut the conductor at point C, between the

square and round pads. Be careful to cut all the way through the conductor , and do no cut any nearby traces. Each channel is slightly different, but this graphic shows Channel 16, which is very different from the others, and Channel 15 (respectively), which is similiar to the remaining channels.

6. Add a jumper from the squar e pad at point B

to the square pad at point C.

7. Repeat for each channel you wish to modify.

8. Check your work very car efully , them put the

bottom cover back the way you found it. Y ou’re done!

AUX SENDS 1

and 2, with the

EQ

cut

here

5

6

jumpers

here

28

UL Warning

j

CR1604-VLZ Source Mod

CAUTION! These modification instructions are for use by qualified personnel only. To avoid

electric shock, do not perform any servicing other than changing the fuse unless you are qualified to do so. Refer all servicing and modifying to qualified personnel.

Mackie Disclaimer

Any modification of any Mackie Designs product must be performed by a competent electronic technician. Mackie Designs accepts no responsibility for any damages or injuries caused by any modification, regardless of the source of the modification instructions or the qualifications of the technician performing them. In the case of such damages, Mackie Designs may declare warranty privileges void. BE CAREFUL!

About Jumpers

W e recommend solid (non-stranded) wir e, 26–28 gauge (wire-wrapping variety). When installing jumpers, do not run their ends through holes in the circuit board. Rather , solder them flat against the desired pad (the flat silver area, possibly with a hole in the middle). Make sure the ends of these flat wires do not extend beyond the pad.

BEFORE

AFTER

Jumper

Holes

Solder

7

umpers

here

This changes the

SOURCE

in the stereo signal pre- of post-

MAIN L-R MIX

C-R/PHONES

level control

matrix to receive the main mix

MAIN L-R MIX

fader instead

fader.

Y ou can accomplish the same result that this

1

modification provides by using two standard tip-sleeve “jumper cables” plugged into the

INSERT

end plugged into assigned to

RETURN 4 C-R/PHONES

RCA jacks (you will need adapters) and assign the the

(L and R) to the first click and the other

STEREO AUX RETURN 4

C-R/PHNS ONLY. STEREO AUX

level will control the volume as well as

level control.

Y ou can also use the

SOURCE

matrix.

TAPE INPUT (L

1

⁄4" to RCA cables or

TAPE

source button in

⁄4"

MAIN

,

and R)

1. Remove all cords, including the power cable, from the CR1604-VLZ.

2. Place the mixer upside-down on a dry , nonmarring surface.

3. If you have converted your mixer to the rackmount position or have installed a RotoPod, undo those changes and temporarily configure the mixer in the original desktop mode. Y ou do not have to install the pod, just get it out of the way of the bottom cover .

4. Remove the screws that attach the bottom cover . Keep track of what screws go wher e. Remove the bottom cover .

5. Cut the conductor at points ZL and ZR, between the square and round pads. Be careful to cut all the way through the conductor , and do no cut any nearby traces.

6. Add a jumper from the squar e pad at point YL to the square pad at point ZL and another from the square pad at point YR to the square pad at point ZR.

7. Check your work very carefully, then put the bottom cover back the way you found it. Y ou’re done!

6

cut

here

29

MAIN L

SUB 3

MAIN R

SUB 2

SUB 1

SUB 4

AUX 1

AUX 2

AUX 3

AUX 4

AUX 5

AUX 6

SIP L

SIP R

PFL

LOGIC

75Hz

HPF

MID HI

80 100–8K 12K

LO

L

R

1

2

3

4

SIP L

SIP R

PFL

PHANTOM POWER

(GLOBAL SWITCH

TRIM

MIC IN

LINE IN

DIRECT OUT

(CH'S 1–8 ONLY)

INSERT

LOW CUT

–20 (FLICKER)

SOLO (GLOW)

OL (FLICKER)

MUTE (GLOW)

EQ

GAIN

FREQ

FADER

MUTE

PAN ASSIGN

PRE

AUX 1

AUX 2

AUX 3

AUX 4

SHIFT 5/6

INPUT CHANNEL

(1 OF 16)

AUX RETURN 1

AUX RETURN 2

AUX RETURN 4

AUX RETURN 3

L

R

L

R

L

R

L

R

EFX TO

MON

LEVEL

ASSIGN TO

C-R/PHNS

ONLY

MAIN/SUBS

1–2/3–4

EFX TO

MON

SOLO

TO SOLO LED

SIP L

SIP R

PFL

SOLO

MACKIE CR1604-VLZ

SIGNAL FLOW

16-41097.VSD.DF

CR/PHN L

CR/PHN R

SOLO

RELAY

ASSIGN

TO MIX

MAIN MIX

INSERT

FADER R

MAIN MIX MONO OUT

MAIN MIX LEFT OUT

TAPE OUT LEFT

TAPE OUT RIGHT

MAIN MIX RIGHT OUT

METERS

(0VU = 0dBu)

TAPE IN

L

R

TAPE LEVEL

C-R/

PHONES

SOURCE

MAIN

TAPE

1–2

RUDE SOLO LED

C-R/PHONES MIX

C-R/

PHONES

LEVEL

CONTROL ROOM OUT

L

R

PHONES OUT

SIP/PFL

SOLO LEVEL

SOLO MIX

SUB 1 MIX

FADER

ASSIGN TO MAIN MIX

L

R

SUB 1 OUT

SUBMIX 1

(SUBMIX 3 IDENTICAL)

SUB 2 MIX

ASSIGN TO MAIN MIX

L

R

SUB 2 OUT

SUBMIX 2

(SUBMIX 4 IDENTICAL)

AUX MIX

LEVEL

AUX SEND 1

(#2 IDENTICAL)

AUX 1 OUT

AUX SEND 3

(#4–6 IDENTICAL)

AUX 3 OUT

SOLO

3–4

(FROM SUB 3 OUT)

(FROM SUB 4 OUT)

221074202471020

30

LEVEL SET

(PFL) LED

MONO LEVEL

CR1604-VLZ BLOCK DIAGRAM

30

GAIN STRUCTURE DIAGRAM

+22dBu max in

10dB loss, TRIM down

40dB gain, TRIM up

LINE IN, all channels

MIC IN, all channels

60dB gain, TRIM up

10dB gain, TRIM down

+14dBu max in

+15dB up

–15dB

down

–15dB

down

–15dB

down

LOW

+15dB up

MID

+15db up

HIGH

+10dB up

FADER

PAN

–4dB center

EQ

MIX

0dB 1/4" Unbal Out

and RCA Tape Out

+6dB (1/4" bal, Main Mix only)

OUTPUTS

CHANNEL

MAIN MIX & SUBMASTERS

to ‘A’‘A’

to ‘A’

to ‘D’

(from Main Mix,

Subs and Tape In)

0dB

‘D’

+10dB up

OUTPUT

0dB

SOURCE Matrix MIX LEVEL

CONTROL ROOM / PHONES

‘C’

‘B’ 0dB

From ‘B’

+10dB up

Channel SEND AUX MIX AUX 1 & 2 Master

0dB

OUTPUT

AUX SEND

INPUT

+20dB up

to ‘C’

0dB

LEVEL

AUX RETURN

+22dBu max out (1/4" unbal & RCA)

+28dBu max out (1/4" bal, Main Mix only)

+22dBu max out

+22dBu max in

+22dBu max out

to ‘C’

FADER

+10dB up

(Insert

Send)

(Insert

Return)

Insert point

(Main Mix only)

–6dB

0dB

+15dB up

+20db up

TAPE IN

0dB

LEVEL

to ‘D’

+15db up

SOLO

0dB

LEVEL

to ‘D’

MACKIE CR1604-VLZ

LEVEL DIAGRAM

31

SPECIFICA TIONS

Main Mix Noise

20Hz–20kHz bandwidth, 1⁄4" Main Out, channel Trims @ unity gain, channel EQs flat, all channels assigned to Main Mix, odd channels panned left, even channels panned right

Main Mix fader unity, channel faders down: –86.5dBu (90dB Signal to Noise Ratio, ref +4dBu) Main Mix fader @ unity, channel faders @ unity: –84.0dBu

Total Harmonic Distortion (THD)

1kHz @ +14dBu: 20Hz–20kHz Mic in to Main out: below 0.005%

Attenuation (Crosstalk)

1kHz relative to 0dBu, 20Hz–20kHz bandwidth, Line in, 1⁄4" Main Out, Trim @ unity

Channel Mute switch engaged: –84dBu Channel Gain knob down: –84dBu

Frequency Response

Mic input to any output 20Hz to 60kHz: +0dB/–1dB

20Hz to 100kHz: +0dB/–3dB

Equivalent Input Noise (EIN)

Mic in to Insert Send out, max gain 150 ohm termination: –129.5dBm unweighted

Common Mode Rejection (CMR)

Mic in to Insert Send out, max gain 1kHz: better than 80dB

Maximum Levels

Mic in: +14dBu All other inputs: +22dBu Main Mix 1⁄4" TRS outputs: +28dBu All other outputs: +22dBu

Impedances

Mic in: 1.3 kilohms Channel Insert return: 2.5 kilohms All other inputs: 10 kilohms or greater Tape out: 1.1 kilohms All other outputs: 120 ohms

EQ

High Shelving: ±15db @ 12kHz Mid Peaking: ±15dB, sweep 100Hz–8kHz Low Shelving: ±15db @ 80Hz Low Cut Filter: 18dB/octave, –3dB @ 75Hz

Power Consumption

120VA.C., 50/60Hz, 50 watts

Fuse Ratings

120V: 1A Slo Blo, 5 x 20mm 220–240V: 0.5A Slo Blo, 5 x 20mm

Weight

20 lbs. (9.1kg)

CR1604-VLZ

WEIGHT

20.0 lbs. (9.1 kg)

CR1604-VLZ with pod normal

10 rack spaces

17.6" (447.0mm)

19.0" (482.6mm)

17.3" (442.0mm)

CR1604-VLZ with pod to back

8 rack spaces

13.0" (325.1mm)

CR1604-VLZ

with optional rotopod

5.0" (127mm)

8.7" (221.0mm)

6.0" (152.4mm)

5.6" (142.2mm)

9.3" (236.2mm)

6.6" (167.6mm)

11 rack spaces

32

17.9" (454.7mm)

SERVICE INFO

Details concerning Warranty Service are spelled out on the Warranty Card included with your mixer (if it’s missing, let us know and we’ll rush one to you).

If you think your CR1604-VLZ has a problem, please do everything you can to confirm it before calling for service. Doing so might save you from being deprived of your mixer.

Of all Mackie products returned for service (which is hardly any at all), roughly 50% are coded “CND” — Could Not Duplicate, which usually means the problem lies somewhere other than the mixer. These may sound obvious to you, but here’s some things you can check:

TROUBLESHOOTING

Bad Channel

• Are the channels assigned to the correct

1-2, 3-4, L-R

mix (

• Is the

• Try unplugging any insert devices from the

• Try the same source signal in another channel,

fader

INSERT

set up exactly like the suspect channel.

jacks.

Bad Output

• Is the associated level control (if any) turned up?

• If you’re listening to the

PHONES

been made?

• If it’s one of the

its companion. For example, if it’s the

LEFT MAIN OUT

If the problem goes away, it’s not the mixer.

• If it’s a stereo pair, try switching them

around. For example, if a left output is presumed dead, switch the left and right cords, at the mixer end. If the problem stays on the left, it’s not the mixer.

• Unplug everthing from the

outputs, has a

Noise

• Turn the channel faders and

knobs down, one by one. If the sound disappears, it’s either that channel or whatever is plugged into it, so unplug whatever that is. If the noise disappears, it’s from your whatever.

)?

up?

C-R OUTS

SOURCE

MAIN OUTS

, unplug the RCA output.

MAIN INSERTS.

or

selection

, try unplugging

AUX RETURN

1

/4"

REPAIR

Service for the U.S. version of the CR1604-VLZ is only available from Mackie Designs, located in sunny W oodinville, Washington. (Service for mixers living outside the United States can be obtained through local dealers or distributors.) If your mixer needs service, follow these instructions:

1. Review the preceding troubleshooting

suggestions. Please.

2. Call Tech Support at 1-800-258-6883, 8am

to 5pm PST, to explain the problem and request an R.A. number. Have your mixer’s serial number ready . You must have a

Return Authorization number, or we may refuse the delivery.

3. Set aside the power cord, owner’s manual,

or anything else that you’ll ever want to see again. We are responsible for the return of the mixer only.

4. Pack the mixer in its original package,

including endcaps and box. This is VERY IMPORTANT. If you don’t have a box, please let Tech Support know that you need a new one when you call for the R.A. number.

5. Include a legible note stating your name,

shipping address (no P.O. boxes), daytime phone number, R.A. number and a detailed description of the problem, including how we can duplicate it.

6. Write the R.A. number in BIG PRINT on

top of the box.

7. Ship the mixer to us. We recommend United

Parcel Service (UPS). We suggest insurance for all forms of cartage. Ship to this address:

Mackie Designs Inc.

SERVICE DEP ARTMENT

16220 Wood-Red Rd. NE

Woodinville, WA 98072

8. We’ll try to fix the mixer within three

business days. We send everything back prepaid using UPS BLUE (Second Day Air). If you rush your mixer to us by Air Shipment, we’ll treat it in kind by letting it jump to the head of the line, and we’ll also ship it back to you UPS RED (Next Day Air). This paragraph does not necessarily apply to non-warranty service.

Power

Our favorite question: Is the Check the fuse .

POWER

switch on?

33

APPENDIX A: GLOSSAR Y

This Glossary contains brief definitions of many of the audio and electronic terms used in discussions of sound mixing and recording. Many of the terms have other meanings or nuances or very rigorous technical definitions which we have sidestepped here because we figure you already have a lot on your mind. If you’d like to get more information, you can call Mix Bookshelf at 1-800233-9604. W e recommend the following titles: The Audio Dictionary, by Glenn White; T ech Terms, by Peterson & Oppenheimer; Handbook for

Sound Engineers, by Glen Ballou, Mackie Mixer Book by Rudy Trubitt and Sound Reinforcement Handbook, by Gary Davis.

AFL

An acronym for After Fade Listen, which is another way of saying post-fader solo function.

assign

In sound mixers, assign means to switch or route a signal to a particular signal path or combination of signal paths.

attenuate

To reduce or make quieter.

aux

See next entry.

auxiliary

In sound mixers, supplemental equipment or features that provide additional capabilities to the basic system. Examples of auxiliary equipment include: serial processors (equalizers, compressors, limiters, gates) and parallel devices (reverberation and delay). Most mixers have aux send buses and aux return inputs to accommodate auxiliary equipment.

balanced

In a classic balanced audio circuit, the two legs of the circuit (+ and –) are isolated from the circuit ground by exactly the same impedance. Additionally, each leg may carry the signal at exactly the same level but with opposite polarity with respect to ground. In some balanced circuits, only one leg actually carries the signal but both legs exhibit the same impedance characteristics with respect to ground. Balanced input circuits can offer excellent rejection of common-mode noise induced into the line and also make proper (no ground loops) system

1

grounding easier. Usually terminated with TRS or XLR connectors.

⁄4"

bandwidth

The band of frequencies that pass through a device with a loss of less than 3dB, expressed in Hertz or in musical octaves. Also see Q.

bus

An electrical connection common to three or more circuits. In mixer design, a bus usually carries signals from a number of inputs to a mixing amplifier, just like a city bus carries people from a number of neighborhoods to their jobs.

Cannon

A manufacturer of electrical connectors who first popularized the three-pin connector now used universally for balanced microphone connections. In sound work, a Cannon connector is taken to mean a Cannon XLR-3 mic connector or any compatible connector.

cardioid

Means heart-shaped. In sound work, cardioid refers to the shape of the sensitivity pattern of some directional microphones.

channel

A functional path in an audio circuit: an input channel, an output channel, a recording channel, the left channel and so on.

channel strip

The physical representation of an audio channel on the front panel of a mixer; usually a long, vertical strip of controls.

chorusing

An effect available in some digital delay effects units and reverbs. Chorusing involves a number of moving delays and pitch shifting, usually panned across a stereo field. Depending on how used, it can be lovely or grotesque.

clipping

A cause of severe audio distortion that is the result of excessive gain requiring the peaks of the audio signal to rise above the capabilities of the amplifier circuit. Seen on an oscilloscope, the audio peaks appear clipped off. To avoid distortion, reduce the system gain in or before the gain stage in which the clipping occurs. See also headroom.

condenser

Another term for the electronic component generally known as a capacitor. In audio, condenser usually refers to a type of microphone that uses a capacitor as the sound pickup element. Condenser microphones require electrical power to run internal amplifiers and maintain an electrical charge on the capacitor. They are typically powered by internal batteries or “phantom power” supplied by an external source, such as a mixing console.

34

console

A term for a sound mixer, usually a large

desk-like mixer.

cueing

In broadcast, stage and post-production work, to “cue up” a sound source (a record, a sound effect on a CD, a song on a tape) means to get it ready for playback by making sure you are in the right position on the “cue,” making sure the level and EQ are all set properly. This requires a special monitoring circuit that only the mixing engineer hears. It does not go out on the air or to the main mixing buses. This “cueing” circuit is the same as pre-fader (PFL) solo on a Mackie mixer, and often the terms are interchangeable.

dB

See decibel.

dBm

A unit of measurement of audio signal level in an electrical circuit, expressed in decibels referenced to 1 milliwatt. The “m” in dBm stands for “milliwatt.” In a circuit with an impedance of 600 ohms, this reference (0dBm) corresponds to a signal voltage of 0.775 VRMS (because 0.775 V across 600 ohms equals 1mw).

dBu

A unit of measurement of audio signal level in an electrical circuit, expressed in decibels referenced to 0.775 VRMS into any impedance. Commonly used to describe signal levels within a modern audio system.

dBv

A unit of measurement equal to the dBu but no longer in use. It was too easy to confuse a dBv with a dBV, to which it is not equivalent.

dBV

A unit of measurement of audio signal level in an electrical circuit, expressed in decibels referenced to 1 VRMS across any impedance. Commonly used to describe signal levels in consumer equipment. To convert dBV to dBu, add 2.2dB.

decibel (dB)

The dB is a ratio of quantities measured in similar terms using a logarithmic scale. Many audio system parameters measure over such a large range of values that the dB is used to simplify the numbers. A ratio of 1000V:1V=60dB. When one of the terms in the ratio is an agreed upon standard value such as 0.775V, 1V or 1mw, the ratio becomes an absolute value, i.e., +4dBu, –10dBV or 0dBm.

delay

In sound work, delay usually refers to an electronic circuit or effects unit whose purpose it is to delay the audio signal for some short period of time. Delay can refer to one short repeat, a series of repeats or the complex interactions of delay used in chorusing or reverb. When delayed signals are mixed back with the original sound, a great number of audio effects can be generated, including phasing and flanging, doubling, Haas-effect positioning, slap or slapback, echo, regenerative echo, chorusing and hall-like reverberation. Signal time delay is central to many audio effects units.

detent

A point of slight physical resistance (a click-stop) in the travel of a knob or slide control, used in Mackie mixers to indicate unity gain.

dipping

The opposite of peaking, of course. A dip is an EQ curve that looks like a valley, or a dip. Dipping with an equalizer reduces a band of frequencies. (See guacamole.)

doubling

A delay effect, where the original signal is mixed with a medium (20 to 50 msec) delay. When used carefully, this effect can simulate double-tracking (recording a voice or instrument twice).

dry

Usually means without reverberation, or without some other applied effect like delay or chorusing. Dry is not wet, i.e. totally unaffected.

dynamic

In sound work, dynamic refers to the class of microphones that generate electrical signals by the movement of a coil in a magnetic field. Dynamic microphones are rugged, relatively inexpensive, capable of very good performance and do not require external power.

dynamic range

The range between the maximum and minimum sound levels that a sound system can handle. It is usually expressed in decibels as the difference between the level at peak clipping and the level of the noise floor.

35

echo

The reflection of sound from a surface such as a wall or a floor. Reverberation and echo are terms that can be used interchangeably, but in audio parlance a distinction is usually made: echo is considered to be a distinct, recognizable repetition (or series of repetitions) of a word, note, phrase or sound, whereas reverberation is a diffuse, continuously smooth decay of sound. Echo and reverberation can be added in sound mixing by sending the original sound to an electronic (or electronic/acoustic) system that mimics natural echoes, and then some. The added echo is returned to the blend through additional mixer inputs. Highly echoic rooms are called live; rooms with very little echo are called dead. A sound source without added echo is dry; one with reverb or echo added is wet.

effects devices

External signal processors used to add reverb, delay, spatial or psychoacoustic effects to an audio signal. An effects processor may be used as an insert processor (serial) on a particular input or subgroup, or it may be used via the aux send/return system(parallel). See also

echo, reverb.

EIN

Equivalent Input Noise. Specification that helps measure the “quietness” of a gain stage by deriving the equivalent input noise voltage necessary to obtain a given preamp's output noise. Typically ranges from –125 to –129.5 dBm.

EQ

See equalization.

EQ curve

A graph of the response of an equalizer, with frequency on the x (horizontal) axis and amplitude (level) on the y (vertical) axis. Equalizer types and effects are often named after the shape of the graphed response curve, such as peak, dip, shelf, notch, knee and so on.

equalization

Equalization (EQ) refers to purposefully changing the frequency response of a circuit, sometimes to correct for previous unequal response (hence the term, equalization), and more often to add or subtract level at certain frequencies for sound enhancement, to remove extraneous sounds, or to create completely new and different sounds.

Bass and treble controls on your stereo are EQ; so are the units called parametrics and graphics and notch filters.

A lot of how we refer to equalization has to do with what a graph of the frequency response would look like. A flat response (no EQ) is a straight line; a peak looks like a hill, a dip is a valley, a notch is a really skinny valley, and a shelf looks like a plateau (or a shelf). The slope is the grade of the hill on the graph.

Graphic equalizers have enough frequency slider controls to form a graph of the EQ right on the front panel. Parametric EQs let you vary several EQ parameters at once. A filter is simply a form of equalizer that allows certain frequencies through unmolested while reducing or eliminating other frequencies.

Aside from the level controls, EQs are probably the second most powerful controls on any mixer (no, the power switch doesn’t count!).

fader

Another name for an audio level control. Today, the term refers to a straight-line slide control rather than a rotary control.

family of curves

A composite graph showing on one chart several examples of possible EQ curves for a given equalizer or equalizer section.

filter

A simple equalizer designed to remove certain ranges of frequencies. A low-cut filter (also called a high-pass filter) reduces or eliminates frequencies below its cutoff frequency. There are also high-cut (low-pass) filters, bandpass filters, which cut both high and low frequencies but leave a band of frequencies in the middle untouched, and notch filters, which remove a narrow band but leave the high and low frequencies alone.

flanging

A term for phasing. Before digital delay effects units, phasing could be accomplished by playing two tape machines in synchronization, then delaying one slightly by rubbing a finger on the reel flange. Get it?

FOH

An acronym for Front Of House. See house and main house speakers.

frequency

The number of times an event repeats itself in a given period. Sound waves and the electrical signals that represent sound waves in an audio circuit have repetitive patterns that range from a frequency of about 20 repetitions per second to about 20,000 repetitions per second. Sound is the vibration or combination of vibrations in this range of 20 to 20,000 repetitions per

36

second, which gives us the sensation of pitch, harmonics, tone and overtones. Frequency is measured in units called Hertz (Hz). One Hertz is one repetition or cycle per second.

gain

The measure of how much a circuit amplifies a signal. Gain may be stated as a ratio of input to output values, such as a voltage gain of 4, or a power gain of 1.5, or it can be expressed in decibels, such as a line amplifier with a gain of 10dB.

gain stage

An amplification point in a signal path, either within a system or a single device. Overall system gain is distributed between the various gain stages.

graphic EQ

A graphic equalizer uses slide pots for its boost/cut controls, with its frequencies evenly spaced through the audio spectrum. In a perfect world, a line drawn through the centers of the control shafts would form a graph of the frequency response curve. Get it? Or, the positions of the slide pots give a graphic representation of boost or cut levels across the frequency spectrum.

ground

Also called earth. Ground is defined as the point of zero voltage in a circuit or system, the reference point from which all other voltages are measured. In electrical systems, ground connections are used for safety purposes, to keep equipment chassis and controls at zero voltage and to provide a safe path for errant currents. This is called a safety ground.

Maintaining a good safety ground is always essential to prevent electrical shock. Follow manufacturer’s suggestions and good electrical practices to ensure a safely grounded system. Never remove or disable the grounding pin on the power cord.

In computer and audio equipment, tiny currents and voltages can cause noise in the circuits and hamper operation. In addition to providing safety, ground provisions in these situations serve to minimize the pickup, detection and distribution of these tiny noise signals. This type of ground is often called technical ground.

Quality audio equipment is designed to maintain a good technical ground and also operate safely with a good safety ground. If you have noise in your system due to technical grounding problems, check your manual for wiring tips or call technical support. Never disable the safety ground to reduce noise problems.

ground loop

A ground loop occurs when the technical ground within an audio system is connected to the safety ground at more than one place. Two or more connections will allow tiny currents to flow in the loops created, possibly inducing noise (hum) in the audio system. If you have noise in your system due to ground loops, check your manual for wiring tips or call technical support. Never disable the safety ground to reduce noise problems.

Haas effect

A psychoacoustic effect in which the time of arrival of a sound to the left and right ears affects our perception of direction. If a signal is presented to both ears at the same time at the same volume, it appears to be directly in front of us. But if the signal to one ear, still at the same volume, is delayed slightly (0 to 5 msec), the sound appears to be coming from the earlier (non-delayed) side.

headroom

The difference between nominal operating level and peak clipping in an audio system. For example, a mixer operating with a nominal line level of +4dBu and a maximum output level of +22dBu has 18dB of headroom. Plenty of room for surprise peaks.

Hertz

The unit of measure for frequency of oscillation, equal to 1 cycle per second. Abbreviated Hz. KHz is pronounced “kay-Hertz” and is an abbreviation for kilohertz, or 1000 Hertz.

house

In Sound Reinforcement parlance, “house” refers to the systems (and even persons) responsible for the primary sound reinforcement in a given hall, building, arena or “house.” Hence we have the house mixer or house engineer, the house mix, the house mix amps, the main house speakers and so on.

Hz

See Hertz.

impedance

The A.C. resistance/capacitance/inductance in an electrical circuit, measured in ohms. In audio circuits (and other AC circuits) the impedance in ohms can often be much different from the circuit resistance as measured by a DC ohmmeter.

Maintaining proper circuit impedance relationships is important to avoid distortion and minimize added noise. Mackie input and output impedances are set to work well with the vast majority of audio equipment.

37

input module

A holdover from the days when the only way that real consoles were built was in modular fashion, one channel per module. See channel strip.

knee

A knee is a sharp bend in an EQ response curve not unlike the sharp bend in your leg. Also used in describing dynamics processors.

level

Another word for signal voltage, power, strength or volume. Audio signals are sometimes classified according to their level. Commonly used levels are: microphone level (–40dBu or lower), instrument level (–20 to – 10dBu), and line level (–10 to +30dBu).

line level

A signal whose level falls between –10dBu and +30dBu.

main house speakers

The main loudspeakers for a sound reinforcement system. These are usually the largest and loudest loudspeakers, and are usually positioned so that their sound seems to come from the area of the main stage.

mains

See main house speakers.

master

A control affecting the final output of a mixer. A mixer may have several master controls, which may be slide faders or rotary controls.

mic amp

See mic preamp.

mic level

The typical level of a signal from a microphone. A mic level signal (usually but not always coming from a microphone) is generally below –30dBu. With a very quiet source (a pin dropping?) the signal can be –70dBu or lower. It is also possible for some microphones to deliver more signal than this, in which case it may be referred to as a “hot” mic level. Alternatively, you can just say, “Boy, is that loud!”

mic pre

See mic preamp.

mic preamp

Short for microphone preamplifier. An amplifier that functions to bring the very low signal level of a microphone (approximately – 50dBu) up to line level (approximately 0dBu). Mic preamps often have their own volume control, called a trim control, to properly set the gain for a particular source. Setting the mic preamp gain correctly with the trim control is an essential step in establishing good noise and headroom for your mix.

38

mixer

An electronic device used to combine various audio signals into a common output. Different from a blender, which combines various fruits into a common libation.

monaural

Literally, pertaining to or having the use of only one ear. In sound work, monaural has to do with a signal which, for purposes of communicating audio information, has been confined to a single channel. One microphone is a mono pickup; many microphones mixed to one channel is a mono mix; a mono signal played through two speakers is still mono, since it only carries one channel of information. Several monaural sources, however, can be panned into a stereo (or at least two-channel, if you are going to be picky) mix. Monaural SR is common for environments where stereo SR would provide an uneven reproduction to the listener.

monitor

In sound reinforcement, monitor speakers (or monitor headphones or in-the-ear monitors) are those speakers used by the performers to hear themselves. Monitor speakers are also called foldback speakers. In recording, the monitor speakers are those used by the production staff to listen to the recording as it progresses. In zoology, the monitor lizard is the lizard that observes the production staff as the recording progresses. Keep the lizard out of the mixer.

mono

Short for monaural.

mult

Probably short for multiple. In audio work, a mult is a parallel connection in a patch bay or a connection made with patch cords to feed an output to more than one input. A “Y” cable is a type of mult connection. Also a verb, as in “Why did you mult the flanger into every input in the board?”

noise

Whatever you don’t want to hear. Could be hum, buzz or hiss; could be crosstalk or digital hash or your neighbor’s stereo; could be white noise or pink noise or brown noise; or it could be your mother-in-law reliving the day she had her gallstone removed.

noise floor

The residual level of noise in any system. In a well designed mixer, the noise floor will be a quiet hiss, which is the thermal noise generated by bouncing electrons in the transistor junctions. The lower the noise floor and the higher the headroom, the more usable dynamic range a system has.

pan, pan pot

Short for panoramic potentiometer. A pan pot is used to position (or even move back and forth) a monaural sound source in a stereo mixing field by adjusting the source’s volume between the left and right channels. Our brains sense stereo position by hearing this difference in loudness when the sound strikes each ear, taking into account time delay, spectrum, ambient reverberation and other cues.

parametric EQ

A “fully” parametric EQ is an extremely powerful equalizer that allows smooth, continuous control of each of the three primary EQ parameters (frequency, gain, and bandwidth) in each section independently. “Semi” parametric EQs allow control of fewer parameters, usually frequency and gain (i.e., they have a fixed bandwidth, but variable center frequency and gain).

peaking

The opposite of dipping, of course. A peak is an EQ curve that looks like a hill, or a peak. Peaking with an equalizer amplifies a band of frequencies.

PFL

An acronym for Pre Fade Listen. Broadcasters would call it cueing. Sound folks call it being able to solo a channel with the fader down.

phantom power

A system of providing electrical power for condenser microphones (and some electronic pickup devices) from the sound mixer. The system is called phantom because the power is carried on standard microphone audio wiring in a way that is “invisible” to ordinary dynamic microphones. Mackie mixers use standard +48 volt DC power, switchable on or off. Most quality condenser microphones are designed to use +48 VDC phantom power. Check the manufacturer’s recommendations.

Generally, phantom power is safe to use with non-condenser microphones as well, especially dynamic microphones. However, unbalanced microphones, some electronic equipment (such as some wireless microphone receivers) and some ribbon microphones can short out the phantom power and be severely damaged. Check the manufacturer’s recommendations and be careful!

phasing

A delay effect, where the original signal is mixed with a short (0 to 10 msec) delay. The

time of the delay is slowly varied, and the combination of the two signals results in a dramatic moving comb-filter effect. Phasing is sometimes imitated by sweeping a comb-filter EQ across a signal. A comb filter can be found in your back pocket.

phone jack

Ever see those old telephone switchboards with hundreds of jacks and patch cords and plugs? Those are phone jacks and plugs, now used widely with musical instruments and audio equipment. A phone jack is the female

1

connector, and we use them in conductor (TS) and three-conductor (TRS) versions.

⁄4" two-

phone plug

The male counterpart to the phone jack, right above.

phono jack

See RCA phono jack.

phono plug

See RCA phono plug.

post-fader

A term used to describe an aux send (usually) that is connected so that it is affected by the setting of the associated channel fader. Sends connected this way are typically (but not always) used for effects. See pre-fader.

pot, potentiometer

In electronics, a variable resistor that varies the potential, or voltage. In audio, any rotary or slide control.

pre-fader

A term used to describe an aux send (usually) that is connected so that it is not affected by the setting of the associated channel fader. Sends connected this way are typically (but not always) used for monitors (foldback). See post-fader.

proximity effect

The property of many directional microphones to accentuate their bass response when the source-to-mic distance is small, typically three inches or less. Singers generally like this effect even more than singing in the shower.

Q

A way of stating the bandwidth of a filter or equalizer section. An EQ with a Q of .75 is broad and smooth, while a Q of 10 gives a narrow, pointed response curve. To calculate the value of Q, you must know the center frequency of the EQ section and the frequencies at which the upper and lower skirts fall 3dB below the level of the center frequency. Q

39

equals the center frequency divided by the difference between the upper and lower –3dB frequencies. A peaking EQ centered at 10kHz whose –3dB points are 7.5kHz and 12.5kHz has a Q of 2.

RCA phono jack—or RCA jack or phono jack

An RCA phono jack is an inexpensive connector (female) introduced by RCA and originally used to connect phonographs to radio receivers and phono preamplifiers. The phono jack was (and still is) widely used on consumer stereo equipment and video equipment but was quietly fading into obscurity in the professional and semi-professional sound world. Then phono jacks began cropping up in early project-studio multitrack recorders, which (unfortunately) gave them a new lease on life. Since so many stereo recorders are fitted with them, we decided we’d have to put a couple on our mixers for your convenience. But make no mistake: the only thing that the phono jack (or plug) has going for it is low cost.

RCA phono plug

The male counterpart to an RCA phono jack. See above.

regeneration

Also called recirculation. A delay effect created by feeding the output of a delay back into itself to cause a delay of the delay of the delay. You can do it right on the front panel of many effects units, or you can route the delay return back into itself on your mixer. Can be a great deal of fun at parties.

return

A return is a mixer line input dedicated to the task of returning processed or added sound from reverb, echo and other effects devices. Depending on the internal routing of your mixer and your own inclination, you could use returns as additional line inputs, or you could route your reverb outputs to ordinary line inputs rather than the returns.

reverberation, reverb

The sound remaining in a room after the source of sound is stopped. It’s what you hear in a large tiled room immediately after you’ve clapped your hands. Reverberation and echo are terms that can be used interchangeably, but in audio parlance a distinction is usually made: reverberation is considered to be a diffuse, continuously smooth decay of sound, whereas echo is a distinct, recognizable repetition of a word, note, phrase or sound. Reverberation and echo can be added in sound

mixing by sending the original sound to an electronic (or electronic/acoustic) system that mimics natural reverberation, or worse. The added reverb is returned to the blend through additional mixer inputs. Highly reverberant rooms are called live; rooms with very little reverberation are called dead. A sound source without added reverb is dry; one with reverb or echo added is wet.

RMS

An acronym for root mean square, a conventional way to measure AC voltage and audio signal voltage. Most AC voltmeters are calibrated to read RMS volts. Other conventions include average volts, peak volts and peak-topeak volts.

send

A term used to describe a secondary mix and output of the input signals, typically used for foldback monitors, headphone monitors or effects devices. Mackie mixers call it an Aux Send.

shelving

A term used to describe the shape of an equalizer’s frequency response. A shelving equalizer’s response begins to rise (or fall) at some frequency and continues to fall (or rise) until it reaches the shelf frequency, at which point the response curve flattens out and remains flat to the limits of audibility. If you were to graph the response, it would look like a shelf. Or more like a shelf than a hiking boot. The EQ controls on your stereo are usually shelving equalizers. See also peaking and dipping.

slap, slapback

A single-delay echo without any repeats. Also see echo.

solo

Italian for alone. In audio mixers, a solo circuit allows the engineer to listen to individual channels, buses or other circuits singly or in combination with other soloed signals.

SR

An acronym for Sound Reinforcement, which refers to a system of amplifying acoustic and electronic sounds from a performance or speech so that a large audience can hear clearly. Or, in popular music, so that a large audience can be excited, stunned or even partially deafened by the tremendous amplification. Means essentially the same thing as PA (Public Address).

40

stereo

Believe it or not, stereo comes from a Greek word that means solid. We use stereo or stereophony to describe the illusion of a continuous, spacious soundfield that is seemingly spread around the listener by two or more related audio signals. In practice, stereo often is taken to simply mean two channels.

sweep EQ

An equalizer that allows you to “sweep” or continuously vary the frequency of one or more sections.

symmetrically balanced

See balanced.

tinnitus

The ringing in the ears that is produced with prolonged exposure to high volumes. A sound in the ears, such as buzzing, ringing, or whistling, caused by volume knob abuse!

trim

In audio mixers, the gain adjustment for the first amplification stage of the mixer. The trim control helps the mixer cope with the widely varying range of input signals that come from real-world sources. It is important to set the trim control correctly; its setting determines the overall noise performance in that channel of the mixer. See mic preamp.

TRS

Acronym for Tip-Ring-Sleeve, a scheme for connecting three conductors through a single

1

plug or jack. mini phone plugs and jacks are commonly wired TRS. Since the plug or jack can carry two signals and a common ground, TRS connectors are often referred to as stereo or balanced plugs or jacks. Another common TRS application is for insert jacks, used for inserting an external processor into the signal path. In Mackie mixers, the tip is send, ring is return, and sleeve is ground.

⁄4" phone plugs and jacks and 1⁄8"

TS

Acronym for Tip-Sleeve, a scheme for connecting two conductors through a single plug

1

or jack. phone plugs and jacks are commonly wired TS. Sometimes called mono or unbalanced plugs or jacks. A called a standard phone plug or jack.

⁄4" phone plugs and jacks and 1⁄8" mini

1

⁄4" TS phone plug or jack is also

unbalanced

An electrical circuit in which the two legs of the circuit are not balanced with respect to ground. Usually, one leg will be held at ground potential. Unbalanced circuit connections require only two conductors (signal “hot” and ground). Unbalanced audio circuitry is less

expensive to build, but under certain circumstances is more susceptible to noise pickup.

unity gain

A circuit or system that has its voltage gain adjusted to be one, or unity. A signal will leave a unity gain circuit at the same level at which it entered. In Mackie mixers, unity gain is achieved by setting all variable controls to the marked “U” setting. Mackie mixers are optimized for best headroom and noise figures at unity gain.

VLZ

Acronym for very low impedance. (Impedence is measured in ohms represented by the Ω symbol, which is the last letter of the Greek alphabet. This is why the letter Z is used instead of I.) VLZ is one of the most important reasons why inherent noise levels on Mackie mixing boards are so minuscule. Thermal noise is something that’s created by all circuitry and usually transistors and resistors are the worst culprits. The basic rule with thermal noise is: the higher the impedance, the more the noise. Mackie’s VLZ design reduces thermal noise by making internal impedances as low as possible in as many places as possible within the console. VLZ is achieved by scaling down resistor values by a factor of three or four – resulting in a corresponding reduction in thermal noise. This is especially true for the console’s mixing buses.

volume

Electrical or sound level in an audio system. Perhaps the only thing that some bands have too much of.

VRMS

See RMS.

wet

With added reverberation or other effect like echo, delay or chorusing.

XLR connector

See Cannon.

41

APPENDIX B: CONNECTIONS

“XLR” CONNECTORS

Mackie mixers use 3-pin female “XLR” connectors on all microphone inputs, with pin 1 wired to the grounded (earthed) shield, pin 2 wired to the “high” (”hot” or positive polarity) side of the audio signal and pin 3 wired to the “low” (“cold” or negative polarity) side of the signal (Figure A). All totally aboveboard and in full accord with the hallowed standards dictated by the AES (Audio Engineering Society).

Use a male “XLR”-type connector, usually found on the nether end of what is called a “mic cable,” to connect to a female XLR jack.

SHIELD

COLD

SHIELD

COLD

3

Figure A: XLR Connectors

1

⁄4" TRS PHONE PLUGS AND JACKS

“TRS” stands for Tip-Ring-Sleeve, the three connections available on a “stereo” “balanced” phone jack or plug. See Figure B. TRS jacks and plugs are used in several different applications:

• Stereo Headphones, and rarely, stereo

microphones and stereo line connections. When wired for stereo, a

1

plug is connected tip to left, ring to right and

2

HOT

1

3

1

3

2

HOT

1

2

1

⁄4" or

SHIELD COLD HOT

⁄4" TRS jack or

sleeve to ground (earth). Mackie mixers do not directly accept 1-plug-type stereo microphones. They must be separated into a left cord and a right cord, which are plugged into the two mic preamps.

You can cook up your own adapter for a stereo microphone adapter. “Y” two cables

1

out of a female

⁄4" TRS jack to two male XLR plugs, one for the Right signal and one for the Left.

• Balanced mono circuits. When wired as a

1

balanced connector, a

⁄4" TRS jack or plug is connected tip to signal high (hot), ring to signal low (cold), and sleeve to ground (earth).

• Unbalanced Send/Return circuits. When

1

wired as send/return “Y” connector, a

⁄4" TRS jack or plug is connected tip to signal send (output from mixer), ring to signal return (input back into mixer), and sleeve to ground (earth).

1

⁄4" TS PHONE PLUGS AND JACKS

“TS” stands for Tip-Sleeve, the two connec-

1

tions available on a “mono”

⁄4" phone jack or plug (Figure C). TS jacks and plugs are used in many different applications, always unbalanced. The tip is connected to the audio signal and the sleeve to ground (earth). Some examples:

• Unbalanced microphones

• Electric guitars and electronic instruments

• Unbalanced line-level connections

Figure B: 1⁄4" TRS Plugs

42

TIPSLEEVE

SLEEVERING

TIP

RING

RING TIP

SLEEVE

Figure C: TS Plug

TIP

SLEEVE

TIPSLEEVE

TIP

SLEEVE

SWITCHED 1⁄4" PHONE JACKS

“tip”

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

“ring”

tip

ring

sleeve

SEND to processor

RETURN from processor

(TRS plug)

Switches can be incorporated into 1⁄4" phone jacks, which are activated by inserting the plug. These switches may open an insert loop in a circuit, change the input routing of the signal or serve other functions. Mackie uses switches in the channel insert and bus insert jacks, input jacks and AUX returns. We also use these switches to ground the line-level inputs when nothing is plugged into them.

In most cases, the plug must be inserted fully to activate the switch. Mackie takes advantage of this in some circuits, specifying circumstances where you are to insert the plug only partially. See Special Mackie Connections, later in this section.

RCA PLUGS AND JACKS

RCA-type plugs (also known as phono plugs) and jacks are often used in home stereo and video equipment and in many other applications (Figure D). They are unbalanced and

1

electrically identical to a

⁄4" TS phone plug or jack (See Figure C). Connect the signal to the center post and the ground (earth) or shield to the surrounding “basket.”

UNBALANCING A LINE

In most studio, stage and sound reinforcement situations, there is a combination of balanced and unbalanced inputs and outputs on the various pieces of equipment. This usually will not be a problem in making connections.

• When connecting a balanced output to an

unbalanced input, be sure the signal high (hot) connections are wired to each other, and that the balanced signal low (cold)

goes to the ground (earth) connection at the unbalanced input. In most cases, the balanced ground (earth) will also be connected to the ground (earth) at the unbalanced input. If there are ground-loop problems, this connection may be left disconnected at the balanced end.

• When connecting an unbalanced output to a balanced input, be sure that the signal high (hot) connections are wired to each other. The unbalanced ground (earth) connection should be wired to the low (cold) and the ground (earth) connections of the balanced input. If there are groundloop problems, try connecting the unbalanced ground (earth) connection only to the input low (cold) connection, and leaving the input ground (earth) connection disconnected.

In some cases, you will have to make up special adapters to interconnect your equipment. For example, you may need a balanced

1

XLR female connected to an unbalanced

⁄4"

TS phone plug.

SPECIAL MACKIE CONNECTIONS

The balanced-to-unbalanced connection has been anticipated in the wiring of Mackie jacks.

1

⁄4" TS plug inserted into a 1⁄4" TRS balanced

A

Figure F

43

input, for example, will automatically unbalance the input and make all the right connections.

1

Conversely, a

⁄4" TRS plug inserted into a 1⁄4" unbalanced input will automatically tie the ring (low or cold) to ground (earth).

NOTE: Do not overload or short-circuit the signal you are tapping from the mixer. That will affect the internal signal.

TRS Send/Receive Insert Jacks

Mackie’s single-jack inserts are the three-

1

conductor, TRS-type

⁄4" phone. They are unbalanced, but have both the mixer output (send) and the mixer input (return) signals in one connector (See Figure F).

The sleeve is the common ground (earth) for both signals. The send from the mixer to the external unit is carried on the tip, and the return from the unit to the mixer is on the ring.

Using the Send Only on an Insert Jack

If you insert a TS (mono) 1⁄4" plug only partially (to the first click) into a Mackie insert jack, the plug will not activate the jack switch and will not open the insert loop in the circuit (thereby allowing the channel signal to continue on its merry way through the mixer).

This allows you to tap out the channel or bus signal at that point in the circuit without interrupting normal operation.

1

If you push the click, you will open the jack switch and create a direct out, which does interrupt the signal in that channel. See Figure E.

⁄4" TS plug in to the second

MACKIE STEREO INPUTS AND RETURNS: Mono, Stereo, Whatever

Stereo line inputs and stereo AUX returns are a fine example of the Mackie philosophy (which we just made up) of Maximum Flexibility with Minimum Headache. The inputs and returns will automatically be mono or stereo, depending upon how you use the jacks. Here’s how it works:

A mono signal should be patched into the input or return jack labeled Left (MONO). The signal will be routed to both the left and right sides of the return circuit, and will show up in the center of the stereo pair of buses it’s assigned to, or it can be “panned” with the Balance control.

A stereo signal, having two plugs, should be patched into the LEFT (MONO) and the RIGHT input or return jacks. A jack switch in the RIGHT jack will disable the mono function, and the signals will show up in stereo.

A mono signal connected to the RIGHT jack will show up in the right bus only. You probably will only want to use this sophisticated effect for special occasions (weddings, bar mitzvahs, Rush Limbaugh’s birthday party, etc.)

MONO PLUG

Channel Insert jack

Direct out with no signal interruption to master.

Direct out with signal interruption to master.

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

Figure E

44

Insert only to first “click.”

MONO PLUG

Channel Insert jack

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

STEREO

PLUG

Channel Insert jack

For use as an effects loop.

MULTS AND “Y”s

A mult or “Y” connector allows you to route one output to two or more inputs by simply providing parallel wiring connections. You can make “Y”s and mults for the outputs of both unbalanced and balanced circuits.

Remember: Only mult or “Y” an output into several inputs. If you need to combine several outputs into one input, you

must use a mixer, not a mult or a “Y.”

RING (RETURN)

RING (IN)

TIP (OUT)

RING

(RETURN)

(SEND)

TIP

TIP (SEND)

FROM

PROCESSOR

OUTPUT

TO

PROCESSOR

INPUT

Y-cord insert cable

TO MIXER

CHANNEL INSERT

Y-cord splitter cable

45

APPENDIX C: BALANCED LINES, PHANTOM POWERING, GROUNDING AND OTHER ARCANE MYSTERIES

Balanced Lines

Balanced lines offer increased immunity to external noise (specifically, hum and buzz). Because a balanced system is able to minimize noise, it is the preferred interconnect method, especially in cases where very long lengths of cable are being used. A long unbalanced cable carries with it more opportunity for noise to get into a system — having balanced inputs means very little noise will enter the system via snakes and other cables that typically must run a long length. But regardless of length, balanced lines are best.

Phantom Powering and Microphones

History

Condenser (capacitor) microphones differ from dynamic and ribbon microphones because they are not self-generating. That is, they cannot generate electricity in response to an impinging sound wave. A condenser microphone modifies an external source of electricity to reflect the effects of a sound wave striking its diaphragm.

Dynamic and ribbon microphones use magnetism to generate electricity in response to a sound wave: they are self-generating. Furthermore, both of these types of microphones are inherently low-impedance devices. It is possible to connect a dynamic microphone element directly to a balanced, lowimpedance mixer input. Many commercially made dynamic microphones do just that.

On the other hand, a condenser microphone is an inherently high-impedance device. How high? Verrrrrrry high. On the order of a billion ohms (1 Gigaohm). This is high enough that the inherent capacitance of a foot of shielded cable would audibly reduce the output of the microphone. All condenser microphones have an impedance converter, in the form of a vacuum tube or field-effect transistor (FET), built into the microphone and located extremely close to the microphone element. The impedance converter and the microphone element itself require an external power source.

What is it, exactly?

The obvious external power source for any modern microphone is a battery. About the only electronic advantage that a battery has is that its output is pure DC. The only other advantage is to the battery company — you have to keep on buying them.

Tube microphones require several different voltages for operation. This invariably means a multi-conductor cable and non-standard (not XLR) connectors. A tube microphone will always have an associated external power supply.

In the late 1960’s, Neumann (you know, the folks that brought you the U47 and U87 microphones) converted its microphones to solidstate, adopting a system of remote powering that they called, and trademarked, Phantom Powering. Because of the trademark, some manufacturers use terms like Simplex Powering, etc. Over the years, the trademark has become genericized and now refers to any device that is powered according to DIN standard 45 596 (or maybe it’s DIN standard 45 595, we’re not exactly sure…).

So, why “Phantom” Powering? Because (like the Phantom in the old comic strip) it’s there when you need it, and invisible when you don’t. This technology is not new; it actually predates rocket science. Like many other things in audio, it was brought to you by the telephone company, who used it to get an extra circuit from a pair of wires. In effect, so does your phantom powered microphone.

What is important is: phantom powering is a compatible system. Your dynamic/ribbon microphones as well as your condenser microphones work side-by-side, from the same microphone inputs, without further thought on your part.

Technically speaking, phantom powering r efers to a system where the audio signal is applied to the balanced line in differential-mode, and

1

To be strictly correct, electret condenser microphones are a bit different, as the microphone element does not require a power source for operation (it is more or less permanently self-polarized). Regardless, the impedance converter still requires an external source of power.

46

PHANTOM POWER DO & DON’T CHART

DO DON’T

If you are plugging in a condenser microphone, do verify that your microphone can be phantom powered.

Ensure that the microphone’s output is low impedance, balanced and floating. This is especially important for vintage ribbon microphones like the RCA 44BX and 77DX.

Mute the sound system when turning the phantom power on or off, or when connecting or disconnecting microphones. If you forget, the resulting loud, nasty POP may be your last.

the DC power is applied common-mode. The audio travels via pins 2 and 3, the power travels between pins 2 and 3 simultaneously, and pin 1 is the ground for both audio and power.

Microphones that do not require power simply ignore the DC present between pin 2/pin 3 and pin 1. If you measure with a voltmeter between pin 2 and pin 3, you will read 0 Volts DC. This is what your dynamic microphone sees. Measuring between pin 2 and pin 1, or between pin 3 and pin 1, you will read the phantom power voltage, usually 48V, without a microphone connected. The dynamic microphone, as well as your balanced mixer input, ignores this voltage.

Lately, the term phantom power has been perverted to refer to any remote powering system. In the strict sense of the DIN standard, this is not true. Furthermore, microphones or transducers that claim to use this system are not compatible with the DIN standard and will almost certainly be damaged if connected into such a system. Fortunately, these systems use tip-ring-sleeve phone plugs or miniature XLR connectors and they are usually associated with

2

instrument pickup applications

.

Phantom powering is defined in DIN standard 45 596 or IEC standard 268–15A. Your Mackie Designs mixer conforms to this standard.

2

There is another remote powering system called A-B or T-system powering. It uses pins 2 and 3 to carry both power and audio. It is not compatible with dynamic microphones or phantompowered microphones.

Worry about your other microphones as long as their output is balanced and floating.

Connect microphones or devices that do not conform to the DIN 45 596 standard.

Don’t connect A-B or T-system microphones (another remote powering system) without suitable adaptors.

What works?

To be compatible in a phantom powered system, a device (microphone, preamp with a microphone-style output, or direct box) must have a balanced and floating, low-impedance output. This includes all microphones commonly used for sound reinforcement and recording,

®

such as the Shure

®

RE-15, RE-16, RE-20, ND series,

Voice

®

Beyer

M160, M500, AKG® D224, D12, D112,

SM58, SM57, Electro-

and many others.

If you are fortunate enough to own any tube

®

condenser microphones, such as the AKG

®

Neumann

U47 or U67, these microphones

C12,

may be connected in a phantom powered system and will operate without regard to the presence or absence of phantom power. They will always require their external power supply (which must be plugged in and turned on).

What doesn’t work?

The list is short:

1. Microphones with unbalanced outputs.

2. Microphones with grounded center-tapped

outputs. Many old ribbon microphones were supplied connected this way. Have a technician lift the ground from the center tap.

3. High-impedance microphones.

4. Microphones that exhibit leakage

between pin 2 or pin 3 and pin 1. These microphones will sputter and crackle when phantom power is applied and will work fine when you turn off the phantom power. Get the microphone repaired.

47

Do’s and Don’ts of Fixed Installations

If you install sound systems into fixed installations, there are a number of things that you can do to make your life easier and that increase the likelihood of the sound system operating in a predictable manner. Even if you don’t do fixed installations, these are good practices for any sound system, installed.

1. Do use foil-shielded snake cable for long cable

runs. Carefully terminate each end, minimizing the amount of shielding removed. Protect the exposed foil shield with shrink sleeving or PVC sleeving. Prevent adjacent shields from contacting each other (electrically). Use insulating sleeving on the drain wire (the one that connects to pin 1) to prevent it from contacting the connector shell.

2. Don’t connect the XLR connector shell to

pin 1 of the XLR connector (unless necessary for RFI shielding). Doing so is an invitation for a ground loop to come visiting.

3. Do ensure that your speaker lines and AC

power lines are physically separated from your microphone lines.

4. If you use floor pockets, use separate

pockets for inputs and speakers, or put the connectors on opposite sides of the box so that they may be shielded separately.

5. If your speaker lines run in the open, they

should be twisted pairs, at least 6 twists per foot. Otherwise, run the speaker lines in their own conduit. (Of course, conduit is not too practical for portable systems, heh-heh.)

6. Minimize the distance between the power

amplifiers and the speakers.

7. Use heavy gauge, stranded wire for speaker

lines. Ideally, the wire resistance should be less than 6% (0.5dB power loss) of the load impedance. Remember that the actual run is twice as long as the physical length of the run. See below.

Maximum wire run for 0.5dB power loss in feet

wire res. per 2 4 8

gauge 1000 ft. ΩΩΩ

10 1.00 60 120 240 12 1.59 40 75 150 14 2.5 24 48 95 16 4.02 15 30 60

8. Ensure that the electrician uses the starground system for the safety grounds in your electrical system. All of the audio system grounds should terminate at the same physical point. No other grounds may come in contact with this ground system.

9. Ensur e that the AC power feeds ar e connected to the same transformer, and ideally, the same circuit breaker.

10. Walk outside – look at the horizon, see any radio towers? Locate potential sources of RF interference and plan for them before you begin construction. Know the frequency , transmitter power, etc. You can get this information by calling the station. Remember that many broadcast stations change antenna coverage pattern and transmitter power at night.

11. Don’t use hardware-store light dimmers.

12. Don’t allow for anything other than micro-

phone inputs at stage/altar locations. Supplying line inputs at these locations is an invitation for misuse. Make all sources look like microphones to the console.

13. Balance (or at least impedance balance) all connections that are remote from the console’s immediate location.

1

14. If you bridge an amplifier, don’t use

⁄4"

phone plugs for speaker connectors.

Grounding

Grounding exists in your audio system for two reasons: product safety and noise reduction. The third wire on the power cord exists for product safety. It provides a low-resistance path back to the electrical service to protect the users of the product from electrical shock. Hopefully, the resistance to ground through the safety ground (third wire) is lower than that through the user/operator to ground. If you remove this connection (by breaking or cutting the pin off, or by using a ‘ground cheater’), this alternate ground path ceases to exist, which is a safety hazard.

The metal chassis of the product, the ground connections provided by the various connectors, and the shields within your connecting cables provide a low potential point for noise signals. The goal is to provide a lower impedance path to ground for noise signals than through the signal wiring. Doing so helps minimize hum, buzz, and other extraneous non-audio signals.

48

Many “authorities” tell you that shields should only be connected at one end. Sometimes this can be true, but for most (99%) audio systems, it is unnecessary. If you do everything else correctly, you should be able to connect every component of your audio system using standard, off-the-shelf connecting cables that are available at any music store.

Here are some guidelines:

1. All return lines to the stage should be

balanced. At a minimum, they should be impedance balanced. Remember that you can balance a line by inserting a piece of equipment inline that has a balanced output.

2. Run your own AC power wiring from the

stage for the mixer and related equipment. Don’t use the “conveniently located” receptacle thoughtfully provided by the management for your use. You have no idea how it’s wired or grounded.

3. Carry an outlet tester, available at any well-

stocked hardware store. Use it to tell you if the outlet you’re about to plug into is wired correctly. Consider it cheap insurance.

4. If you carry enough equipment that you

need to wire directly into the electrical service, then use a voltmeter to ensure that the line voltage is correct, then use the outlet tester mentioned in #3, above. Do

this before you connect any of your audio equipment. Chances are that your 120V gear won’t be too happy if it sees 220V for any length of time.

5. Cables that are too long are less likely to pick up hum if you uncoil them in their entirety, and then find a place to stow the excess. Leaving the excess coiled only helps the cable pick up hum more efficiently.

6. Don’t run unbalanced lines to or from the stage. It’s not the impedance, it’s the fact that they’re unbalanced. It’s a good idea to use a direct box to make the unbalanced source look like a microphone.

7. For really extreme cases, you may need to insert 1:1 or isolation transformers into each return line from the front-of-house location to your amp racks.

8. Don’t cut the third pin off of the power cord. Carry some ground-lifter adapters and use them only when you have to plug into an ancient two-wire outlet.

9. If you bundle your cables together, don’t bundle AC wiring and audio wiring together. Bundle them separately.

10.If your sound system insists on humming, you may need to teach it the words.

FREE T-SHIRT OFFER

We love to hear what folks have created using our mixers. If you use your CR1604-VLZ to track and/or mix a CD that is commercially released, we’ll trade you a disc for a genuine Mackie TShirt! By “commercially released,” we mean “offered for sale,” even if it’s just being sold out the back door of a local Karaoke joint. No hand-lettered covers, please and thank you. Furthermore, if you send us an interesting story or photograph about your production we might use it! To get your genuine 100% cotton Mackie Celebrity T-shirt, send your CD (and optional story or photo) to:

Mackie Designs

FREE T-SHIRT OFFER

attn: Communications Department

16220 Wood-Red Rd. NE

Woodinville, WA 98072

Mackie, the "Running Man" figure, and VLZ are trademarks or registered trademarks of Mackie Designs Inc. All other brand names mentioned are trademarks or registered trademarks of their respective holders, and are hereby acknowledged.

(Roll credits please) Manual written by Jeff Gilbert, based on a vignette by Ron Koliha, with tidbits borrowed from almost everywhere. Manual then defaced with proofreading pens in the hands of Mackie’s legendary Tech Support staff. Manual composed on a rinky-dink PC using a low-budget word processor, then converted to this amazing piece of work using a 13-story 1000 gigawhopper Macintosh operated by Mackie’s notorious Advertising staff. Please, feel free to let us know if you find an error or stumble over a confusing paragraph. Thank you for reading the entire manual (we know you have, or you wouldn’t be here).

Mackie Designs is always striving to improve our mixers by incorporating new and improved materials, components and manufacturing methods. Because we’re always trying to make things better, we reserve the right to change these specifications at any time, without notice.

49

®

NOTES:

CR1604

-

VLZ

16-CHANNEL MIC/LINE MIXER

Session: Date:

TRIM

U

10

+10dB - 40dB

AUX

1

2

PRE

3

4

5/6

SHIFT

EQ

1

-

I

M

OO

TRIM TRIM TRIM TRIM TRIM TRIM TRIM

12

d

B

0

V

G

A

C

I

N

60

U

10

+10dB - 40dB

AUX

d

B

0

V

1

-

G

A

C

I

N

M

60

U

1

+15

U

OO

+15

U

2

OO

+15

U

+15

U

+15

HI

U

12k

PRE PRE

5

3

OO

6

4

OO

5/6

SHIFT

EQ

+15

U

5

+15

U

6

+15

HI

U

12k

U

+10dB - 40dB

AUX

1

2

3

4

SHIFT

EQ

3

d

B

0

V

1

-

G

A

C

I

N

M

10

U

60

AUX

U

1

OO

+15

U

2

OO

+15

U

5

3

OO

+15

U

6

4

OO

+15

5/6

EQ

HI

U

12k

45678

d

B

0

V

1

-

G

A

C

I

N

M

60

10

+10dB - 40dB

U

OO

+15

U

OO

+15

PRE PRE PRE PRE PRE

U

OO

+15

U

OO

+15

5/6

SHIFT

U

d

B

0

V

1

-

G

A

C

I

N

M

U

60

10

+10dB - 40dB

AUX

U

1

OO

+15

U

2

OO

+15

U

5

3

OO

+15

U

6

4

OO

+15

5/6

SHIFT

EQ

HI

U

12k

d

B

0

V

1

-

G

A

C

I

N

M

U

60

10

+10dB - 40dB

AUX

U

1

OO

+15

U

2

OO

+15

U

5

3

OO

+15

U

6

4

OO

+15

5/6

SHIFT

EQ

HI

U

12k

d

B

0

V

1

-

G

A

C

I

N

M

U

60

10

+10dB - 40dB

AUX

U

1

OO

+15

U

2

OO

+15

U

5

3

OO

+15

U

6

4

OO

+15

5/6

SHIFT

EQ

HI

U

12k

0

1

-

C

I

M

U

10

+10dB - 40dB

AUX

1

OO

2

OO

5

3

OO

6

4

OO

5/6

SHIFT

EQ

HI

12k

d

B

V

G

A

I

N

60

U

+15

U

+15

U

5

+15

U

6

+15

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

1

MUTE

OL

-

20

SOLO

1–2

3–4

LOW CUT

75 Hz

18dB/OCT

PAN

2

MUTE

+15-15

U

MID

+15-15

800

2k200

8k10 0

LOW

U

80Hz

+15-15

OL

-

20

SOLO

1–2

3–4

LOW CUT

75 Hz

18dB/OCT

PAN

3

MUTE

+15-15

U

MID

+15-15

800

2k200

8k10 0

LOW

U

80Hz

+15-15

LOW CUT

75 Hz

18dB/OCT

+15-15

U

MID

+15-15

800

2k200

8k10 0

LOW

U

80Hz

+15-15

PAN

4

MUTE

-

SOLO

1–2

3–4

OL

20

OL

-

SOLO

1–2

3–4

20

LOW CUT

75 Hz

18dB/OCT

PAN

5

MUTE

+15-15

U

MID

+15-15

800

2k200

8k10 0

LOW

U

80Hz

+15-15

OL

-

20

SOLO

1–2

3–4

LOW CUT

75 Hz

18dB/OCT

PAN

6

MUTE

+15-15

U

MID

+15-15

800

2k200

8k10 0

LOW

U

80Hz

+15-15

OL

-

20

SOLO

1–2

3–4

LOW CUT

75 Hz

18dB/OCT

PAN

7

MUTE

+15-15

U

MID

+15-15

800

2k200

8k10 0

LOW

U

80Hz

+15-15

PAN

OL

-

20

SOLO

1–2

3–4

LOW CUT

75 Hz

18dB/OCT

8

MUTE

+15-15

U

MID

+15-15

800

2k200

8k10 0

LOW

U

80Hz

+15-15

OL

-

20

SOLO

1–2

3–4

L - R

OOOOOOOOOOOOOOOO

®

L - R

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

1234

AUX SEND

31

5

642

INSERT INSERT INSERT

DIRECT OUT

753

864

INSERT

1

2

16

BAL UNBAL

MIC 16

TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM

0

1

-

C

I

M

U

10

+10dB - 40dB

AUX

1

OO

2

OO

PRE PRE PRE PRE PRE PRE

3

OO

4

OO

5/6

SHIFT

EQ

800

LOW CUT

75 Hz

18dB/OCT

PAN

15 14 13 12 11 10 9 8 7 6 5

M

10

+10dB - 40dB

AUX

5/6

SHIFT

LOW CUT

75 Hz

BAL UNBAL

d

B

0

V

1

-

G

A

C

I

N

60

U

OO

+15

U

OO

+15

U

5

OO

+15

U

6

OO

+15

HI

U

12k

+15-15

U

MID

+15-15

800

2k200

8k10 0

LOW

U

80Hz

+15-15

BAL UNBAL

d

B

V

G

A

I

N

60

U

BAL UNBAL

MIC 15 MIC 14 MIC 13 MIC 12 MIC 11 MIC 10 MIC 9 MIC 8 MIC 7 MIC 6 MIC 5

910 1112 13

-

M

U

10

+10dB - 40dB

AUX

1

+15

U

OO

2

MID

2k200

LOW

80Hz

OO

5

3

OO

6

4

OO

5/6

SHIFT

EQ

HI

12k

100

LOW CUT

75 Hz

18dB/OCT

+15

U

+15

U

+15

U

+15-15

U

+15-15

8k10 0

U

+15-15

PAN

BAL UNBAL

d

B

0

V

1

G

A

C

I

N

U

60

U

1

+15

U

2

+15

U

5

3

+15

U

6

4

+15

EQ

HI

U

12k

+15-15

U

MID

+15-15

800

2k200

8k

LOW

U

80Hz

+15-15

18dB/OCT

PAN

LINELINELINELINELINELINE

BAL UNBAL

d

B

0

V

1

-

G

A

C

I

N

M

U

60

10

+10dB - 40dB

AUX

U

1

OO

2

OO

3

OO

4

OO

5/6

SHIFT

EQ EQ

100

LOW CUT

75 Hz

18dB/OCT

PAN

1

+15

U

2

+15

U

5

3

+15

U

6

4

+15

HI

U

12k

+15-15

U

MID

+15-15

800

2k200

8k

LOW

U

80Hz

+15-15

PAN

BAL

UN-

BAL

U

+10dB - 40dB

AUX

SHIFT

100

LOW CUT

75 Hz

18dB/OCT

BAL

UN-

BAL

U

10

+10dB - 40dB

AUX

1

2

3

4

5/6

SHIFT

EQ

100

LOW CUT

75 Hz

18dB/OCT

PAN

14

d

B

0

V

1

-

G

A

C

I

N

M

60

U

10

+10dB - 40dB

AUX

0

1

-

C

I

M

1

OO

+15

U

OO

2

OO

+15

U

OO

+15

U

OO

+15

U

+15-15

U

+15-15

800

8k

U

+15-15

2k200

LOW

80Hz

OO

PRE

5

3

OO

6

4

OO

5/6

SHIFT

EQ

HI

12k

800

100

LOW CUT

75 Hz

18dB/OCT

PAN

d

B

0

V

1

-

G

A

C

I

N

M

60

10

U

OO

+15

U

OO

+15

U

5

OO

+15

U

6

OO

+15

5/6

HI

U

12k

+15-15

U

MID MID MID MID

+15-15

800

2k200

8k

LOW

U

80Hz

+15-15

BAL UNBAL

15 16

d

B

V

G

A

I

N

60

U

+15

U

+15

U

+15

U

+15

U

12k

+15-15

U

+15-15

2k200

8k

LOW

U

80Hz

+15-15

LINELINELINELINELINELINE

d

B

0

1

-

G

A

C

I

M

10

+10dB - 40dB

U

OO

+15

U

OO

+15

PRE

U

OO

+15

U

OO

+15

5/6

SHIFT

U

+15-15

U

BAL UNBAL

V

I

N

CR1604

16-CHANNEL MIC/LINE MIXER

60

U

1

OO

U

2

OO

AUX

SENDS

1

5

SOLO

2

SOLO

6

PHAN

HI

12k

OO

C-R / PHONES

BAL UNBAL

U

AUX

1

2

5

3

6

4

EQ

HI

4321

BAL

UN-

BAL

MIC 4 MIC 3 MIC 2

-

VLZ

1

+10

2

+10

BAL UNBAL

TM

U

1

OO

+20

U

2

OO

+20

U

ASSIGN OPTIONS

3

MAIN MIX

OO

+20

TO SUBS

U

4

C-R / PHNS

OO

+20

PWR

ONLY

STEREO AUX RETURNS

U

OO

MAX

TAPE IN

+20

LINE

LINELINELINE

BAL UNBAL

MIC 1

PATENT PENDING

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

CLIP

28

10

7

4

LEVEL

SET

RUDE SOLO

LIGHT

2

0

2

4

7

10

20

30

LOW CUT

75 Hz

18dB/OCT

PAN

TAPE TO

MAIN MIX

OO

MAX

SOLO

MODE

NORMAL LEVEL SET

(AFL)

(PFL)

2k200

LOW

80Hz

TAPE

SUBS 1–2

SUBS 3–4

MAIN MIX

+15-15

800

8k10 0

U

+15-15

SOURCE

ASSIGN TO MAIN MIX

LR LR LR LR LR LR LR LR

9

MUTE

10

MUTE

OL

-

20

SOLO

1–2

3–4

L - R

OOOOOOOOOOOOOOOO

TRACK

1

OL

-

20

SOLO

1–2

3–4

L - R

TRACK

2

11

MUTE

OL

-

20

SOLO

1–2

3–4

L - R

TRACK

3

12

MUTE

OL

-

20

SOLO

1–2

3–4

L - R

TRACK

4

13

MUTE

OL

-

20

SOLO

1–2

3–4

L - R

TRACK

5

14

MUTE

OL

-

SOLO

1–2

3–4

L - R

TRACK

6

15

MUTE

20

MUTE

OL

-

20

SOLO

1–2

3–4

L - R

TRACK

7

16

OL

-

SOLO

1–2

3–4

L - R

TRACK

8

LEFT

RIGHT

1234

20

LEFT

RIGHT

LEFT

RIGHT

dB

10

5

U

5

10

20

30

40 50 60

OO

PHONES

MAIN

L-R MIX

dB

10

5

U

5

10

20

30

40 50 60

OO

Mackie CR1604-VLZ User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual