HOW TO USE THIS MANUAL

Since many of you folks will want to hook up your 1642-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, Stereo PA and a fixed installation. After this section is a detailed tour of the entire mixer. Every feature of the 1642-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 along on the top edge and the rear panel 2. CHANNEL STRIP: The channel strips on the left. 3. OUTPUT SECTION: The output section on the right.
A PLUG FOR THE CONNECTORS SECTION
The Appendix gives details about connectors: XLR connectors, balanced connectors, unbalanced connectors and special hybrid connectors.

MIC PR XDR E

1642-VLZ PRO

PATCHBAY

BAL UNBAL BAL UNBAL BAL UNBAL

RACK MOUNTING

Optional rack ears are available which allow the 1642-VLZ PRO to be fitted in a standard 19" rack. This will take up a height of 12 rack spaces (including enough room to make the connections). Contact your Mackie dealer for more details.
+15 U HI 12k -15 U HI MID 3K +15 -15 U +15

CHANNEL STRIPS

HI 12k -15

HI 12k

+15 HI MID 3K

+15 U HI MID 3K

HI MID 3K

OUTPUT SECTION

0 TAPE TO MAIN MIX 2

LEFT RIGHT 0 dB=0 dBu 28

10 MODE SUBS NORMAL (AFL) LEVEL SET (PFL) LEVEL SET 20 30

MAIN MIX SOURCE

R RIGHT

CONTENTS

LEVEL-SETTING PROCEDURE.. 3 INSTANT MIXING.. 3 HOOKUP DIAGRAMS.. 6 PATCHBAY DESCRIPTION. 10 E-Z INTERFACING.. 10 MIC/LINE INPUT FLEXIBILITY.. 10 MIC INPUTS.. 10 PHANTOM POWER DISCUSSION. 10 LINE INPUTS.. 11 TRIM... 11 INSERT.. 11 DIRECT OUT.. 12 RECORDING.. 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.. 14 MAIN OUTS.. 14 MONO OUTPUT.. 15 MONO LEVEL... 15 POWER CONNECTION.. 15 FUSE... 15 POWER SWITCH. 15 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 4-BAND FIXED FREQUENCY EQ.. 20 LOW CUT.. 20 AUX 1, 2, 3, 4.. 21 PRE.. 21

Processor

MONO MAIN INSERT
Digital Multitrack Recorder

1642-VLZ PRO Stereo P.A.

Direct Box Drum Machine CD Player VCR
SRM 450s or other powered monitors
70 Volt Line Amp Assistive Listening Transmitter
Stereo Processor HR824s or other powered monitors Cassette Recorder
Monitors on distributed system throughout building

Multitrack Recorder

1642-VLZ PRO Church Installation

PATCHBAY DESCRIPTION

At the risk of stating the obvious, this is where you plug everything in: microphones, line-level instruments and effects, and the ultimate destination for your sound: a tape recorder, PA system, etc. Many of the features described in this section are on top of the mixer, but some are on the rear panel. and noise. You can plug in almost any kind of mic that has a standard XLR-type male mic connector. Always be sure to perform the Level-Setting Procedure. To learn how signals are routed from these inputs:. If you wire your own, connect them like this:

SHIELD HOT

E-Z INTERFACING
Concerned about levels, balancing, impedances, polarity, or other interface goblins? Dont be. On your 1642-VLZ PRO, you can patch anything almost anywhere, with nary a care. Heres why: Every input and output is balanced (except inserts, phones and RCA jacks). Every input and output will also accept unbalanced lines (except XLR jacks). Every input is designed to accept virtually any output impedance. The main left and right mix outputs can deliver 28dBu into as low as a 600 ohm load. All the other outputs can deliver 22dBu into as low as a 600 ohm load. All the outputs are in phase with the inputs. All we ask is that you perform the Level-Setting Procedure every time you patch in a new sound source. So stop worrying and start mixing!

COLD SHIELD

COLD 3 HOT

SHIELD COLD

Pin 1 = ground or shield Pin 2 = positive (+ or hot) Pin 3 = negative ( or cold) Professional ribbon, dynamic, and condenser mics will all sound excellent through these inputs. The 1642-VLZ PROs mic inputs will handle almost any kind of mic level you can toss at them, without overloading.
A WORD ABOUT PHANTOM POWER
Most condenser mics require phantom power, where the mixer sends low-current DC voltage to the mics electronics through the same wires that carry audio. The 1642-VLZ PROs phantom power is globally controlled by the PHANTOM switch on the rear panel. Semipro condenser mics often have batteries to accomplish the same thing. Phantom owes its name to an ability to be unseen by dynamic mics (Shure SM57/SM58, for instance) that dont need external power and arent affected by it anyway. Unless you know for certain it is safe to do so, never plug single-ended (unbalanced) microphones, instruments or electronic devices into the MIC input jacks if the phantom power is on.

Channel Insert jack

These controls are the top row of knobs in the channel strip section. Every time you plug something into a MIC or LINE input jack, you should perform the Level-Setting 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. 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.
Direct out with no signal interruption. Insert only to first click.
Direct out with signal interruption. Insert all the way in to the second click.

L/R REC

For use as an effects loop. (TIP = SEND to effect, RING = RETURN from effect.)
DIRECT OUT (on rear panel)
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. You can use these for recording, making the 1642-VLZ PRO perfect for an 8-track studio. 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. By returning the outputs of the effects processors to 13/14 (EFX A) and 15/16 (EFX B), you can choose to record or Monitor with effects. Perhaps the best recording method is a combination of both approaches: 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. You listen to the monitor channels (312) 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.

RECORDING

When recording, you use the first two 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 any of your 8 multitrack inputs. This allows recording of two tracks at a time. By reconnecting the Direct Outs to the different tape inputs, you can record to all of the 8 tracks. Once the tracking is completed, the outputs of the multitrack are then patched to channels 3-12 LINE inputs on the 1642-VLZ PRO (multitrack out 1 to LINE input 3, 2 to 4, 3 to 5, etc.). Aha! Thats why it says TRACK 1 next to channel 3s fader, TRACK 2 next to channel 4, and so forth. These channels (312) 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 1642-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 3 LINE input, as we just discussed. (Hot tip: To feed an 8track deck with 4 sub outputs, the 1642-VLZ PRO has double busing, which simply means that bus 1 feeds SUB OUT 1 and SUB OUT 5, bus 2 feeds SUB OUT 2 and SUB OUT 6, bus 3 feeds SUB OUT 3 and SUB OUT 7, and bus 4 feeds SUB OUT 4 and SUB OUT 8. Patch the 8 SUB OUTs to the inputs of the 8-track deck. Tracks in record mode will accept the signal, and tracks in safe mode will ignore the signal.)

AUX SEND OUTPUTS

These 1/4" jacks usually patch to the inputs of your parallel effects devices or to the inputs of your stage monitor amps. To learn how signals are routed to these outputs, see the Aux discussion on page 25.

MAIN OUTS 1 L 2

EFFECTS: SERIAL OR PARALLEL?
Youve heard us carelessly toss around the terms serial and parallel. Heres what we mean by them: Serial means that the entire signal leaves the mixer (INSERT send), is routed through the effects device, and returns to the mixer (INSERT return). Examples: compressor, limiter, graphic equalizer. Line-level sources can also be patched through a serial effects device before or after the mixer. Parallel means that a portion of the signal in the mixer is tapped off to the device (AUX SEND), processed, and returned to the mixer (AUX RETURN) to be mixed with the original dry signal. This way, multiple channels can all make use of the same effects device. Examples: reverb, digital delay.
Mono: If you have an effects device with a mono output (one cord), plug that into L input of an AUX RETURN and leave the right input unplugged. That way, the signal will be sent to both sides, magically appearing in the center as a mono signal.
These 1/4" jacks are usually patched to the inputs of a multitrack deck, or to secondary amplifiers in a complex installation. See page 22 for details of the SUBGROUP FADERS.

Double Busing

How on earth do you get four buses to feed eight tracks? Double busing! Bus 1 feeds SUB OUT 1 and SUB OUT 5, which in turn feed tracks 1 and 5 Bus 2 feeds SUB OUT 2 and SUB OUT 6, which in turn feed tracks 2 and 6 Bus 3 feeds SUB OUT 3 and SUB OUT 7, which in turn feed tracks 3 and 7 Bus 4 feeds SUB OUT 4 and SUB OUT 8, which in turn feed tracks 4 and 8 Tracks in record mode will accept the signal, and tracks in safe mode will ignore the signal.

AUX RETURN INPUTS

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. See page 26 for details of the AUX RETURN level controls.

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. You wont have to check it here and check it there, as you would with some other mixers. In fact, some dont even have any reference to actual dB levels at all! Ever seen those 010 fader markings? We call these AUMs (Arbitrary Units of Measurement), and they mean nothing in the real world. You were smart you bought a Mackie.

ASSIGN (12, 34, L/R)

Alongside each channel fader are four buttons, labeled SOLO, 12, 34 and L/R. The latter three are collectively referred to as channel assignment switches. 1, 3 and L are the left sides of these stereo pairs, and 2, 4 and R are the right sides. Used in conjunction with the channels PAN knob , these switches determine the destination of a channels signal: With the PAN knob set at the center detent, the left and right sides receive equal signal levels. To feed only one side or the other, just turn the PAN knob accordingly. If youre doing a mixdown to a 2-track, simply engage the L/R switch on each channel that you want to hear, and theyll be sent to the MAIN MIX. If you want to create a subgroup of certain channels, engage either the 12 or 34 switches instead of the L/R, and theyll be sent to the appropriate subgroup faders. From there, the subgroups can be sent back to the MAIN MIX , allowing you to use the subgroup faders as a master control for those channels.
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 10 dB, 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.

-10dBV

If youre printing new tracks or bouncing existing ones, youll also use the 12 and 34 switches, but not the L/R 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 1642-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 L/R MIX, its actually a true 6-bus mixer. We could have named it the 1662-VLZ PRO. Darn!

With too much EQ, you can screw things up royally. Weve designed a lot of boost and cut into each equalizer circuit because we know everyone will occasionally need that. But if you max the EQ on every channel, youll get mix mush. Equalize subtly and use the left sides of the knobs (cut), as well as the right (boost). If you find yourself repeatedly using full boost or cut, consider altering the sound source, such as placing a mic differently, trying a different kind of mic, changing the strings, or gargling.
4-BAND FIXED-FREQUENCY EQ
The stereo channels (9-16) have a 4-band, fixed-frequency equalization: LOW shelving at 80Hz, LOW MID peaking at 800Hz, HI MID peaking at 3kHz, and HI shelving at 12kHz. Each of these filters provides up to 15 dB of boost or cut. As with the mono channels, the circuit is flat (no boost or cut) at the center detent positions.

15 20Hz

10kHz 20kHz

+15 +10

LOW CUT
The LOW CUT switch (not present on channels 13-16), often referred to as a high pass filter (all depends on how you look at it), cuts bass frequencies below 75Hz at a rate of 18 dB per octave. This aint no thrown-in dime-store filter an 18 dB per octave curve requires an elaborate circuit. Nothing but the best for you. We recommend that you use LOW CUT on every sound source except kick drum, bass guitar, bassy synth patches, or recordings of earthquakes. These aside, there isnt much down there that you want to hear, and filtering it out makes the low stuff you do want much more crisp and tasty. Not only that, but low cut can help reduce the possibility of feedback in live situations, and it helps to conserve amplifier power. With LOW CUT, you can safely boost LOW EQ. Many times, bass shelving eq can really benefit voices. Trouble is, adding LOW EQ also boosts the subsonic debris: Stage rumble, mic handling clunks, wind noise and breath pops. LOW CUT removes all that debris so you can boost the LOW EQ without frying your woofer. Heres a frequency curve of LOW EQ combined with LOW CUT:

Mono Channel

Most of the root and lower harmonics that define a sound are located in the 100Hz8kHz frequency range, and you can create drastic changes with these two knobs. Many engineers use MID EQ to cut midrange frequencies, not boost them. One popular trick is to set the MID fully up, turn the frequency knob until you find a point where it sounds just terrible, then back the MID down into the cut range, causing those terrible frequencies to disappear. Sounds silly, but it works. Sometimes. The HI EQ provides you up to 15 dB boost or cut at 12kHz, and it is also flat at the detent. Use it to add sizzle to cymbals, an overall sense of transparency, or an edge to keyboards, vocals, guitar and bacon frying. Turn it down a little to reduce sibilance or to mask tape hiss.

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 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 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 mode , these mix levels can be obtained independently of a channels fader settings. 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 or 3) to feed
its left input and the even AUX (2 or 4) 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.
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 and 4 are always in post mode. In post mode (switch up), AUX 1 and 2 will follow the EQ, LOW CUT, fader and MUTE 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 TRIM 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.

Pre Vs. Post

Stereo Channel
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.
mixers now employ VLZ circuitry and built-in power supplies that deliver more than enough current, resulting in sonic specifications that rival consoles upwards of $50,000!

SUBGROUP FADERS

SUBS MODE SUBS NORMAL (AFL) LEVEL SET (PFL) LEVEL SET
MODE (NORMAL (AFL)/LEVEL SET (PFL))
You may have already seen this in the SOLO discussion, but in case you missed it: The 1642-VLZ PROs solo system comes in two flavors:

LEVEL SET LED

To quote step 6 of the Level-Setting Procedure , Push in the MODE switch in the output section (LEVEL SET (PFL) mode) the LEVEL SET LED will light. When the solo MODE switch is engaged, its in LEVEL SET (PFL) mode, the mode you must be in to set levels. Now, when you engage any solo switch, this LED will be a green light to set levels. If you tried to set levels during NORMAL (AFL) mode, the meter display would be at the mercy of the channel fader, and that would be a big problem.
NORMAL (AFL) (sometimes called SIP, or solo-in-place) LEVEL SET (PFL) (sometimes called PFL, or pre-fader-listen)
In NORMAL (AFL), 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 4.2kHz, is panned a smidgen to the left, and its fader is at 5dB, 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. 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 turned 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.

30 RUDE SOLO LIGHT

SOLO (LEVEL)
This knob controls the level of the signals coming from the SOLO system. Its range is off when fully down, unity at the center detent, with 10dB additional gain turned fully up. After the SOLO level is determined, the SOLO signals will proceed to take over the C-R OUTS, PHONES output and meter display. Once again, LEVEL SET (PFL) SOLO taps the channel signal before the fader. If you have a channels fader set way below U (unity gain), LEVEL SET (PFL) 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.

AUX SENDS (MASTER)

These knobs provide overall level control of AUX SENDS 1 and 2, just before theyre delivered to their AUX SEND outputs. This is perfect for controlling the level of stage monitors, since youll be using AUX 1 and 2 for this, with their PRE switches engaged. AUX AUX SEND SENDS 3 through 6 have no such control theyll just send their mixes directly to their respective AUX SEND outputs at unity gain. This knob goes from off (turned fully down), to unity gain at the center detent, with 10dB of extra gain (turned fully up). As with some other level controls, you may never need the additional gain, but if you ever do, 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.)

Meters vs. Reality

You may already be an expert at the world of +4 (+4dBu=1.23V) and 10 (10dBV=0.32V) operating levels. Basically, what makes a mixer one or the other is the relative 0dB VU (or 0VU) chosen for the meter display. A +4 mixer, with a +4dBu signal pouring out the back will actually read 0VU on its meter display. A 10 mixer, with a 10dBV signal trickling out, will read, you guessed it, 0VU on its meter display. So when is 0VU actually 0dBu? Right now! At the risk of creating another standard, Mackies compact mixers address the need of both crowds by calling things as they are: 0dBu (0.775V) at the output shows as 0VU on the meter 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 1642-VLZ PROs wide dynamic range, you can get a good mix with peaks flashing anywhere between 20 and +10dB on the meter display. Most amplifiers clip at about +10dB, 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).

TO AUX SEND 1

SUBS 1 2
MODE NORMAL (AFL) LEVEL SET (PFL)

SUBS 3 4

AUX SENDS SOLO
Once again, in a 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 , helps you find 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, and yes, we know theres no fader in this case.) During NORMAL (AFL) mode , youll get AUX SEND 1s solo signal, post-AUX SENDS master level, in the left side of the C-R OUTS, 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 postAUX SENDS master level.

If you want to add reverb or delay to the stage monitor mixes, these are the knobs for you. Operating independently of their respectively numbered AUX RETURNS level controls, these knobs are exactly the same as the AUX 1 and AUX 2 knobs found in the channel strip. These two knobs feed AUX RETURN signals to their respective AUX SEND outputs : TO AUX SEND 1 feeds AUX RETURN 1 to AUX SEND 1 master, and TO AUX SEND 2 feeds AUX RETURN 2 to AUX SEND 2 master. They are off when turned fully down, deliver unity gain at the center detent, and can provide up to 15dB of gain turned fully up. AUX RETURN 3 and AUX RETURN 4 have no such knobs.
MAIN MIX TO SUBS (AUX RET 3)
With this switch up, AUX 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 finished. Please read on.

AUX RETURNS (LEVEL)

These four controls set the overall level of effects received from the stereo AUX RETURN input jacks. These controls are designed to handle a wide range of signal levels each knob goes from off, to unity gain at the detent, to 20dB gain fully clockwise, to compensate for low-level effects. Signals passing EFFECTS TO MONITORS through the STEREO AUX RETURN level controls will pro1 ceed directly to the MAIN MIX fader , with exceptions that 2 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 STEREO AUX RETURN 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.

12/34 (AUX RET 3)

As youve just read, if the MAIN MIX TO SUBS switch is disengaged, the 12/34 switch does absolutely nothing. Lets now assume its engaged. AUX RETURN 3s stereo signal will not be sent to the MAIN MIX, but to subgroup faders 1 and 2 (12/34 switch up) or subgroup faders 3 and 4 (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, 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 and the reverb outputs are patched into AUX RETURN 3. So far so good. Even though you could send AUX RETURN 3 directly to the MAIN MIX (MAIN MIX TO SUBS 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

LEFT RIGHT 0 dB=0 dBu 2 0
(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.
This switch operates just like the channel SOLO switches engaging it sends signals to the C-R OUTS, PHONES output and meter display and interrupts whatever happened to be there before you soloed. It follows the MODE switch setting as well. The only difference is that when you engage the RETURNS SOLO switch, it sends all four STEREO AUX RETURNS signals to the SOLO circuit. Assume you want to solo the snare drum. Hit that channels SOLO switch, and you get the dry (no effects) snare only. That helps, but you want to hear it with the reverb you have patched into an AUX RETURN. Leaving that channels SOLO switch engaged, also engage the RETURNS SOLO switch, and now youll get the dry snare and its reverb. Since it is a global feature, youll also get the signals from all the other AUX RETURNS, so there may be some sounds that you didnt want to hear. If they offend your sensibilities, simply turn down the levels of the STEREO AUX RETURNS you dont want to hear, or MUTE the channels feeding the unwanted signal to the effects device you do want to hear. Congratulations! Youve just read about all the features of your 1642-VLZ PRO. Youre probably ready for a nice cup of tea. Go ahead. The rest of the manual can wait.
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.

16.63" (422mm)

5.45" (138mm)

17.28" (439 mm)

1642-VLZ PRO WEIGHT 18.2 lbs. (8.3 kg)

SERVICE INFO

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 1642-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:

REPAIR

Service for the U.S. version of the 1642-VLZ PRO is only available from Mackie Designs, located in sunny Woodinville, Washington. (Service for mixers living outside the United States can be obtained through local dealers or distributors.) If your mixer needs service, follow these instructions: 1. Review the preceding troubleshooting suggestions. Please. 2. Call Tech Support at 1-800-258-6883, 8am to 5pm PST, to explain the problem and request an R.A. number. Have your mixers serial number ready. You must have a Return Authorization number, or we may refuse the delivery. 3. Set aside the power cord, owners manual, or anything else that youll ever want to see again. We are responsible for the return of the mixer only. 4. Pack the mixer in its original package, including endcaps and box. This is VERY IMPORTANT. When you call for the RA number, please let Tech Support know if you need a new box. Mackie is not responsible for any damage that occurs due to non-factory packaging. 5. Include a legible note stating your name, shipping address (no P.O. boxes), daytime phone number, R.A. number and a detailed description of the problem, including how we can duplicate it. 6. Write the R.A. number in BIG PRINT on top of the box. 7. Ship the mixer to us. We suggest insurance for all forms of cartage. Ship to this address: Mackie Designs Inc. SERVICE DEPARTMENT 16220 Wood-Red Rd. NE Woodinville, WA 98072 8. Well try to fix the mixer within five business days. Ask Tech Support for current turn-around times when you call for your RA number. We normally send everything back prepaid using three-day shipping. However, if you rush your mixer to us by next-day air, well treat it in kind by shipping it back in the same way in which it was received. This paragraph does not necessarily apply to non-warranty service.