The Mackie 1604-VLZ3 Premium 16-Channel/4-Bus Compact Mixer builds on the legacy of the best-selling 1604-VLZ Pro mixer. Sixteen studio-quality XDR2 second-generation mic preamps, along with redesigned 3-band active EQ circuitry (with sweepable mids), give the 1604-VLZ3 its greatly enhanced sound quality. All channels feature insert points and line-level inputs for extreme versatility. The unique Rotopod option allows for two different desktop, and three different rackmount configurations. The n... Read more
Part Numbers: 0018454-00, 1604-VLZ3, 1604VLZ3
UPC: 0663961009903, 663961009903
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Mackie 1604VLZ, size: 2.9 MB
Mackie 1604VLZ Road Case
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15. Grounding or Polarization Precautions should be taken so that the grounding or polarization means of this Mackie product is not defeated. 16. Power Precautions Unplug this Mackie product during lightning storms or when unused for long periods of time. Note that this Mackie product is not completely disconnected from the AC mains service when the power switch is in the OFF position. 17. 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.
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. Cleaning Clean only with a dry cloth. 7. Ventilation This Mackie product should be situated so that its location or position does not interfere with its proper ventilation. For example, the Component should not be situated on a bed, sofa, rug, or similar surface that may block any ventilation openings, or placed in a built-in installation such as a bookcase or cabinet that may impede the flow of air through ventilation openings. 8. Heat This Mackie product should be situated away from heat sources such as radiators, or other devices which produce heat. 9. 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. 10. 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. 11. Object and Liquid Entry Care should be taken so that objects do not fall on, and liquids are not spilled into, this Mackie product.
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.
18. 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 sufficiently intense noise for a period of time. The U.S. Governments Occupational Safety and Health Administration (OSHA) has specified 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 a permanent hearing loss if exposure is in excess of the limits set forth here.
Duration Per Day In Hours 2 1.0.5 0.25 or less Sound Level dBA, Slow Response 115 Typical Example Duo in small club Subway Train Very loud classical music Tami screaming at Adrian about deadlines Loudest parts at a rock concert
WARNING To reduce the risk of fire or electric shock, do not expose this appliance to rain or moisture.
READ THIS PAGE!!!
We realize that you must have a powerful hankerin to try out your new 1604-VLZ PRO. 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 youre good and ready. But do read it youll be glad you did.
Other Nuggets of Wisdom
For optimum sonic performance, the channel faders and the MAIN MIX fader should be set near the U (unity gain) markings. Always turn the MAIN MIX fader and CTL ROOM/PHONES knob down before making connections to and from your 1604-VLZ PRO. 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 dont want to have to pay for another one.
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. Its not even necessary to hear what youre doing to set optimal levels. But if youd like to: Plug headphones into the PHONES output jack, then set the C-R PHONES knob about onequarter of the way up. The following steps must be performed one channel at a time: 1. Turn the TRIM, AUX send and fader controls fully down. 2. Be sure the 12, 34 and LR channel assignmentswitchesarealldisengaged. 3. Set the EQ knobs at the center detents. 4. Connect the signal source to the MIC or LINE channel input. 5. Engage (push in) the channels SOLO switch. 6. Push in the MODE switch in the output section (LEVEL SET (PFL) mode) the LEVEL SET LED will light. 7. Play something into the selected input, at real-world levels. 8. Adjust the TRIM control so that the display on the meter stays around 0. (Only the left meter is active in the Level-Setting Procedure.) 9. If youd like to apply some EQ, do so now and return to the previous step. 10. Disengage that channels SOLOswitch. 11. Repeat for each of channels 116.
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
INSERT INSERT INSERT INSERT INSERT LINE
More resources on our website @ www.mackie.com
THE GLOSSARY: A Haven of Non-Techiness For The Neophyte
U U U U U U U U U U U
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.
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
PRE... 21 5/6 SHIFT... 21 OUTPUT SECTION DESCRIPTION. 22 MAIN 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 CTL ROOM/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 SENDS 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 MODIFICATIONS.. 27 1604-VLZ PRO BLOCK DIAGRAM. 28 GAIN STRUCTURE DIAGRAM. 29 SPECIFICATIONS.. 30 SERVICE INFO.. 31 APPENDIX A: CONNECTIONS.. 32 TRACK SHEET.. 36 COLOPHON... 38 1604-VLZ PRO LIMITED WARRANTY.. 39
HIGH RESOLUTION STUDIO MONITOR
Keyboard, or other line-level input
Cassette or DAT
Stereo EQ w/Compressor
FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN
Bass Preamp Drum Machine Guitar Effects
Stereo Power Amplifier
R L R L 14
SUB OUTS C/R OUT
BAL/UNBAL BAL/UNBAL BAL/UNBAL
OUT AUX RETURNS AUX SENDS
1 L R 6 L
TAPE OUT MAIN INSERT DIRECT OUT
STEREO MONO MAIN OUT
CHANNEL INPUTS CHANNEL INSERTS
L L R R 2 R
1604-VLZ PRO 8-Track Tracking
8-track outputs out in Mono in / stereo out Reverb
Left PA Speaker Right PA Speaker
in out in out
Optional Live Recording
Drum Machine Guitar Effects
Stereo Power Amplifier CD Player NOTE: for mono PA, use mono output to feed FOH.
R L R L 11 10
OUT AUX RETURNS
L R L L L R R 2
SUB OUTS MAIN INSERT DIRECT OUT
C/R OUT AUX SENDS
1604-VLZ PRO Stereo P.A.
Mono EQ Mono EQ
Mono in / stereo out Reverb
; ; ;;
Computer with Audio Card
Video Deck Video Deck Studio Monitors
OL OL PWR PWR ON ON
Video Deck CD Player Sampler Keyboard, or other line-level input
Multi-VCR Video Switcher with Time Code Interface
L R 6 L R L R 2
1604-VLZ PRO Video Setup
Mono in / stereo out Reverb Stereo Compressor
CONVERTING TO RACKMOUNT MODE
Not only is the new 1604-VLZ PRO a compact, professional-quality tabletop mixer, its 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 wouldnt dare take that feature out of the New Improved 1604-VLZ PRO. Its still there and still takes just a few minutes with your trusty screwdriver. Heres how its 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: mixers surface flush with the rack rails, like ordinary rackmount equipment, or mixers 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 dont end up with the one for the classic CR-1604!
Direct out with signal interruption to master. Insert all the way in to the second click.
For use as an effects loop. (TIP = SEND to effect, RING = RETURN from effect.)
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:.
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.
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.
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 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 find themselves with short careers.
These unbalanced RCA jacks tap the MAIN MIX outputs to make simultaneous recording and PA work more convenient. Connect these to your 2-track recorders 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 output jack. Alternatively, use an RCA Y-cord to combine the TAPE OUTPUT jacks (Radio Shack #274-511, for instance). Do not attempt this with any other outputs on the 1604-VLZ PRO.
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:.
The 1604-VLZ PROs 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:. If youre wiring your own cable for the PHONES output, follow standard conventions:
These unbalanced RCA jacks are designed to work with semipro as well as pro recorders. Connect your 2-track tape recorders 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. Youll 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 TAPE TO MAIN MIX in the output section can create a feedback path between TAPE INPUT and TAPE 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).
Tip = left channel Ring = right channel Sleeve = common ground
These /4" jacks are for connecting serial effects such as compressors, equalizers, deessers, or filters. The INSERT point is after the mix amps, but before the MAIN MIX fader. Insert cables must be wired thusly:
ing mono signals to mic inputs like camcorders, telephone interface boxes, even answering machines. With the pot all the way up (fully clockwise), youll have 6dB of extra gain with unity gain halfway between the one and two oclock positions.
Just in case you lose the cord provided with the 1604-VLZ PRO, 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 were fond of calling them, a wall wart. We did this for some very good reasons: The 1604-VLZ PRO has sophisticated power requirements that a wall wart cannot provide. Wall warts are inconvenient, fragile, radiate huge hum fields, hog extra jacks on your power strip and get in the way. If you lose a wall wart, youre in trouble, but if you lose the 1604-VLZ PROs 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 1604-VLZ PRO into any standard grounded (3-pin) AC outlet or into a power strip of proper voltage. WARNING: Disconnecting the plugs ground pin can be dangerous. Please dont do it.
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 dont, chances are this LED is off, so turn it on. Youll 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 youve turned phantom power off to connect something to the mic inputs, wait until the yellow LED stops glowing and then make your connections safely.
Youve 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.
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 or #12G-HI (high-intensity), for instance).
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.
AUX SEND 1
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 dont. Well start at the bottom and work our way up.
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. We do not recommend spray cleaners.
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:
NORMAL (AFL) LEVEL SET (PFL)
RUDE SOLO LIGHT
This flashing 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 find 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.
The 1604-VLZ PROs 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 matrix and no channels are in SOLO, the meter display will just sit there. To put them to work, you must make a selection in the SOURCE matrix (or engage a SOLO switch). Why? You want the meter display to reflect what the engineer is listening to, and as weve 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 CTL ROOM/PHONES 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 switch is set to LEVEL SET (PFL) (down) , all soloed signals will be sent to the left meter only. That, combined with LEVEL SET LED , are along the path of enlightenment known as the Level-Setting Procedure. During NORMAL (AFL) mode, the meters will behave normally.
First of all, there is no particular alliance between AUX SEND 1 and AUX RETURN 1. Theyre just numbers. Theyre 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 SEND outputs. AUX 1 and 2 are sent to the AUX SENDS 1 and 2 master knobs before the AUX SEND outputs and AUX 3 through 6 are sent directly. 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 mixers AUX RETURN inputs. Then these signals are sent through the AUX RETURN level controls, and finally 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 AUX 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:
15dB loss, TRIM down
45dB gain, TRIM up
GAIN STRUCTURE DIAGRAM
LINE IN, all channels
+15db up 0dB 0dB to D LEVEL LEVEL to D
+20db up (from Main Mix, Subs and Tape In) D
+22dBu max out +10dB up 0dB
MACKIE 1604-VLZ PRO LEVEL DIAGRAM
SOLO TAPE IN
LEVEL CONTROL ROOM / PHONES
Main Mix Noise
20Hz20kHz bandwidth, 14" 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: (90dB Signal to Noise Ratio, ref +4dBu) Main Mix fader @ unity, channel faders @ unity: 86.5dBu 84.0dBu
Mic in: All other inputs: Main Mix 14" TRS outputs: All other outputs: +22dBu +22dBu +28dBu +22dBu
Mic in: Channel Insert return: All other inputs: Tape out: All other outputs: 1.3 kilohms 2.5 kilohms 10 kilohms or greater 1.1 kilohms 120 ohms 15db @ 12kHz 15dB, sweep 100Hz8kHz 15db @ 80Hz 18dB/octave, 3dB @ 75Hz
Total Harmonic Distortion (THD)
1kHz @ +14dBu: Mic in to Main out: 20Hz20kHz below 0.0007%
1kHz relative to 0dBu, 20Hz20kHz bandwidth, Line in, 14" Main Out, Trim @ unity Channel Mute switch engaged: Channel Gain knob down: 84dBu 84dBu
High Shelving: Mid Peaking: Low Shelving: Low Cut Filter:
Mic input to any output 20Hz to 60kHz: 20Hz to 100kHz: +0dB/1dB +0dB/3dB
120VA.C., 50/60Hz, 50 watts
120V: 220240V: 1A Slo Blo, 5 x 20mm 0.5A Slo Blo, 5 x 20mm
Equivalent Input Noise (EIN)
Mic in to Insert Send out, max gain 150 ohm termination: Mic in to Insert Send out, max gain 1kHz: better than 90dB 129.5dBm unweighted
20 lbs. (9.1kg)
Common Mode Rejection (CMR)
1604 VLZ-PRO with pod normal
17.6" (447.0mm) 10 rack spaces
1604-VLZ PRO WEIGHT 20.0 lbs. (9.1 kg)
19.0" (482.6mm) 17.3" (442.0mm) 1604-VLZ PRO with pod to back 8.7" (221.0mm) 9.3" (236.2mm)
13.0" (325.1mm) 8 rack spaces
1604-VLZ PRO with optional rotopod
17.9" (454.7mm) 11 rack spaces
Details concerning Warranty Service are spelled out on the Warranty Card included with your mixer (if its missing, let us know and well rush one to you). If you think your 1604-VLZ PRO 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 heres some things you can check:
Our favorite question: Is the POWER switch on? Check the fuse.
APPENDIX A: 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.
You can cook up your own adapter for a stereo microphone adapter. Y two cables out of a female 14" TRS jack to two male XLR plugs, one for the Right signal and one for the Left. Balanced mono circuits. When wired as a balanced connector, a 14" 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 wired as send/return Y connector, a 14" 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).
TS PHONE PLUGS AND JACKS
Figure A: XLR Connectors
TRS PHONE PLUGS AND JACKS
TS stands for Tip-Sleeve, the two connections available on a mono 14" 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
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.)
(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. If you push the 14" TS plug in to the second click, you will open the jack switch and create a direct out, which does interrupt the signal in that channel. See Figure F. NOTE: Do not overload or short-circuit the signal you are tapping from the mixer. That will affect the internal signal.
MULTS AND Ys
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 Ys 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.
The Mackie 1604-VLZ3 Premium 16-Channel/4-Bus Compact Mixer builds on the legacy of the best-selling 1604-VLZ Pro mixer. Sixteen studio-quality XDR2 second-generation mic preamps, along with redesigned 3-band active EQ circuitry (with sweepable mids), give the 1604-VLZ3 its greatly enhanced sound quality. All channels feature insert points and line-level inputs for extreme versatility. The unique Rotopod option allows for two different desktop, and three different rackmount configurations. The new multi-voltage power supply allows it to be used anywhere in the world. Ideal for live use, and home and project studios seeking superior performance, the versatile 1604-VLZ3 Compact Mixer is equally at home on the stage or in the studio.
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