Escolar Documentos
Profissional Documentos
Cultura Documentos
MIC/LINE MIXER
OWNER’S MANUAL
120 VAC 50/60 Hz 20W POWER PHANTOM MAIN OUT MAIN INSERT TAPE TAPE C-R OUTS SUB OUTS AUX RETURN AUX SEND DIRECT OUT
315mA/250V SLO-BLO BAL/UNBAL INPUT OUTPUT BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL
L L L 3 1 4 3 2 1 5 3 1 7 5 3 1
L L
L L L
(MONO) (MONO) (MONO)
MONO
R R R 4 2 6 4 2 8 6 4 2
R R R
CAUTION: R R
TO REDUCE THE RISK OF
FIRE REPLACE WITH SAME
TYPE FUSE AND RATING OO +6
INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT
LINE 16 LINE 15 LINE 14 LINE 13 LINE 12 LINE 11 LINE 10 LINE 9 LINE 8 LINE 7 LINE 6 LINE 5 LINE 4 LINE 3 LINE 2 LINE 1
BAL BAL BAL BAL BAL BAL BAL BAL BAL BAL BAL BAL BAL BAL BAL BAL
UN- UN- UN- UN- UN- UN- UN- UN- UN- UN- UN- UN- UN- UN- UN- UN-
BAL BAL BAL BAL BAL BAL BAL BAL BAL BAL BAL BAL BAL BAL BAL BAL
MIC 16 MIC 15 MIC 14 MIC 13 MIC 12 MIC 11 MIC 10 MIC 9 MIC 8 MIC 7 MIC 6 MIC 5 MIC 4 MIC 3 MIC 2 MIC 1
PATENT PENDING
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
CR1604-VLZ
16-CHANNEL MIC/LINE MIXER
TRIM 1 TRIM 2 TRIM 3 TRIM 4 TRIM 5 TRIM 6 TRIM 7 TRIM 8 TRIM 9 TRIM 10 TRIM 11 TRIM 12 TRIM 13 TRIM 14 TRIM 15 TRIM 16
-10dGBV -10dGBV -10dGBV -10dGBV -10dGBV -10dGBV -10dGBV -10dGBV -10dGBV -10dGBV -10dGBV -10dGBV -10dGBV -10dGBV -10dGBV -10dGBV TM
C AIN C AIN C AIN C AIN C AIN C AIN C AIN C AIN C AIN C AIN C AIN C AIN C AIN C AIN C AIN C AIN
MI MI MI MI MI MI MI MI MI MI MI MI MI MI MI MI
12V
0.5A
U U U U U U U U U U U U U U U U
CR1604-VLZ
10 60 10 60 10 60 10 60 10 60 10 60 10 60 10 60 10 60 10 60 10 60 10 60 10 60 10 60 10 60 10 60
16-CHANNEL MIC/LINE MIXER
+10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB LAMP
AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX
U U U U U U U U U U U U U U U U U U U
TO AUX
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 SEND 1
OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +10 OO +20 OO +15
EFFECTS TO
U U U U U U U U U U U U U U U U U U U MONITORS
TO AUX
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 SEND 2
OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +10 OO +20 OO +15
PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE AUX
U U U U U U U U U U U U U U U U SENDS U ASSIGN OPTIONS
3 5 3 5 3 5 3 5 3 5 3 5 3 5 3 5 3 5 3 5 3 5 3 5 3 5 3 5 3 5 3 5 1 3
SOLO MAIN MIX 1–2
OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +20 TO SUBS 3–4
U U U U U U U U U U U U U U U U U
2
4 6 4 6 4 6 4 6 4 6 4 6 4 6 4 6 4 6 4 6 4 6 4 6 4 6 4 6 4 6 4 6 SOLO 4
C-R / PHNS RETURNS
OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 PHAN PWR OO +20 ONLY SOLO
5/6 5/6 5/6 5/6 5/6 5/6 5/6 5/6 5/6 5/6 5/6 5/6 5/6 5/6 5/6 5/6
SHIFT SHIFT SHIFT SHIFT SHIFT SHIFT SHIFT SHIFT SHIFT SHIFT SHIFT SHIFT SHIFT SHIFT SHIFT SHIFT STEREO AUX RETURNS
EQ U HI EQ HI EQ HI EQ HI EQ HI EQ HI EQ HI EQ HI EQ HI EQ HI EQ HI EQ HI EQ HI EQ HI EQ HI EQ HI U
LEFT RIGHT
U U U U U U U U U U U U U U U
12k 12k 12k 12k 12k 12k 12k 12k 12k 12k 12k 12k 12k 12k 12k 12k 0 dB=0 dBu
CLIP
28
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 OO MAX OO +20
10
U MID U MID U MID U MID U MID U MID U MID U MID U MID U MID U MID U MID U MID U MID U MID U MID C-R / PHONES TAPE IN 7
TAPE TAPE TO 2
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 MAIN MIX
800 800 800 800 800 800 800 800 800 800 800 800 800 800 800 800 0
2
200 2k 200 2k 200 2k 200 2k 200 2k 200 2k 200 2k 200 2k 200 2k 200 2k 200 2k 200 2k 200 2k 200 2k 200 2k 200 2k SUBS 1–2
4
100 8k 100 8k 100 8k 100 8k 100 8k 100 8k 100 8k 100 8k 100 8k 100 8k 100 8k 100 8k 100 8k 100 8k 100 8k 100 8k OO MAX LEVEL
SET 7
U LOW U LOW U LOW U LOW U LOW U LOW U LOW U LOW U LOW U LOW U LOW U LOW U LOW U LOW U LOW U LOW SUBS 3–4 SOLO
80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz
10
20
MAIN MIX MODE
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 30
LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT NORMAL (AFL) RUDE
75 Hz
18dB/OCT
75 Hz
18dB/OCT
75 Hz
18dB/OCT
75 Hz
18dB/OCT
75 Hz
18dB/OCT
75 Hz
18dB/OCT
75 Hz
18dB/OCT
75 Hz
18dB/OCT
75 Hz
18dB/OCT
75 Hz
18dB/OCT
75 Hz
18dB/OCT
75 Hz
18dB/OCT
75 Hz
18dB/OCT
75 Hz
18dB/OCT
75 Hz
18dB/OCT
75 Hz
18dB/OCT
SOURCE LEVEL SET (PFL) SOLO
LIGHT
PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN ASSIGN TO MAIN MIX
PHONES
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 RIGHT RIGHT RIGHT RIGHT
MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MAIN
1 2 3 4 L-R MIX
OL OL OL OL OL OL OL OL OL OL OL OL OL OL OL OL dB dB
10 10
-20 -20 -20 -20 -20 -20 -20 -20 -20 -20 -20 -20 -20 -20 -20 -20 5 5
U U
SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO
5 5
10 10
1–2 1–2 1–2 1–2 1–2 1–2 1–2 1–2 1–2 1–2 1–2 1–2 1–2 1–2 1–2 1–2
20 20
3–4 3–4 3–4 3–4 3–4 3–4 3–4 3–4 3–4 3–4 3–4 3–4 3–4 3–4 3–4 3–4 30 30
40 40
L-R L-R L-R L-R L-R L-R L-R L-R L-R L-R L-R L-R L-R L-R L-R L- R 50 50
60 60
OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO
Date of purchase:
R
MONO
R
L
R R
L
L
R
3
4
1
2
4
L
(MONO)
R
3
L
(MONO)
R
2
L
(MONO)
R
1 5
6
3
4
1
2
7
8
5
6
3
4
1
2
on connectors: XLR connectors, balanced con-
CAUTION:
PATCHBAY
INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT
BAL
UN-
BAL
LINE 16
BAL
UN-
BAL
LINE 15
BAL
UN-
BAL
LINE 14
BAL
UN-
BAL
LINE 13
BAL
UN-
BAL
LINE 12
BAL
UN-
BAL
LINE 11
BAL
UN-
BAL
LINE 10
BAL
UN-
BAL
LINE 9
BAL
UN-
BAL
LINE 8
BAL
UN-
BAL
LINE 7
BAL
UN-
BAL
LINE 6
BAL
UN-
BAL
LINE 5
BAL
UN-
BAL
LINE 4
BAL
UN-
BAL
LINE 3
BAL
UN-
BAL
LINE 2
BAL
UN-
BAL
LINE 1
12V
appendix gives more of the whys and wherefores
for beginners.
0.5A
U U U U U U U U U U U U U U U U
CR1604-VLZ
10 60 10 60 10 60 10 60 10 60 10 60 10 60 10 60 10 60 10 60 10 60 10 60 10 60 10 60 10 60 10 60
16-CHANNEL MIC/LINE MIXER
+10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB LAMP
AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX
U U U U U U U U U U U U U U U U U U U
TO AUX
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 SEND 1
OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +10 OO +20 OO +15
EFFECTS TO
U U U U U U U U U U U U U U U U U U U MONITORS
OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +10 OO +20 OO +15
PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE AUX
CHANNEL STRIPS
U U U U U U U U U U U U U U U U SENDS U ASSIGN OPTIONS
3 5 3 5 3 5 3 5 3 5 3 5 3 5 3 5 3 5 3 5 3 5 3 5 3 5 3 5 3 5 3 5 1 3
SOLO MAIN MIX 1–2
OUTPUT
OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +20 TO SUBS 3–4
U U U U U U U U U U U U U U U U U
2
4 6 4 6 4 6 4 6 4 6 4 6 4 6 4 6 4 6 4 6 4 6 4 6 4 6 4 6 4 6 4 6 SOLO 4
SECTION
5/6 5/6 5/6 5/6 5/6 5/6 5/6 5/6 5/6 5/6 5/6 5/6 5/6 5/6 5/6 5/6
SHIFT SHIFT SHIFT SHIFT SHIFT SHIFT SHIFT SHIFT SHIFT SHIFT SHIFT SHIFT SHIFT SHIFT SHIFT SHIFT STEREO AUX RETURNS
EQ U HI EQ HI EQ HI EQ HI EQ HI EQ HI EQ HI EQ HI EQ HI EQ HI EQ HI EQ HI EQ HI EQ HI EQ HI EQ HI U
LEFT RIGHT
U U U U U U U U U U U U U U U
12k 12k 12k 12k 12k 12k 12k 12k 12k 12k 12k 12k 12k 12k 12k 12k 0 dB=0 dBu
CLIP
28
TAPE TAPE TO 2
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 MAIN MIX
800 800 800 800 800 800 800 800 800 800 800 800 800 800 800 800 0
20
MAIN MIX MODE
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 30
PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN ASSIGN TO MAIN MIX
U U
SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO
5 5
10 10
1–2 1–2 1–2 1–2 1–2 1–2 1–2 1–2 1–2 1–2 1–2 1–2 1–2 1–2 1–2 1–2
3–4
L-R
3–4
L-R
3–4
L-R
3–4
L-R
3–4
L-R
3–4
L-R
3–4
L-R
3–4
L-R
3–4
L-R
3–4
L-R
3–4
L-R
3–4
L-R
3–4
L-R
3–4
L-R
3–4
L-R
3–4
L- R
20
30
40
50
60
OO
20
30
40
50
60
OO
lines. It’s a gold mine for the neophyte and even
OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO OO
TRACK
1
TRACK
2
TRACK
3
TRACK
4
TRACK
5
TRACK
6
TRACK
7
TRACK
8
the seasoned pro might learn a thing or two.
4
OL OL
PWR PWR
ON ON
6
Cassette or DAT
CH
1
Stereo EQ w/Compressor
CH
2
in
in
out
out
Machine
out
Digital Delay Digital
8-track
in
in
out
in
out
FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN
1 2 3 4 R L L L R L R L 16 15 14 13 12 11 10 9 8 7 6 5
R R
STEREO MONO 4 3 2 1
PHONES SUB OUTS C/R OUT TAPE TAPE MAIN MAIN OUT
OUT BAL/UNBAL BAL/UNBAL OUT IN INSERT BAL/UNBAL CHANNEL INPUTS
AUX RETURNS AUX SENDS DIRECT OUT CHANNEL INSERTS
4 3 2 1 BAL/UNBAL BAL/UNBAL
R L R L R L R L 6 5 4 3 2 1 8 7 6 5 4 3 2 1 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1
Mono EQ Mono EQ
7
,
,
8
out Video Deck
Video Deck
Studio Monitors
Video Deck
OL OL
PWR PWR
ON ON
Stereo
Power Amplifier
Master
Video
1 2 3 4 R L L L R L R L 16 15 14 13 12 11 10 9 8 7 6 5 4 3
R R
STEREO MONO 2 1
PHONES SUB OUTS C/R OUT TAPE TAPE MAIN MAIN OUT
OUT BAL/UNBAL BAL/UNBAL OUT IN INSERT BAL/UNBAL CHANNEL INPUTS
AUX RETURNS AUX SENDS DIRECT OUT CHANNEL INSERTS
4 3 2 1 BAL/UNBAL BAL/UNBAL
Digital Delay
Stereo Compressor
CONVERTING TO RACKMOUNT MODE
Not only is the new CR1604-VLZ a compact, An optional accessory called the ROTOPOD-
professional-quality tabletop mixer, it’s rack- VLZ is available and can be used in desktop or
mountable! Its unique rotating input pod rackmount installations. It will put the patchbay
makes this possible. jacks on the same plane as all the knobs, buttons
One of the things that revolutionized the com- and faders. This is a lifesaver in applications that
pact mixer industry was the “convertible pod” demand frequent repatching, and costs a heck of a
found on the original, classic CR-1604. Using lot less than an external patchbay, not to mention
an ordinary Phillips screwdriver, the mixer all the interface and patch cords: . Please
could be converted from desktop mode (as it visit your dealer for more exciting details. Be
comes from the factory) to rackmount mode. sure to order the “VLZ” version so you don’t
Fear not. We wouldn’t dare take that feature end up with the one for the classic CR-1604!
out of the New Improved CR1604-VLZ. It’s
still there and still takes just a few minutes SWITCHING POSITIONS
with your screwdriver. Here’s how it’s done: You may have noticed the white stripes printed
1. Remove ALL the cords from the mixer — just above most of the pushbutton switches on
audio, power, lamps, everything. your CR1604-VLZ. We’ve put them there to
2. Place the mixer, face down, on a clean soft make it easier for you to see if the switch is
surface, like a blanket or very large dog. engaged (down). Here’s how they work:
3. Remove the four screws securing the cable With the mixer in desktop mode, you’ll be
cover and set the plate aside. sitting just in front of it, viewing the control
panel at an oblique angle. When a switch is
4. Replace two of the screws; the ones at the
disengaged (up), the button will hide the
pod end of the mixer .
white stripe from your field of vision. When
5. Remove two pod-mounting screws on each you engage the switch, the stripe will suddenly
side of the mixer . appear. Although it may not seem obvious at
6. Gently pull the pod away from the slots, rotate first, you’ll soon find that the indicator stripe
it, and place it, tabs first, into the rackmount really helps you determine switch positions at
tabs , located on the underside of the a glance. Clever, ain’t it?
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 .
8. Install the rack ears that came
with the mixer. They can be in- remove replace
stalled in either of two depths: screws screws
rackmount
tab slots
remove rotate
screws pod replace
screws
L L L 3 1 4 3 2 1 5 3 1 7 5 3 1
L L
L L L
(MONO) (MONO) (MONO)
MONO
R R R 4 2 6 4 2 8 6 4 2
R R R
CAUTION: R R
TO REDUCE THE RISK OF
FIRE REPLACE WITH SAME
TYPE FUSE AND RATING OO +6
INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT
LINE 16 LINE 15 LINE 14 LINE 13 LINE 12 LINE 11 LINE 10 LINE 9 LINE 8 LINE 7 LINE 6 LINE 5 LINE 4 LINE 3 LINE 2 LINE 1
BAL BAL BAL BAL BAL BAL BAL BAL BAL BAL BAL BAL BAL BAL BAL BAL
UN- UN- UN- UN- UN- UN- UN- UN- UN- UN- UN- UN- UN- UN- UN- UN-
BAL BAL BAL BAL BAL BAL BAL BAL BAL BAL BAL BAL BAL BAL BAL BAL
MIC 16 MIC 15 MIC 14 MIC 13 MIC 12 MIC 11 MIC 10 MIC 9 MIC 8 MIC 7 MIC 6 MIC 5 MIC 4 MIC 3 MIC 2 MIC 1
10
PATENT PENDING
phantom power) with the mic preamps. You or you want to add a lot of EQ gain, or both. 10 60
+10dB -40dB
can use these inputs for virtually any signal Without this “virtual pad,” a scenario like that AUX
U
you’ll come across, from instrument levels as might lead to channel clipping.
1
U
+15
To learn how signals are routed from these ers, de-essers, or filters . The INSERT point is U
3 5
inputs: . To connect balanced lines to these after the TRIM control, but before the channel’s OO +15
inputs, use a 1/4" tip-ring-sleeve (TRS) plug, EQ, LOW CUT, fader and MUTE controls. Insert U
the type found on some stereo headphones: cables must be wired thusly: 4 6
OO +15
5/6
SEND to processor SHIFT
RING SLEEVE SLEEVE RING TIP ring “tip”
tip sleeve (TRS plug)
EQ U HI
12k
TIP
Tip = positive (+ or hot) Ring = return (input from effects device) 800
100 8k
Sleeve = shield or ground Even though channels 1–8 already have U LOW
80Hz
75 Hz
puts, use a 1/4" mono (TS) phone plug or pre-LOW CUT, and pre-EQ. Here’s three ways 18dB/OCT
PAN
standard instrument cable: you can use the INSERT jacks:
SLEEVE SLEEVE TIP
L R
TIP 1
MUTE
TIP
MONO PLUG
Tip = signal (+) OL
MONO PLUG
in the patchbay section at all. They’re found 3–4
along the top row of knobs in the channel strip Channel Insert jack
section. But their purpose is so closely linked Direct out with signal interruption to master. L-R
with the MIC and LINE input jacks that we Insert all the way in to the second “click.” OO
11
12
L L L 3 1 4 3 2 1 5 3 1 7 5 3 1
L L
L L L
(MONO) (MONO) (MONO)
MONO
R R R 4 2 6 4 2 8 6 4 2
R R R
CAUTION: R R
TO REDUCE THE RISK OF
FIRE REPLACE WITH SAME
TYPE FUSE AND RATING OO +6
INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT
LINE 16 LINE 15 LINE 14 LINE 13 LINE 12 LINE 11 LINE 10 LINE 9 LINE 8 LINE 7 LINE 6 LINE 5 LINE 4 LINE 3 LINE 2 LINE 1
BAL BAL BAL BAL BAL BAL BAL BAL BAL BAL BAL BAL BAL BAL BAL BAL
UN- UN- UN- UN- UN- UN- UN- UN- UN- UN- UN- UN- UN- UN- UN- UN-
BAL BAL BAL BAL BAL BAL BAL BAL BAL BAL BAL BAL BAL BAL BAL BAL
MIC 16 MIC 15 MIC 14 MIC 13 MIC 12 MIC 11 MIC 10 MIC 9 MIC 8 MIC 7 MIC 6 MIC 5 MIC 4 MIC 3 MIC 2 MIC 1
PATENT PENDING
Insert Insert
Send Return
Signal Processor
Dry Signal Processed
Signal
Parallel Device (e.g., Reverb)
Aux Aux Output
Send Return Section
Signal Processor
Wet Signal
Mix Processed
Stage Signal
Channel Path
Dry Signal(s) Dry Signal(s)
13
30 30
40 40
50 50
60 60
OO OO
14
ring
SEND to processor
“tip”
POWER CONNECTION
tip sleeve (TRS plug)
Just in case you lose the cord provided with
This plug connects to one of the
the CR1604-VLZ, its power jack accepts a stan-
“ring”
mixer’s Channel Insert jacks. RETURN from processor dard 3-prong IEC cord like those found on
Tip = send (output to effects device) most professional recorders, musical instru-
Ring = return (input from effects device) ments, and computers. At the other end of our
Sleeve = common ground (connect shield to cord is — get this — a plug! Not a black cube
all three sleeves) or, as we’re fond of calling them, a “wall wart.”
We did this for some very good reasons:
MAIN OUTS The CR1604-VLZ has sophisticated power
These 1/4" jacks are usually patched to the requirements that a wall wart cannot provide.
inputs of your 2-track mixdown deck (unless Wall warts are inconvenient, fragile, radiate huge
you’ve chosen to use the TAPE OUTPUT RCA hum fields, hog extra jacks on your power strip
jacks), or to the house amplifier during live and get in the way. If you lose a wall wart, you’re
sound sessions. To learn how signals are in trouble, but if you lose the CR1604-VLZ’s power
routed to these outputs: . To use these out- cord, you can get a new one at any electronics,
puts to drive balanced inputs, connect 1/4" TRS music, or computer store. You can even buy them
(Tip-Ring-Sleeve) phone plugs like this: at Radio Shack® (part # 278-1257).
RING SLEEVE SLEEVE RING TIP
Plug the CR1604-VLZ into any standard
grounded (3-pin) AC outlet or into a power
TIP strip of proper voltage.
Tip = + (hot) RING WARNING: Disconnecting
TIP
Ring = – (cold) the plug’s ground pin can
SLEEVE
Sleeve = ground be dangerous. Please
To use these outputs to drive unbalanced don’t do it.
inputs, connect 1/4" TS (Tip-Sleeve) phone
plugs like this: SLEEVE SLEEVE TIP FUSE
TIP
The CR1604-VLZ is fused for your (and its
Tip = signal TIP own) protection. If you suspect a blown fuse,
Sleeve = ground disconnect the power cord, pull the fuse drawer
SLEEVE
out (located just below the cord receptacle)
MONO OUTPUT and replace the fuse with a 1A SLO BLO, 5x20mm,
It happens to everybody sooner or later: available at electronics stores or your dealer
The forces that govern your world will demand (or a 500mA [0.5 amps] SLO BLO 5x20mm if
a monaural output from your painstakingly- your CR1604-VLZ is a 220V-240V unit).
created stereo panorama. The last thing you
want to do is start twirling all your carefully-
placed PAN settings to one side. What to do? 120 VAC 50/60 Hz 20W
315mA/250V SLO-BLO
POWER PHANTOM MAIN OUT
BAL/UNBAL
MAIN INSERT TAPE
INPUT
TAPE
OUTPUT
C-R OUTS
BAL/UNBAL
L L
end to Mr. Mono, and you’re done. He’s got his R
MONO
R R
mono mix and you’ve still got your stereo mix. CAUTION:
TO REDUCE THE RISK OF
FIRE REPLACE WITH SAME
TYPE FUSE AND RATING OO +6
R R
The MONO output is nothing more than a mix INSERT INSERT INSERT INSERT INSERT INSERT INSERT
TO AUX
1 1 1 SEND 1
OO +10 OO +20 OO +15
EFFECTS TO
U U U MONITORS
TO AUX
2 2 2 SEND 2
AUX
SENDS U ASSIGN OPTIONS
1 3
SOLO MAIN MIX 1– 2
OO +20 TO SUBS 3– 4
U
2
SOLO 4
C-R / PHNS RETURNS
PHAN PWR OO +20 ONLY SOLO
LEFT RIGHT
120 VAC 50/60 Hz 20W POWER PHANTOM MAIN OUT MAIN INSERT TAPE TAPE C-R OUTS SUB OUTS AUX RETURN AUX SEND DIRECT OUT
315mA/250V SLO-BLO BAL/UNBAL INPUT OUTPUT BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL
L L L 3 1 4 3 2 1 5 3 1 7 5 3 1
L L
L L L
(MONO) (MONO) (MONO)
MONO
R R R 4 2 6 4 2 8 6 4 2
R R R
CAUTION: R R
TO REDUCE THE RISK OF
FIRE REPLACE WITH SAME
TYPE FUSE AND RATING OO +6
INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT
LINE 16 LINE 15 LINE 14 LINE 13 LINE 12 LINE 11 LINE 10 LINE 9 LINE 8 LINE 7 LINE 6 LINE 5 LINE 4 LINE 3 LINE 2 LINE 1
BAL BAL BAL BAL BAL BAL BAL BAL BAL BAL BAL BAL BAL BAL BAL BAL
UN- UN- UN- UN- UN- UN- UN- UN- UN- UN- UN- UN- UN- UN- UN- UN-
BAL BAL BAL BAL BAL BAL BAL BAL BAL BAL BAL BAL BAL BAL BAL BAL
MIC 16 MIC 15 MIC 14 MIC 13 MIC 12 MIC 11 MIC 10 MIC 9 MIC 8 MIC 7 MIC 6 MIC 5 MIC 4 MIC 3 MIC 2 MIC 1
PATENT PENDING
16
The sixteen channel strips look alike and A Clean Fade TRIM
-10dGBV
1
C AIN
function identically. The only difference is that Faders are not rocket MI
the eight on the left have DIRECT OUT jacks science — they operate by 10 60
+10dB -40dB
and the eight on the right don’t. We’ll start dragging a metal pin (the AUX
U
at the bottom and work our way up. wiper) across a carbon-based
1
strip (the track). It is possible for airborne OO +15
“U” LIKE UNITY GAIN crud to land on the track. Should that happen, U
2
Mackie mixers have a “U” you may hear scratchy noises or signal drop-
OO +15
symbol on almost every level outs as the wiper stumbles over the crud. Do PRE
U
control. This “U” stands for all you can to keep airborne crud out of your
3 5
“unity gain,” meaning no profession. Use air conditioned rooms when- OO +15
change in signal level. Once you have per- ever possible, avoid smoking near the mixer, U
formed the Level-Setting Procedure , you keep food and drink away from the mixer, and 4 6
OO +15
can set every control at “U” and your signals for pity’s sake, never put the mixer in your 5/6
SHIFT
will travel through the mixer at optimal lev- kitchen! We also recommend “exercising” the EQ U HI
els. What’s more, all the labels on our controls faders — give them a few full-travel excur- 12k
are measured in decibels (dB), so you’ll know sions once a week or so, and that will help -15 +15
what you’re doing level-wise if you choose to scare the crud away. We do not recommend U MID
there, as you would with some other mixers. In ASSIGN (1–2, 3–4, L–R) 200 2k
fact, some don’t even have any reference to Alongside each channel fader are four but- 100
U
8k
LOW
80Hz
actual dB levels at all! Ever seen those “0–10” tons, labeled SOLO, 1–2, 3–4 and L–R. The
fader markings? We call these AUMs (Arbitrary latter three are collectively referred to as chan- -15 +15
LOW CUT
Units of Measurement), and they mean noth- nel assignment switches. 1, 3 and L are the left 75 Hz
18dB/OCT
ing in the real world. You were smart — you sides of these stereo pairs, and 2, 4 and R are PAN
The fader is almost the last control in a With the PAN knob set at the center detent, OL
channel’s signal path. It’s placed after the EQ the left and right sides receive equal signal
and MUTE controls (post-EQ /post-MUTE and levels. To feed only one side or the other, just -20
before the PAN control (pre-PAN). The “U” turn the PAN knob accordingly. SOLO
mark, about three-quarters of the way up, If you’re doing a mixdown to a 2-track, sim-
indicates unity gain, meaning no increase or ply engage the L–R switch on each channel 1–2
decrease of signal level. All the way up pro- that you want to hear, and they’ll be sent to the
vides an additional 10dB, should you need to MAIN L-R MIX. If you want to create a sub- 3–4
boost a section of a song. If you find that the group of certain channels, engage either the L-R
overall level is too quiet or too loud with a 1–2 or 3–4 switches instead of the L–R, and OO
fader near unity, you’ll want to confirm the they’ll be sent to the appropriate subgroup fad-
TRIM setting by performing the Level-Setting ers . From there, the subgroups can be sent
Procedure . back to the MAIN L-R MIX , allowing you to
use the subgroup faders as a master control for
those channels.
17
U
you’re printing tracks via the DIRECT OUT nel signal before the fader. If you have a
10
+10dB
60
-40dB
jacks , all the channel assignment switches channel’s fader set way below “U” (unity gain),
AUX
U
should be disengaged (up). SOLO won’t know that and will send a unity
1
The CR1604-VLZ is what we call a “true gain signal to the C-R OUTS, PHONES output
OO +15 4-bus mixer.” Each channel can be assigned or and meter display. That may result in a startling
U
unassigned to any of the subgroups without af- level boost at these outputs, depending on the
2
OO +15
fecting the other subgroups or settings within position of the SOLO level knob .
PRE
U
the channel, and each subgroup has its own In a nutshell, soloed channels are sent to
3 5
master fader and dedicated output . In the SOURCE mix , that ultimately feeds your
OO +15
fact, since there are 4 subgroups and the MAIN C-R OUTS, PHONES output and meter display.
U
L–R MIX, it’s actually a true 6-bus mixer. We Whenever SOLO is engaged, all SOURCE se-
4 6
could have named it the CR1606-VLZ. Darn! lections (MAIN MIX, 1–2, 3–4 and TAPE) are
OO +15
midrange boost at 4.236kHz, is panned a smid- Ever. Clipping can happen to any mixer — it’s
gen to the left, and its fader is at –5.385dB, the point where the signal’s voltage exceeds the
that’s exactly what you’ll hear if you SOLO dur- supply voltages that power the circuitry. The
ing NORMAL (AFL) mode. It’s just as if you CR1604-VLZ’s OL LED will come on just before
took the time to MUTE all the other channels. clipping, so if you see it, take immediate action:
LEVEL SET (PFL) solo is the key player in the Perform the Level-Setting Procedure . If that
all-important Level-Setting Procedure . It’ll doesn’t help, check for excessive use of EQ
send the channel’s actual internal levels to the boost or fader gain. Like the –20 LED, it will
meters so you’ll know just what’s going on, level- tend to flicker in time with that channel’s signal.
wise. This procedure should be performed every Now for the “MUTE” part. Assuming your
time a new sound source is patched into a levels are set correctly, the OL LED will never
channel’s MIC or LINE input jacks.
18
vides the same results as turning the fader all 4dB on the left (or right) when panned center.
1
+15
the way down: Any channel assignment to To do otherwise, like those Brand X mixers,
OO
L-R, 1-2 or 3-4 will be interrupted. All the post would make the sound appear much louder 2
PRE
DIRECT OUT signals on channels 1 through U
LED will commence to glow. The PRE AUX The CR1604-VLZ has a 3-band, mid-sweep
OO
U
+15
sends , channel INSERT send and SOLO equalization: LOW shelving at 80Hz, MID sweep 4 6
(in LEVEL SET (PFL) mode) will continue to peaking from 100Hz to 8kHz, and HI shelving at OO +15
function during MUTE. 12kHz. It’s probably all the EQ you’ll ever need!
5/6
SHIFT
EQ
Depending on the audio content in a chan- (Shelving means that the circuitry boosts or
U HI
12k
nel, engaging its MUTE switch may cause a cuts all frequencies past the specified frequency.
slight popping sound. This is not a problem For example, the CR1604-VLZ’s LOW EQ boosts
-15
U
+15
MID
within the mixer, and it can be avoided: Sim- bass frequencies starting at 80Hz and continu-
ply engage the LOW CUT switch on each ing down to the lowest note you never heard.
-15
800
+15
channel (unless its low frequency content is Peaking means that certain frequencies form a 200 2k
vitally important, such as a kick drum or bass “hill” around the center frequency.) 100 8k
LOW
guitar). LOW CUT eliminates subsonic de- The LOW EQ provides up to 15dB boost or cut
U
80Hz
bris, which causes the pop, and its effect is at 80Hz. The circuit is flat (no boost or cut) at the -15 +15
usually transparent. center detent position. This frequency represents
LOW CUT
75 Hz
18dB/OCT
PAN
PAN the punch in bass drums, bass guitar, fat synth
patches, and some really serious male singers.
PAN adjusts the amount of channel signal L R
+15
sent to the left versus the right outputs. Pan de- 1
MUTE
termines the fate of the L-R assignment, +10
hard left, the signal will feed the left MAIN L-R –5
right, signal feeds the right MAIN L-R MIX, sub- Used in conjunction with the LOW CUT 3–4
group 2, subgroup 4 and right NORMAL (AFL) switch , you can boost the LOW EQ without L-R
solo mode. With the PAN knob set somewhere injecting a ton of subsonic debris into the mix. OO
in-between left and right, the signal will be di- We recommend using the LOW CUT feature on
vided between the left and right busses. all channels, except low frequency signals, like
kick drums and bass guitars.
Stereo Sources
The MID EQ , or “midrange,” has a fixed
Your life will be easier if you follow this bandwidth of 1.5 octaves. The MID knob sets
standard convention: When patching stereo the amount of boost or cut, up to 15dB, and is
sound sources to a mixer, always plug the left effectively bypassed at then center detent. The
signal into an “odd” channel (1, 3, 5, etc.) and frequency knob sets the center frequency,
the right signal into the adjacent “even” chan- sweepable from 100Hz to 8kHz.
nel (2, 4, 6, etc.). Then pan the odd channel
hard left and the even channel hard right.
19
U
+15
bassy synth patches, or recordings of earth-
+5
2 quakes. These aside, there isn’t much down there
OO +15
0 that you want to hear, and filtering it out makes
PRE
U
–5 the low stuff you do want much more crisp and
3 5 –10 tasty. Not only that, but low cut can help reduce
OO
U
+15
–15 the possibility of feedback in live situations, and it
4 6
20Hz 100Hz 1kHz 10kHz 20kHz
helps to conserve amplifier power.
OO +15 Most of the root and lower harmonics that With LOW CUT, you can safely boost LOW
5/6
SHIFT define a sound are located in the 100Hz–8kHz EQ . Many times, bass shelving eq can really
EQ U HI
12k
frequency range, and you can create drastic benefit voices. Trouble is, adding LOW EQ also
changes with these two knobs. Many engineers boosts the subsonic debris: Stage rumble, mic
-15
U
+15
MID
use MID EQ to cut midrange frequencies, not handling clunks, wind noise and breath pops.
boost them. One popular trick is to set the MID LOW CUT removes all that debris so you can
-15 +15 fully up, turn the frequency knob until you find boost the LOW EQ without frying your woofer.
800
200 2k
a point where it sounds just terrible, then back Here’s a frequency curve of LOW EQ combined
100 8k
the MID down into the cut range, causing with LOW CUT:
U LOW
80Hz those terrible frequencies to disappear. Sounds +15
silly, but it works. Sometimes. +10
-15 +15
LOW CUT
75 Hz
The HI EQ provides you up to 15dB boost or
18dB/OCT +5
PAN
cut at 12kHz, and it is also flat at the detent. Use
0
it to add sizzle to cymbals, an overall sense of
–5
L R
transparency, or an edge to keyboards, vocals, gui-
1 tar and bacon frying. Turn it down a little to –10
MUTE
reduce sibilance or to mask tape hiss. –15
OL
20Hz 100Hz 1kHz 10kHz 20kHz
+15
20
dealing with a stereo source signal, you’ll want Don’t let the fact that there’s only four AUX 1
to follow the sides — use the odd AUX on the knobs per channel fool you — the CR1604-VLZ OO +15
channel carrying the left side and the even AUX has six AUX SENDs. With the 5/6 SHIFT switch U
2
on the channel carrying the right. up, the knobs labeled AUX 3 and AUX 4 deliver OO +15
3 5
This switch determines the tap point of at the AUX SEND 5 and 6 outputs. OO +15
AUX 1 and 2. Generally, “post” sends are used We recommend that AUX SEND 3 and 4 be U
4 6
to feed effects devices, and “pre” sends are patched into your “utility” effects, like a short re-
OO +15
used to feed your stage monitors. See the “Pre verb and slap delay; effects you use all the time. 5/6
SHIFT
vs. Post” diagram below. AUX 3 through 6 are Use AUX SEND 5 and 6 for “exotic” effects, like EQ U HI
12k
always in post mode. harmonizers and multi-tap delays; they are not
In post mode (switch up), AUX 1 and 2 will likely to be used as often. -15 +15
follow the EQ, LOW CUT, fader and MUTE set- U MID
tings. If you fade the channel, you fade the -15 +15
-15 +15
LOW CUT
75 Hz
18dB/OCT
PAN
MUTE 1
MUTE
PAN ASSIGN
LOW
INPUT TRIM INSERT EQ OL
CUT FADER
-20
AUX 1
'PRE' SIGNAL 'POST' SIGNAL
SOLO
1–2
L-R
OO
21
You’ve just learned about the At Mackie, audio quality is much more im-
TM
12V input channels and how the sig- portant than the price of wall warts. All of our
CR1604 -VLZ 0.5A
16 - CHANNEL MIC/LINE MIXER nals get in and out. The signals mixers now employ VLZ and built-in power
LAMP
come in via MIC and LINE input supplies that deliver more than enough cur-
U U U
1 1 1 TO AUX
jacks, are manipulated by the rent, resulting in sonic specifications that
SEND 1
OO +10 OO +20 OO +15
EFFECTS TO
channels, and then sent to the rival consoles upwards of $50,000!
MONITORS
U U U
output section. In the output
2 2 2 TO AUX
SEND 2
section, things get a bit more SUBGROUP FADERS
OO +10 OO +20 OO +15
AUX
SENDS
complicated, so put on your As you might expect, these faders control the
U ASSIGN OPTIONS
1 3
thinking caps. levels of signals sent to the SUB OUTS. All chan-
SOLO MAIN MIX 1– 2 nels that are assigned to subgroups, not muted
MAIN L-R MIX FADER
OO +20 TO SUBS 3– 4
U
2
SOLO
and not turned fully down will appear at the
4
OO +20
C-R / PHNS As the name implies, this
RETURNS SUB OUTS. Unlike the MAIN OUT, the sub-
PHAN PWR ONLY SOLO
STEREO AUX RETURNS fader controls the levels of group signals do not pass through an insert jack
U
signals sent to the MAIN OUT
LEFT RIGHT
0 dB=0 dBu
on their way to the subgroup faders. That’s no
CLIP
28
1
/4" TRS jacks and TAPE problem — should you want to send these sig-
OO MAX OO +20
10
OUTPUT RCA jacks . All nals through a serial effects processor, simply
C-R / PHONES TAPE IN 7
4 channels and AUX RETURNs patch from the SUB OUTS to the effect’s input,
TAPE TAPE TO
MAIN MIX
2
that are assigned to the MAIN and from the effect’s output to whatever the fi-
0
SUBS 1– 2
2 L-R MIX, not muted and not nal destination is, usually a multitrack recorder.
OO MAX LEVEL
4
turned fully down will appear The subgroup signals is off when its fader is
7
SUBS 3–4 SOLO SET
10
at the MAIN OUT. Before the fully down, the “U” marking is unity gain, and
MAIN MIX MODE
20
main mix gets to this fader, the fully up provides 10dB additional gain. Re-
30
SOURCE
NORMAL (AFL)
LEVEL SET (PFL)
RUDE
SOLO
signals pass through the MAIN member that if you’re treating two subgroups
LIGHT
1
RIGHT
2
RIGHT
3
RIGHT
4
MAIN
L-R MIX gain, and fully up provides ASSIGN TO MAIN MIX
dB dB
10 10 10dB additional gain. This ad- One popular use of the subgroups is to use
5 5 ditional gain will typically them as master faders for a group of channels
U U never be needed, but once on their way to the MAIN L-R MIX. Let’s say
5 5 again, it’s nice to know it’s you’ve got a drum kit hogging up seven channels
10 10 there. The fader itself is a ste- and you’re going to want to fade them out at a
20 20 reo version of the channel and different rate than the other channels. You don’t
30 30 subgroup faders — same su- want to try that with seven hands or seven fin-
40
50
40
50 persmooth custom taper, same gers, so just un-assign these channels from L–R,
60 60
OO
dead silence when turned fully
OO
reassign them to subgroup 1–2, engage the AS-
down. This is the fader to pull SIGN TO MAIN MIX, LEFT on subgroup 1 and
down at the end of the song the ASSIGN TO MAIN MIX, RIGHT on subgroup
when you want “The Great Fade-Out.” 2. Now you can ride the entire stereo drum mix
with two faders — 1 and 2.
VLZ MIX If you engage just one ASSIGN TO MAIN
ARCHITECTURE MIX switch per subgroup (LEFT or RIGHT),
When designing a mixing the signal sent to the MAIN L-R MIX will be
circuit, the lowest noise and the same level as the SUB OUTS. If you want
best crosstalk specs are the subgroup to appear in the center of the
achieved by using Very Low Impedance (VLZ). main mix, engage both the ASSIGN TO MAIN
To implement VLZ in a mixer, the power supply MIX, LEFT and ASSIGN TO MAIN MIX, RIGHT
must be able to deliver plenty of current to the switches. The signal will be sent to both sides,
circuitry. That’s why those “wall wart” mixers are and will be attenuated just enough to pre-
often noisy — they can’t power a VLZ circuit. serve constant loudness , just like the
channel PAN knobs when set center.
22
28
these outputs and no meter indication, with two OO MAX OO +20
10
4
One of those exceptions is the SOLO func- TAPE TAPE TO 2
MAIN MIX
tion / . Regardless of the SOURCE matrix 0
2
selection, engaging a SOLO switch will replace SUBS 1– 2
4
that selection with the SOLO signal, also sent SUBS 3–4
OO
SOLO
MAX LEVEL
SET 7
10
to the C-R OUTS, PHONES output and meter 20
NORMAL (AFL)
30
RUDE
SOURCE LEVEL SET (PFL) SOLO
Procedure so easy to do. LIGHT
23
4
and meter display just as it would levels. If you tried to set levels during
TAPE TAPE TO
MAIN MIX
2 sound to the channel’s assign- NORMAL (AFL) mode, the meter display
0
2
ment switches: post-EQ, would be at the mercy of the channel fader,
SUBS 1– 2
OO MAX
4 post-fader and post-PAN. The and that would be a big problem.
LEVEL 7
SUBS 3–4 SOLO SET
only difference is that SOLO
10
SOURCE
NORMAL (AFL)
LEVEL SET (PFL)
RUDE
SOLO
assignment positions, and that This knob controls the level of the signals
LIGHT
makes it really handy — you can coming from the SOLO system. It’s range is off
check out a channel before you assign it. when fully down, unity at the center detent,
NORMAL (AFL) is the preferred mode dur- with 10dB additional gain turned fully up. After
ing mixdown: If the channel has some the SOLO level is determined, the SOLO signals
midrange boost at 4.236kHz, is panned a smid- will proceed to take over the C-R OUTS,
gen to the left, and its fader is at –5.385dB, PHONES output and meter display .
that’s exactly what you’ll hear if you SOLO dur- Once again, LEVEL SET (PFL) SOLO taps
ing NORMAL (AFL) mode. It’s just as if you the channel signal before the fader. If you
took the time to MUTE all the other channels. have a channel’s fader set way below “U”
LEVEL SET (PFL) solo is the key player in the (unity gain), LEVEL SET (PFL) SOLO won’t
all-important Level-Setting Procedure . It’ll know that and will send a unity gain signal to
send the channel’s actual internal levels to the the C-R OUTS, PHONES output and meter
meters so you’ll know just what’s going on, level- display. That may result in a startling level
wise. This procedure should be performed every boost at these outputs, depending on the
time a new sound source is patched into a position of the SOLO level knob.
channel’s MIC or LINE input jacks.
LEVEL SET (PFL) is also the preferred mode RUDE SOLO LIGHT
for SR (sound reinforcement, or live sound), to This flashing LED (light emitting diode)
preview channels before they are let into the serves two purposes — to remind you that
mix. It won’t give you stereo placement, but will you’re in SOLO, and to let you know that
give you signal even if the fader is turned down. you’re mixing on a Mackie. No other company
Remember, LEVEL SET (PFL) taps the chan- is so concerned about your level of SOLO
nel signal before the fader. If you have a awareness. We even force the soloed chan-
channel’s fader set way below “U” (unity gain), nel’s –20 LED to play along, so you can find
SOLO won’t know that and will send a unity that rogue switch fast.
gain signal to the C-R OUTS, PHONES output If you work on a mixer that has a SOLO
and meter display. That may result in a star- function with no indicator lights, and you
tling level boost at these outputs, depending happen to forget you’re in SOLO, you can eas-
on the position of the SOLO level knob . ily be tricked into thinking that something is
wrong with your mixer. Hence the RUDE
SOLO LIGHT. It’s especially handy at about
3:00 in the morning, when no sound is coming
out of your monitors, even though your multi-
track is playing back like mad.
24
12V
display. A “+4” mixer, with a +4dBu signal control — they’ll just send their CR1604 -VLZ 0.5A
TO AUX
1 1 1
signal trickling out, will read, you guessed it, This knob goes from off OO +10 OO +20 OO +15
SEND 1
EFFECTS TO
0VU on its meter display. So when is 0VU actu- (turned fully down), to unity U U U MONITORS
ally 0dBu? Right now! gain at the center detent, with 2 2 2 TO AUX
SEND 2
At the risk of creating another standard, 10dB of extra gain (turned fully OO
AUX
+10 OO +20 OO +15
Mackie’s compact mixers address the need of up). As with some other level SENDS U ASSIGN OPTIONS
1 3
both crowds by calling things as they are: 0dBu controls, you may never need SOLO MAIN MIX 1– 2
OO +20 TO SUBS 3– 4
(0.775V) at the output shows as 0VU on the the additional gain, but if you 2
U
meter display. What could be easier? By the ever do, you’ll be glad you SOLO 4
C-R / PHNS RETURNS
way, the most wonderful thing about standards bought a Mackie. PHAN PWR OO +20 ONLY SOLO
28
range, you can get a good mix with peaks flash- glares at you, points at his stage OO MAX OO +20
10
ing anywhere between –20 and +10dB on the monitor, and sticks his thumb in C-R / PHONES TAPE IN 7
4
meter display. Most amplifiers clip at about the air. (It would follow suit that TAPE TAPE TO 2
MAIN MIX
+10dB, and some recorders aren’t so forgiving if the singer stuck his thumb 0
2
either. For best real-world results, try to keep down, you’d turn the knob SUBS 1– 2
4
your peaks between “0” and “+7.” down, but that never happens.) SUBS 3–4
OO MAX
SOLO
LEVEL
SET 7
10
Please remember: Audio meter displays are 20
just tools to help assure you that your levels MAIN MIX MODE
30
RUDE
NORMAL (AFL)
are “in the ballpark.” You don’t have to stare at SOURCE LEVEL SET (PFL) SOLO
LIGHT
AUX
+10 OO +20
and the effects device’s output
OO +15
ASSIGN TO MAIN MIX, LEFT button engaged
SENDS U
control should be set at what-
ASSIGN OPTIONS
and subgroup fader 2 has its ASSIGN TO MAIN
1
SOLO
3
ever they call unity gain (check
MAIN MIX 1– 2
MIX, RIGHT button engaged, blending the drum
OO +20 TO SUBS 3– 4
2
U their manual). If that turns out submix back into the MAIN L-R MIX. The drum
SOLO 4 to be too loud or too quiet, ad- channels are also sending signals to your reverb
C-R / PHNS RETURNS
PHAN PWR OO +20 ONLY
just the effects device’s outputs,
SOLO
via the AUX sends and the reverb outputs are
STEREO AUX RETURNS
not the mixer. That way, the
LEFT RIGHT
patched into AUX RETURN 3. So far so good.
Even though you could send AUX RETURN 3
U
mixer’s knobs are easy to
CLIP
0 dB=0 dBu
28
OO MAX OO +20
relocate at the center detent.
10
directly to the MAIN L-R MIX (MAIN MIX TO
C-R / PHONES TAPE IN 7 SUBS switch up), you don’t want to. Instead, en-
4
TAPE TAPE TO 2
gage the MAIN MIX TO SUBS switch and make
MAIN MIX
0 sure the 1–2/3–4 switch is up. Now the reverb
2
SUBS 1– 2
4
return will be blended into the drum submix,
SUBS 3–4
OO
SOLO
MAX LEVEL
SET 7 and as you ride those two faders, the reverb
10
20
level will follow.
MAIN MIX MODE
30
RUDE
Why do we want that? Because if you had
NORMAL (AFL)
SOURCE LEVEL SET (PFL) SOLO
LIGHT just sent the reverb directly to the MAIN L-R
26
U ASSIGN OPTIONS
3
MAIN MIX 1– 2
OO +20 TO SUBS 3– 4
U
4
C-R / PHNS RETURNS
OO +20 ONLY SOLO
27
cut
here
5
6
jumpers
here
28
6
cut
here
29
MAIN L
MAIN R
SUB 1
SUB 2
SUB 3
SUB 4
AUX 1
AUX 2
AUX 3
AUX 4
AUX 5
AUX 6
SIP L
SIP R
PFL
LOGIC
CR/PHN L
CR/PHN R
MAIN MIX MONO OUT
INSERT
EQ FADER PAN ASSIGN
LO MID HI MUTE MAIN MIX FADER R
L MAIN MIX LEFT OUT
MIC IN
30
75Hz 80 100–8K 12K
HPF R
TAPE OUT LEFT
LOW CUT
LINE IN 1 TAPE OUT RIGHT
ASSIGN
2 MAIN MIX RIGHT OUT
GAIN TO MIX
FREQ C-R/
DIRECT OUT
SIP L 3 PHONES
(CH'S 1–8 ONLY) MAIN
SOURCE
SIP R 4
AUX 3
(FROM SUB 3 OUT) R
C-R/
AUX 4 3–4
SHIFT 5/6 PHONES
(FROM SUB 4 OUT) CONTROL ROOM OUT
LEVEL
EFX TO
MON
L SOLO
RELAY SOLO LEVEL
AUX RETURN 1
R
LEVEL
SUBMIX 1
(SUBMIX 3 IDENTICAL)
FADER
1–2/3–4
L SUB 2 MIX L
AUX RETURN 4 SUB 2 OUT
R
ASSIGN TO MAIN MIX
R
LEVEL SUBMIX 2
ASSIGN TO (SUBMIX 4 IDENTICAL)
C-R/PHNS
ONLY
SIP L
AUX SEND 1
(#2 IDENTICAL)
SIP R SOLO
MACKIE CR1604-VLZ SOLO AUX 1 OUT
LEVEL
SIGNAL FLOW PFL
AUX MIX
16-41097.VSD.DF AUX SEND 3
(#4–6 IDENTICAL)
AUX 3 OUT
+28dBu max out (1/4" bal, Main Mix only)
+22dBu max out (1/4" unbal & RCA)
+14dBu max in +15dB up +15dB up +15db up
+10dB up +10dB up
+6dB (1/4" bal, Main Mix only)
0dB LOW MID HIGH ‘B’ 0dB –6dB 0dB 0dB
10dB gain, TRIM down to ‘A’ ‘A’ to ‘C’ ‘C’ to ‘D’
–15dB –15dB –15dB 0dB 1/4" Unbal Out
(Insert (Insert down down down –4dB center Insert point
Send) Return) (Main Mix only) and RCA Tape Out
31
SPECIFICATIONS
Main Mix Noise Maximum Levels
20Hz–20kHz bandwidth, 1⁄4" Main Out, channel Trims @ Mic in: +14dBu
unity gain, channel EQs flat, all channels assigned to Main All other inputs: +22dBu
Mix, odd channels panned left, even channels panned right Main Mix 1⁄4" TRS outputs: +28dBu
Main Mix fader unity, channel faders down: –86.5dBu All other outputs: +22dBu
(90dB Signal to Noise Ratio, ref +4dBu)
Main Mix fader @ unity, channel faders @ unity: –84.0dBu
Impedances
Mic in: 1.3 kilohms
Total Harmonic Distortion (THD) Channel Insert return: 2.5 kilohms
1kHz @ +14dBu: 20Hz–20kHz All other inputs: 10 kilohms or greater
Mic in to Main out: below 0.005% Tape out: 1.1 kilohms
All other outputs: 120 ohms
Attenuation (Crosstalk)
1kHz relative to 0dBu, 20Hz–20kHz bandwidth, EQ
Line in, 1⁄4" Main Out, Trim @ unity High Shelving: ±15db @ 12kHz
Channel Mute switch engaged: –84dBu Mid Peaking: ±15dB, sweep 100Hz–8kHz
Channel Gain knob down: –84dBu Low Shelving: ±15db @ 80Hz
Low Cut Filter: 18dB/octave, –3dB @ 75Hz
Frequency Response
Mic input to any output Power Consumption
20Hz to 60kHz: +0dB/–1dB 120VA.C., 50/60Hz, 50 watts
20Hz to 100kHz: +0dB/–3dB
Fuse Ratings
Equivalent Input Noise (EIN) 120V: 1A Slo Blo, 5 x 20mm
Mic in to Insert Send out, max gain 220–240V: 0.5A Slo Blo, 5 x 20mm
150 ohm termination: –129.5dBm unweighted
Weight
Common Mode Rejection (CMR) 20 lbs. (9.1kg)
Mic in to Insert Send out, max gain
1kHz: better than 80dB
CR1604-VLZ
17.6" (447.0mm)
WEIGHT
10 rack spaces
20.0 lbs.
(9.1 kg)
19.0" (482.6mm)
17.3" (442.0mm)
CR1604-VLZ
with optional rotopod 6.0" (152.4mm) 6.6" (167.6mm)
17.9" (454.7mm)
11 rack spaces
32
33
34
35
36
37
39
40
41
TIP TIP
RING TIP
TIP
SLEEVE
SLEEVE
42
43
MONO PLUG
Channel Insert jack
MONO PLUG
Channel Insert jack
STEREO
PLUG
Channel Insert jack
For use as an effects loop.
(TIP = SEND to effect, RING = RETURN from effect.)
Figure E
44
RING (IN)
RING TIP
RING (RETURN) (RETURN) (SEND)
TIP (OUT)
TO MIXER
FROM CHANNEL INSERT
PROCESSOR
OUTPUT
TO
PROCESSOR
INPUT
TIP (SEND)
45
Ensure that the microphone’s output is low Connect microphones or devices that do not
impedance, balanced and floating. This is conform to the DIN 45 596 standard.
especially important for vintage ribbon
microphones like the RCA 44BX and 77DX.
Mute the sound system when turning the Don’t connect A-B or T-system microphones
phantom power on or off, or when connect- (another remote powering system) without
ing or disconnecting microphones. If you suitable adaptors.
forget, the resulting loud, nasty POP may be
your last.
47
48
Mackie, the "Running Man" figure, and VLZ are trademarks or registered trademarks of Mackie Designs Inc. All other brand names
mentioned are trademarks or registered trademarks of their respective holders, and are hereby acknowledged.
CR1604-VLZ
16-CHANNEL MIC/LINE MIXER
Session:
Date:
NOTES:
TRIM 1 TRIM 2 TRIM 3 TRIM 4 TRIM 5 TRIM 6 TRIM 7 TRIM 8
-10dGBV -10dGBV -10dGBV -10dGBV -10dGBV -10dGBV -10dGBV -10dGBV
C AIN C AIN C AIN C AIN C AIN C AIN C AIN C AIN
MI MI MI MI MI MI MI MI
U U U U U U U U
10 60 10 60 10 60 10 60 10 60 10 60 10 60 10 60
+10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB
1 1 1 1 1 1 1 1
OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15
U U U U U U U U
2 2 2 2 2 2 2 2
OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15
3 5 3 5 3 5 3 5 3 5 3 5 3 5 3 5
OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15
U U U U U U U U
4 6 4 6 4 6 4 6 4 6 4 6 4 6 4 6
OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15
EQ U HI EQ HI EQ HI EQ HI EQ HI EQ HI EQ HI EQ HI
U U U U U U U
12k 12k 12k 12k 12k 12k 12k 12k
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15
U MID U MID U MID U MID U MID U MID U MID U MID
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15
800 800 800 800 800 800 800 800
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15
LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT
75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz
18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT
L R L R L R L R L R L R L R L R
1 2 3 4 5 6 7 8
MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE
OL OL OL OL OL OL OL OL
L L L 3 1 4 3 2 1 5 3 1 7 5 3 1
L L
L L L
(MONO) (MONO) (MONO)
MONO
R R R 4 2 6 4 2 8 6 4 2
R R R
CAUTION: R R
TO REDUCE THE RISK OF
FIRE REPLACE WITH SAME
TYPE FUSE AND RATING OO +6
INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT
LINE 16 LINE 15 LINE 14 LINE 13 LINE 12 LINE 11 LINE 10 LINE 9 LINE 8 LINE 7 LINE 6 LINE 5 LINE 4 LINE 3 LINE 2 LINE 1
BAL BAL BAL BAL BAL BAL BAL BAL BAL BAL BAL BAL BAL BAL BAL BAL
UN- UN- UN- UN- UN- UN- UN- UN- UN- UN- UN- UN- UN- UN- UN- UN-
BAL BAL BAL BAL BAL BAL BAL BAL BAL BAL BAL BAL BAL BAL BAL BAL
MIC 16 MIC 15 MIC 14 MIC 13 MIC 12 MIC 11 MIC 10 MIC 9 MIC 8 MIC 7 MIC 6 MIC 5 MIC 4 MIC 3 MIC 2 MIC 1
PATENT PENDING
10 60 10 60 10 60 10 60 10 60 10 60 10 60 10 60
16 - CHANNEL MIC/LINE MIXER
+10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB +10dB -40dB LAMP
AUX AUX AUX AUX AUX AUX AUX AUX
U U U U U U U U U U U
TO AUX
1 1 1 1 1 1 1 1 1 1 1 SEND 1
OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +10 OO +20 OO +15
EFFECTS TO
U U U U U U U U U U U MONITORS
TO AUX
2 2 2 2 2 2 2 2 2 2 2 SEND 2
OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +10 OO +20 OO +15
3 5 3 5 3 5 3 5 3 5 3 5 3 5 3 5 1 3
SOLO MAIN MIX 1– 2
OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +20 TO SUBS 3– 4
U U U U U U U U U
2
4 6 4 6 4 6 4 6 4 6 4 6 4 6 4 6 SOLO 4
C-R / PHNS RETURNS
OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 PHAN PWR OO +20 ONLY SOLO
5/6 5/6 5/6 5/6 5/6 5/6 5/6 5/6
SHIFT SHIFT SHIFT SHIFT SHIFT SHIFT SHIFT SHIFT STEREO AUX RETURNS
EQ HI EQ HI EQ HI EQ HI EQ HI EQ HI EQ HI EQ HI U
LEFT RIGHT
U U U U U U U U
12k 12k 12k 12k 12k 12k 12k 12k 0 dB=0 dBu
CLIP
28
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 OO MAX OO +20
10
U MID U MID U MID U MID U MID U MID U MID U MID C-R / PHONES TAPE IN 7
TAPE TAPE TO 2
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 MAIN MIX
800 800 800 800 800 800 800 800 0
2
200 2k 200 2k 200 2k 200 2k 200 2k 200 2k 200 2k 200 2k SUBS 1– 2
4
100 8k 100 8k 100 8k 100 8k 100 8k 100 8k 100 8k 100 8k OO MAX LEVEL
SET 7
U LOW U LOW U LOW U LOW U LOW U LOW U LOW U LOW SUBS 3–4 SOLO
80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz
10
20
MAIN MIX MODE
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 30
LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT NORMAL (AFL) RUDE
75 Hz
18dB/OCT
75 Hz
18dB/OCT
75 Hz
18dB/OCT
75 Hz
18dB/OCT
75 Hz
18dB/OCT
75 Hz
18dB/OCT
75 Hz
18dB/OCT
75 Hz
18dB/OCT
SOURCE LEVEL SET (PFL) SOLO
LIGHT
PAN PAN PAN PAN PAN PAN PAN PAN ASSIGN TO MAIN MIX
PHONES
9 10 11 12 13 14 15 16 RIGHT RIGHT RIGHT RIGHT
MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MAIN
1 2 3 4 L-R MIX
OL OL OL OL OL OL OL OL dB dB
10 10
U U
SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO
5 5
10 10
1–2 1–2 1–2 1–2 1–2 1–2 1–2 1–2
20 20
40 40
L-R L-R L-R L-R L-R L-R L-R L- R 50 50
60 60
OO OO OO OO OO OO OO OO OO OO