INSTANT MIXING

Heres how to get going right away, assuming you own a microphone and a keyboard: Plug your microphone into Channel 1s MIC input. Turn on the 1604-VLZPRO. Perform the Level-Setting Procedure. Connect cords from the MAIN OUT jacks to your amplifier. Hook up speakers to the amp and turn it on. Set channel 1s fader to the U mark. Engage (push in) Channel 1s L-R switch. Set the MAIN MIX fader one-quarter of the way up. Sing like a canary! Plug your keyboard into channels 3 and 4. Turn channel 3s PAN knob fully left and channel 4s PAN knob fully right. Set those faders to the U mark. Perform the Level-Setting Procedure. Engage the L-R switch on these channels. Play like a madman and sing like a canary! Its your first mix!
1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15.
Please write your serial number here for future reference (i.e. insurance claims, tech support, return authorization, etc.): Purchased at: Date of purchase:
Part No. 0006982-90 Rev. A1 06/Mackie Designs Inc. All Rights Reserved.

INTRODUCTION

Thank you for choosing a Mackie Designs professional compact mixer. The 1604-VLZ PRO is equipped with our new precision-engineered XDRTM Extended Dynamic Range premium studio-grade mic preamp featuring: Full gain range from 0 to 60dB +22 dBu line signal handling capability 130 dB dynamic range Distortion less than 0.0007%, 20Hz to 20kHz Bullet-proof RF rejection using DC pulse transformer circuitry Now that you have your 1604-VLZ PRO, find out how to get the most from it. Thats where this manual comes in. Whenever a specific 1604-VLZ PRO component is mentioned, itll be in all capital letters sans-serif type. That can help you find references to specific controls much faster, without slowing you down as you read normally. For example: The quick brown fader jumped over the RUDE SOLO LIGHT. Throughout these chapters youll find illustrations, with each feature numbered. If youre 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. Youll 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 youve found your answer. (These are not page numbers.) Youll also notice feature numbers just floating in space, like this. These numbers direct you to relevant information. This icon marks information that is critically important or unique to the 1604-VLZ PRO. For your own good, read them and remember them. They will be on the final test. This icon will lead you to in-depth explanations of features and practical tips. While not mandatory, theyll have some valuable information.

HOW TO USE THIS MANUAL

Since many of you folks will want to hook up your 1604-VLZ PRO 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 1604-VLZ PRO will be described geographically; in other words, in order of where it is physically placed on the mixers top or rear panel. These descriptions are divided into the first three manual chapters, just as your mixer is organized into three distinct zones: 1. PATCHBAY: The zillion jacks on the back of the pod. 2. CHANNEL STRIP: The sixteen channel strips on the left. 3. OUTPUT SECTION: The output section on the right.
A PLUG FOR THE CONNECTORS SECTION
Appendix is a section on connectors: XLR connectors, balanced connectors, unbalanced connectors, special hybrid connectors.
UTILISE UN FUSIBLE DE RECHANGE DE MME TYPE. DEBRANCHER AVANT DE REMPLACER LE FUSIBLE

PATCHBAY

INSERT INSERT INSERT INSERT INSERT LINE
More resources on our website @ www.mackie.com
THE GLOSSARY: A Haven of Non-Techiness For The Neophyte

1604-VLZPRO

CHANNEL STRIPS

U U U U U U U U U U U

OUTPUT SECTION
The "Glossary of Terms" is a fairly comprehensive dictionary of pro-audio terms. If terms like clipping, noise floor, or unbalanced leave you blank, refer to this glossary for a quick explanation. ARCANE MYSTERIES ILLUMINATED "Arcane Mysteries" discusses some of the down n dirty practical realities of microphones, fixed installations, grounding, and balanced versus unbalanced lines. Its a goldmine for the neophyte and even the seasoned pro might learn a thing or two.

CONTENTS

LEVEL-SETTING PROCEDURE.. 3 INSTANT MIXING.. 3 HOOKUP DIAGRAMS.. 6 CONVERTING TO RACKMOUNT MODE. 9 PATCHBAY DESCRIPTION. 10 E-Z INTERFACE.. 10 MIC/LINE INPUTS ON EVERY CHANNEL. 10 MIC INPUTS.. 10 PHANTOM POWER.. 10 LINE INPUTS.. 11 TRIM.. 11 INSERT... 11 DIRECT OUT.. 11 SPLIT MONITORING.. 12 AUX SEND OUTPUTS. 12 EFFECTS: SERIAL OR PARALLEL?.. 13 AUX RETURN INPUTS.. 13 SUB OUTS.. 13 C-R OUTS (CONTROL ROOM OUTPUTS). 14 PHONES OUTPUT. 14 TAPE OUTPUT... 14 TAPE INPUT.. 14 MAIN INSERT.. 15 MAIN OUTS.. 15 MONO OUTPUT.. 15 MONO LEVEL.. 15 POWER CONNECTION.. 15 FUSE.. 15 POWER SWITCH.. 16 POWER LED.. 16 PHANTOM SWITCH.. 16 PHANTOM LED.. 16 BNC LAMP SOCKET.. 16 CHANNEL STRIP DESCRIPTION.. 17 U LIKE UNITY GAIN.. 17 FADER... 17 ASSIGN (1-2, 3-4, L-R).. 17 SOLO.. (SOLO) LED.. 18 OL (MUTE) LED.. 18 MUTE... 19 PAN... 19 3-BAND MID-SWEEP EQ. 19 LOW CUT.. 20 AUX.. 20

LINE INPUTS

These /4" jacks share circuitry (but not phantom power) with the mic preamps. You can use these inputs for virtually any signal youll come across, from instrument levels as low as 50dB to operating levels of 10dBV to +4dBu, as there is 60dB of gain available via the TRIM knob. Always be sure to perform the Level-Setting Procedure. To learn how signals are routed from these inputs:. To connect balanced lines to these inputs, use a 1/4" tip-ring-sleeve (TRS) plug, the type found on some stereo headphones:
RING SLEEVE SLEEVE RING TIP
This 15dB of attenuation can be very handy when you are inserting a signal that is very hot, or you want to add a lot of EQ gain, or both. Without this virtual pad, a scenario like that might lead to channel clipping.
These 1/4" jacks are for connecting serial effects processors such as compressors, equalizers, de-essers, or filters. The INSERT point is after the TRIM control, but before the channels EQ, LOW CUT, fader and MUTE controls. Insert cables must be wired thusly:
tip ring sleeve SEND to processor (TRS plug) tip

RING TIP SLEEVE

This plug connects to one of the mixers Channel Insert jacks.
ring RETURN from processor
Tip = positive (+ or hot) Ring = negative ( or cold) Sleeve = shield or ground To connect unbalanced lines to these inputs, use a 1/4" mono (TS) phone plug or standard instrument cable:

SLEEVE SLEEVE TIP TIP

Tip = send (output to effects device) Ring = return (input from effects device) Sleeve = common ground Even though channels 18 already have DIRECT OUT jacks , INSERT jacks can also be used as channel direct outputs; post-TRIM, pre-LOW CUT, and pre-EQ. Heres three ways you can use the INSERT jacks:
Tip = signal (+) Sleeve = ground

MONO PLUG

SLEEVE

Channel Insert jack

Direct out with no signal interruption to master. Insert only to first click.
Yes its true, these controls are not located in the patchbay section at all. Theyre found along the top row of knobs in the channel strip section. But their purpose is so closely linked with the MIC and LINE input jacks that we couldnt bear to separate them. Heres why: Every time you plug something into a MIC or LINE input jack, you should perform the LevelSetting Procedure , and that procedure is basically how to use the TRIM knob. 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 (MIC), there will be 0dB of gain with the knob fully down, ramping to 60dB of gain fully up. Through the 1/4" input (LINE), there is 15dB of attenuation fully down and 45dB of gain fully up, with a U (unity gain) mark at 10:00.
Direct out with signal interruption to master. Insert all the way in to the second click.

STEREO PLUG

For use as an effects loop. (TIP = SEND to effect, RING = RETURN from effect.)

DIRECT OUT

Found only on channels 18, these 1/4" jacks deliver the signal from the very end of the channel path; post-TRIM, post-EQ, post-LOW CUT, post-fader and post-MUTE. They are the key player in split monitoring, making the 1604-VLZ PRO perfect for an 8-track studio. To wire your own cables:.

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, theyre patched from the channels DIRECT OUT jacks to the corresponding multitrack input (DIRECT OUT 1 to multitrack input 1, 2 to 2, 3 to 3, etc.). The signals will now be recorded or pass directly through the multitrack, depending on each tracks record-ready status.

multitrack machine

sound sources

direct outputs

group outputs
The outputs of the multitrack are then patched to the next eight LINE inputs on the 1604-VLZ PRO (multitrack out 1 to LINE input 9, 2 to 10, 3 to 11, etc.). Aha! Thats why it says TRACK 1 next to channel 9s fader, TRACK 2 next to channel 10, and so forth. These channels (916) will be assigned to the mixers output section, delivering the signals to their ultimate destination, which may be your mixdown 2-track, your control room system, or your headphones.
But lets not forget that the 1604-VLZ PRO is a 4-bus mixer. These buses lead to the SUB OUTS , and are designed to accomplish the task of getting channels to the multitrack without using the direct outputs. For example, a channel is assigned to SUB OUT 1. SUB OUT 1s output is patched to multitrack input 1. From there, the multitrack output goes to the mixers channel 9 LINE input, as we just discussed. (Hot tip: To feed an 8-track deck with 4 sub outputs, simply use Y-cords: SUB OUT 1 feeds tracks 1 and 5, 2 feeds 2 and 6, 3 feeds 3 and 7, and 4 feeds 4 and 8. Tracks in record mode will accept the signal, and tracks in safe mode will ignore the signal.) The advantages: You can assign any channel to any track, without repatching. You can assign multiple channels to one track and control the overall level of that subgroup. You cant bounce tracks without this feature. Perhaps the best method is to do both: Use the SUB OUTS to feed multichannel submixes (like a drum kit) to some of the tracks, and the DIRECT OUT jacks to feed single-channel signals (like bass guitar) to the other tracks. The point is that you never listen directly to the source channels (18). You listen to the monitor channels (916) and theyre listening to the multitrack that is listening to the source channels. The main advantage is that you wont be forced to constantly repatch your multitrack just set it up and forget it. Youll also know for certain that the signals are indeed getting to the multitrack, since youre 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 8Bus. Each of its channels is actually two channels: one carrying the mic/line sound source and the other carrying the multitrack output.

The fader is almost the last control in a channels signal path. Its placed after the EQ and MUTE controls (post-EQ /post-MUTE and before the PAN 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, youll want to confirm the TRIM setting by performing the Level-Setting Procedure.
If youre printing new tracks or bouncing existing ones, youll also use the 12 and 34 switches, but not the LR switch. Here, you dont want the subgroups sent back into the MAIN MIX, but sent out, via the SUB OUTS jacks, to your multitrack inputs. However, if youre printing tracks via the DIRECT OUT jacks , all the channel assignment switches should be disengaged (up). The 1604-VLZ PRO is what we call a true 4-bus mixer. Each channel can be assigned or unassigned to any of the subgroups without affecting the other subgroups or settings within the channel, and each subgroup has its own master fader and dedicated output. In fact, since there are 4 subgroups and the MAIN LR MIX, its actually a true 6-bus mixer. We could have named it the CR1606-VLZ. Darn!
LEVEL SET (PFL) is also the preferred mode for SR (sound reinforcement, or live sound), to preview channels before they are let into the mix. It wont give you stereo placement, but will give you signal even if the fader is pulled down. Remember, LEVEL SET (PFL) taps the channel signal before the fader. If you have a channels fader set way below U (unity gain), SOLO wont know that and will send a unity gain signal to the C-R OUTS, PHONES output and meter display. That may result in a startling level boost at these outputs, depending on the position of the SOLO level knob. In a nutshell, soloed channels are sent to the SOURCE mix , that ultimately feeds your C-R OUTS, PHONES output and meter display. Whenever SOLO is engaged, all SOURCE selections (MAIN MIX, 12, 34 and TAPE) are defeated, to allow the soloed channel to do just that SOLO!
This lovable switch allows you to check signals through your PHONES output or C-R OUTS without having to assign them to the L-R, 1-2 or 3-4 mixes. You can solo as many channels as you like. SOLO does not interrupt any of the other channels, buses or outputs thats called nondestructive solo. Not only that, via the MODE switch , the 1604-VLZ PROs solo system comes in two flavors: NORMAL (AFL) (sometimes called SIP, or solo-in-place) and LEVEL SET (PFL) (sometimes called PFL, or pre-fader-listen). During NORMAL (AFL) mode, the soloed channels signal is sent directly to the C-R OUTS, PHONES output, and meter display just as it would sound to the channels assignment switches: post-EQ, post-fader and post-PAN. The only difference is that SOLO works regardless of the channels 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, thats exactly what youll hear if you SOLO during NORMAL (AFL) mode. Its just as if you took the time to MUTE all the other channels. LEVEL SET (PFL) solo is the key player in the all-important Level-Setting Procedure. Itll send the channels actual internal levels to the meters so youll know just whats going on, levelwise. This procedure should be performed every time a new sound source is patched into a channels MIC or LINE input jacks.

20 (SOLO) LED

An LED that does two completely different things! Saves space, but requires some explanation. First, the 20 part: Often referred to as signal activity, this LED will flicker in time with the signal present in that channel. Its 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 part. When a channels SOLO switch is engaged, this LED will glow steadily, without flickering. It will also be brighter than it would be as a 20 indicator. In conjunction with the RUDE SOLO LIGHT , you can find a rogue SOLO switch very quickly.

OL (MUTE) LED

Another LED that does two completely different things! First, the OL part: OL means overload, or clip. You dont want that to happen. Ever. Clipping can happen to any mixer its the point where the signals voltage exceeds the supply voltages that power the circuitry. The 1604-VLZ PROs OL LED will come on just before clipping, so if you see it, take immediate action: Perform the Level-Setting Procedure. If that doesnt help, check for excessive use of EQ boost or fader gain. Like the 20 LED, it will tend to flicker in time with that channels signal. Now for the MUTE part. Assuming your levels are set correctly, the OL LED will never
come on as a result of clipping. Thats pretty boring. So, to liven things up, this LED will glow steadily when that channels 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

CONSTANT LOUDNESS ! ! !

The 1604-VLZ PROs PAN controls employ a design called Constant Loudness. It has nothing to do with living next to a freeway. As you turn the PAN 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.

Engaging a channels MUTE switch provides the same results as turning the fader all the way down: Any channel assignment to L-R, 1-2 or 3-4 will be interrupted. All the post AUX sends will be silenced, as will the DIRECT OUT signals on channels 1 through 8. And of course, that fun-loving OL (MUTE) LED will commence to glow. The PRE AUX sends , channel INSERT send and SOLO (in LEVEL SET (PFL) mode) will continue to function during MUTE. Depending on the audio content in a channel, engaging its MUTE switch may cause a slight popping sound. This is not a problem within the mixer, and it can be avoided: Simply engage the LOW CUT switch on each channel (unless its low frequency content is vitally important, such as a kick drum or bass guitar). LOW CUT eliminates subsonic debris, which causes the pop, and its effect is usually transparent.

3-BAND MID-SWEEP EQ

The 1604-VLZ PRO has a 3-band, mid-sweep equalization: LOW shelving at 80Hz, MID sweep peaking from 100Hz to 8kHz, and HI shelving at 12kHz. Its probably all the EQ youll ever need! (Shelving means that the circuitry boosts or cuts all frequencies past the specified frequency. For example, the 1604-VLZ PROs LOW EQ boosts 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.) The LOW EQ provides up to 15dB boost or cut 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

PAN adjusts the amount of channel signal sent to the left versus the right outputs. Pan determines the fate of the L-R assignment, subgroups 12 and 34, and the SOLO (in LEVEL SET (PFL) mode). With the PAN knob hard left, the signal will feed the left MAIN MIX, subgroup 1, subgroup 3 and left NORMAL (AFL) solo mode (assuming their assignment switches are engaged). With the knob hard right, signal feeds the right MAIN MIX, subgroup 2, subgroup 4 and right NORMAL (AFL) solo mode. With the PAN knob set somewhere in-between left and right, the signal will be divided between the left and right busses.
15 20Hz 100Hz 1kHz 10kHz 20kHz

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 signal into an odd channel (1, 3, 5, etc.) and the right signal into the adjacent even channel (2, 4, 6, etc.). Then pan the odd channel hard left and the even channel hard right.
Used in conjunction with the LOW CUT switch , you can boost the LOW EQ without injecting a ton of subsonic debris into the mix. We recommend using the LOW CUT feature on all channels, except low frequency signals, like kick drums and bass guitars. The MID EQ , or midrange, has a fixed bandwidth of 1.5 octaves. The MID knob sets 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.

Pre Vs. Post

MUTE INPUT TRIM INSERT LOW CUT PAN EQ FADER ASSIGN

'PRE' SIGNAL

'POST' SIGNAL

PRE SWITCH

OUTPUT SECTION DESCRIPTION
Youve just learned about the input channels and how the signals get in and out. The signals come in via MIC and LINE 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.
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. All channels that are assigned to subgroups, not muted and not turned fully down will appear at the SUB OUTS. Unlike the MAIN OUT, the subgroup signals do not pass through an insert jack on their way to the subgroup faders. Thats no problem should you want to send these signals through a serial effects processor, simply patch from the SUB OUTS to the effects input, and from the effects output to whatever the final destination is, usually a multitrack recorder. The subgroup signals is off when its fader is fully down, the U marking is unity gain, and fully up provides 10dB additional gain. Remember that if youre treating two subgroups as a stereo pair, subgroup 1 and 2 for example, make sure that both subgroup faders ride together, to maintain the left/right balance.

MAIN MIX FADER

This fader controls the levels of signals sent to the MAIN OUT 1/4" TRS jacks and TAPE OUTPUT RCA jacks. All channels and AUX RETURNs that are assigned to the MAIN MIX, not muted and not turned fully down will appear at the MAIN OUT. Before the main mix gets to this fader, the signals pass through the MAIN INSERT. The MAIN MIX signals are off with the fader fully down, the U marking is unity gain, and fully up provides 10dB additional gain. This additional gain will typically never be needed, but once again, its nice to know its there. The fader itself is a stereo version of the channel and subgroup faders same supersmooth custom taper, same dead silence when turned fully down. This is the fader to pull down at the end of the song when you want The Great Fade-Out.

CTL ROOM / PHONES

SUBS 1 2
One popular use of the subgroups is to use them as master faders for a group of channels on their way to the MAIN MIX. Lets say youve got a drum kit hogging up seven channels and youre going to want to fade them out at a different rate than the other channels. You dont want to try that with seven hands or seven fingers, so just un-assign these channels from LR, reassign them to subgroup 12, engage the ASSIGN TO MAIN MIX, LEFT on subgroup 1 and the ASSIGN TO MAIN MIX, RIGHT on subgroup 2. Now you can ride the entire stereo drum mix with two faders 1 and 2. If you engage just one ASSIGN TO MAIN MIX switch per subgroup (LEFT or RIGHT), the signal sent to the MAIN MIX will be the same level as the SUB OUTS. If you want the subgroup to appear in the center of the main mix, engage both the ASSIGN TO MAIN MIX, LEFT and ASSIGN TO MAIN MIX, RIGHT switches. The signal will be sent to both sides, and will be attenuated just enough to preserve constant loudness , just like the channel PAN knobs when set center.

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. Thats why those wall wart mixers are often noisy they cant power a VLZ circuit.

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 youve 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 the MAIN MIX or the SOURCE matrix.
Now you know how to select the signals you want to send to the engineers control room and/or phones. From there, these signals all pass through the same level control, aptly named:

CTL ROOM/PHONES

As you might expect, this knob controls the levels of both the stereo C-R OUTS and PHONES output. The control range is from off through unity gain at the detent, with 10dB of extra gain (when turned fully clockwise). When MAIN MIX is your SOURCE selection, those signals will now pass through two level controls on the way to your control room amp and headphones the MAIN MIX fader and this CTL ROOM/PHONES knob. This way, you can send a nice healthy level to the MAIN OUT jacks (MAIN MIX fader at U), and a quieter level to the C-R OUTS or PHONES (CTL ROOM/PHONES 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 MAIN OUT 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 switch, that will interrupt the mix, as weve already covered. Once again, engaging a SOLO switch will cause this dramatic turn of events: Any existing SOURCE matrix selections will be replaced by the SOLO signals, appearing at the C-R OUTS, PHONES output and at the meter display. The audible solo levels are controlled by the SOLO level knob. The SOLO levels appearing on the meter display are not controlled by anything you wouldnt want that. You want to see the actual channel level on the meter display, regardless of how loud youre listening.

C-R/PHNS ONLY (AUX RET 4)
Once again, the default for all the STEREO AUX RETURNS is to feed them directly into the MAIN MIX. Youve just learned about the optional exceptions involving AUX RETURN 3. AUX RETURN 4 also has an optional exception: By engaging the C-R/PHNS switch, you will remove AUX RETURN 4s stereo signal from the MAIN MIX and send it directly to the CTL ROOM/PHONES SOURCE matrix. It matters not if any of the SOURCE matrix switches are assigned, but it will be interrupted, as usual, if a SOLO switch is engaged. Lets pretend youre 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 MAIN MIX, but you dont want the mixdown deck 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.

MODIFICATIONS

For most folks, the 1604-VLZ PRO works just fine the way it is. But for special applications, there are two signal routing changes that can be performed easily on the 1604-VLZ PRO. Easy for someone with soldering experience, that is. If you dont know how to solder, find a technician that can. This is NOT a good place to learn! Modification A changes AUX SEND 1 and 2, with the pre switch engaged, to be post-EQ instead of pre-EQ. Mod B changes the SOURCE matrixs MAIN MIX selection to tap the stereo signal before the MAIN MIX level control (pre) instead of after (post). Instructions for performing these modifications can be found on our website at www.mackie.com (click on Support). Or you can call Tech Support at 1-800-258-6883 for assistance.
MONO LEVEL MAIN MIX MONO OUT INSERT

CR/PHN R CR/PHN L

MAIN R MAIN L
PHANTOM POWER (GLOBAL SWITCH

SUB 4 SUB 3 SUB 2 SUB 1

AUX 6 AUX 5 AUX 4 AUX 3 AUX 2 AUX 1

LOGIC PFL SIP R SIP L

TRIM INSERT
20 (FLICKER) SOLO (GLOW) OL (FLICKER) MUTE (GLOW)
EQ FADER PAN ASSIGN L R FREQ SIP L 3 MAIN 4 L SOLO TAPE R TAPE IN TAPE LEVEL 12 AUX 3 (FROM SUB 3 OUT) AUX 4 SHIFT 5/6 (FROM SUB 4 OUT) EFX TO MON SOLO RELAY SOLO LEVEL 34 C-R/PHONES MIX SIP R PFL C-R/ PHONES SOURCE ASSIGN TO MIX MAIN MIX FADER R HI MUTE LO MID 80 1008K 12K

MIC IN 75Hz HPF LOW CUT

MAIN MIX LEFT OUT

SLEEVE SLEEVE TIP

TRS stands for Tip-Ring-Sleeve, the three connections available on a stereo 14" or balanced phone jack or plug. See Figure B.

Figure C: TS Plug

SWITCHED 14" PHONE JACKS
Switches can be incorporated into 14" 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.
Figure B: 14" TRS Plugs
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 14" TRS jack or plug is connected tip to left, ring to right and 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.

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 electrically identical to a 14" 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.

SLEEVE TIP SLEEVE TIP

SPECIAL MACKIE CONNECTIONS
The balanced-to-unbalanced connection has been anticipated in the wiring of Mackie jacks. A 14" TS plug inserted into a 14" TRS balanced input, for example, will automatically unbalance the input and make all the right connections. Conversely, a 14" TRS plug inserted into a 14" unbalanced input will automatically tie the ring (low or cold) to ground (earth).
TRS Send/Receive Insert Jacks

Mackies single-jack inserts are the threeconductor, TRS-type 14" phone. They are unbalanced, but have both the mixer output (send) and the mixer input (return) signals in one connector (See Figure E). 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.

Figure D: RCA Plug

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 XLR female connected to an unbalanced 14" TS phone plug.

Figure E: Insert Plug

Using the Send Only on an Insert Jack
MACKIE STEREO INPUTS AND RETURNS: If you insert a TS (mono) 14" plug only partially 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. Heres 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 its 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 Limbaughs birthday party, etc.)

Mackie, the "Running Man" figure, VLZ and XDR 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. 2003 Mackie Designs Inc. All Rights Reserved.
1604-VLZ PRO LIMITED WARRANTY
Please keep your sales receipt in a safe place.
A. Mackie warrants all materials, workmanship and proper operation of this product for a period of three years from the original date of purchase. If any defects are found in the materials or workmanship or if the product fails to function properly during the applicable warranty period, Mackie, at its option, will repair or replace the product. Labor for replacing all potentiometers and switches is covered for the first year, after which it is excluded from warranty coverage and may be billed to you. This warranty applies only to equipment sold and delivered within the U.S. by Mackie or its authorized dealers. B. Failure to register online or return the product registration card will not void the 3-year warranty. C. Service and repairs of Mackie products are to be performed only at the factory (see D below) OR at an Authorized Mackie Service Center (see E below). Unauthorized service, repairs, or modification will void this warranty. D. To obtain factory service: 1. Call Mackie at 800/258-6883, 8AM to 5PM Monday through Friday (Pacific Time) to get a Return Authorization (RA). Products returned without an RA number will be refused. 2. Pack the product in its original shipping carton. If you do not have the carton, just ask for one when you get your RA number, and well send a shipping carton out promptly. More information on packing can be found in the Service section of this manual. Do not use packing peanuts, shredded newspapers, or other material with small particles, old underwear, or socks. Please seal the Mackie product in a plastic bag. 3. Also include a note explaining exactly how to duplicate the problem, a copy of the sales receipt with price and date showing, and your return street address (no P.O. boxes or route numbers, please!). If we cannot duplicate the problem at the Mackie Factory or establish the starting date of your Limited Warranty, we may, at our option, charge for service time. 4. Ship the product in its original shipping carton, freight prepaid to: Mackie Designs Service Department 16220 Wood-Red Rd. NE Woodinville, WA 98072 USA IMPORTANT: Make sure that the RA number is plainly written on the shipping carton. E. To obtain service from an Authorized Mackie Service Center: 1. Call Mackie at 800/258-6883, 8AM to 5PM Monday through Friday (Pacific Time) to get: 1) The name and address of your nearest Mackie Authorized Service Center and 2) A return authorization (RA). You must have an RA number before taking your unit to a service center. 2. Make sure that you have a copy of your products sales receipt from the store where you bought the product. It is necessary to establish purchase date and thus determine whether or not your product is still under warranty. If you cant find it, the Authorized Service Center may charge you for repairs even if your product is still covered by Mackies 3-Year Limited Warranty. 3. Make sure that the problem can be duplicated. If you bring your product to an Authorized Service Center and they cant find anything wrong with it, you may be charged a service fee. 4. If the Mackie Authorized Service Center is located in another city, pack the product in its original shipping carton. More information on packing can be found in the Service section of this manual. 5. Contact the Mackie Authorized Service Center to arrange service or bring the product to them. F. Mackie and Mackie Authorized Service Centers reserve the right to inspect any products that may be the subject of any warranty claims before repair or replacement is carried out. Mackie and Mackie Authorized Service Centers may, at their option, require proof of the original date of purchase in the form of a dated copy of the original dealers invoice or sales receipt. Final determination of warranty coverage lies solely with Mackie Designs Inc. or its Authorized Service Centers. G. Any Mackie product deemed eligible for repair or replacement under the terms of this warranty will be repaired or replaced within thirty days of receipt by Mackie. Mackie may use refurbished parts for repair or replacement of any product. Products returned to Mackie that do not meet the terms of this Warranty will be repaired and returned C.O.D. with billing for labor, materials, return freight, and insurance. Products repaired under warranty at Mackies factory will be returned freight prepaid by Mackie to any location within the boundaries of the USA. H. Mackie warrants all repairs performed for 90 days or for the remainder of the original warranty period. Mackie assumes no responsibility for the quality or timeliness of repairs performed by Mackie Authorized Service Centers. I. This warranty is extended to the original purchaser and to anyone who may subsequently purchase this product within the applicable warranty period. J. This is your sole warranty. Mackie does not authorize any third party, including any dealer or sales representative, to assume any liability on behalf of Mackie Designs or to make any warranty for Mackie Designs. K. THE WARRANTY GIVEN ON THIS PAGE IS THE SOLE WARRANTY GIVEN BY MACKIE AND IS IN LIEU OF ALL OTHER WARRANTIES, EXPRESS AND IMPLIED, INCLUDING THE WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE. THE WARRANTY GIVEN ON THIS PAGE SHALL BE STRICTLY LIMITED IN DURATION TO ONE YEAR FROM THE DATE OF ORIGINAL PURCHASE FROM AN AUTHORIZED MACKIE DEALER. UPON EXPIRATION OF THE APPLICABLE WARRANTY PERIOD, MACKIE SHALL HAVE NO FURTHER WARRANTY OBLIGATION OF ANY KIND. MACKIE SHALL NOT BE LIABLE FOR ANY INCIDENTAL, SPECIAL, OR CONSEQUENTIAL DAMAGES THAT MAY RESULT FROM ANY DEFECT IN THE MACKIE PRODUCT OR ANY WARRANTY CLAIM. Some states do not allow exclusion or limitation of incidental, special, or consequential damages or a limitation on how long warranties last, so some of the above limitations and exclusions may not apply to you. This warranty provides specific legal rights and you may have other rights which vary from state to state.