1604-VLZ3
16-Channel Mic/Line Mixer OWNERS MANUAL
Important Safety Instructions
1. 2. 3. 4. 5. 6. 7. Read these instructions. Keep these instructions. Heed all warnings. Follow all instructions. Do not use this apparatus near water. Clean only with a dry cloth. Do not block any ventilation openings. Install in accordance with the manufacturers instructions. 8. Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including ampliers) that produce heat. 9. Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding-type plug has two blades and a third grounding prong. The wide blade or the third prong are provided for your safety. If the provided plug does not t into your outlet, consult an electrician for replacement of the obsolete outlet. 10. Do not overload wall outlets and extension cords as this can result in a risk of re or electric shock. 11. Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles, and the point where they exit from the apparatus. 12. Only use attachments/accessories specied by the manufacturer. PORTABLE CART 13. Use only with a cart, stand, tripod, bracket, or WARNING table specied by the manufacturer, or sold with the apparatus. When a cart is used, use caution when moving the cart/apparatus combination to avoid injury from tip-over. 14. Unplug this apparatus during lightning storms or when unused for long periods of time. 15. Refer all servicing to qualied service personnel. Servicing is required when the apparatus has been damaged in any way, such as powersupply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped. 16. This apparatus shall not be exposed to dripping or splashing, and no object lled with liquids, such as vases or beer glasses, shall be placed on the apparatus. 17. This apparatus has been designed with Class-I construction and must be connected to a mains socket outlet with a protective earthing connection (the third grounding prong). 18. This apparatus has been equipped with a rocker-style AC mains power switch. This switch is located on the rear panel and should remain readily accessible to the user. 19. The MAINS plug or an appliance coupler is used as the disconnect device, so the disconnect device shall remain readily operable.

CAUTION AVIS

20. NOTE: This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures: Reorient or relocate the receiving antenna. Increase the separation between the equipment and the receiver. Connect the equipment into an outlet on a circuit different from that to which the receiver is connected. Consult the dealer or an experienced radio/TV technician for help. CAUTION: Changes or modications to this device not expressly approved by LOUD Technologies Inc. could void the user's authority to operate the equipment under FCC rules. 21. 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 prsent appareil numrique nmet pas de bruits radiolectriques dpassant las limites applicables aux appareils numriques de class A/de class B (selon le cas) prescrites dans le rglement sur le brouillage radiolectrique dict par les ministere des communications du Canada. 22. Exposure to extremely high noise levels may cause permanent hearing loss. Individuals vary considerably in susceptibility to noise-induced hearing loss, but nearly everyone will lose some hearing if exposed to sufciently intense noise for a period of time. The U.S. Governments Occupational Safety and Health Administration (OSHA) has specied the permissible noise level exposures shown in the following chart. According to OSHA, any exposure in excess of these permissible limits could result in some hearing loss. To ensure against potentially dangerous exposure to high sound pressure levels, it is recommended that all persons exposed to equipment capable of producing high sound pressure levels use hearing protectors while the equipment is in operation. Ear plugs or protectors in the ear canals or over the ears must be worn when operating the equipment in order to prevent permanent hearing loss if exposure is in excess of the limits set forth here:

Please write your serial number here for future reference (i.e., insurance claims, tech support, return authorization, make dad proud, etc.)

Purchased at:

Part No. SW0548 Rev. E 01/09 2006-2009 LOUD Technologies Inc. All Rights Reserved. Loosely based on a dream sequence in which the entire marketing department dance "The Twist" on a live TV pop music show back in 1966.

Date of purchase:

Introduction
Thank you for choosing a Mackie professional compact mixer. The 1604-VLZ3 is equipped with our precision-engineered XDR2TM Extended Dynamic Range premium studio-grade mic preamp. Now that you have your 1604-VLZ3, nd out how to get the most from it. Thats where this manual comes in. This icon marks information that is critically important or unique to the 1604-VLZ3. For your own good, read them and remember them. They will be on the nal test. This icon will lead you to in-depth explanations of features and practical tips. While not mandatory, they usually have some valuable nuggets of information. Appendix A is a section on troubleshooting and repair information. Appendix B is a section on connectors: XLR connectors, TRS balanced connectors, TS unbalanced connectors, and Insert connectors. Appendix C shows the technical specications, and a block diagram showing the internal signal path and general goings-on within the mixer.

How To Use This Manual

Since many of you folks will want to hook up your 1604-VLZ3 immediately, the rst pages you will encounter after the table of contents are the ever-popular hookup diagrams. These show typical mixer setups for Recording and Stereo PA. After this section is a detailed tour of the entire mixer. Every feature of the 1604-VLZ3 is described geographically; in other words, in order of where it is physically placed on the mixers top or rear panel. These descriptions are divided into the rst three sections, just as your mixer is organized into three distinct zones: Patchbay: The patchbay along the top and back, where you connect things. Channel Strip: The sixteen channel strips on the left where you adjust each channel. Output Section: The output section on the right. Throughout these chapters youll nd illustrations, with each feature numbered. If youre curious about a feature, simply locate it on the appropriate illustration, notice the number attached to it, and nd that number in the nearby paragraphs.

HOOKUP DIAGRAMS

Mic 1-2

Guitar Bass Processors

Stereo Compressor

Keyboard

Drum Machine

CHANNEL INSERTS

CHANNEL INPUTS
Multi-track Digital Recorder

BAL/UNBAL

BAL/UNBAL BAL/UNBAL

MAIN INSERT

AUX SENDS
C/R OUT TAPE TAPE BAL/UNBAL OUT IN

Stereo Tape Deck

HR824s or other Powered Studio Monitors

STEREO RETURNS 1 R L

SUB OUTS
Stereo Compressor and Stereo EQ

STEREO MONO MAIN OUT

DIRECT OUT
Reverb Delay Mono in Stereo out

PHONES

Headphones

Recording System

Mics 1-4

Stereo Compressors

Guitar

Processor Drum Machine

Active Stage Monitors
Keyboard or other line-level input
Left and Right Active PA Speakers

Mono EQ Mono EQ

Stereo Compressor and Stereo EQ Multi-track Digital Recorders for Optional Live Recording

CD/DVD Player

STEREO RETURNS 1 R L R

Reverb

Live Stereo PA System
Converting To Rackmount Mode
Not only is the new 1604-VLZ3 a compact, professional-quality tabletop mixer, its rack- mountable. The unique rotating input pod makes this possible. With a trusty phillips screwdriver, nerves of steel, grit, determination, your charming good looks, and a few moments of your valuable time, it can be converted from desktop mode (from the factory) to rackmount mode: 1. Turn off the power and remove ALL the cords from the mixer power cord, audio, lamps, everything. 2. Place the mixer, face down, on a clean soft surface, like a blanket or very large dog. 3. Remove the four screws securing the cable cover [a] and set the plate aside. 4. Replace two of the screws; the ones at the pod end of the mixer [b]. 5. Remove two pod-mounting screws on each side of the mixer [c]. 6. Gently pull the pod away from the slots, rotate it, and place it, tabs rst, into the rackmount tabs [d], located on the underside of the main chassis. Be careful not to constrict or pinch any of the ribbon or power cables. 7. Carefully install the pod-mounting screws in their new locations [d]. 8. Install the rack ears that came with the mixer, using the supplied packet of screws. These screws are a bit longer than the ones you have to take out. The rack ears can be installed in either of two depths as shown at the bottom of this page: [e] mixers surface ush with the rack rails, like ordinary rackmount equipment, or [f] mixers surface sunken into the rack, to protect the knobs from being bumped. NOTE: If you remove the rack ears at a later date, use the original (shorter) screws to secure the sides. An optional accessory called the ROTOPOD-VLZ is available and can be used in desktop or rackmount installations. It will put the patchbay jacks on the same plane as all the knobs, buttons and faders. This is a lifesaver in applications that demand frequent repatching, and costs a heck of a lot less than an external patchbay, not to mention all the interface and patch cords. Please visit your dealer for more exciting details. Be sure to order the VLZ3 version so you dont end up with the one for the classic CR-1604!

Aux Send Signal Processor (e.g., Reverb) Aux Return Wet Signal Mix Stage Dry Signal(s) Processed Signal Output Section
Channel Path Dry Signal(s)

7. STEREO RETURNS

This is where you connect the outputs of your parallel effects devices (or extra audio sources). Theyll accept just about any pro or semipro effects device on the market. To learn how signals are routed from these inputs, see STEREO RETURN LEVEL [51] on page 23. Mono: If you have an effects device with a mono output (one cord), plug that into the left input of a STEREO 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.
9. C-R OUTS (CONTROL ROOM OUTPUTS)
These 1/4" jacks are usually patched to the inputs of your control room amplier or a headphone distribution amplier. To learn how signals are routed to these outputs, see CTL ROOM/PHONES [43] on page 20.
10. PHONES OUTPUT (on front panel)
The 1604-VLZ3s 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, see CTL ROOM/PHONES [43] on page 20. If youre wiring your own cable for the PHONES output: Tip = left channel Ring = right channel Sleeve = common ground WARNING: When we say the headphone amp is loud, were not kidding. It can cause permanent ear damage. Even intermediate levels may be painfully loud with some earphones. BE CAREFUL! Always turn the CTL ROOM/PHONES [43] knob all the way down before connecting headphones. Keep it down until youve put the phones on. Then turn it up slowly. Why? Engineers who fry their ears nd themselves with short careers.

8. SUB OUTS

These four 1/4" jacks are usually patched to the inputs of a multitrack deck, or to secondary ampliers in a complex installation. To learn how signals are routed to these outputs, see SUBGROUP FADERS [38], page 19.

a cord in this 1/4" jack, hand the other end to Mr. Mono, and youre done. Hes got his mono mix and youve still got your stereo mix. The MONO output is nothing more than a mix of the left and right main mix.

16. 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 sending mono signals to mic inputs like camcorders, telephone interface boxes, even answering machines. With the pot all the way up (fully clockwise), youll have 6 dB of extra gain, with unity gain halfway between the one and two oclock positions.

17. VOLTAGE SELECTOR

Located on the bottom panel, is a voltage selector switch.

13. MAIN INSERT

These 1/4" jacks are for connecting serial effects such as compressors, equalizers, de-essers, or lters. The insert point is after the mix amps, but before the MAIN MIX [37] fader. Insert cables must be wired thusly: Tip = send (output to effects device) Ring = return (input from effects device) Sleeve = common ground (connect shield to all three sleeves)
WARNING: Before you plug the AC power cord into the 1604-VLZ3, you must make sure that this slide switch is set to the same voltage as your local AC mains supply. Only slide the voltage switch with the power cord unplugged. Use a at headed screwdriver to slide the switch if needed. The switch allows you to use the mixer in different countries and voltages, meet interesting people from other cultures, and entertain them.

14. MAIN OUTS

These 1/4" jacks are usually patched to the inputs of your 2-track mixdown deck (unless youve chosen to use the TAPE OUTPUT [11] RCA jacks), or to the house amplier during live sound sessions. To learn how signals are routed to these outputs see MAIN MIX [37] fader details on page 19. To use these outputs to drive balanced inputs, connect 1/4" TRS (Tip-Ring-Sleeve) phone plugs like this: Tip = + (hot) Ring = (cold) Sleeve = ground To use these outputs to drive unbalanced inputs, connect 1/4" TS (Tip-Sleeve) phone plugs like this: Tip = signal Sleeve = ground

18. POWER CONNECTION

Just in case you lose the cord provided with the 1604VLZ3, its power jack accepts a standard 3-prong IEC cord like those found on most professional recorders, musical instruments, and computers. WARNING: Before you plug the AC power cord into the 1604-VLZ3, you must make sure that the VOLTAGE SELECTOR [17] slide switch is set to the same voltage as your local AC mains supply. WARNING: Disconnecting the plugs ground pin can be dangerous. Please dont do it.

U LIKE UNITY GAIN

Mackie mixers have a U symbol on almost every level control. This U 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. Whats more, all the labels on our controls are measured in decibels (dB), so youll know what youre doing level-wise if you choose to change a controls settings.

25. CHANNEL FADER

The fader is almost the last control in a channels signal path. Its placed after the EQ [32] and MUTE [30] controls (post-EQ /post-MUTE) and before the PAN [31]control (pre-PAN). The U mark, about threequarters of the way up, indicates unity gain, meaning no increase or decrease of signal level. All the way up provides an additional 10 dB, should you need to boost a section of a song. If you nd that the overall level is too quiet or too loud with a fader near unity, youll want to conrm the setting by performing the Level-Setting Procedure on page 3.

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 pitys 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. Do not use spray cleaners, rather use compressed air, or a vacuum with brush attachment. Owners Manual

27. SOLO

This lovable switch allows you to check signals in your phones or control room 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. Using the MODE [44] switch, the 1604-VLZ3s solo system comes in two avors: NORMAL (AFL) (sometimes called SIP, or solo-in-place) and LEVEL SET (PFL) (sometimes called PFL, or prefader-listen). The MODE switch is described in tender loving detail on page 21. 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 control room, headphones, and meter display. That may result in a startling level boost at these outputs, depending on the position of the SOLO [46] level knob. In a nutshell, soloed channels are sent to the SOURCE [42] mix, that ultimately feeds your control room, headphones 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!

31. PAN

This 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 AFL 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 PAN set somewhere in-between left and right, the signal will be divided between the left and right buses.
The LOW EQ provides up to 15 dB boost or cut below 80 Hz. 0 The circuit is at (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 who eat broken glass for breakfast.

+15 +10 +20Hz 100Hz 1kHz

10kHz 20kHz
Used in conjunction with the LOW CUT [33] 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 xed bandwidth of 1 octave. The MID knob sets the amount of boost or cut, up to 15 dB, and is effectively bypassed at the center detent. The frequency knob sets the center frequency, sweepable from 100 Hz to 8 kHz.

+15 +10 +5 +15 +10 +5

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.

CONSTANT LOUDNESS ! ! !

The 1604-VLZ3s 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 0 dB, it must dip down about 4 dB 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.

+15 +10 +5

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 AUX (1, 3 or 5) to feed its left input and the even AUX (2, 4 or 6) to feed the right input. Remember, if youre also dealing with a stereo source signal, youll want to follow the sides use the odd AUX on the channel carrying the left side and the even AUX on the channel carrying the right.

35. 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 vs. Post diagram below. AUX 3 through 6 are always in post mode.
MUTE INPUT TRIM INSERT LOW CUT PAN EQ FADER AUX 1 ASSIGN

'PRE' SIGNAL

'POST' SIGNAL

PRE SWITCH

In post mode (switch up), AUX 1 and 2 will follow the EQ [32], LOW CUT [33], FADER [25], and MUTE [30] settings. 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. In PRE mode (switch down), AUX 1 and 2 follow the GAIN and LOW CUT settings only. EQ, PAN, FADER, and MUTE settings have no effect on the PRE sends. This is the preferred method for setting up stage monitor feeds theyll be controlled independently of the fader and mute moves.

34. AUX 1, 2, 3, & 4

These four knobs tap a portion of each channels signal, mix them together and send them to the AUX SEND [6] outputs. They are off when turned fully down, deliver unity gain at the center detent, and can provide up to 15 dB of gain turned fully up. Chances are youll never need this extra gain, but its nice to know its there if you do. The AUX SEND outputs are then patched to parallel effects processor inputs or stage monitor amp inputs. AUX SENDS 1 and 2 levels are controlled not only by the channels AUX knobs, but also by the AUX SEND [49] master knobs. AUX SENDS can also be used to generate separate mixes for recording or mix-minuses for broadcast. By using AUX 1 or 2 in the PRE [35] mode, these mix levels can be obtained independently of a channels FADER [25] settings.

36. 5/6 SHIFT

Dont let the fact that theres only four AUX knobs per channel fool you the 1604-VLZ3 has six AUX SENDs [6]. With this 5/6 SHIFT switch up, the knobs labeled AUX 3 and AUX 4 deliver their signals to AUX SEND 3 and 4 outputs. With this switch down, the signals appear at the AUX SEND 5 and 6 outputs. We recommend that AUX SEND 3 and 4 be patched into your utility effects, like a short reverb and slap delay; effects you use all the time. Use AUX SEND 5 and 6 for exotic effects, like harmonizers and multi-tap delays; they are not likely to be used as often.

47. RUDE SOLO LIGHT

This ashing LED (light emitting diode) serves two purposes to remind you that youre in SOLO, and to let you know that youre mixing on a Mackie. No other company is so concerned about your level of SOLO awareness. We even force the soloed channels 20 LED to play along, so you can nd that rogue switch fast. If you work on a mixer that has a SOLO function with no indicator lights, and you happen to forget youre in SOLO, you can easily be tricked into thinking that something is wrong with your mixer. Hence the RUDE SOLO LIGHT. Its especially handy at about 3:00 in the morning, when no sound is coming out of your monitors, even though your multitrack is playing back like mad.

48. METERS

The 1604-VLZ3s 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 in the SOURCE [42] matrix, and no channels are in SOLO [27], the meter display will just sit there. To put them to work, you must make a selection in the SOURCE matrix (or engage a channel's SOLO switch). Why? You want the meter display to reect what the engineer is listening to, and as weve covered, the engineer is listening either to the control room output or the headphones. The only difference is that while the listening levels are controlled by the CTL ROOM/PHONES [43] knob, the meter display reads the SOURCE mix before that control, giving you the real facts at all times, even if youre not listening at all. When the solo MODE [44] switch is set to LEVEL SET (PFL) (down) , all soloed signals will be sent to the left meter only. That, combined with the LEVEL SET LED [45], are along the path of enlightenment known as the Level-Setting Procedure (page 3). During NORMAL (AFL) mode, the meters will behave normally.

Meters vs. Reality

You may already be an expert at the world of +4 (+4 dBu=1.23 V) and 10 (10 dBV=0.32 V) operating levels. Basically, what makes a mixer one or the other is the relative 0 dB VU (or 0 VU) chosen for the meter display. A +4 mixer, with a +4 dBu signal pouring out the back will actually read 0 VU on its meter display. A 10 mixer, with a 10 dBV signal trickling out, will read, you guessed it, 0 VU on its meter display. So when is 0 VU actually 0 dBu? Right now! At the risk of creating another standard, Mackies compact mixers address the need of both crowds by calling things as they are: 0 dBu (0.775 V) at the output shows as 0 VU on the meter display. What could be easier? By the way, the most wonderful thing about standards is that there are so many to choose from. Thanks to the 1604-VLZ3s wide dynamic range, you can get a good mix with peaks ashing anywhere between 20 and +10 dB on the meter display. Most ampliers clip at about +10 dB, and some recorders arent so forgiving either. For best real-world results, try to keep your peaks between 0 and +7. Please remember: Audio meter displays are just tools to help assure you that your levels are in the ballpark. You dont have to stare at them (unless you want to). If you nd that staring at the meters sends you into a hypnotic trance, please do not be alarmed. Just cut my lawn and polish my car every Tuesday.

These knobs go from off (turned fully down), to unity gain at the center detent, with 10 dB of extra gain (turned fully up). As with some other level controls, you may never need the additional gain, but if you ever do, youll 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, youd turn the knob down, but that never happens.)

50. AUX SENDS SOLO

Once again, in live sound situations AUX SEND 1 and 2 are likely to feed your stage monitors. Youll want to check the mix youre sending them, and thats what these two buttons are for. (AUX 3 through AUX 6 have no such switch.) Beside each switch is a green LED that, just like the channels 20 LED [28], helps you nd the rogue SOLO switch. The only thing different about AUX SENDS SOLO is that its not really PFL (pre-fader listen), and its not really SIP (solo-in-place), its actually AFL (after-fader listen). During NORMAL (AFL) [44] mode , youll get AUX SEND 1s solo signal, post-AUX SENDS [49] master level, in the left side of the control room outputs, phones output and meter display, and AUX SEND 2 on the right side. (If you ever use AUX 1 and 2 to create a stereo monitor mix, youll understand why.) In LEVEL SET (PFL) mode, youll get the signal dead-center, but still post-AUX SENDS master level.

AUX TALK

SENDS are outputs, RETURNS are inputs. Each channel's AUX [34] knobs tap the signal off the channel and send it to the AUX SEND [6] outputs. AUX 1 and 2 are sent to the AUX SENDS 1 and 2 [49] master knobs before the AUX SEND outputs; AUX 3 through 6 are sent directly. These outputs can be fed to the inputs of a reverb or other device. From there, the outputs of the external device are fed back to the mixers STEREO RETURN [7] inputs. Then these signals are sent through the STEREO RETURN [51] level controls, and nally delivered to the main mix. So, the original dry signals come from the channels to the main mix, and the affected wet signals come from the STEREO RETURNS to the main mix, and once mixed together, the dry and wet signals combine to create a glorious sound. Armed with this knowledge, lets visit the Auxiliary World:
51. STEREO RETURNS (LEVEL)
These four controls set the overall level of effects received from the STEREO RETURN [7] 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 20 dB gain fully clockwise, to compensate for low-level effects. Signals passing through these level controls will proceed directly to the MAIN MIX FADER [37], with exceptions that well discuss in a moment. Typically, these knobs can just live at the center detent, and the effects devices 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 devices outputs, not the mixer. That way, the mixers knobs are easy to relocate at the center detent.

49. AUX SENDS (MASTER)

These knobs provide overall level control of AUX SENDS 1 and 2, just before theyre delivered to their AUX SEND [6] outputs. This is perfect for controlling the level of stage monitors, since youll be using AUX 1 and 2 for this, with their PRE [35] switches engaged. AUX SENDS 3 through 6 have no such control theyll just send their mixes directly to their respective AUX SEND outputs at unity gain.
53. MAIN MIX TO SUBS (STEREO RETURN 3)
With this switch up, STEREO RETURN 3 behaves like all the others it delivers a stereo signal, regulated by its level knob, to the main mix. When you engage this switch, the signals are removed from the main mix buses and sent to the 1-2/3-4 switch, which diverts the signal once more. Were not nished. Please read on.
54. 12/34 (STEREO RETURN 3)
If the MAIN MIX TO SUBS [53] switch is disengaged, this switch does absolutely nothing. Lets now assume its engaged. STEREO RETURN 3s stereo signal will not be sent to the main mix, but to subgroup faders 1 and 2 (this switch up) or subgroup faders 3 and 4 (this switch down). Lets say youve made a stereo drum submix on subgroup faders 1 and 2, so you can ride those two faders instead of the seven channels that the drums came from. Subgroup fader 1 has its ASSIGN TO MAIN MIX [39], LEFT button engaged and subgroup fader 2 has its ASSIGN TO MAIN MIX, RIGHT button engaged, blending the drum submix back into the main mix. The drum channels are also sending signals to your reverb via the AUX SENDS [6], and the reverb outputs are patched into STEREO RETURN 3 [7]. So far so good. Even though you could send STEREO RETURN 3 directly to the main mix (MAIN MIX TO SUBS [53] switch up), you dont want to. Instead, engage the MAIN MIX TO SUBS switch and make sure the 12/34 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 (MAIN MIX TO SUBS switch up) and you did a drum fade-out using subgroup faders 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). Thats because the reverb is being fed by the channels AUX sends, and they have no idea that youve pulled down the subgroup faders. Thats why we threw in these switches, phew!

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.
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).

SLEEVE TIP SLEEVE TIP

TRS Send/Receive Insert Jacks
Mackies single-jack inserts are the three-conductor, 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.

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 ground-loop 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.

RING (IN) RING (RETURN) TIP (SEND)

RING (RETURN)

TIP (OUT)
FROM PROCESSOR OUTPUT TO PROCESSOR INPUT

TIP (SEND)

TO MIXER CHANNEL INSERT

Y-cord insert cable

Y-cord splitter cable
Appendix C: Technical Information

Specications

Main Mix Noise
(20 Hz20 kHz bandwidth, 1/4" Main out, channel gains @ unity gain, channel EQs at, all channels assigned to Main Mix, odd channels panned left, even channels panned right.) Main Mix fader unity, channel faders down: (92 dB Signal to Noise Ratio, ref +4 dBu) Main Mix fader unity, channel faders @ unity: 82.5 dBu 88.5 dBu

Impedances

Mic in: Channel Insert return: All other inputs: Tape out: All other outputs: 2.5 kilohms 2.5 kilohms 10 kilohms or greater 1.1 kilohms 120 ohms
Total Harmonic Distortion (THD)
(1 kHz 35 dB gain, 20 Hz20 kHz bandwidth) Mic in to insert send: Mic in to Main Out: <0.0007% <0.005%
High Shelving Mid Peaking Low Shelving Low Cut Filter 15 dB @ 12 kHz 15 dB sweep 100 Hz8 kHz 15 dB @ 80 Hz 18 dB/octave, 3 dB @ 75 Hz

Attenuation (Crosstalk)

(1 kHz relative to 0 dBu, 20 Hz20 kHz bandwidth, Line in, 14" Main Out, Gain @ unity.) Channel Mute switch engaged: Channel Gain knob down: 84 dBu 84 dBu

Power Consumption

50 watts

Fuse Ratings

100120 VAC 220240 VAC 1A Slo Blo, 5 x 20 mm 0.5A Slo Blo, 5 x 20 mm

Frequency Response

(Mic input to any output.) 20 Hz to 60 kHz: 20 Hz to 100 kHz: +0 dB/1 dB +0 dB/3 dB
Dimensions (H x W x D) in Normal Pod Position
17.5" x 17.3" x 5.1" (445 mm x 440 mm x 129 mm)

Weight

20.0 lb (9.1 kg)
Equivalent Input Noise (EIN)
(Mic in to Insert Send out, max gain.) 150 ohm termination: 129.5 dBu
Common Mode Rejection Ratio (CMRR)
(Mic in to Insert Send out, max gain.) 1 kHz: better than 70 dB
LOUD Technologies Inc. is always striving to improve our products by incorporating new and improved materials, components, and manufacturing methods. Therefore, we reserve the right to change these specications at any time without notice. Mackie, and the Running Man are registered trademarks of LOUD Technologies Inc. All other brand names mentioned are trademarks or registered trademarks of their respective holders, and are hereby acknowledged. The technical writer responsible for this manual tends to fade in and out of various different realities, depending on how many cups of tea he has had. Please check our website for any updates to this manual: www.mackie.com. 2007-2009 LOUD Technologies Inc. All Rights Reserved.