Mackie 1604 VLZ Pro

1604-VLZ PRO
16-CHANNEL
MIC/LINE MIXER
OWNER’S MANUAL
120 VAC 50/60 Hz 20W POWER PHANTOM MAIN OUT MAIN INSERT TAPE TAPE C-R OUT SUB OUT AUX RETURN AUX SEND DIRECT OUT
1A/250V SLO-BLO ON ON BAL/UNBAL (TIP SEND INPUT OUTPUT BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL
RING RETURN)
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
UTILISE
UTILISE UN
UN FUSIBLE
FUSIBLE DE
DE RECHANGE
RECHANGE DE
DE MÊME
MÊMETYPE.
TYPE.DEBRANCHER
DEBRANCHERAVANT
AVANT DE
DE REMPLACER
REMPLACER LE
LE FUSIBLE
FUSIBLE
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-
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
MIC PR MIC PR MIC PR MIC PR MIC PR MIC PR MIC PR MIC PR MIC PR MIC PR MIC PR MIC PR MIC PR MIC PR MIC PR
XD R E XD R E XD R E XD R E XD R E XD R E XD R E XD R E XD R E XD R E XD R E XD R E XD R E XD R E XD R
MIC PR
E XD R E
XDRTM EXTENDED DYNAMIC RANGE MIC PREAMPLIFIERS ARE PROPRIETARY TO MACKIE DESIGNS, INC.
CONCEIVED, DESIGNED, AND MANUFACTURED BY MACKIE DESIGNS INC • WOODINVILLE • WA • USA • MADE IN USA • FABRIQUE AU USA • COPYRIGHT ©1998 • THE FOLLOWING ARE TRADEMARKS OR REGISTERED TRADEMARKS OF MACKIE DESIGN INC.: "MACKIE", "VLZ", "XDR", AND THE "RUNNING MAN" FIGURE • US PATENT NUMBER 29/049,129
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
1604-VLZ PRO
16-CHANNEL MIC/ LINE MIXER
WITH PREMIUM XDRTM MIC PREAMPLIFIERS
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
IC AIN IC AIN IC AIN IC AIN IC AIN IC AIN IC AIN IC AIN IC AIN IC AIN IC AIN IC AIN U MI
C AIN
U MI
C AIN
U MI
C AIN
U MI
C AIN
U M U M U M U M U M U M U M U M U M U M U M U M
1604-VLZ PRO 12V
0.5A
0 60 0 60 0 60 0 60 0 60 0 60 0 60 0 60 0 60 0 60 0 60 0 60 0 60 0 60 0 60 0 60
+15dB -45dB +15dB -45dB +15dB -45dB +15dB -45dB +15dB -45dB +15dB -45dB +15dB -45dB +15dB -45dB +15dB -45dB +15dB -45dB +15dB -45dB +15dB -45dB +15dB -45dB +15dB -45dB +15dB -45dB +15dB -45dB 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
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 SEND 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 RETURN
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
28
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 MAX +20
10
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 OO OO
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 CTL ROOM / 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 CTL ROOM NORMAL (AFL) RUDE
75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz SOURCE LEVEL SET (PFL) SOLO
18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT LIGHT
PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN ASSIGN TO MAIN MIX
LEFT LEFT LEFT LEFT

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
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 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
TRACK TRACK TRACK TRACK TRACK TRACK TRACK TRACK

1 2 3 4 5 6 7 8
9. Object and Liquid Entry — Care should be taken so that
CAUTION AVIS objects do not fall into and liquids are not spilled into the
RISK OF ELECTRIC SHOCK
DO NOT OPEN
inside of this Mackie product.
RISQUE DE CHOC ELECTRIQUE
NE PAS OUVRIR
10. Damage Requiring Service — This Mackie product should
be serviced only by qualified service personnel when:
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK
DO NOT REMOVE COVER (OR BACK)
NO USER-SERVICEABLE PARTS INSIDE A. The power-supply cord or the plug has been
REFER SERVICING TO QUALIFIED PERSONNEL
damaged; or
ATTENTION: POUR EVITER LES RISQUES DE CHOC
ELECTRIQUE, NE PAS ENLEVER LE COUVERCLE. AUCUN
ENTRETIEN DE PIECES INTERIEURES PAR L'USAGER. CONFIER B. Objects have fallen, or liquid has spilled into
L'ENTRETIEN AU PERSONNEL QUALIFIE.
AVIS: POUR EVITER LES RISQUES D'INCENDIE OU
this Mackie product; or
D'ELECTROCUTION, N'EXPOSEZ PAS CET ARTICLE
A LA PLUIE OU A L'HUMIDITE C. This Mackie product has been exposed to rain;
The lightning flash with arrowhead symbol within an equilateral
or
triangle is intended to alert the user to the presence of uninsulated
"dangerous voltage" within the product's enclosure, that may be D. This Mackie product does not appear to operate
of sufficient magnitude to constitute a risk of electric shock to persons.
Le symbole éclair avec point de flèche à l'intérieur d'un triangle normally or exhibits a marked change in
équilatéral est utilisé pour alerter l'utilisateur de la présence à
l'intérieur du coffret de "voltage dangereux" non isolé d'ampleur performance; or
suffisante pour constituer un risque d'éléctrocution.
The exclamation point within an equilateral triangle is intended to E. This Mackie product has been dropped, or its
alert the user of the presence of important operating and maintenance
(servicing) instructions in the literature accompanying the appliance.
chassis damaged.
Le point d'exclamation à l'intérieur d'un triangle équilatéral est
employé pour alerter les utilisateurs de la présence d'instructions
importantes pour le fonctionnement et l'entretien (service) dans le
11. Servicing — The user should not attempt to service this
livret d'instruction accompagnant l'appareil. Mackie product beyond those means described in this
operating manual. All other servicing should be referred to the
Mackie Service Department.
SAFETY INSTRUCTIONS
1. Read Instructions — All the safety and operation 12. To prevent electric shock, do not use this polarized plug
instructions should be read before this Mackie product is with an extension cord, receptacle or other outlet unless the
operated. blades can be fully inserted to prevent blade exposure.
2. Retain Instructions — The safety and operating instruc- Pour préevenir les chocs électriques ne pas utiliser cette fiche
tions should be kept for future reference. polariseé avec un prolongateur, un prise de courant ou une
autre sortie de courant, sauf si les lames peuvent être insérées
3. Heed Warnings — All warnings on this Mackie product and à fond sans laisser aucune pariie à découvert.
in these operating instructions should be followed.
13. Grounding or Polarization — Precautions should be taken
4. Follow Instructions — All operating and other instructions so that the grounding or polarization means of this Mackie
should be followed. product is not defeated.
5. Water and Moisture — This Mackie product should not be 14. This apparatus does not exceed the Class A/Class B
used near water – for example, near a bathtub, washbowl, (whichever is applicable) limits for radio noise emissions from
kitchen sink, laundry tub, in a wet basement, near a digital apparatus as set out in the radio interference
swimming pool, swamp or salivating St. Bernard dog, etc. regulations of the Canadian Department of Communications.
6. Heat — This Mackie product should be situated away ATTENTION —Le présent appareil numérique n’émet pas de
from heat sources such as radiators, or other devices which bruits radioélectriques dépassant las limites applicables aux
produce heat. appareils numériques de class A/de class B (selon le cas)
7. Power Sources — This Mackie product should be prescrites dans le règlement sur le brouillage radioélectrique
connected to a power supply only of the type described in édicté par les ministere des communications du Canada.
these operation instructions or as marked on this Mackie 15. To prevent hazard or damage, ensure that only
product. microphone cables and microphones designed to IEC 268-15A
8. Power Cord Protection — Power supply cords should be are connected.
routed so that they are not likely to be walked upon or WARNING — To reduce the risk of fire or electric shock, do
pinched by items placed upon or against them, paying not expose this appliance to rain or moisture.
particular attention to cords at plugs, convenience receptacles,
and the point where they exit this Mackie product.
READ THIS PAGE!!!
We realize that you must have a powerful Other Nuggets of Wisdom

hankerin’ to try out your new 1604-VLZ PRO. Or For optimum sonic performance, the channel
you might be one of those people who never faders and the MAIN MIX fader should be set near
reads manuals. Either way, all we ask is that the “U” (unity gain) markings.
you read this page NOW, and the rest can wait Always turn the MAIN MIX fader and CTL
until you’re good and ready. But do read it — ROOM/PHONES knob down before making con-
you’ll be glad you did. nections to and from your 1604-VLZ PRO.
If you shut down your equipment, turn off your
amplifiers first. When powering up, turn on your
LEVEL-SETTING PROCEDURE amplifiers last.
Message to seasoned pros: do NOT set levels Save the shipping box! You may need it
using the old “Turn the trim up until the clip someday, and you don’t want to have to pay for
light comes on, then back off a hair” trick. When a another one.
Mackie Designs mixer clip light comes on, you
really are about to clip. INSTANT MIXING
This procedure really works — it assures Here’s how to get going
low noise and high headroom. Please read on. right away, assuming you own a
It’s not even necessary to hear what you’re do- microphone and a keyboard:
ing to set optimal levels. But if you’d like to: Plug 1. Plug your microphone into Channel 1’s MIC
headphones into the PHONES output jack, input.
then set the C-R PHONES knob about one- 2. Turn on the 1604-VLZ PRO.
quarter of the way up.
3. Perform the Level-Setting Procedure .
The following steps must be performed one
channel at a time: 4. Connect cords from the MAIN OUT jacks to
your amplifier.
1. Turn the TRIM, AUX send and fader
controls fully down. 5. Hook up speakers to the amp and turn it on.
2. Be sure the 1–2, 3–4 and L–R channel 6. Set channel 1’s fader to the “U” mark.
assignment switches are all disengaged. 7. Engage (push in) Channel 1’s L-R switch.
3. Set the EQ knobs at the center detents. 8. Set the MAIN MIX fader one-quarter of the
4. Connect the signal source to the MIC or way up.
LINE channel input. 9. Sing like a canary!
5. Engage (push in) the channel’s SOLO 10. Plug your keyboard into channels 3 and 4.
switch. 11. Turn channel 3’s PAN knob fully left and
6. Push in the MODE switch in the output channel 4’s PAN knob fully right.
section (LEVEL SET (PFL) mode) — the 12. Set those faders to the “U” mark.
LEVEL SET LED will light. 13. Perform the Level-Setting Procedure .
7. Play something into the selected input, at 14. Engage the L-R switch on these channels.
real-world levels. 15. Play like a madman and sing like a canary!
8. Adjust the TRIM control so that the It’s your first mix!
display on the meter stays around “0.”
(Only the left meter is active in the Please write your serial number here for
Level-Setting Procedure.) future reference (i.e. insurance claims, tech
9. If you’d like to apply some EQ, do so support, return authorization, etc.):
now and return to the previous step.
10. Disengage that channel’s SOLO switch.
11. Repeat for each of channels 1–16. Purchased at:
Date of purchase:
Part No. 820-034-01 Rev. A1 04/99

©1999 Mackie Designs, All Rights Reserved. 3
Printed in the U.S.A.
INTRODUCTION
Thank you for choosing a Mackie Designs pro- Whenever a specific 1604-VLZ PRO compo-
fessional compact mixer. The 1604-VLZ PRO is nent is mentioned, it’ll be in all capital letters
equipped with our new precision-engineered sans-serif type. That can help you find refer-
XDRTM Extended Dynamic Range premium ences to specific controls much faster, without
studio-grade mic preamp featuring: slowing you down as you read normally. For ex-
• Full gain range from 0 to 60dB ample: The quick brown fader jumped over the
• +22 dBu line signal handling capability RUDE SOLO LIGHT.
• 130 dB dynamic range Throughout these chapters you’ll find illus-
• Distortion less than 0.005%, 20Hz to 20kHz trations, with each feature numbered. If you’re
• Bullet-proof RF rejection using DC pulse curious about a feature, simply locate it on the
transformer circuitry appropriate illustration, note the number at-
• Made in Woodinville, Washington, USA tached to it, and find that number in the nearby
Now that you have your 1604-VLZ PRO, find paragraphs or refer to the table of contents.
out how to get the most from it. That’s where You’ll also find cross-references to these num-
this manual comes in. bered features within a paragraph. For instance, if
you see “To wire your own cables: ,” simply find
HOW TO USE THIS MANUAL that number in the manual and you’ve found your
Since many of you folks will want to hook up answer. (These are not page numbers.)
your 1604-VLZ PRO immediately, the first pages You’ll also notice feature numbers just float-
you will encounter after the table of contents are ing in space, like this . These numbers
the ever popular hookup diagrams. These show direct you to relevant information.
typical mixer setups for Record/Mixdown, Video, This icon marks infor-
Disc Jockey and Stereo PA. After this section is a mation that is critically
detailed tour of the entire mixer. important or unique to the
Every feature of the 1604-VLZ PRO will be 1604-VLZ PRO. For your
described “geographically;” in other words, in own good, read them and
order of where it is physically placed on the remember them. They will be on the final
mixer’s top or rear panel. These descriptions are test.
divided into the first three manual chapters, just This icon will lead you to
as your mixer is organized into three distinct in-depth explanations of fea-
zones: tures and practical tips. While
1. PATCHBAY: The zillion jacks on the back not mandatory, they’ll have
of the “pod.” some valuable information.
2. CHANNEL STRIP: The sixteen channel
strips on the left. THE GLOSSARY: A HAVEN OF
3. OUTPUT SECTION: The output section on NON-TECHINESS FOR THE NEOPHYTE
the right. Appendix is a fairly comprehensive
120 VAC 50/60 Hz 20W
1A/250V SLO-BLO
POWER PHANTOM MAIN OUT
BAL/UNBAL
MAIN INSERT
(TIP SEND
TAPE TAPE C-R OUT
BAL/UNBAL
SUB OUT
BAL/UNBAL
AUX RETURN
BAL/UNBAL
AUX SEND
BAL/UNBAL
DIRECT OUT
BAL/UNBAL
dictionary of pro-audio terms. If terms like “clip-
ON ON INPUT OUTPUT
RING RETURN)
R
L
MONO
L
R
L
R R
L
L
R
3
4
1
2
4
L
(MONO)
R
3
L
(MONO)
R
2
(MONO)
L
R
1 5
6
3
4
1
2
7
8
5
6
3
4
1
2
ping,” “noise floor,” or “unbalanced” leave you
CAUTION:
blank, flip to this glossary for a quick explanation.

UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE. DEBRANCHER AVANT DE REMPLACER LE FUSIBLE
PATCHBAY
A PLUG FOR THE CONNECTORS SECTION

MIC PR MIC PR MIC PR MIC PR MIC PR MIC PR MIC PR MIC PR MIC PR MIC PR MIC PR MIC PR MIC PR MIC PR MIC PR
XD R E XD R E XD R E XD R E XD R E XD R E XD R E XD R E XD R E XD R E XD R E XD R E XD R E XD R E XD R
MIC PR
E XD R E
TRIM
U M
-10dGBV
IC AIN
1 TRIM
U M
-10dGBV
IC AIN
2 TRIM
U M
-10dGBV
IC AIN
TRIM
U M
-10dGBV
IC AIN
4 TRIM
U M
-10dGBV
IC AIN
3 5 TRIM
U M
-10dGBV
IC AIN
6 TRIM
U M
-10dGBV
IC AIN
7 TRIM
U M
-10dGBV
IC AIN
8 TRIM
U M
-10dGBV
IC AIN
9 TRIM
U M
-10dGBV
IC AIN
10 TRIM
U M
-10dGBV
IC AIN
11 TRIM
U M
-10dGBV
IC AIN
12 TRIM
-10dGBV
U MI
C AIN
13 TRIM
-10dGBV
U MI
C AIN
14 TRIM
-10dGBV
U MI
C AIN
15 TRIM
-10dGBV
U MI
C AIN
16
1604-VLZPRO 12V
Appendix is a section on connectors:
0.5A
AUX
1
0 60
+15dB -45dB
U
AUX
1
0 60
+15dB -45dB
1
AUX
0 60
+15dB -45dB
U
AUX
1
0 60
+15dB -45dB
1
AUX
0 60
+15dB -45dB
U
AUX
1
0 60
+15dB -45dB
U
AUX
1
0 60
+15dB -45dB
U
AUX
1
0 60
+15dB -45dB
U
AUX
1
0 60
+15dB -45dB
1
AUX
0 60
+15dB -45dB
U
AUX
1
0 60
+15dB -45dB
U
AUX
1
0 60
+15dB -45dB
1
AUX
0 60
+15dB -45dB
U
AUX
1
0 60
+15dB -45dB
1
AUX
0 60
+15dB -45dB
1
AUX
0 60
+15dB -45dB
U
1
U
1
U
1
U
LAMP
TO AUX
SEND 1
XLR connectors, balanced connectors, unbal-
anced connectors, special hybrid connectors.
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
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 SEND 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 ARCANE MYSTERIES ILLUMINATED

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
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 RETURN
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
28
10
Appendix discusses some of the down ’n’

-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
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 CTL ROOM / 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
SUBS 1–2
dirty practical realities of microphones, fixed

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
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 CTL ROOM NORMAL (AFL) RUDE
installations, grounding, and balanced versus

75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz SOURCE LEVEL SET (PFL) SOLO
18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT LIGHT
PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN ASSIGN TO MAIN MIX
LEFT LEFT LEFT LEFT

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
PHONES
MUTE
1
OL
MUTE
2
OL
MUTE
3
OL
4
MUTE
OL
MUTE
5
OL
MUTE
6
OL
MUTE
7
OL
MUTE
8
OL
MUTE
9
OL
10
MUTE
OL
MUTE
11
OL
MUTE
12
OL
13
MUTE
OL
MUTE
14
OL
15
MUTE
OL
16
MUTE
OL
RIGHT
1
RIGHT
2
RIGHT
3
RIGHT
4
dB
10
5
MAIN
MIX
dB
10
5
unbalanced lines. It’s a goldmine for the neo-
-20 -20 -20 -20 -20 -20 -20 -20 -20 -20 -20 -20 -20 -20 -20 -20
SOLO
1–2
SOLO
1–2
SOLO
1–2
SOLO
1–2
SOLO
1–2
SOLO
1–2
SOLO
1–2
SOLO
1–2
SOLO
1–2
SOLO
1–2
SOLO
1–2
SOLO
1–2
SOLO
1–2
SOLO
1–2
SOLO
1–2
SOLO
1–2
10
U
5
U
10
phyte and even the seasoned pro might learn a
thing or two.
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

1 2 3 4 5 6 7 8
4
CONTENTS
LEVEL-SETTING PROCEDURE .................................... 3 PRE ............................................................... 21

INSTANT MIXING .................................................... 3 5/6 SHIFT ..................................................... 21
HOOKUP DIAGRAMS .............................................. 6 OUTPUT SECTION DESCRIPTION ............................ 22
CONVERTING TO RACKMOUNT MODE .................... 9 MAIN MIX FADER .......................................... 22
PATCHBAY DESCRIPTION ......................................... 10 VLZ MIX ARCHITECTURE ................................ 22
E-Z INTERFACE ............................................... 10 SUB FADERS ................................................... 22
MIC/LINE INPUTS ON EVERY CHANNEL ........... 10 ASSIGN TO MAIN MIX ................................... 22
MIC INPUTS ................................................... 10 TAPE IN (LEVEL) ............................................. 23
PHANTOM POWER ........................................ 10 TAPE TO MAIN MIX ........................................ 23
LINE INPUTS .................................................. 11 SOURCE ......................................................... 23
TRIM ............................................................. 11 CTL ROOM/PHONES ...................................... 23
INSERT ........................................................... 11 MODE (NORMAL (AFL)/LEVEL SET (PFL)) ......... 24
DIRECT OUT ................................................... 11 LEVEL SET LED ................................................ 24
SPLIT MONITORING ....................................... 12 SOLO (LEVEL) ................................................. 24
AUX SEND OUTPUTS ...................................... 12 RUDE SOLO LIGHT .......................................... 24
EFFECTS: SERIAL OR PARALLEL? ..................... 13 METERS ......................................................... 25
AUX RETURN INPUTS ..................................... 13 AUX TALK ...................................................... 25
SUB OUTS ...................................................... 13 AUX SEND (MASTER) ..................................... 25
C-R OUTS (CONTROL ROOM OUTPUTS) ...... 14 AUX SEND SOLO ............................................ 26
PHONES OUTPUT ........................................... 14 AUX RETURNS (LEVEL) ................................... 26
TAPE OUTPUT ................................................ 14 EFFECTS TO MONITOR ................................... 26
TAPE INPUT ................................................... 14 MAIN MIX TO SUBS (AUX RET 3) ................... 26
MAIN INSERT ................................................. 15 1-2/3-4 (AUX RET 3) .................................... 26
MAIN OUTS ................................................... 15 C-R/PHNS ONLY (AUX RET 4) ........................ 27
MONO OUTPUT ............................................. 15 RETURNS SOLO .............................................. 27
MONO LEVEL ................................................. 15 1604-VLZ PRO MODIFICATIONS ......................... 28
POWER CONNECTION .................................... 15 1604-VLZ PRO BLOCK DIAGRAM ......................... 30
FUSE .............................................................. 15 GAIN STRUCTURE DIAGRAM ................................. 31
POWER SWITCH ............................................ 16 SPECIFICATIONS .................................................... 32
POWER LED ................................................... 16 SERVICE INFO ....................................................... 33
PHANTOM SWITCH ........................................ 16 APPENDIX: Glossary ............................................. 34
PHANTOM LED ............................................... 16 APPENDIX: Connections ......................................... 42
BNC LAMP SOCKET ........................................ 16 APPENDIX: Balanced Lines, Phantom Powering,
CHANNEL STRIP DESCRIPTION .............................. 17 Grounding and Other Arcane Mysteries .................. 46
“U” LIKE UNITY GAIN .................................. 17
FADER ........................................................... 17
ASSIGN (1-2, 3-4, L-R) .................................. 17
SOLO ............................................................. 18
–20 (SOLO) LED ............................................ 18
OL (MUTE) LED .............................................. 18
MUTE ............................................................. 19
PAN ............................................................... 19
3-BAND MID-SWEEP EQ ................................. 19
LOW CUT ....................................................... 20
AUX ............................................................... 20
5
Studio Monitors
OL OL
PWR PWR
ON ON
HIGH RESOLUTION HIGH RESOLUTION

STUDIO MONITOR STUDIO MONITOR
OFF OFF
Keyboard, or other line-level input
6
Cassette or DAT
CH
1
Stereo EQ w/Compressor
CH
2
,
Bass Preamp
FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN

Drum Guitar Effects
in
in
out
out
Machine
Stereo Power Amplifier

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
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
8-track outputs
1604-VLZ PRO 8-Track Tracking

out
Digital Delay Digital
8-track
in
Mono in / stereo out

Reverb Stereo Compressor
HOOKUP DIAGRAMS
Left PA Speaker Right PA Speaker Keyboard, or other line-level input
Stereo EQ
ltitrack Recorder
Mu
Keyboard, or other line-level input

Stereo
Compressor
in
out
in
out
Optional Live Recording Drum

CH CH
1 2
Guitar Effects
Machine
Stereo
Power Amplifier
CD Player
NOTE: for mono PA, use

mono output to feed FOH.
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
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
1604-VLZ PRO Stereo P.A.

Digital Delay
Mono EQ Mono EQ

Reverb
Stage Monitor Stage Monitor Stereo Compressor Stereo Compressor
7

,

,
8
out Video Deck
Video Deck
Studio Monitors
Video Deck
OL OL
PWR PWR
ON ON
HIGH RESOLUTION HIGH RESOLUTION

STUDIO MONITOR STUDIO MONITOR
OFF OFF

Multi-VCR
Video Switcher
with Time Code CD Player
Interface
Computer in
with Audio Card Sampler Keyboard, or other line-level input
CH CH
1 2
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
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
1604-VLZ PRO Video Setup

Digital Delay

Reverb
Stereo Compressor
CONVERTING TO RACKMOUNT MODE
Not only is the new 1604-VLZ PRO 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 and
One of the things that revolutionized the compact faders. This is a lifesaver in applications that demand
mixer industry was the “convertible pod” found frequent repatching, and costs a heck of a lot less than
on the original, classic CR-1604. Using an ordi- an external patchbay, not to mention all the inter-
nary Phillips screwdriver, the mixer could be face and patch cords: . Please visit your dealer
converted from desktop mode (as it comes from for more exciting details. Be sure to order the
the factory) to rackmount mode. “VLZ” version so you don’t end up with the one for
Fear not. We wouldn’t dare take that feature out the classic CR-1604!
of the New Improved 1604-VLZ PRO. It’s still
there and still takes just a few minutes with your
trusty screwdriver. Here’s how it’s 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 chas-
sis. 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
mixer’s surface flush with

the rack rails, like ordinary
remove
rackmount equipment, or plate
mixer’s surface sunken into the

rack, to protect the knobs from
being bumped.
rackmount
tab slots
remove rotate
screws pod replace
screws
flush mount sunken
9
PATCHBAY DESCRIPTION
At the risk of stating the obvious, this is and noise. You can plug in almost any kind of
where you plug everything in: microphones, mic that has a standard XLR-type male mic
line-level instruments and effects, and the ulti- connector. Always be sure to perform the
mate destination for your sound: a tape Level-Setting Procedure . To learn how sig-
recorder, PA system, etc. A few of the features nals are routed from these inputs: . If you
described in this section are on top of the wire your own, connect them like this:
mixer, but most are out back on the “pod.” SHIELD 2
HOT
E-Z INTERFACE
3 1
Concerned about levels, SHIELD
COLD
1
balancing, impedances, po-
larity, or other interface
COLD 3
goblins? Don’t be. On your HOT
2
1604-VLZ PRO, you can patch anything almost 1 SHIELD

3 COLD
anywhere, with nary a care. Here’s why: 2
HOT
• Every input and output is balanced
(except insert, phones and RCA jacks). Pin 1 = ground or shield
• Every input and output will also accept Pin 2 = positive (+ or hot)
unbalanced lines (except XLR jacks). Pin 3 = negative (– or cold)
• Every input is designed to accept virtually Professional ribbon, dynamic, and condenser
any output impedance. mics will all sound excellent through these in-
• The main left and right mix outputs can puts. The 1604-VLZ PRO’s mic inputs will handle
deliver 28dBu into as low as a 600 ohm load. almost any kind of mic level you can toss at
• All the other outputs can deliver 22dBu them, without overloading.
into as low as a 600 ohm load.
PHANTOM POWER
• All the outputs are in phase with the inputs.
All we ask is that you perform the Level-Setting Most condenser mics require phantom power,
Procedure every time you patch in a new where the mixer sends low-current DC voltage to
sound source. So stop worrying and start mixing! the mic’s electronics through the same wires
that carry audio. The 1604-VLZ PRO’s phantom
MIC/LINE INPUTS ON EVERY CHANNEL power is globally controlled by the PHANTOM
The original CR-1604 had six mic/line channels switch on the rear panel .
and ten line-only channels. That was fine for most Semipro condenser mics often have batter-
applications, but live sound users were forced to ies to accomplish the same thing. “Phantom”
go out and buy the XLR-10 mic input add-on owes its name to an ability to be “unseen” by
module. No more. Each and every channel on the dynamic mics (Shure® SM57/SM58, for in-
New Improved 1604-VLZ PRO has the legendary stance) that don’t need external power and
Mackie mic/line input circuit. It’s like getting a aren’t affected by it anyway.
free XLR-10 with your mixer! Unless you know for cer-
tain it is safe to do so,
MIC INPUTS never plug single-ended
We use phantom-powered, balanced micro- (unbalanced) micro-
phone inputs just like the big studio mega- phones, instruments or
consoles, for exactly the same reason: This electronic devices into the MIC input jacks if
kind of circuit is excellent at rejecting hum the phantom power is on.
RING RETURN)
L L L 3 1 4 3 2 1 5 3 1 7 5 3 1
L L
L L L
MONO
R R R 4 2 6 4 2 8 6 4 2
R R R
CAUTION: R R
UTILISE
UTILISE UN
UN FUSIBLE
FUSIBLE DE
DE RECHANGE
RECHANGE DE
DE MÊME
MÊMETYPE.
TYPE.DEBRANCHER
DEBRANCHERAVANT
AVANT DE
DE REMPLACER
REMPLACER LE
LE FUSIBLE
FUSIBLE
MIC PR MIC PR MIC PR MIC PR MIC PR MIC PR MIC PR MIC PR MIC PR MIC PR MIC PR MIC PR MIC PR MIC PR MIC PR MIC PR
XD R E XD R E XD R E XD R E XD R E XD R E XD R E XD R E XD R E XD R E XD R E XD R E XD R E XD R E XD R E XD R E
10
XDR TM EXTENDED DYNAMIC RANGE MIC PREAMPLIFIERS ARE PROPRIETARY TO MACKIE DESIGNS, INC.
LINE INPUTS This 15dB of attenuation can be very handy TRIM
-10dGBV
1
C AIN
1
These /4" jacks share circuitry (but not when you are inserting a signal that is very hot, U MI
phantom power) with the mic preamps. You or you want to add a lot of EQ gain, or both. 0 60
+15dB -45dB
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
low as –50dB to operating levels of –10dBV to INSERT OO
U
+15
+4dBu, as there is 60dB of gain available via 2

the TRIM knob . Always be sure to perform These 1/4" jacks are for connecting serial
OO +15
the Level-Setting Procedure . effects processors such as compressors, equaliz- PRE

U
To learn how signals are routed from these ers, de-essers, or filters . The INSERT point is
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
RING This plug connects to one of the “ring” -15 +15

mixer’s Channel Insert jacks. RETURN from processor U MID
TIP
SLEEVE Tip = send (output to effects device) -15 +15
Tip = positive (+ or hot) Ring = return (input from effects device) 800
Ring = negative (– or cold) Sleeve = common ground 200 2k
100 8k
Sleeve = shield or ground Even though channels 1–8 already have U LOW
80Hz
DIRECT OUT jacks , INSERT jacks can also

To connect unbalanced lines to these in- be used as channel direct outputs; post-TRIM, -15
LOW CUT
+15
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
SLEEVE Channel Insert jack

Sleeve = ground
-20
Direct out with no signal interruption to master.
Insert only to first “click.”
SOLO
TRIM
Yes it’s true, these controls are not located 1–2
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
couldn’t bear to separate them. Here’s why:

Every time you plug something into a MIC or
STEREO
LINE input jack, you should perform the Level- PLUG
Setting Procedure , and that procedure is Channel Insert jack
basically “how to use the TRIM knob.” For use as an effects loop.
TRIM adjusts the input sensitivity of the (TIP = SEND to effect, RING = RETURN from effect.)
MIC and LINE inputs. This allows signals from
the outside world to be adjusted to optimal
internal operating levels. DIRECT OUT
Through the XLR jack (MIC), there will be Found only on channels 1–8, these 1/4" jacks
0dB of gain with the knob fully down, ramping deliver the signal from the very end of the
to 60dB of gain fully up. channel path; post-TRIM, post-EQ, post-LOW
Through the 1/4" input (LINE), there is 15dB CUT, post-fader and post-MUTE. They are the
of attenuation fully down and 45dB of gain fully key player in “split monitoring,” making the
up, with a “U” (unity gain) mark at 10:00. 1604-VLZ PRO perfect for an 8-track studio. To
wire your own cables: .
11
SPLIT MONITORING But let’s not forget that the 1604-VLZ PRO is
With split monitoring, you use the first eight a 4-bus mixer. These buses lead to the SUB
channels for your sound sources: vocal mics, OUTS , and are designed to accomplish the
drum mics, keyboard/synth outputs, guitar task of getting channels to the multitrack with-
effects outputs, that sort of thing. From there, out using the direct outputs.
the channels manipulate the sound, but are For example, a channel is assigned to
not assigned to the output section. Instead, SUB OUT 1. SUB OUT 1’s output is patched to
they’re patched from the channel’s DIRECT multitrack input 1. From there, the multitrack
OUT jacks to the corresponding multitrack output goes to the mixer’s channel 9 LINE input,
input (DIRECT OUT 1 to multitrack input 1, as we just discussed. (Hot tip: To feed an 8-track
2 to 2, 3 to 3, etc.). The signals will now be re- deck with 4 sub outputs, simply use Y-cords:
corded or pass directly through the multitrack, SUB OUT 1 feeds tracks 1 and 5, 2 feeds 2 and
depending on each track’s record-ready status. 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 as-
multitrack sign multiple channels to one track and control
machine the overall level of that subgroup . You can’t
bounce tracks without this feature.
Perhaps the best method is to do both: Use
the SUB OUTS to feed multichannel submixes
sound sources
(like a drum kit) to some of the tracks, and
the DIRECT OUT jacks to feed single-channel
1–8 9–16 signals (like bass guitar) to the other tracks.
The point is that you never listen directly to
the source channels (1–8). You listen to the
monitor channels (9–16) and they’re listening to
the multitrack that is listening to the source
channels. The main advantage is that you won’t
be forced to constantly repatch your multitrack
— just set it up and forget it. You’ll also know for
direct group certain that the signals are indeed getting to the
outputs outputs
multitrack, since you’re constantly listening to it.
Another method of interfacing a multitrack is
called inline monitoring, and requires a mixing
The outputs of the multitrack are then console dedicated to that, like the Mackie
patched to the next eight LINE inputs on the 8•Bus. Each of its channels is actually two chan-
1604-VLZ PRO (multitrack out 1 to LINE input nels: one carrying the mic/line sound source and
9, 2 to 10, 3 to 11, etc.). Aha! That’s why it says the other carrying the multitrack output.
“TRACK 1” next to channel 9’s fader, “TRACK 2” AUX SEND OUTPUTS
next to channel 10, and so forth. These chan-
nels (9–16) will be assigned to the mixer’s These 1/4" jacks usually patch to the inputs
output section, delivering the signals to their of your parallel effects devices or to the in-
ultimate destination, which may be your puts of your stage monitor amps. To learn how
mixdown 2-track, your control room system, signals are routed to these outputs: . To wire
or your headphones. your own cables: .
12
RING RETURN)
L L L 3 1 4 3 2 1 5 3 1 7 5 3 1
L L
L L L
MONO
R R R 4 2 6 4 2 8 6 4 2
R R R
CAUTION: R R
UTILISE
UTILISE UN
UN FUSIBLE
FUSIBLE DE
DE RECHANGE
RECHANGE DE
DE MÊME
MÊMETYPE.
TYPE.DEBRANCHER
DEBRANCHERAVANT
AVANT DE
DE REMPLACER
REMPLACER LE
LE FUSIBLE
FUSIBLE
EFFECTS: SERIAL OR PARALLEL? Mono: If you have an effects device with a

You’ve heard us carelessly toss around the mono output (one cord), plug that into L in-
terms “serial” and “parallel.” Here’s what we put of an AUX RETURN and leave the right
mean by them: input unplugged. That way, the signal will be
“Serial” means that the entire signal leaves sent to both sides, magically appearing in the
the mixer (INSERT send), is routed through the center as a mono signal.
effects device, and returns to the mixer SUB OUTS
(INSERT return). Examples: compressor, lim-
iter, graphic equalizer. Line-level sources can These 1/4" jacks are usually patched to the in-
also be patched through a serial effects device puts of a multitrack deck, or to secondary
before or after the mixer. amplifiers in a complex installation. To learn
“Parallel” means that a portion of the signal how signals are routed to these outputs: .
in the mixer is tapped off to the device (AUX To wire your own cables: .
SEND), processed, and returned to the mixer Double Busing
(AUX RETURN) to be mixed with the original
“dry” signal. This way, multiple channels can How on earth do you get four jacks to
all make use of the same effects device. feed eight tracks? To feed an 8-track deck
Examples: reverb, digital delay. with only four SUB OUTS, simply use four
Y-cords:
AUX RETURN INPUTS • SUB OUT 1 feeds tracks 1 and 5
This is where you connect the outputs of your • SUB OUT 2 feeds tracks 2 and 6
parallel effects devices (or extra audio sources). • SUB OUT 3 feeds tracks 3 and 7
They’ll accept just about any pro or semipro • SUB OUT 4 feeds tracks 4 and 8
effects device on the market. To learn how sig- Tracks in record mode will accept the signal,
nals are routed from these inputs: . To wire and tracks in safe mode will ignore the signal.
your own cables: . It’s that easy.
Serial Device (e.g., Compressor)
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
This method is exactly WARNING: When we say
the same as the double- the headphone amp is
busing feature found in loud, we’re not kidding. It
other mixers. Built-in double can cause permanent ear
busing is nothing more than damage. Even intermedi-
Y-cords living inside the mixer instead of ate levels may be painfully loud with some
hanging out the back. If we had room for the earphones. BE CAREFUL!
extra jacks, we would have thrown them in, Always turn the CTL ROOM/PHONES knob
but we don’t, so we didn’t. Sonically, there is all the way down before connecting head-
no difference whatsoever. phones. Keep it down until you’ve put the
Y-cord advice: Do not use the stereo “headphones on. Then turn it up slowly. Why?
phone-to-left/right” splitter adapters. Use the type “Engineers who fry their ears find themselves
that send the same signal to two places; the tip of with short careers.”
the source plug feeds the tips of both destination
plugs (Radio Shack® #42-2150, for instance.) TAPE OUTPUT
These unbalanced RCA jacks tap the MAIN
C-R OUTS (CONTROL ROOM OUTPUTS) MIX outputs to make simultaneous recording
These 1/4" jacks are usually patched to the and PA work more convenient. Connect these
inputs of your control room amplifier or a to your 2-track recorder’s inputs. To learn how
headphone distribution amplifier. To learn signals are routed to these outputs: .
how signals are routed to these outputs: . Mono: If you want to feed a mono signal to
To wire your own cables: . your tape deck or other device, simply use the
1
/4" MONO output jack . Alternatively, use
PHONES OUTPUT an RCA Y-cord to combine the TAPE OUTPUT
The 1604-VLZ PRO’s stereo 1/4" phones jack jacks (Radio Shack® #274-511, for instance).
will drive any standard headphone to very loud Do not attempt this with any other outputs on
levels. Walkperson-type phones can also be the 1604-VLZ PRO.
used with an appropriate adapter. To learn
how signals are routed to these outputs: . If TAPE INPUT
you’re wiring your own cable for the PHONES These unbalanced RCA jacks are designed
output, follow standard conventions: to work with semipro as well as pro recorders.
RING SLEEVE SLEEVE RING TIP
Connect your 2-track tape recorder’s outputs
here, using standard hi-fi RCA cables. To learn
TIP how signals are routed from these inputs: .
RING Use these jacks for convenient playback of
Tip = left channel TIP
your mixes. You’ll be able to review a mix, and
SLEEVE
Ring = right channel then rewind and try another pass without
Sleeve = common ground 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
ASSIGN TO MAIN MIX
between sets .
WARNING: Pushing TAPE
LEFT LEFT LEFT LEFT TO MAIN MIX in the out-
PHONES put section can create a
RIGHT RIGHT RIGHT RIGHT
MAIN
1 2 3 4 MIX feedback path between
dB
10
dB
10 TAPE INPUT and TAPE
5 5
OUTPUT. Make sure your tape deck is not
U U
in record, record-pause or input monitor
5 5
mode when you engage this switch, or
10 10
make sure the TAPE IN level knob is fully
20 20
counterclockwise (off).
30 30
40 40
50 50
60 60
OO OO
14
MAIN INSERT ing mono signals to mic inputs like camcorders,
1
These /4" jacks are for connecting serial telephone interface boxes, even answering
effects such as compressors, equalizers, de- machines. With the pot all the way up (fully
essers, or filters . The INSERT point is after clockwise), you’ll have 6dB of extra gain with
the mix amps, but before the MAIN MIX fader. unity gain halfway between the one and two
Insert cables must be wired thusly: o’clock positions.
ring
SEND to processor
“tip”
POWER CONNECTION
Just in case you lose the cord provided with
This plug connects to one of the
the 1604-VLZ PRO, its power jack accepts a
“ring”
mixer’s Channel Insert jacks. RETURN from processor standard 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 1604-VLZ PRO 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 1604-VLZ PRO’s
routed to these outputs: . To use these out- power cord, you can get a new one at any elec-
puts to drive balanced inputs, connect 1/4" TRS tronics, music, or computer store. You can even
(Tip-Ring-Sleeve) phone plugs like this: buy them at Radio Shack® (part # 278-1257).
RING SLEEVE SLEEVE RING TIP
Plug the 1604-VLZ PRO 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 1604-VLZ PRO is fused for your (and
Tip = signal TIP its own) protection. If you suspect a blown
Sleeve = ground fuse, disconnect the power cord, pull the fuse
SLEEVE
drawer out (located just below the cord re-
MONO OUTPUT ceptacle) and replace the fuse with a 1A SLO
It happens to everybody sooner or later: BLO, 5x20mm, available at electronics stores or
The forces that govern your world will demand your dealer (or a 500mA [0.5 amps] SLO BLO
a monaural output from your painstakingly- 5x20mm if your 1604-VLZ PRO is a 220V-240V
created stereo panorama. The last thing you unit).
want to do is start twirling all your carefully-
placed PAN settings to one side. What to do? 120 VAC 50/60 Hz 20W
1A/250V SLO-BLO
POWER
ON
PHANTOM
ON
MAIN OUT
BAL/UNBAL
MAIN INSERT
(TIP SEND
TAPE
INPUT
TAPE
OUTPUT
C-R OUT
BAL/UNBAL
RING RETURN)
Stick a cord in this 1/4" jack, hand the other L L L
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:
R R
The MONO output is nothing more than a mix

UTILISE
UTILISE UN
UN FUSIBLE
FUSIBLE DE
DE RECHANGE
RECHANGE DE
DE MÊME
MÊMETYPE.
TYPE.DEBRANCHER
DEBRANCHERAVANT
AVANT DE
DE REMPLACER
REMPLACER LE
LE FUSIBLE
FUSIBLE
INSERT INSERT INSERT INSERT INSERT INSERT INSERT
of the left and right MAIN MIX.

LINE 16 LINE 15 LINE 14 LINE 13 LINE 12 LINE 11 LINE 10
MONO LEVEL BAL

UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
MIC 16 MIC 15 MIC 14 MIC 13 MIC 12 MIC 11 MIC 10

So, Mr. Mono comes running back, scream- XD R
MIC PR
E XD R
MIC PR
E XD R
MIC PR
E XD R
MIC PR
E XD R
MIC PR
E XD R
MIC PR
E XD R
MIC PR
E
ing about the mono mix being so loud that his

camcorder is melting. Just reach for this knob
XDRTM EXTENDED DYNA
and turn it down a bit. Just the thing for send- CONCEIVED, DESIGNED, AND MANUFACTURED BY MACKIE DESIGNS INC • WOODINVILLE • WA • USA • MADE IN USA • FABRIQUE AU USA • COPYRIG
15
POWER SWITCH PHANTOM LED
If this one isn’t self-explanatory, we give up. Located right next to the POWER LED in the
You can leave this switch on all the time; the output section, this is just to let you know which
1604-VLZ PRO is conservatively designed, so way you have the PHANTOM switch set. If your
heat buildup isn’t a problem even in 24-hour-a- dynamic mics work and your condensers don’t,
day operation. There’s nothing that will burn chances are this LED is off, so turn it on.
out or get used up. You may notice that the You’ll notice that when you turn the phan-
1604-VLZ PRO’s “pod” feels quite warm (the tom power off, the LED stays on for a while.
pod is the chassis that contains the jacks). This is a natural phenomenon — the LED is
This is perfectly normal. actually a yellow voltmeter telling you that the
phantom power takes time to ramp itself down
POWER LED to zero volts. So, if you’ve turned phantom
You’ve probably already figured this out, but power off to connect something to the mic in-
if the POWER switch is on, this LED (light- puts, wait until the yellow LED stops glowing
emitting diode), located in the output section, and then make your connections safely.
will light. If the switch is off, well, you get the
idea. If the POWER switch is on and the LED BNC LAMP SOCKET
does not glow, one of three things has hap- Located in the top right corner of the out-
pened: Somebody tripped over the power cord put section, this 12V socket will drive any
and yanked it from the outlet, your electricity standard BNC-type lamp (a Littlite® #12G or
has been turned off due to nonpayment, or the #12G-HI (high-intensity), for instance).
fuse has blown .
PHANTOM SWITCH
The PHANTOM switch controls the phan-
tom power supply for condenser microphones as
discussed at the start of this section . When
turned on (or off), the phantom power circuitry
1604-VLZ PRO 12V
takes a few moments for voltage to ramp up (or 16-CHANNEL MIC/ LINE MIXER 0.5A
down). This is also perfectly normal. For an LAMP
even closer look, refer to Appendix C. U U U
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
OO +10 OO +20 OO +15
AUX
SEND 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
STEREO AUX RETURN
LEFT RIGHT
RING RETURN)
L L L 3 1 4 3 2 1 5 3 1 7 5 3 1
L L
L L L
MONO
R R R 4 2 6 4 2 8 6 4 2
R R R
CAUTION: R R
UTILISE
UTILISE UN
UN FUSIBLE
FUSIBLE DE
DE RECHANGE
RECHANGE DE
DE MÊME
MÊMETYPE.
TYPE.DEBRANCHER
DEBRANCHERAVANT
AVANT DE
DE REMPLACER
REMPLACER LE
LE FUSIBLE
FUSIBLE
16
CHANNEL STRIP DESCRIPTION
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 U MI
the eight on the left have DIRECT OUT jacks science — they operate by 0 60
+15dB -45dB
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
change a control’s settings. spray cleaners.

-15 +15
You won’t have to check it here and check it 800
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
bought a Mackie. the right sides. Used in conjunction with the

channel’s PAN knob , these switches deter- L R
FADER mine the destination of a channel’s signal: 1

MUTE
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 MIX. If you want to create a subgroup of 3–4
boost a section of a song. If you find that the certain channels, engage either the 1–2 or 3–4 L-R
overall level is too quiet or too loud with a switches instead of the L–R, and they’ll be sent OO
fader near unity, you’ll want to confirm the to the appropriate subgroup faders . From
TRIM setting by performing the Level-Setting there, the subgroups can be sent back to the
Procedure . MAIN MIX , allowing you to use the sub-
group faders as a master control for those
channels.
17
If you’re printing new tracks or bouncing ex- LEVEL SET (PFL) is also the preferred mode
isting ones, you’ll also use the 1–2 and 3–4 for SR (sound reinforcement, or live sound), to
switches, but not the L–R switch. Here, you preview channels before they are let into the
don’t want the subgroups sent back into the mix. It won’t give you stereo placement, but will
MAIN MIX, but sent out, via the SUB OUTS give you signal even if the fader is pulled down.
TRIM
-10dGBV
1 jacks, to your multitrack inputs . However, if Remember, LEVEL SET (PFL) taps the chan-
C AIN
U MI
you’re printing tracks via the DIRECT OUT nel signal before the fader. If you have a
0 60
+15dB -45dB
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 1604-VLZ PRO 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
5/6 defeated, to allow the soloed channel to do just

SHIFT
SOLO that — SOLO!
EQ U HI
12k
This lovable switch allows you to check
signals through your PHONES output or C-R –20 (SOLO) LED
-15 +15
U MID
OUTS without having to assign them to the An LED that does two completely different
-15 +15
L-R, 1-2 or 3-4 mixes. You can solo as many things! Saves space, but requires some expla-
800
channels as you like. SOLO does not interrupt nation. First, the “–20” part: Often referred to
200 2k
any of the other channels, buses or outputs — as “signal activity,” this LED will flicker in time
100
U
8k
LOW
80Hz
that’s called nondestructive solo. Not only that, with the signal present in that channel. It’s
via the MODE switch , the 1604-VLZ PRO’s handy for confirming that a channel is indeed
-15
LOW CUT
+15
solo system comes in two flavors: NORMAL active, and may also lend a clue as to what the
75 Hz
18dB/OCT
(AFL) (sometimes called SIP, or solo-in-place) signal is. For instance, a kick drum will cause
PAN
and LEVEL SET (PFL) (sometimes called PFL, the LED to pulse in time with the drum, and a
or pre-fader-listen). synth pad will cause it glow a bit more steadily.
L R
During NORMAL (AFL) mode, the soloed Now for the “SOLO” part. When a channel’s
1
MUTE channel’s signal is sent directly to the C-R OUTS, SOLO switch is engaged, this LED will glow
OL PHONES output, and meter display just as it steadily, without flickering. It will also be
would sound to the channel’s assignment brighter than it would be as a –20 indicator. In
-20
switches: post-EQ, post-fader and post-PAN. conjunction with the RUDE SOLO LIGHT ,
SOLO
The only difference is that SOLO works re- you can find a rogue SOLO switch very quickly.
gardless of the channel’s assignment positions,
1–2 and that makes it really handy — you can OL (MUTE) LED
check out a channel before you assign it. Another LED that does two completely differ-
3–4
NORMAL (AFL) is the preferred mode dur- ent things! First, the “OL” part: “OL” means
L-R ing mixdown: If the channel has some overload, or clip. You don’t want that to happen.
OO
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 1604-VLZ PRO’s OL LED will come on just be-
took the time to MUTE all the other channels. fore clipping, so if you see it, take immediate
LEVEL SET (PFL) solo is the key player in the action: Perform the Level-Setting Procedure .
all-important Level-Setting Procedure . It’ll If that doesn’t help, check for excessive use of
send the channel’s actual internal levels to the EQ 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
come on as a result of clipping. That’s pretty CONSTANT LOUDNESS ! ! !
boring. So, to liven things up, this LED will The 1604-VLZ PRO’s
glow steadily when that channel’s MUTE PAN controls employ a de-
switch is engaged. sign called “Constant
If you need a quick reference to these LEDs, Loudness.” It has nothing
write this on the back of your hand: to do with living next to a freeway. As you turn
name color flickering glowing the PAN knob from left to right (thereby caus-
–20 (SOLO) green signal is present channel is soloed ing the sound to move from the left to the TRIM 1
OL (MUTE) red channel is clipping channel is muted center to the right), the sound will appear to
-10dGBV
U MI
C AIN
MUTE remain at the same volume (or loudness). 0 60

+15dB -45dB
If you have a channel panned hard left (or AUX
Engaging a channel’s MUTE switch pro- right) and reading 0dB, it must dip down about
U
vides the same results as turning the fader all 4dB on the left (or right) when panned center.
1
the way down: Any channel assignment to To do otherwise, like those Brand X mixers,
OO
U
+15
L-R, 1-2 or 3-4 will be interrupted. All the post would make the sound appear much louder 2
AUX sends will be silenced, as will the when panned center.

OO +15
PRE
DIRECT OUT signals on channels 1 through U
8. And of course, that fun-loving OL (MUTE) 3-BAND MID-SWEEP EQ 3 5
LED will commence to glow. The PRE AUX The 1604-VLZ PRO 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 1604-VLZ PRO’s LOW EQ
-15
U
+15
MID
within the mixer, and it can be avoided: Sim- boosts bass frequencies starting at 80Hz and
ply engage the LOW CUT switch on each continuing down to the lowest note you never
-15
800
+15
channel (unless its low frequency content is heard. Peaking means that certain frequencies 200 2k
vitally important, such as a kick drum or bass form a “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
subgroups 1–2 and 3–4, and the SOLO (in +5

OL
LEVEL SET (PFL) mode). With the PAN knob 0 -20
hard left, the signal will feed the left MAIN MIX, –5
subgroup 1, subgroup 3 and left NORMAL –10

SOLO
(AFL) solo mode (assuming their assignment –15

1–2
switches are engaged). With the knob hard 20Hz 100Hz 1kHz 10kHz 20kHz
right, signal feeds the right MAIN 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
+15 LOW CUT
+10 The LOW CUT switch, often referred to as a
+5 high pass filter (all depends on how you look
0 at it), cuts bass frequencies below 75Hz at a
–5 rate of 18dB per octave. This ain’t no thrown-in
TRIM 1
-10dGBV
U MI
C AIN
–10
dime-store filter — an 18dB per octave curve
–15
requires an elaborate circuit. Nothing but the
0 60
+15dB -45dB 20Hz 100Hz 1kHz 10kHz 20kHz best for you.
AUX
U We recommend that you use LOW CUT on ev-
+15
1 ery sound source except kick drum, bass guitar,
+10
OO
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
+15
-20 +10 AUX 1, 2, 3, & 4

+5
SOLO These four knobs tap a portion of each
0 channel’s signal, mix them together and send
1–2 –5 them to the AUX SEND outputs . They are
3–4
–10 off when turned fully down, deliver unity gain
–15 at the center detent, and can provide up to
L-R 15dB of gain turned fully up. Chances are you’ll
OO
With too much EQ, you can screw things up never need this extra gain, but it’s nice to
royally. We’ve designed a lot of boost and cut know it’s there if you do.
into each equalizer circuit because we know The AUX SEND output are then patched to
everyone will occasionally need that. But if you parallel effects processor inputs or stage
max the EQ on every channel, you’ll get mix monitor amp inputs. AUX SENDS 1 and 2 lev-
mush. Equalize subtly and use the left sides of els are controlled not only by the channel’s
the knobs (cut), as well as the right (boost). If AUX knobs, but also by the AUX SEND mas-
you find yourself repeatedly using full boost or ter knobs .
cut, consider altering the sound source, such AUX SENDS can also be used to generate
as placing a mic differently, trying a different separate mixes for recording or “mix-minuses”
kind of mic, changing the strings, or gargling. for broadcast. By using AUX 1 or 2 in the PRE
mode , these mix levels can be obtained in-
dependently of a channel’s fader settings.
20
We recommend going into a stereo reverb in In PRE mode (switch down), AUX 1 and 2
mono and returning in stereo. We have found follow the TRIM and LOW CUT settings only.
that on most “stereo” reverbs, the second input EQ, PAN, fader and MUTE settings have no ef-
just ties up an extra aux send and adds nothing fect on the PRE sends. This is the preferred
to the sound. There are exceptions, so feel free method for setting up stage monitor feeds —
to try it both ways. Should you choose to use two they’ll be controlled independently of the fader TRIM
-10dGBV
1
C AIN
U MI
aux sends, use the “odd” AUX (1, 3 or 5) to feed and mute moves.
its left input and the “even” AUX (2, 4 or 6) to
5/6 SHIFT
0 60
+15dB -45dB
feed the right input. Remember, if you’re also AUX

U
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 1604-VLZ OO +15
U
channel carrying the left side and the even AUX PRO has six AUX SENDs. With the 5/6 SHIFT
2
on the channel carrying the right. switch up, the knobs labeled AUX 3 and AUX 4 OO +15
deliver their signals to AUX SEND 3 and 4 out- PRE
PRE puts. With the shift switch down, the signals

U
3 5
This switch determines the tap point of appear 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
U
follow the EQ, LOW CUT, fader and MUTE set- MID
tings. If you fade the channel, you fade the -15 +15
send. This is a must for effects sends, since you 800
want the levels of your “wet” signals to follow 200 2k
the level of the “dry.” 100

U
8k
LOW
80Hz
-15 +15
LOW CUT
75 Hz
18dB/OCT
PAN
Pre Vs. Post

L R
MUTE 1
MUTE
PAN ASSIGN
LOW
INPUT TRIM INSERT EQ OL
CUT FADER
-20
AUX 1
'PRE' SIGNAL 'POST' SIGNAL SOLO
1–2
PRE SWITCH AUX 2

3–4
L-R
OO
21
OUTPUT SECTION DESCRIPTION
You’ve just learned about the At Mackie, audio quality is much more im-
1604-VLZ PRO 12V
0.5A
input channels and how the sig- portant than the price of wall warts. All of our
WITH PREMIUM XDRTM MIC PREAMPLIFIERS 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!
U U U MONITORS
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
SEND U
complicated, so put on your As you might expect, these faders control the
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 MIX FADER
U
2 and not turned fully down will appear at the
SOLO 4
OO +20
C-R / PHNS RETURNS This fader controls the lev- SUB OUTS. Unlike the MAIN OUT, the sub-
PHAN PWR ONLY SOLO
STEREO AUX RETURN els of signals sent to the MAIN group signals do not pass through an insert jack
U
LEFT RIGHT
0 dB=0 dBu
OUT 1/4" TRS jacks and on their way to the subgroup faders. That’s no
28 TAPE OUTPUT RCA jacks . problem — should you want to send these sig-
OO MAX
CTL ROOM / PHONES
OO +20
10
All channels and AUX nals through a serial effects processor, simply
TAPE IN 7
4 RETURNs that are assigned to patch from the SUB OUTS to the effect’s input,
TAPE TAPE TO
MAIN MIX
2
the MAIN MIX, not muted and and from the effect’s output to whatever the fi-
0
SUBS 1– 2
2 not turned fully down will ap- nal destination is, usually a multitrack recorder.
OO MAX LEVEL
4
pear at the MAIN OUT. Before The subgroup signals is off when its fader is
SET 7
SUBS 3–4 SOLO
10
the main mix gets to this fader, fully down, the “U” marking is unity gain, and
MAIN MIX MODE
20
the signals pass through the fully up provides 10dB additional gain. Re-
30
CTL ROOM
SOURCE
NORMAL (AFL)
LEVEL SET (PFL)
RUDE
SOLO
MAIN INSERT . member that if you’re treating two subgroups
LIGHT
ASSIGN TO MAIN MIX

The MAIN MIX signals are as a stereo pair, subgroup 1 and 2 for example,
off with the fader fully down, make sure that both subgroup faders “ride”
LEFT LEFT LEFT LEFT
the “U” marking is unity gain, together, to maintain the left/right balance.
PHONES
and fully up provides 10dB ad-
RIGHT
1
RIGHT
2
RIGHT
3
RIGHT
4
MAIN
MIX ditional gain. This additional ASSIGN TO MAIN MIX
dB dB
10 10 gain will typically never be One popular use of the subgroups is to use
5 5 needed, but once again, it’s them as master faders for a group of channels
U U nice to know it’s there. The on their way to the MAIN MIX. Let’s say you’ve
5 5 fader itself is a stereo version got a drum kit hogging up seven channels and
10 10 of the channel and subgroup you’re going to want to fade them out at a differ-
20 20 faders — same supersmooth ent rate than the other channels. You don’t want
30 30 custom taper, same dead si- to try that with seven hands or seven fingers, so
40
50
40
50 lence when turned fully down. just un-assign these channels from L–R, reassign
60 60
OO OO
This is the fader to pull down them to subgroup 1–2, engage the ASSIGN TO
at the end of the song when MAIN MIX, LEFT on subgroup 1 and the AS-
you want “The Great Fade-Out.” SIGN TO MAIN MIX, RIGHT on subgroup 2.
Now you can ride the entire stereo drum mix
VLZ MIX with two faders — 1 and 2.
ARCHITECTURE If you engage just one ASSIGN TO MAIN
When designing a mixing MIX switch per subgroup (LEFT or RIGHT),
circuit, the lowest noise and the signal sent to the MAIN MIX will be the
best crosstalk specs are same level as the SUB OUTS. If you want the
achieved by using Very Low Impedance (VLZ). subgroup to appear in the center of the main
To implement VLZ in a mixer, the power supply mix, engage both the ASSIGN TO MAIN MIX,
must be able to deliver plenty of current to the LEFT and ASSIGN TO MAIN MIX, RIGHT
circuitry. That’s why those “wall wart” mixers are switches. The signal will be sent to both sides,
often noisy — they can’t power a VLZ circuit. and will be attenuated just enough to pre-
serve constant loudness , just like the
channel PAN knobs when set center.
22
TAPE IN (LEVEL) Now you know how to select the signals you
want to send to the engineer’s control room
This knob controls the level of the stereo signal
and/or phones. From there, these signals all pass
coming from the TAPE INPUT RCA jacks. Its range
through the same level control, aptly named:
is off when fully down, unity at the center detent,
with 20dB additional gain turned fully up, which CTL ROOM/PHONES
may come in handy if you’ve patched in a
As you might expect, this knob controls the
“walkperson” type device with wimpy output levels.
levels of both the stereo C-R OUTS and
After the TAPE IN level is determined, the stereo
PHONES output . The control range is from
tape signal can be sent to either of two places —
off through unity gain at the detent, with 10dB
the MAIN MIX or the SOURCE matrix .
of extra gain (when turned fully clockwise).
TAPE TO MAIN MIX When MAIN MIX is your SOURCE selection,
those signals will now pass through two level
Engaging this switch is just like engaging
controls on the way to your control room amp
the L-R switch on a channel — the signal,
and headphones — the MAIN MIX fader and
stereo in this case, is sent to the MAIN MIX. It
this CTL ROOM/PHONES knob. This way, you
does not interrupt other signals, just adds itself
can send a nice healthy level to the MAIN
to them. This switch can be very handy in a
OUT jacks (MAIN MIX fader at “U”), and a
live sound situation when you want to play
quieter level to the C-R OUTS or PHONES
soothing elevator music to an anxious crowd.
(CTL ROOM/PHONES knob wherever you like
WARNING: Engaging
it).
TAPE TO MAIN MIX can
Whatever your selection, you can also use the
create a feedback path be-
C-R OUTS for other applications. Its sound
tween TAPE INPUT and
quality is just as impeccable as the MAIN OUT
TAPE OUTPUT. Make sure
outputs. It can be used as additional main mix
your tape deck is not in record, record-
output and this one will have its own level con-
pause or input monitor mode when you
trol. However, should you do this, be aware that
engage this switch, or that the TAPE IN
if you engage a SOLO switch, that will interrupt
level knob is turned fully down.
the mix, as we’ve already covered .
SOURCE Once again, engaging a SOLO switch will
cause this dramatic turn of events: Any existing
Typically, the engineer sends the main mix
SOURCE matrix selections will be replaced by
to an audience (if live) or to a mixdown deck
the SOLO signals, appearing at the C-R OUTS,
(if recording). But what if the engineer needs
PHONES output and at the meter display. The
to hear something other than the main mix?
audible solo levels are controlled by the SOLO
With the New Improved 1604-VLZ PRO, the en-
level knob. The SOLO levels appearing on the
gineer has several choices of what to listen to.
meter display are not controlled by anything
This is one of those tricky parts — have a
— you wouldn’t want that. You want to see the
double espresso first.
actual channel level on the meter display,
Via the SOURCE switches, you can choose to
regardless of how loud you’re listening.
listen to any combination of MAIN MIX, SUBS
1-2, SUBS 3-4 and TAPE. Selections made in the
SOURCE matrix deliver stereo signals to the
C-R OUTS, PHONES output and meter display.
These signals are tapped after their respective
level controls — post-MAIN MIX fader, post
subgroup faders and post-TAPE IN knob. With LEFT RIGHT
U
no switches engaged, there will be no signal at 0 dB=0 dBu
28
these outputs and no meter indication, with two OO MAX OO +20
10
exceptions (SOLO / and AUX RETURN 4 ). CTL ROOM / PHONES TAPE IN 7
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
MAIN MIX MODE
display. This is what makes the Level-Setting CTL ROOM NORMAL (AFL) RUDE
30
SOURCE LEVEL SET (PFL) SOLO

Procedure so easy to do. LIGHT
23
MODE (NORMAL (AFL)/LEVEL SET (PFL)) LEVEL SET LED
You may have already seen this, but in case To quote step 6 of the Level-Setting
you missed it: The 1604-VLZ PRO’s solo system Procedure , “Push in the MODE switch in
comes in two flavors: NORMAL (AFL) (sometimes the output section (LEVEL SET (PFL) mode) —
called SIP, or solo-in-place) and LEVEL SET (PFL) the LEVEL SET LED will light.” When the solo
(sometimes called PFL, or pre-fader-listen). MODE switch is engaged, it’s in LEVEL SET
U
In NORMAL (AFL), the soloed
LEFT RIGHT (PFL) mode, the mode you must be in to set
0 dB=0 dBu
channel’s signal is sent directly to
28
levels. Now, when you engage any solo switch,
OO MAX OO +20 the C-R OUTS, PHONES output
10 this LED will be a “green light” to set levels. If
CTL ROOM / PHONES TAPE IN 7
and meter display just as it would
4
you tried to set levels during NORMAL (AFL)
TAPE TAPE TO
MAIN MIX
sound to the channel’s assign-
2 mode, the meter display would be at the
0
ment switches: post-EQ,
2
mercy of the channel fader, and that would be
SUBS 1– 2
OO MAX
post-fader and post-PAN. The
4 a big problem.
LEVEL 7
SUBS 3–4 SOLO SET
only difference is that SOLO
10
works regardless of the channel’s

20
SOLO (LEVEL)
MAIN MIX MODE
30
CTL ROOM
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
METERS AUX TALK
The 1604-VLZ PRO’s peak metering system is First of all, there is no particular alliance
made up of two columns of twelve LEDs. Decep- between AUX SEND 1 and AUX RETURN 1.
tively simple, considering the multitude of signals They’re just numbers. They’re like two com-
that can be monitored by it. If nothing is selected plete strangers, both named Fred.
in the SOURCE matrix and no channels are in Sends are outputs, returns are inputs. The
SOLO, the meter display will just sit there. To AUX knob taps the signal off the channel
put them to work, you must make a selection in and sends it to the AUX SEND outputs .
the SOURCE matrix (or engage a SOLO switch). AUX 1 and 2 are sent to the AUX SENDS 1
Why? You want the meter display to reflect and 2 master knobs before the AUX SEND
what the engineer is listening to, and as we’ve outputs and AUX 3 through 6 are sent directly.
covered, the engineer is listening either to the These outputs are fed to the inputs of a re-
C-R OUTS or the PHONES output. The only verb or other device. From there, the outputs of
difference is that while the listening levels are the external device are fed back to the mixer’s
controlled by the CTL ROOM/PHONES knob, AUX RETURN inputs . Then these signals are
the meter display reads the SOURCE mix be- sent through the AUX RETURN level controls,
fore that control, giving you the real facts at all and finally delivered to the MAIN MIX .
times, even if you’re not listening at all. So, the original “dry” signals come from the
When the solo MODE switch is set to LEVEL channels to the MAIN MIX and the affected
SET (PFL) (down) , all soloed signals will be “wet” signals come from the AUX RETURNS to
sent to the left meter only. That, combined the MAIN MIX, and once mixed together, the
with LEVEL SET LED , are along the path of dry and wet signals combine to create a glori-
enlightenment known as the Level-Setting ous sound. Armed with this knowledge, let’s
Procedure . During NORMAL (AFL) mode, visit the Auxiliary World:
the meters will behave normally.
AUX SENDS (MASTER)
Meters vs. Reality These knobs provide overall level control of AUX
You may already be an SENDS 1 and 2, just before they’re delivered to their
expert at the world of “+4” AUX SEND outputs . This is perfect for control-
(+4dBu=1.23V) and “–10” ling the level of stage monitors, since you’ll be using
(–10dBV=0.32V) operating AUX 1 and 2 for this, with their PRE switches en-
levels. Basically, what makes a mixer one or gaged . AUX SENDS 3 through
the other is the relative 0dB VU (or 0VU) cho- 6 have no such control — they’ll 1604-VLZ PRO 12V
16-CHANNEL MIC/ LINE MIXER 0.5A
sen for the meter display. A “+4” mixer, with a just send their mixes directly to WITH PREMIUM XDR MIC PREAMPLIFIERS
TM
+4dBu signal pouring out the back will actu- their respective AUX SEND out- LAMP
U U U
ally read 0VU on its meter display. A “–10” puts at unity gain.
TO AUX
mixer, with a –10dBV signal trickling out, will This knob goes from off (turned 1 OO
1
+10 OO
1
+20 OO +15
SEND 1
EFFECTS TO
read, you guessed it, 0VU on its meter display. fully down), to unity gain at the U U U MONITORS
So when is 0VU actually 0dBu? Right now! center detent, with 10dB of extra 2 2 2 TO AUX
SEND 2
At the risk of creating another standard, gain (turned fully up). As with OO
AUX
+10 OO +20 OO +15
SEND
Mackie’s compact mixers address the need of some other level controls, you may U ASSIGN OPTIONS
1 3
both crowds by calling things as they are: 0dBu never need the additional gain, but SOLO MAIN MIX 1– 2
(0.775V) at the output shows as 0VU on the if you ever do, you’ll be glad you 2
U
meter display. What could be easier? By the bought a Mackie. SOLO 4

C-R / PHNS RETURNS
way, the most wonderful thing about standards This is usually the knob you PHAN PWR OO +20 ONLY SOLO
STEREO AUX RETURN

is that there are so many to choose from. turn up when the lead singer LEFT RIGHT
U
Thanks to the 1604-VLZ PRO’s wide dy- glares at you, points at his stage 0 dB=0 dBu
28
namic range, you can get a good mix with monitor, and sticks his thumb in OO MAX OO +20
10
peaks flashing anywhere between –20 and the air. (It would follow suit that if CTL ROOM / PHONES TAPE IN 7
4
+10dB on the meter display. Most amplifiers the singer stuck his thumb down, TAPE TAPE TO 2
MAIN MIX
clip at about +10dB, and some recorders aren’t you’d turn the knob down, but 0
2
so forgiving either. For best real-world results, that never happens.) SUBS 1– 2
4
try to keep your peaks between “0” and “+7.” 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
RUDE
30
CTL ROOM NORMAL (AFL)
are “in the ballpark.” You don’t have to stare at SOURCE LEVEL SET (PFL) SOLO
LIGHT
them (unless you want to).

25
AUX SENDS SOLO EFFECTS TO MONITORS
Once again, in a live sound situations AUX If you want to add reverb or delay to the
SEND 1 and 2 are likely to feed your stage stage monitor mixes, these are the knobs for
monitors. You’ll want to check the mix you’re you. Operating independently of their respec-
sending them, and that’s what these two but- tively numbered AUX RETURNS level controls,
tons are for. (AUX 3 through AUX 6 have no these knobs are exactly the same as the AUX 1
such switch.) Beside each switch is a green and AUX 2 knobs found in the channel strip .
LED that, just like the channel’s –20 LED , These two knobs feed AUX RETURN signals
helps you find the rogue SOLO switch. to their respective AUX SEND outputs : TO
The only thing different about AUX SENDS AUX SEND 1 feeds AUX RETURN 1 to AUX
SOLO is that it’s not really PFL (pre-fader lis- SEND 1 master, and TO AUX SEND 2 feeds
ten), and it’s not really SIP (solo-in-place), it’s AUX RETURN 2 to AUX SEND 2 master. They
actually AFL (after-fader listen, and yes, we are off when turned fully down, deliver unity
know there’s no fader in this case.) During gain at the center detent, and can provide up
NORMAL (AFL) mode , you’ll get AUX to 15dB of gain turned fully up. AUX RETURN
SEND 1’s solo signal, post-AUX SENDS master 3 and AUX RETURN 4 have no such knobs.
level, in the left side of the C-R OUTS,
PHONES output and meter display, and AUX MAIN MIX TO SUBS (AUX RET 3)
SEND 2 on the right side. (If you ever use AUX With this switch up, AUX RETURN 3
1 and 2 to create a stereo monitor mix, you’ll behaves like all the others — it delivers a
understand why.) In LEVEL SET (PFL) mode, stereo signal, regulated by its level knob, to the
you’ll get the signal dead-center, but still post- MAIN MIX . When you engage this switch,
AUX SENDS master level. the signals are removed from the MAIN MIX
buses and sent to the 1-2/3-4 switch, which di-
AUX RETURNS (LEVEL) verts the signal once more. We’re not finished.
These four controls set the overall level of Please read on.
effects received from the stereo AUX RETURN
input jacks . These controls are designed to 1–2/3–4 (AUX RET 3)
handle a wide range of signal levels — each As you’ve just read, if the MAIN MIX TO
knob goes from off, to unity gain at the detent, SUBS switch is disengaged, the 1–2/3–4 switch
to 20dB gain fully clockwise, to compensate for does absolutely nothing. Let’s now assume it’s
low-level effects. Signals passing engaged. AUX RETURN 3’s stereo signal will not
1604-VLZ PRO through the STEREO AUX12V
be sent to the MAIN MIX, but to subgroup fad-
0.5A
WITH PREMIUM XDR MIC PREAMPLIFIERS
TM RETURN level controls will pro- ers 1 and 2 (1–2/3–4 switch up) or subgroup
LAMP
ceed directly to the MAIN MIX faders 3 and 4 (switch down).
U U U
fader , with exceptions that Let’s say you’ve made a stereo drum submix on
TO AUX
1 1 1
we’ll discuss in a moment.
SEND 1
subgroup faders 1 and 2, so you can ride those
OO +10 OO +20 OO +15
EFFECTS TO
U U U Typically, these knobs can
MONITORS two faders instead of the seven channels that the
2 2 2 just live at the center detent,
TO AUX
SEND 2 drums came from. Subgroup fader 1 has its
OO
AUX
+10 OO +20
and the effects device’s output
OO +15
ASSIGN TO MAIN MIX, LEFT button engaged
SEND U
control should be set at what-
ASSIGN OPTIONS
and subgroup fader 2 has its ASSIGN TO MAIN
1 3
SOLO MAIN MIX
ever they call unity gain (check
1– 2
MIX, RIGHT button engaged, blending the drum
2
U their manual). If that turns out submix back into the MAIN 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 RETURN
not the mixer. That way, the
LEFT RIGHT
patched into AUX RETURN 3. So far so good.
U
mixer’s knobs are easy to
0 dB=0 dBu
Even though you could send AUX RETURN 3
28
OO MAX OO +20
relocate at the center detent.
10 directly to the MAIN MIX (MAIN MIX TO SUBS
CTL ROOM / PHONES TAPE IN 7 switch up), you don’t want to. Instead, engage
4
TAPE TAPE TO 2
the MAIN MIX TO SUBS switch and make sure
MAIN MIX
0 the 1–2/3–4 switch is up. Now the reverb return
2
SUBS 1– 2
4
will be blended into the drum submix, and as
SUBS 3–4
OO
SOLO
MAX LEVEL
SET 7 you ride those two faders, the reverb level will
10
20
follow.
MAIN MIX MODE
RUDE
30 Why do we want that? Because if you had
CTL ROOM NORMAL (AFL)
SOURCE LEVEL SET (PFL) SOLO
LIGHT just sent the reverb directly to the MAIN MIX
26
(MAIN MIX TO SUBS switch up) and you did a RETURNS SOLO
drum fade-out using subgroup faders 1 and 2, This switch operates just like the channel
the “dry” signals would fade out, but the “wet” SOLO switches — engaging it sends signals to
signals would keep on singing. All you would the C-R OUTS, PHONES output and meter dis-
hear is the drum reverb (the “wet”), and none of play and interrupts whatever happened to be
the original drum signals (the “dry”). That’s be- there before you soloed. It follows the MODE
cause the reverb is being fed by the channel’s switch setting as well. The only difference is
AUX sends, and they have no idea that you’ve that when you engage the RETURNS SOLO
pulled down the subgroup faders. That’s why we switch, it sends all four STEREO AUX RETURNS
threw in these switches. signals to the SOLO circuit.
C-R/PHNS ONLY (AUX RET 4) Assume you want to solo the snare drum.
Hit that channel’s SOLO switch, and you get
Once again, the default for all the STEREO the “dry” (no effects) snare only. That helps,
AUX RETURNS is to feed them directly into but you want to hear it with the reverb you
the MAIN MIX. You’ve just learned about the have patched into an AUX RETURN. Leaving
optional exceptions involving AUX RETURN 3. that channel’s SOLO switch engaged, also en-
AUX RETURN 4 also has an optional excep- gage the RETURNS SOLO switch, and now
tion: By engaging the C-R/PHNS switch, you you’ll get the dry snare and its reverb.
will remove AUX RETURN 4’s stereo signal Since it is a global feature, you’ll also get
from the MAIN MIX and send it directly to the the signals from all the other AUX RETURNS,
CTL ROOM/PHONES SOURCE matrix . It so there may be some sounds that you didn’t
matters not if any of the SOURCE matrix want to hear. If they offend your sensibilities,
switches are assigned, but it will be inter- simply turn down the levels of the STEREO
rupted, as usual, if a SOLO switch is engaged. AUX RETURNS you don’t want to hear, or
Let’s pretend you’re doing a live mix to a MUTE the channels feeding the unwanted sig-
2-track deck, a house PA, or both, and you nal to the effects device you do want to hear.
want to play along to a click track. You could
run the click track directly into the MAIN MIX, Congratulations! You’ve just read about all
but you don’t want the mixdown deck and/or the features of your 1604-VLZ PRO. You’re prob-
audience to hear it. By gum, this is the switch ably ready for a cold one. Go ahead. The rest of
for you. Similarly, it can be used for voice-over the manual can wait.
tracks, narration, anything you want heard by
the engineer and players but not by the audi-
ence and mixdown deck.
U ASSIGN OPTIONS
3
MAIN MIX 1– 2
U
4
C-R / PHNS RETURNS
OO +20 ONLY SOLO
STEREO AUX RETURN
27
MODIFICATIONS
UL Warning About Jumpers
CAUTION! These modi- We recommend solid (non-stranded) wire,
fication instructions are 26–28 gauge (wire-wrapping variety). When in-
for use by qualified per- stalling jumpers, do not run their ends through
sonnel only. To avoid holes in the circuit board. Rather, solder them flat
electric shock, do not perform any servicing against the desired pad (the flat silver area, possi-
other than changing the fuse unless you bly with a hole in the middle). Make sure the ends
are qualified to do so. Refer all servicing of these flat wires do not extend beyond the pad.
and modifying to qualified personnel.
1604-VLZ PRO Post-EQ Mod
Mackie Disclaimer This changes AUX SENDS 1 and 2, with the
Any modification of any Mackie Designs prod- pre switch engaged, to receive their signals post-EQ
uct must be performed by a competent electronic instead of pre-EQ. The signal remains post-low cut,
technician. Mackie Designs accepts no responsi- pre-mute and pre-fader. With the pre switch disen-
bility for any damages or injuries caused by any gaged (up), the signals are not affected by the mod.
modification, regardless of the source of the modi- The following must be performed for each channel
fication instructions or the qualifications of the you wish to modify:
technician performing them. In the case of such 1. Remove all cords, including the power cable,
damages, Mackie Designs may declare warranty from the 1604-VLZ PRO.
privileges void. BE CAREFUL! 2. Place the mixer upside-down on a dry, non-
marring surface.
Ch. 16 Ch. 15
3. If you have converted your mixer to the rack-
mount position or have installed a RotoPod,
undo those changes and temporarily configure
the mixer in the original desktop mode. You do
not have to install the pod, just get it out of the
way of the bottom cover.
4. Remove the screws that attach the bottom
CUT cover. Keep track of what screws go where.
Remove the bottom cover.
HERE
5. Cut the conductor at point C, between the
5 square and round pads. Be careful to cut all
the way through the conductor, and do no cut
any nearby traces. Each channel is slightly
different, but this graphic shows Channel 16,
which is very different from the others, and
Channel 15 (respectively), which is similiar to
the remaining channels.
6. Add a jumper from the square pad at point B
to the square pad at point C.
JUMPERS 7. Repeat for each channel you wish to modify.
HERE 8. Check your work very carefully, them put the
6 bottom cover back the way you found it.
You’re done!
Jumper
BEFORE
Holes
AFTER Solder
28
UL Warning About Jumpers
CAUTION! These modi- We recommend solid (non-stranded) wire,
fication instructions are 26–28 gauge (wire-wrapping variety). When in-
for use by qualified per- stalling jumpers, do not run their ends through
sonnel only. To avoid holes in the circuit board. Rather, solder them flat
electric shock, do not perform any servicing against the desired pad (the flat silver area, possi-
other than changing the fuse unless you bly with a hole in the middle). Make sure the ends
are qualified to do so. Refer all servicing of these flat wires do not extend beyond the pad.
and modifying to qualified personnel.
1604-VLZ PRO Source Mod
Mackie Disclaimer This changes the CTL ROOM/PHONES level
Any modification of any Mackie Designs prod- control in the SOURCE matrix to receive the
uct must be performed by a competent electronic main mix stereo signal pre-MAIN MIX fader in-
technician. Mackie Designs accepts no responsi- stead of post-MAIN MIX fader.
bility for any damages or injuries caused by any You can accomplish the same result that this
modification, regardless of the source of the modi- modification provides by using two standard 1⁄4"
fication instructions or the qualifications of the tip-sleeve “jumper cables” plugged into the MAIN
technician performing them. In the case of such INSERT (L and R) to the first click and the other
damages, Mackie Designs may declare warranty end plugged into STEREO AUX RETURN 4,
privileges void. BE CAREFUL! assigned to C-R/PHNS ONLY. STEREO AUX
Jumper
RETURN 4 level will control the volume as well as
BEFORE CTL ROOM/PHONES level control.
You can also use the TAPE INPUT (L and R)
Holes
RCA jacks (you will need 1⁄4" to RCA cables or
adapters) and assign the TAPE source button in
AFTER Solder
the SOURCE matrix.
1. Remove all cords, including the power cable,
from the 1604-VLZ PRO.
2. Undo the PHONES nut.
3. Place the mixer upside-down on a dry, non-
marring surface.
4. If you have converted your mixer to the rack-
mount position or have installed a RotoPod,
undo those changes and temporarily configure
the mixer in the original desktop mode. You do
not have to install the pod, just get it out of the
way of the bottom cover.
5. Remove the screws that attach the bottom
cover. Keep track of what screws go where.
Remove the bottom cover.
6. Move the PHONES board to one side so you can
JUMPERS get to points YL and YR marked on the board.
HERE 7. Cut the conductor at points ZL and ZR,
between the square and round pads. Be
8 careful to cut all the way through the conduc-
tor, and do no cut any nearby traces.
8. Add a jumper from the square pad at point YL
to the square pad at point ZL and another
CUT from the square pad at point YR to the square
HERE pad at point ZR.
7 9. Check your work very carefully, then put the
Phono board and nut, and bottom cover back
the way you found them. You’re done!
29
MONO LEVEL
PHANTOM POWER –20 (FLICKER) OL (FLICKER)
(GLOBAL SWITCH TRIM INSERT SOLO (GLOW) MUTE (GLOW)
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
L
PFL SOLO PHONES OUT
AUX 1 TO SOLO LED TAPE
R
AUX 2 TAPE IN TAPE LEVEL C-R/PHONES MIX
INPUT CHANNEL PRE
(1 OF 16)
1–2 L
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
EFX TO RUDE SOLO LED

MON 22
L SIP/PFL 10
7
AUX RETURN 2 4
2
R LEVEL SET 0
LEVEL (PFL) LED 2
SOLO MIX 4
FADER
7
10
MAIN/SUBS 20
L 30
AUX RETURN 3 SUB 1 MIX L
METERS
SUB 1 OUT
(0VU = 0dBu)
R R
LEVEL ASSIGN TO MAIN MIX
SUBMIX 1
(SUBMIX 3 IDENTICAL)
FADER
1604-VLZ PRO BLOCK DIAGRAM
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 1604-VLZ PRO SOLO AUX 1 OUT
LEVEL
SIGNAL FLOW PFL
AUX MIX
1/99 AUX SEND 3
(#4–6 IDENTICAL)
AUX 3 OUT
+28dBu max out (1/4" bal, Main Mix only)
+22dBu max in +22dBu max out (1/4" unbal & RCA)
+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
to ‘A’ ‘A’ to ‘C’ ‘C’ to ‘D’
0dB gain, TRIM down –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
EQ FADER PAN MIX FADER OUTPUTS
60dB gain, TRIM up CHANNEL MAIN MIX & SUBMASTERS
MIC IN, all channels
+22dBu max in +22dBu max out +22dBu max in +20dB up

+15dB up
15dB loss, TRIM down +10dB up
0dB 0dB INPUT 0dB
to ‘A’ From ‘B’ to ‘C’
Channel SEND AUX MIX AUX 1 & 2 Master OUTPUT LEVEL
45dB gain, TRIM up
AUX SEND AUX RETURN
LINE IN, all channels
GAIN STRUCTURE DIAGRAM
+20db up +22dBu max out

+15db up
(from Main Mix, +10dB up
0dB 0dB Subs and Tape In) 0dB
to ‘D’ to ‘D’ ‘D’
LEVEL LEVEL
MACKIE 1604-VLZ PRO
LEVEL DIAGRAM SOURCE Matrix MIX LEVEL OUTPUT
SOLO TAPE IN CONTROL ROOM / PHONES
31
SPECIFICATIONS
Main Mix Noise Maximum Levels
20Hz–20kHz bandwidth, 1⁄4" Main Out, channel Trims @ Mic in: +22dBu
unity gain, channel EQs flat, all channels assigned to Main Mix, All other inputs: +22dBu
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 0.0007% 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 90dB
1604 VLZ-PRO with pod normal 5.0" (127mm) 5.6" (142.2mm)
1604-VLZ PRO
17.6" (447.0mm)
WEIGHT
10 rack spaces
20.0 lbs.
(9.1 kg)
19.0" (482.6mm)
17.3" (442.0mm)
8.7" (221.0mm) 9.3" (236.2mm)

1604-VLZ PRO with pod to back
13.0" (325.1mm)
8 rack spaces
1604-VLZ PRO
with optional rotopod 6.0" (152.4mm) 6.6" (167.6mm)
17.9" (454.7mm)
11 rack spaces
32
SERVICE INFO
Details concerning Warranty Service are REPAIR
spelled out on the Warranty Card included with Service for the U.S. version of the 1604-VLZ
your mixer (if it’s missing, let us know and we’ll PRO is only available from Mackie Designs, lo-
rush one to you). cated in sunny Woodinville, Washington. (Service
If you think your 1604-VLZ PRO has a problem, for mixers living outside the United States can
please do everything you can to confirm it before call- be obtained through local dealers or distribu-
ing for service. Doing so might save you from being tors.) If your mixer needs service, follow these
deprived of your mixer. instructions:
Of all Mackie products returned for service 1. Review the preceding troubleshooting
(which is hardly any at all), roughly 50% are suggestions. Please.
coded “CND” — Could Not Duplicate, which usu- 2. Call Tech Support at 1-800-258-6883, 8am to
ally means the problem lies somewhere other than 5pm PST, to explain the problem and request
the mixer. These may sound obvious to you, but an R.A. number. Have your mixer’s serial
here’s some things you can check: number ready. You must have a Return
TROUBLESHOOTING Authorization number, or we may refuse
the delivery.
Bad Channel 3. Set aside the power cord, owner’s manual,
or anything else that you’ll ever want to see
• Are the channels assigned to the correct mix again. We are responsible for the return of
(1-2, 3-4, L-R )? the mixer only.
• Is the fader up? 4. Pack the mixer in its original package,
• Try unplugging any insert devices from the including endcaps and box. This is VERY
INSERT jacks. IMPORTANT. When you call for the RA
• Try the same source signal in another channel, set number, please let Tech Support know if
up exactly like the suspect channel. you need a new box. Mackie is not respon-
Bad Output sible for any damage that occurs due to
non-factory packaging.
• Is the associated level control (if any) turned up?
5. Include a legible note stating your name,
• If you’re listening to the C-R OUTS or
shipping address (no P.O. boxes), daytime
PHONES outputs, has a SOURCE selection
phone number, R.A. number and a detailed
been made?
description of the problem, including how we
• If it’s one of the MAIN OUTS, try unplugging its
can duplicate it.
companion. For example, if it’s the 1/4" LEFT
6. Write the R.A. number in BIG PRINT on
MAIN OUT, unplug the RCA output. If the
top of the box.
problem goes away, it’s not the mixer.
7. Ship the mixer to us. We recommend United
• If it’s a stereo pair, try switching them
Parcel Service (UPS). We suggest insurance for
around. For example, if a left output is
all forms of cartage. Ship to this address:
presumed dead, switch the left and right
Mackie Designs Inc.
cords, at the mixer end. If the problem stays
SERVICE DEPARTMENT
on the left, it’s not the mixer.
16220 Wood-Red Rd. NE
• Unplug everthing from the MAIN INSERTS.
Woodinville, WA 98072
Noise 8. We’ll try to fix the mixer within three
• Turn the channel faders and AUX RETURN business days. Ask Tech Support for the
knobs down, one by one. If the sound disappears, latest turn-around times when you call for
it’s either that channel or whatever is plugged your RA number. We normally send every-
into it, so unplug whatever that is. If the noise thing back prepaid using UPS BLUE
disappears, it’s from your whatever. (Second Day Air). However, if you rush
your mixer to us by Next Day Air, we’ll ship
Power it back to you UPS RED (Next Day Air).
Our favorite question: Is the POWER switch on? This paragraph does not necessarily apply
Check the fuse . to non-warranty service.
33
APPENDIX A: GLOSSARY
This Glossary contains brief definitions of bus
many of the audio and electronic terms used in An electrical connection common to three
discussions of sound mixing and recording. Many or more circuits. In mixer design, a bus usually
of the terms have other meanings or nuances or carries signals from a number of inputs to a
very rigorous technical definitions which we have mixing amplifier, just like a city bus carries
sidestepped here because we figure you already people from a number of neighborhoods to
have a lot on your mind. If you’d like to get more their jobs.
information, you can call Mix Bookshelf at 1-800- Cannon
233-9604. We recommend the following titles: The A manufacturer of electrical connectors
Audio Dictionary, by Glenn White; Tech Terms, who first popularized the three-pin connector
by Peterson & Oppenheimer; Handbook for now used universally for balanced microphone
Sound Engineers, by Glen Ballou, Mackie Mixer connections. In sound work, a Cannon connec-
Book by Rudy Trubitt and Sound Reinforcement tor is taken to mean a Cannon XLR-3 mic
Handbook, by Gary Davis. connector or any compatible connector.
AFL cardioid
An acronym for After Fade Listen, which is Means heart-shaped. In sound work, car-
another way of saying post-fader solo function. dioid refers to the shape of the sensitivity
assign pattern of some directional microphones.
In sound mixers, assign means to switch or channel
route a signal to a particular signal path or A functional path in an audio circuit: an
combination of signal paths. input channel, an output channel, a recording
attenuate channel, the left channel and so on.
To reduce or make quieter. channel strip
aux The physical representation of an audio
See next entry. channel on the front panel of a mixer; usually
auxiliary a long, vertical strip of controls.
In sound mixers, supplemental equipment chorusing
or features that provide additional capabilities An effect available in some digital delay
to the basic system. Examples of auxiliary effects units and reverbs. Chorusing involves a
equipment include: serial processors (equaliz- number of moving delays and pitch shifting,
ers, compressors, limiters, gates) and parallel usually panned across a stereo field. Depend-
devices (reverberation and delay). Most mixing on how used, it can be lovely or grotesque.
ers have aux send buses and aux return inputs clipping
to accommodate auxiliary equipment. A cause of severe audio distortion that is
balanced the result of excessive gain requiring the peaks
In a classic balanced audio circuit, the two of the audio signal to rise above the capabili-
legs of the circuit (+ and –) are isolated from ties of the amplifier circuit. Seen on an
the circuit ground by exactly the same imped- oscilloscope, the audio peaks appear clipped
ance. Additionally, each leg may carry the signal off. To avoid distortion, reduce the system gain
at exactly the same level but with opposite po- in or before the gain stage in which the clip-
larity with respect to ground. In some balanced ping occurs. See also headroom.
circuits, only one leg actually carries the signal condenser
but both legs exhibit the same impedance char- Another term for the electronic component
acteristics with respect to ground. Balanced generally known as a capacitor. In audio,
input circuits can offer excellent rejection of condenser usually refers to a type of micro-
common-mode noise induced into the line and phone that uses a capacitor as the sound
also make proper (no ground loops) system pickup element. Condenser microphones
grounding easier. Usually terminated with 1⁄4" require electrical power to run internal ampli-
TRS or XLR connectors. fiers and maintain an electrical charge on the
bandwidth capacitor. They are typically powered by inter-
The band of frequencies that pass through a nal batteries or “phantom power” supplied by
device with a loss of less than 3dB, expressed an external source, such as a mixing console.
in Hertz or in musical octaves. Also see Q.
34
console delay
A term for a sound mixer, usually a large In sound work, delay usually refers to an
desk-like mixer. electronic circuit or effects unit whose purpose
cueing it is to delay the audio signal for some short pe-
In broadcast, stage and post-production riod of time. Delay can refer to one short repeat,
work, to “cue up” a sound source (a record, a a series of repeats or the complex interactions
sound effect on a CD, a song on a tape) means of delay used in chorusing or reverb. When de-
to get it ready for playback by making sure you layed signals are mixed back with the original
are in the right position on the “cue,” making sound, a great number of audio effects can be
sure the level and EQ are all set properly. This generated, including phasing and flanging, dou-
requires a special monitoring circuit that only bling, Haas-effect positioning, slap or slapback,
the mixing engineer hears. It does not go out echo, regenerative echo, chorusing and hall-like
on the air or to the main mixing buses. This reverberation. Signal time delay is central to
“cueing” circuit is the same as pre-fader (PFL) many audio effects units.
solo on a Mackie mixer, and often the terms detent
are interchangeable. A point of slight physical resistance (a
dB click-stop) in the travel of a knob or slide con-
See decibel. trol, used in Mackie mixers to indicate unity
dBm gain.
A unit of measurement of audio signal level dipping
in an electrical circuit, expressed in decibels The opposite of peaking, of course. A dip is
referenced to 1 milliwatt. The “m” in dBm an EQ curve that looks like a valley, or a dip.
stands for “milliwatt.” In a circuit with an im- Dipping with an equalizer reduces a band of
pedance of 600 ohms, this reference (0dBm) frequencies. (See guacamole.)
corresponds to a signal voltage of 0.775 VRMS doubling
(because 0.775 V across 600 ohms equals 1mw). A delay effect, where the original signal is
dBu mixed with a medium (20 to 50 msec) delay.
A unit of measurement of audio signal level When used carefully, this effect can simulate
in an electrical circuit, expressed in decibels double-tracking (recording a voice or instru-
referenced to 0.775 VRMS into any impedance. ment twice).
Commonly used to describe signal levels dry
within a modern audio system. Usually means without reverberation, or
dBv without some other applied effect like delay or
A unit of measurement equal to the dBu but chorusing. Dry is not wet, i.e. totally
no longer in use. It was too easy to confuse a unaffected.
dBv with a dBV, to which it is not equivalent. dynamic
dBV In sound work, dynamic refers to the class
A unit of measurement of audio signal of microphones that generate electrical signals
level in an electrical circuit, expressed in by the movement of a coil in a magnetic field.
decibels referenced to 1 VRMS across any im- Dynamic microphones are rugged, relatively
pedance. Commonly used to describe signal inexpensive, capable of very good performance
levels in consumer equipment. To convert and do not require external power.
dBV to dBu, add 2.2dB. dynamic range
decibel (dB) The range between the maximum and mini-
The dB is a ratio of quantities measured in mum sound levels that a sound system can
similar terms using a logarithmic scale. Many handle. It is usually expressed in decibels as
audio system parameters measure over such a the difference between the level at peak
large range of values that the dB is used to clipping and the level of the noise floor.
simplify the numbers. A ratio of 1000V:1V=60dB.
When one of the terms in the ratio is an
agreed upon standard value such as 0.775V, 1V
or 1mw, the ratio becomes an absolute value,
i.e., +4dBu, –10dBV or 0dBm.
35
echo A lot of how we refer to equalization has to
The reflection of sound from a surface such do with what a graph of the frequency re-
as a wall or a floor. Reverberation and echo are sponse would look like. A flat response (no
terms that can be used interchangeably, but in EQ) is a straight line; a peak looks like a hill, a
audio parlance a distinction is usually made: dip is a valley, a notch is a really skinny valley,
echo is considered to be a distinct, recogniz- and a shelf looks like a plateau (or a shelf).
able repetition (or series of repetitions) of a The slope is the grade of the hill on the graph.
word, note, phrase or sound, whereas rever- Graphic equalizers have enough frequency
beration is a diffuse, continuously smooth slider controls to form a graph of the EQ right
decay of sound. Echo and reverberation can be on the front panel. Parametric EQs let you vary
added in sound mixing by sending the original several EQ parameters at once. A filter is sim-
sound to an electronic (or electronic/acoustic) ply a form of equalizer that allows certain
system that mimics natural echoes, and then frequencies through unmolested while reduc-
some. The added echo is returned to the blend ing or eliminating other frequencies.
through additional mixer inputs. Highly echoic Aside from the level controls, EQs are prob-
rooms are called live; rooms with very little ably the second most powerful controls on any
echo are called dead. A sound source without mixer (no, the power switch doesn’t count!).
added echo is dry; one with reverb or echo fader
added is wet. Another name for an audio level control.
effects devices Today, the term refers to a straight-line slide
External signal processors used to add re- control rather than a rotary control.
verb, delay, spatial or psychoacoustic effects to family of curves
an audio signal. An effects processor may be A composite graph showing on one chart
used as an insert processor (serial) on a par- several examples of possible EQ curves for a
ticular input or subgroup, or it may be used via given equalizer or equalizer section.
the aux send/return system(parallel). See also filter
echo, reverb. A simple equalizer designed to remove cer-
EIN tain ranges of frequencies. A low-cut filter
Equivalent Input Noise. Specification that (also called a high-pass filter) reduces or
helps measure the “quietness” of a gain stage by eliminates frequencies below its cutoff fre-
deriving the equivalent input noise voltage nec- quency. There are also high-cut (low-pass)
essary to obtain a given preamp's output noise. filters, bandpass filters, which cut both high
Typically ranges from –125 to –129.5 dBm. and low frequencies but leave a band of fre-
EQ quencies in the middle untouched, and notch
See equalization. filters, which remove a narrow band but leave
EQ curve the high and low frequencies alone.
A graph of the response of an equalizer, flanging
with frequency on the x (horizontal) axis and A term for phasing. Before digital delay ef-
amplitude (level) on the y (vertical) axis. fects units, phasing could be accomplished by
Equalizer types and effects are often named playing two tape machines in synchronization,
after the shape of the graphed response curve, then delaying one slightly by rubbing a finger
such as peak, dip, shelf, notch, knee and so on. on the reel flange. Get it?
equalization FOH
Equalization (EQ) refers to purposefully An acronym for Front Of House. See house
changing the frequency response of a circuit, and main house speakers.
sometimes to correct for previous unequal re- frequency
sponse (hence the term, equalization), and The number of times an event repeats itself
more often to add or subtract level at certain in a given period. Sound waves and the electri-
frequencies for sound enhancement, to remove cal signals that represent sound waves in an
extraneous sounds, or to create completely audio circuit have repetitive patterns that range
new and different sounds. from a frequency of about 20 repetitions per
Bass and treble controls on your stereo are second to about 20,000 repetitions per second.
EQ; so are the units called parametrics and Sound is the vibration or combination of vibra-
graphics and notch filters. tions in this range of 20 to 20,000 repetitions per
36
second, which gives us the sensation of pitch, ground loop
harmonics, tone and overtones. Frequency is A ground loop occurs when the technical
measured in units called Hertz (Hz). One Hertz ground within an audio system is connected to
is one repetition or cycle per second. the safety ground at more than one place. Two
gain or more connections will allow tiny currents to
The measure of how much a circuit ampli- flow in the loops created, possibly inducing
fies a signal. Gain may be stated as a ratio of noise (hum) in the audio system. If you have
input to output values, such as a voltage gain noise in your system due to ground loops,
of 4, or a power gain of 1.5, or it can be ex- check your manual for wiring tips or call tech-
pressed in decibels, such as a line amplifier nical support. Never disable the safety ground
with a gain of 10dB. to reduce noise problems.
gain stage Haas effect
An amplification point in a signal path, A psychoacoustic effect in which the time of
either within a system or a single device. arrival of a sound to the left and right ears af-
Overall system gain is distributed between the fects our perception of direction. If a signal is
various gain stages. presented to both ears at the same time at the
graphic EQ same volume, it appears to be directly in front
A graphic equalizer uses slide pots for its of us. But if the signal to one ear, still at the
boost/cut controls, with its frequencies evenly same volume, is delayed slightly (0 to 5 msec),
spaced through the audio spectrum. In a per- the sound appears to be coming from the ear-
fect world, a line drawn through the centers lier (non-delayed) side.
of the control shafts would form a graph of headroom
the frequency response curve. Get it? Or, the The difference between nominal operating
positions of the slide pots give a graphic rep- level and peak clipping in an audio system. For
resentation of boost or cut levels across the example, a mixer operating with a nominal
frequency spectrum. line level of +4dBu and a maximum output
ground level of +22dBu has 18dB of headroom. Plenty
Also called earth. Ground is defined as the of room for surprise peaks.
point of zero voltage in a circuit or system, the Hertz
reference point from which all other voltages The unit of measure for frequency of oscilla-
are measured. In electrical systems, ground tion, equal to 1 cycle per second. Abbreviated
connections are used for safety purposes, to Hz. KHz is pronounced “kay-Hertz” and is an
keep equipment chassis and controls at zero abbreviation for kilohertz, or 1000 Hertz.
voltage and to provide a safe path for errant house
currents. This is called a safety ground. In Sound Reinforcement parlance, “house”
Maintaining a good safety ground is always refers to the systems (and even persons) re-
essential to prevent electrical shock. Follow sponsible for the primary sound reinforcement
manufacturer’s suggestions and good electrical in a given hall, building, arena or “house.”
practices to ensure a safely grounded system. Hence we have the house mixer or house engi-
Never remove or disable the grounding pin on neer, the house mix, the house mix amps, the
the power cord. main house speakers and so on.
In computer and audio equipment, tiny cur- Hz
rents and voltages can cause noise in the See Hertz.
circuits and hamper operation. In addition to impedance
providing safety, ground provisions in these The A.C. resistance/capacitance/inductance
situations serve to minimize the pickup, detec- in an electrical circuit, measured in ohms. In
tion and distribution of these tiny noise audio circuits (and other AC circuits) the im-
signals. This type of ground is often called pedance in ohms can often be much different
technical ground. from the circuit resistance as measured by a
Quality audio equipment is designed to main- DC ohmmeter.
tain a good technical ground and also operate Maintaining proper circuit impedance rela-
safely with a good safety ground. If you have tionships is important to avoid distortion and
noise in your system due to technical grounding minimize added noise. Mackie input and out-
problems, check your manual for wiring tips or put impedances are set to work well with the
call technical support. Never disable the safety vast majority of audio equipment.
ground to reduce noise problems.
37
input module mixer
A holdover from the days when the only way An electronic device used to combine
that real consoles were built was in modular various audio signals into a common output.
fashion, one channel per module. See channel Different from a blender, which combines vari-
strip. ous fruits into a common libation.
knee monaural
A knee is a sharp bend in an EQ response Literally, pertaining to or having the use of
curve not unlike the sharp bend in your leg. only one ear. In sound work, monaural has to
Also used in describing dynamics processors. do with a signal which, for purposes of commu-
level nicating audio information, has been confined
Another word for signal voltage, power, to a single channel. One microphone is a mono
strength or volume. Audio signals are some- pickup; many microphones mixed to one chan-
times classified according to their level. nel is a mono mix; a mono signal played
Commonly used levels are: microphone level through two speakers is still mono, since it
(–40dBu or lower), instrument level (–20 to – only carries one channel of information. Sev-
10dBu), and line level (–10 to +30dBu). eral monaural sources, however, can be
line level panned into a stereo (or at least two-channel,
A signal whose level falls between –10dBu if you are going to be picky) mix. Monaural SR
and +30dBu. is common for environments where stereo SR
main house speakers would provide an uneven reproduction to the
The main loudspeakers for a sound rein- listener.
forcement system. These are usually the monitor
largest and loudest loudspeakers, and are usu- In sound reinforcement, monitor speakers
ally positioned so that their sound seems to (or monitor headphones or in-the-ear moni-
come from the area of the main stage. tors) are those speakers used by the
mains performers to hear themselves. Monitor speak-
See main house speakers. ers are also called foldback speakers. In
master recording, the monitor speakers are those used
A control affecting the final output of a by the production staff to listen to the record-
mixer. A mixer may have several master ing as it progresses. In zoology, the monitor
controls, which may be slide faders or rotary lizard is the lizard that observes the produc-
controls. tion staff as the recording progresses. Keep the
mic amp lizard out of the mixer.
See mic preamp. mono
mic level Short for monaural.
The typical level of a signal from a micro- mult
phone. A mic level signal (usually but not Probably short for multiple. In audio work, a
always coming from a microphone) is gener- mult is a parallel connection in a patch bay or
ally below –30dBu. With a very quiet source (a a connection made with patch cords to feed an
pin dropping?) the signal can be –70dBu or output to more than one input. A “Y” cable is a
lower. It is also possible for some microphones type of mult connection. Also a verb, as in
to deliver more signal than this, in which case “Why did you mult the flanger into every input
it may be referred to as a “hot” mic level. Alter- in the board?”
natively, you can just say, “Boy, is that loud!” noise
mic pre Whatever you don’t want to hear. Could be
See mic preamp. hum, buzz or hiss; could be crosstalk or digital
mic preamp hash or your neighbor’s stereo; could be white
Short for microphone preamplifier. An am- noise or pink noise or brown noise; or it could
plifier that functions to bring the very low be your mother-in-law reliving the day she had
signal level of a microphone (approximately – her gallstone removed.
50dBu) up to line level (approximately 0dBu). noise floor
Mic preamps often have their own volume con- The residual level of noise in any system. In
trol, called a trim control, to properly set the a well designed mixer, the noise floor will be a
gain for a particular source. Setting the mic quiet hiss, which is the thermal noise gener-
preamp gain correctly with the trim control is ated by bouncing electrons in the transistor
an essential step in establishing good noise junctions. The lower the noise floor and the
and headroom for your mix. higher the headroom, the more usable dy-
38 namic range a system has.
pan, pan pot time of the delay is slowly varied, and the
Short for panoramic potentiometer. A pan combination of the two signals results in a dra-
pot is used to position (or even move back and matic moving comb-filter effect. Phasing is
forth) a monaural sound source in a stereo sometimes imitated by sweeping a comb-filter
mixing field by adjusting the source’s volume EQ across a signal. A comb filter can be found
between the left and right channels. Our in your back pocket.
brains sense stereo position by hearing this dif- phone jack
ference in loudness when the sound strikes Ever see those old telephone switchboards
each ear, taking into account time delay, spec- with hundreds of jacks and patch cords and
trum, ambient reverberation and other cues. plugs? Those are phone jacks and plugs, now
parametric EQ used widely with musical instruments and au-
A “fully” parametric EQ is an extremely dio equipment. A phone jack is the female
powerful equalizer that allows smooth, con- connector, and we use them in 1⁄4" two-
tinuous control of each of the three primary conductor (TS) and three-conductor (TRS)
EQ parameters (frequency, gain, and band- versions.
width) in each section independently. “Semi” phone plug
parametric EQs allow control of fewer param- The male counterpart to the phone jack,
eters, usually frequency and gain (i.e., they right above.
have a fixed bandwidth, but variable center phono jack
frequency and gain). See RCA phono jack.
peaking phono plug
The opposite of dipping, of course. A peak is See RCA phono plug.
an EQ curve that looks like a hill, or a peak. post-fader
Peaking with an equalizer amplifies a band of A term used to describe an aux send
frequencies. (usually) that is connected so that it is affected
PFL by the setting of the associated channel fader.
An acronym for Pre Fade Listen. Broadcast- Sends connected this way are typically (but not
ers would call it cueing. Sound folks call it always) used for effects. See pre-fader.
being able to solo a channel with the fader pot, potentiometer
down. In electronics, a variable resistor that varies
phantom power the potential, or voltage. In audio, any rotary
A system of providing electrical power for or slide control.
condenser microphones (and some electronic pre-fader
pickup devices) from the sound mixer. The A term used to describe an aux send
system is called phantom because the power is (usually) that is connected so that it is not af-
carried on standard microphone audio wiring fected by the setting of the associated channel
in a way that is “invisible” to ordinary dynamic fader. Sends connected this way are typically
microphones. Mackie mixers use standard +48 (but not always) used for monitors (foldback).
volt DC power, switchable on or off. Most qual- See post-fader.
ity condenser microphones are designed to use proximity effect
+48 VDC phantom power. Check the The property of many directional micro-
manufacturer’s recommendations. phones to accentuate their bass response when
Generally, phantom power is safe to use the source-to-mic distance is small, typically
with non-condenser microphones as well, es- three inches or less. Singers generally like this
pecially dynamic microphones. However, effect even more than singing in the shower.
unbalanced microphones, some electronic Q
equipment (such as some wireless microphone A way of stating the bandwidth of a filter or
receivers) and some ribbon microphones can equalizer section. An EQ with a Q of .75 is
short out the phantom power and be severely broad and smooth, while a Q of 10 gives a nar-
damaged. Check the manufacturer’s recom- row, pointed response curve. To calculate the
mendations and be careful! value of Q, you must know the center fre-
phasing quency of the EQ section and the frequencies
A delay effect, where the original signal is at which the upper and lower skirts fall 3dB
mixed with a short (0 to 10 msec) delay. The below the level of the center frequency. Q
39
equals the center frequency divided by the dif- mixing by sending the original sound to an
ference between the upper and lower –3dB electronic (or electronic/acoustic) system that
frequencies. A peaking EQ centered at 10kHz mimics natural reverberation, or worse. The
whose –3dB points are 7.5kHz and 12.5kHz has added reverb is returned to the blend through
a Q of 2. additional mixer inputs. Highly reverberant
RCA phono jack—or RCA jack rooms are called live; rooms with very little re-
or phono jack verberation are called dead. A sound source
An RCA phono jack is an inexpensive con- without added reverb is dry; one with reverb or
nector (female) introduced by RCA and echo added is wet.
originally used to connect phonographs to radio RMS
receivers and phono preamplifiers. The phono An acronym for root mean square, a conven-
jack was (and still is) widely used on consumer tional way to measure AC voltage and audio
stereo equipment and video equipment but was signal voltage. Most AC voltmeters are cali-
quietly fading into obscurity in the professional brated to read RMS volts. Other conventions
and semi-professional sound world. Then phono include average volts, peak volts and peak-to-
jacks began cropping up in early project-studio peak volts.
multitrack recorders, which (unfortunately) send
gave them a new lease on life. Since so many A term used to describe a secondary mix and
stereo recorders are fitted with them, we de- output of the input signals, typically used for
cided we’d have to put a couple on our mixers foldback monitors, headphone monitors or effects
for your convenience. But make no mistake: the devices. Mackie mixers call it an Aux Send.
only thing that the phono jack (or plug) has shelving
going for it is low cost. A term used to describe the shape of an
RCA phono plug equalizer’s frequency response. A shelving
The male counterpart to an RCA phono equalizer’s response begins to rise (or fall) at
jack. See above. some frequency and continues to fall (or rise)
regeneration until it reaches the shelf frequency, at which
Also called recirculation. A delay effect cre- point the response curve flattens out and re-
ated by feeding the output of a delay back into mains flat to the limits of audibility. If you were
itself to cause a delay of the delay of the delay. to graph the response, it would look like a shelf.
You can do it right on the front panel of many Or more like a shelf than a hiking boot. The EQ
effects units, or you can route the delay return controls on your stereo are usually shelving
back into itself on your mixer. Can be a great equalizers. See also peaking and dipping.
deal of fun at parties. slap, slapback
return A single-delay echo without any repeats.
A return is a mixer line input dedicated to Also see echo.
the task of returning processed or added solo
sound from reverb, echo and other effects de- Italian for alone. In audio mixers, a solo cir-
vices. Depending on the internal routing of cuit allows the engineer to listen to individual
your mixer and your own inclination, you could channels, buses or other circuits singly or in
use returns as additional line inputs, or you combination with other soloed signals.
could route your reverb outputs to ordinary SR
line inputs rather than the returns. An acronym for Sound Reinforcement,
reverberation, reverb which refers to a system of amplifying acoustic
The sound remaining in a room after the and electronic sounds from a performance or
source of sound is stopped. It’s what you hear speech so that a large audience can hear
in a large tiled room immediately after you’ve clearly. Or, in popular music, so that a large au-
clapped your hands. Reverberation and echo dience can be excited, stunned or even
are terms that can be used interchangeably, partially deafened by the tremendous amplifi-
but in audio parlance a distinction is usually cation. Means essentially the same thing as PA
made: reverberation is considered to be a dif- (Public Address).
fuse, continuously smooth decay of sound,
whereas echo is a distinct, recognizable repeti-
tion of a word, note, phrase or sound.
Reverberation and echo can be added in sound
40
stereo expensive to build, but under certain circum-
Believe it or not, stereo comes from a Greek stances is more susceptible to noise pickup.
word that means solid. We use stereo or unity gain
stereophony to describe the illusion of a con- A circuit or system that has its voltage gain
tinuous, spacious soundfield that is seemingly adjusted to be one, or unity. A signal will leave
spread around the listener by two or more re- a unity gain circuit at the same level at which
lated audio signals. In practice, stereo often is it entered. In Mackie mixers, unity gain is
taken to simply mean two channels. achieved by setting all variable controls to the
sweep EQ marked “U” setting. Mackie mixers are opti-
An equalizer that allows you to “sweep” or mized for best headroom and noise figures at
continuously vary the frequency of one or more unity gain.
sections. VLZ
symmetrically balanced Acronym for very low impedance.
See balanced. (Impedence is measured in ohms represented
tinnitus by the Ω symbol, which is the last letter of the
The ringing in the ears that is produced Greek alphabet. This is why the letter Z is used
with prolonged exposure to high volumes. A instead of I.) VLZ is one of the most important
sound in the ears, such as buzzing, ringing, or reasons why inherent noise levels on Mackie
whistling, caused by volume knob abuse! mixing boards are so minuscule. Thermal
trim noise is something that’s created by all cir-
In audio mixers, the gain adjustment for the cuitry and usually transistors and resistors are
first amplification stage of the mixer. The trim the worst culprits. The basic rule with thermal
control helps the mixer cope with the widely noise is: the higher the impedance, the more
varying range of input signals that come from the noise. Mackie’s VLZ design reduces ther-
real-world sources. It is important to set the mal noise by making internal impedances as
trim control correctly; its setting determines low as possible in as many places as possible
the overall noise performance in that channel within the console. VLZ is achieved by scaling
of the mixer. See mic preamp. down resistor values by a factor of three or
TRS four – resulting in a corresponding reduction
Acronym for Tip-Ring-Sleeve, a scheme for in thermal noise. This is especially true for the
connecting three conductors through a single console’s mixing buses.
plug or jack. 1⁄4" phone plugs and jacks and 1⁄8" volume
mini phone plugs and jacks are commonly Electrical or sound level in an audio system.
wired TRS. Since the plug or jack can carry Perhaps the only thing that some bands have
two signals and a common ground, TRS con- too much of.
nectors are often referred to as stereo or VRMS
balanced plugs or jacks. Another common TRS See RMS.
application is for insert jacks, used for insert- wet
ing an external processor into the signal path. With added reverberation or other effect
In Mackie mixers, the tip is send, ring is re- like echo, delay or chorusing.
turn, and sleeve is ground. XLR connector
TS See Cannon.
Acronym for Tip-Sleeve, a scheme for con-
necting two conductors through a single plug
or jack. 1⁄4" phone plugs and jacks and 1⁄8" mini
phone plugs and jacks are commonly wired TS.
Sometimes called mono or unbalanced plugs
or jacks. A 1⁄4" TS phone plug or jack is also
called a standard phone plug or jack.
unbalanced
An electrical circuit in which the two legs of
the circuit are not balanced with respect to
ground. Usually, one leg will be held at ground
potential. Unbalanced circuit connections re-
quire only two conductors (signal “hot” and
ground). Unbalanced audio circuitry is less
41
APPENDIX B: CONNECTIONS
“XLR” CONNECTORS sleeve to ground (earth). Mackie mixers do
Mackie mixers use 3-pin female “XLR” not directly accept 1-plug-type stereo
connectors on all microphone inputs, with microphones. They must be separated into a
pin 1 wired to the grounded (earthed) shield, left cord and a right cord, which are plugged
pin 2 wired to the “high” (”hot” or positive po- into the two mic preamps.
larity) side of the audio signal and pin 3 You can cook up your own adapter for a
wired to the “low” (“cold” or negative polar- stereo microphone adapter. “Y” two cables
ity) side of the signal (Figure A). All totally out of a female 1⁄4" TRS jack to two male
aboveboard and in full accord with the hal- XLR plugs, one for the Right signal and one
lowed standards dictated by the AES (Audio for the Left.
Engineering Society). • Balanced mono circuits. When wired as a
Use a male “XLR”-type connector, usually balanced connector, a 1⁄4" TRS jack or plug
found on the nether end of what is called a is connected tip to signal high (hot), ring
“mic cable,” to connect to a female XLR jack. to signal low (cold), and sleeve to ground
SHIELD 2 (earth).
HOT
• Unbalanced Send/Return circuits. When
wired as send/return “Y” connector, a 1⁄4"
COLD 3 1
SHIELD 1
TRS jack or plug is connected tip to signal
send (output from mixer), ring to signal
return (input back into mixer), and sleeve
COLD 3
HOT
2 to ground (earth).
1 SHIELD
3 COLD
1⁄4" TS PHONE PLUGS AND JACKS
2
HOT
“TS” stands for Tip-Sleeve, the two connec-
tions available on a “mono” 1⁄4" phone jack or
Figure A: XLR Connectors
plug (Figure C). TS jacks and plugs are used
in many different applications, always unbal-
1⁄4" TRS PHONE PLUGS AND JACKS anced. The tip is connected to the audio signal
“TRS” stands for Tip-Ring-Sleeve, the three and the sleeve to ground (earth). Some ex-
connections available on a “stereo” 1⁄4" or amples:
“balanced” phone jack or plug. See Figure B. • Unbalanced microphones
TRS jacks and plugs are used in several • Electric guitars and electronic instruments
different applications: • Unbalanced line-level connections
• Stereo Headphones, and rarely, stereo
microphones and stereo line connections.
When wired for stereo, a 1⁄4" TRS jack or
plug is connected tip to left, ring to right and
RING SLEEVE SLEEVE RING TIP SLEEVE SLEEVE TIP
TIP TIP
RING TIP
TIP
SLEEVE
SLEEVE
Figure B: 1⁄4" TRS Plugs Figure C: TS Plug
42
SWITCHED 1⁄4" PHONE JACKS goes to the ground (earth) connection at
Switches can be incorporated into 1⁄4" the unbalanced input. In most cases, the
phone jacks, which are activated by inserting balanced ground (earth) will also be
the plug. These switches may open an insert connected to the ground (earth) at the
loop in a circuit, change the input routing of unbalanced input. If there are ground-loop
the signal or serve other functions. Mackie problems, this connection may be left
uses switches in the channel insert and bus in- disconnected at the balanced end.
sert jacks, input jacks and AUX returns. We • When connecting an unbalanced output to
also use these switches to ground the line-level a balanced input, be sure that the signal
inputs when nothing is plugged into them. high (hot) connections are wired to each
In most cases, the plug must be inserted other. The unbalanced ground (earth)
fully to activate the switch. Mackie takes connection should be wired to the low
advantage of this in some circuits, specifying (cold) and the ground (earth) connections
circumstances where you are to insert the plug of the balanced input. If there are ground-
only partially. See Special Mackie loop problems, try connecting the
Connections, later in this section. unbalanced ground (earth) connection
only to the input low (cold) connection,
RCA PLUGS AND JACKS and leaving the input ground (earth)
RCA-type plugs (also known as phono connection disconnected.
plugs) and jacks are often used in home stereo In some cases, you will have to make up
and video equipment and in many other appli- special adapters to interconnect your equip-
cations (Figure D). They are unbalanced and ment. For example, you may need a balanced
electrically identical to a 1⁄4" TS phone plug or XLR female connected to an unbalanced 1⁄4"
jack (See Figure C). Connect the signal to the TS phone plug.
center post and the ground (earth) or shield
to the surrounding “basket.” SPECIAL MACKIE CONNECTIONS
The balanced-to-unbalanced connection has
UNBALANCING A LINE been anticipated in the wiring of Mackie jacks.
In most studio, stage and sound reinforce- A 1⁄4" TS plug inserted into a 1⁄4" TRS balanced
ment situations, there is a combination of
balanced and unbalanced inputs and outputs ring
SEND to processor
“tip”
on the various pieces of equipment. This usu-
ally will not be a problem in making
This plug connects to one of the
connections. mixer’s Channel Insert jacks. RETURN from processor
“ring”
• When connecting a balanced output to an Figure F

unbalanced input, be sure the signal high
(hot) connections are wired to each other,
and that the balanced signal low (cold)
43
input, for example, will automatically unbalance NOTE: Do not over-
the input and make all the right connections. load or short-circuit the
Conversely, a 1⁄4" TRS plug inserted into a 1⁄4" signal you are tapping
unbalanced input will automatically tie the ring from the mixer. That will
(low or cold) to ground (earth). affect the internal signal.
TRS Send/Receive Insert Jacks MACKIE STEREO INPUTS AND RETURNS:
Mackie’s single-jack inserts are the three- Mono, Stereo, Whatever
conductor, TRS-type 1⁄4" phone. They are Stereo line inputs and stereo AUX returns
unbalanced, but have both the mixer output are a fine example of the Mackie philosophy
(send) and the mixer input (return) signals in (which we just made up) of Maximum Flex-
one connector (See Figure F). ibility with Minimum Headache. The inputs
The sleeve is the common ground (earth) for and returns will automatically be mono or ste-
both signals. The send from the mixer to the reo, depending upon how you use the jacks.
external unit is carried on the tip, and the re- Here’s how it works:
turn from the unit to the mixer is on the ring. A mono signal should be patched into the
input or return jack labeled Left (MONO). The
Using the Send Only on an Insert Jack signal will be routed to both the left and right
If you insert a TS (mono) 1⁄4" plug only sides of the return circuit, and will show up in
partially (to the first click) into a Mackie the center of the stereo pair of buses it’s as-
insert jack, the plug will not activate the jack signed to, or it can be “panned” with the
switch and will not open the insert loop in the Balance control.
circuit (thereby allowing the channel signal to A stereo signal, having two plugs, should be
continue on its merry way through the mixer). patched into the LEFT (MONO) and the
This allows you to tap out the channel or RIGHT input or return jacks. A jack switch in
bus signal at that point in the circuit without the RIGHT jack will disable the mono func-
interrupting normal operation. tion, and the signals will show up in stereo.
If you push the 1⁄4" TS plug in to the second A mono signal connected to the RIGHT jack
click, you will open the jack switch and create will show up in the right bus only. You probably
a direct out, which does interrupt the signal in will only want to use this sophisticated effect
that channel. See Figure E. for special occasions (weddings, bar mitzvahs,
Rush Limbaugh’s birthday party, etc.)
MONO PLUG
Channel Insert jack
Direct out with no signal interruption to master.

Insert only to first “click.”
MONO PLUG
Channel Insert jack
Direct out with signal interruption to master.

Insert all the way in to the second “click.”
STEREO
PLUG
Channel Insert jack
For use as an effects loop.
(TIP = SEND to effect, RING = RETURN from effect.)
Figure E
44
MULTS AND “Y”s
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 “Y”s and mults for the outputs of both
unbalanced and balanced circuits.
Remember: Only mult
or “Y” an output into sev-
eral inputs. If you need
to combine several out-
puts into one input, you
must use a mixer, not a mult or a “Y.”
RING (IN)
RING TIP
RING (RETURN) (RETURN) (SEND)
TIP (OUT)
TO MIXER
FROM CHANNEL INSERT
PROCESSOR
OUTPUT
TO
PROCESSOR
INPUT
TIP (SEND)
Y-cord insert cable
Y-cord splitter cable
45
APPENDIX C: BALANCED LINES,
PHANTOM POWERING, GROUNDING
AND OTHER ARCANE MYSTERIES
Balanced Lines What is it, exactly?
Balanced lines offer increased immunity to ex- The obvious external power source for any
ternal noise (specifically, hum and buzz). Because modern microphone is a battery. About the only
a balanced system is able to minimize noise, it is electronic advantage that a battery has is that
the preferred interconnect method, especially in its output is pure DC. The only other advantage
cases where very long lengths of cable are being is to the battery company — you have to keep
used. A long unbalanced cable carries with it more on buying them.
opportunity for noise to get into a system — Tube microphones require several different
having balanced inputs means very little noise voltages for operation. This invariably means a
will enter the system via snakes and other cables multi-conductor cable and non-standard (not
that typically must run a long length. But regard- XLR) connectors. A tube microphone will always
less of length, balanced lines are best. have an associated external power supply.
In the late 1960’s, Neumann (you know, the
Phantom Powering and Microphones folks that brought you the U47 and U87
History microphones) converted its microphones to solid-
state, adopting a system of remote powering that
Condenser (capacitor) microphones differ they called, and trademarked, Phantom Powering.
from dynamic and ribbon microphones because Because of the trademark, some manufacturers
they are not self-generating. That is, they cannot use terms like Simplex Powering, etc. Over the
generate electricity in response to an impinging years, the trademark has become genericized and
sound wave. A condenser microphone modifies now refers to any device that is powered accord-
an external source of electricity to reflect the ing to DIN standard 45 596 (or maybe it’s DIN
effects of a sound wave striking its diaphragm. standard 45 595, we’re not exactly sure…).
Dynamic and ribbon microphones use magnetism So, why “Phantom” Powering? Because (like
to generate electricity in response to a sound wave: the Phantom in the old comic strip) it’s there
they are self-generating. Furthermore, both of these when you need it, and invisible when you don’t.
types of microphones are inherently low-impedance This technology is not new; it actually predates
devices. It is possible to connect a dynamic micro- rocket science. Like many other things in au-
phone element directly to a balanced, low- dio, it was brought to you by the telephone
impedance mixer input. Many commercially company, who used it to get an extra circuit
made dynamic microphones do just that. from a pair of wires. In effect, so does your
On the other hand, a condenser microphone phantom powered microphone.
is an inherently high-impedance device. How What is important is: phantom powering is
high? Verrrrrrry high. On the order of a billion a compatible system. Your dynamic/ribbon
ohms (1 Gigaohm). This is high enough that microphones as well as your condenser
the inherent capacitance of a foot of shielded microphones work side-by-side, from the
cable would audibly reduce the output of the same microphone inputs, without further
microphone. All condenser microphones have thought on your part.
an impedance converter, in the form of a Technically speaking, phantom powering refers
vacuum tube or field-effect transistor (FET), to a system where the audio signal is applied
built into the microphone and located ex- to the balanced line in differential-mode, and
tremely close to the microphone element. The
impedance converter and the microphone ele-
ment itself require an external power source.1
1 To be strictly correct, electret condenser microphones are

a bit different, as the microphone element does not require a
power source for operation (it is more or less permanently self-po-
larized). Regardless, the impedance converter still requires an
external source of power.
46
PHANTOM POWER DO & DON’T CHART
DO DON’T
If you are plugging in a condenser microphone, Worry about your other microphones as long
do verify that your microphone can be as their output is balanced and floating.
phantom powered.
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.
the DC power is applied common-mode. The What works?

audio travels via pins 2 and 3, the power trav- To be compatible in a phantom powered
els between pins 2 and 3 simultaneously, and system, a device (microphone, preamp with a
pin 1 is the ground for both audio and power. microphone-style output, or direct box) must
Microphones that do not require power simply have a balanced and floating, low-impedance
ignore the DC present between pin 2/pin 3 and output. This includes all microphones commonly
pin 1. If you measure with a voltmeter between used for sound reinforcement and recording,
pin 2 and pin 3, you will read 0 Volts DC. This such as the Shure® SM58, SM57, Electro-
is what your dynamic microphone sees. Measur- Voice® RE-15, RE-16, RE-20, ND series,
ing between pin 2 and pin 1, or between pin 3 Beyer® M160, M500, AKG® D224, D12, D112,
and pin 1, you will read the phantom power and many others.
voltage, usually 48V, without a microphone If you are fortunate enough to own any tube
connected. The dynamic microphone, as well as condenser microphones, such as the AKG® C12,
your balanced mixer input, ignores this voltage. Neumann® U47 or U67, these microphones
Lately, the term phantom power has been may be connected in a phantom powered system
perverted to refer to any remote powering and will operate without regard to the presence
system. In the strict sense of the DIN standard, or absence of phantom power. They will always
this is not true. Furthermore, microphones or require their external power supply (which
transducers that claim to use this system are must be plugged in and turned on).
not compatible with the DIN standard and will
almost certainly be damaged if connected into What doesn’t work?
such a system. Fortunately, these systems use The list is short:
tip-ring-sleeve phone plugs or miniature XLR 1. Microphones with unbalanced outputs.
connectors and they are usually associated with
instrument pickup applications2. 2. Microphones with grounded center-tapped
Phantom powering is defined in DIN standard outputs. Many old ribbon microphones were
45 596 or IEC standard 268–15A. Your Mackie supplied connected this way. Have a techni-
Designs mixer conforms to this standard. cian lift the ground from the center tap.
3. High-impedance microphones.
4. Microphones that exhibit leakage
between pin 2 or pin 3 and pin 1. These
microphones will sputter and crackle
2 There is another remote powering system called A-B or when phantom power is applied and will
T-system powering. It uses pins 2 and 3 to carry both power and work fine when you turn off the phantom
audio. It is not compatible with dynamic microphones or phantom-
powered microphones. power. Get the microphone repaired.
47
Do’s and Don’ts of Fixed Installations 8. Ensure that the electrician uses the star-
If you install sound systems into fixed installa- ground system for the safety grounds in
tions, there are a number of things that you can your electrical system. All of the audio
do to make your life easier and that increase system grounds should terminate at the
the likelihood of the sound system operating in same physical point. No other grounds may
a predictable manner. Even if you don’t do fixed come in contact with this ground system.
installations, these are good practices for any 9. Ensure that the AC power feeds are connected
sound system, installed. to the same transformer, and ideally, the
1. Do use foil-shielded snake cable for long cable same circuit breaker.
runs. Carefully terminate each end, minimiz- 10. Walk outside – look at the horizon, see any
ing the amount of shielding removed. Protect radio towers? Locate potential sources of RF
the exposed foil shield with shrink sleeving interference and plan for them before you begin
or PVC sleeving. Prevent adjacent shields construction. Know the frequency, transmitter
from contacting each other (electrically). power, etc. You can get this information by
Use insulating sleeving on the drain wire calling the station. Remember that many
(the one that connects to pin 1) to prevent broadcast stations change antenna coverage
it from contacting the connector shell. pattern and transmitter power at night.
2. Don’t connect the XLR connector shell to 11. Don’t use hardware-store light dimmers.
pin 1 of the XLR connector (unless necessary 12. Don’t allow for anything other than micro-
for RFI shielding). Doing so is an invitation phone inputs at stage/altar locations.
for a ground loop to come visiting. Supplying line inputs at these locations is
3. Do ensure that your speaker lines and AC an invitation for misuse. Make all sources
power lines are physically separated from look like microphones to the console.
your microphone lines. 13. Balance (or at least impedance balance)
4. If you use floor pockets, use separate all connections that are remote from the
pockets for inputs and speakers, or put the console’s immediate location.
connectors on opposite sides of the box so 14. If you bridge an amplifier, don’t use 1⁄4"
that they may be shielded separately. phone plugs for speaker connectors.
5. If your speaker lines run in the open, they
should be twisted pairs, at least 6 twists per Grounding
foot. Otherwise, run the speaker lines in their Grounding exists in your audio system for
own conduit. (Of course, conduit is not too two reasons: product safety and noise reduc-
practical for portable systems, heh-heh.) tion. The third wire on the power cord exists
6. Minimize the distance between the power for product safety. It provides a low-resistance
amplifiers and the speakers. path back to the electrical service to protect
7. Use heavy gauge, stranded wire for speaker the users of the product from electrical shock.
lines. Ideally, the wire resistance should be Hopefully, the resistance to ground through
less than 6% (0.5dB power loss) of the load the safety ground (third wire) is lower than
impedance. Remember that the actual run that through the user/operator to ground. If
is twice as long as the physical length of you remove this connection (by breaking or
the run. See below. cutting the pin off, or by using a ‘ground
cheater’), this alternate ground path ceases to
Maximum wire run for 0.5dB power loss in feet exist, which is a safety hazard.
The metal chassis of the product, the
wire res. per 2 4 8
gauge 1000 ft. Ω Ω Ω ground connections provided by the various
connectors, and the shields within your con-
10 1.00 60 120 240 necting cables provide a low potential point for
12 1.59 40 75 150 noise signals. The goal is to provide a lower im-
pedance path to ground for noise signals than
14 2.5 24 48 95 through the signal wiring. Doing so helps mini-
16 4.02 15 30 60 mize hum, buzz, and other extraneous
non-audio signals.
48
Many “authorities” tell you that shields this before you connect any of your audio
should only be connected at one end. Some- equipment. Chances are that your 120V
times this can be true, but for most (99%) gear won’t be too happy if it sees 220V for
audio systems, it is unnecessary. If you do every- any length of time.
thing else correctly, you should be able to 5. Cables that are too long are less likely to
connect every component of your audio system pick up hum if you uncoil them in their
using standard, off-the-shelf connecting cables entirety, and then find a place to stow the
that are available at any music store. excess. Leaving the excess coiled only
Here are some guidelines: helps the cable pick up hum more effi-
1. All return lines to the stage should be ciently.
balanced. At a minimum, they should be
6. Don’t run unbalanced lines to or from the
impedance balanced. Remember that you can
stage. It’s not the impedance, it’s the fact
balance a line by inserting a piece of equip-
that they’re unbalanced. It’s a good idea to
ment inline that has a balanced output.
use a direct box to make the unbalanced
2. Run your own AC power wiring from the source look like a microphone.
stage for the mixer and related equipment.
7. For really extreme cases, you may need to
Don’t use the “conveniently located” recep-
insert 1:1 or isolation transformers into
tacle thoughtfully provided by the
each return line from the front-of-house
management for your use. You have no idea
location to your amp racks.
how it’s wired or grounded.
8. Don’t cut the third pin off of the power
3. Carry an outlet tester, available at any well-
cord. Carry some ground-lifter adapters
stocked hardware store. Use it to tell you if
and use them only when you have to plug
the outlet you’re about to plug into is wired
into an ancient two-wire outlet.
correctly. Consider it cheap insurance.
9. If you bundle your cables together, don’t
4. If you carry enough equipment that you
bundle AC wiring and audio wiring to-
need to wire directly into the electrical
gether. Bundle them separately.
service, then use a voltmeter to ensure that
the line voltage is correct, then use the 10. If your sound system insists on humming,
outlet tester mentioned in #3, above. Do you may need to teach it the words.
FREE T-SHIRT OFFER (Roll credits please) Manual written by Jeff

Gilbert, based on a vignette by Ron Koliha, with
We love to hear what folks have created using
tidbits borrowed from almost everywhere. Manual
our mixers. If you use your 1604-VLZ PRO to
then defaced with proofreading pens in the hands
track and/or mix a CD that is commercially re-
of Mackie’s legendary Tech Support staff. Manual
leased, we’ll trade you a disc for a genuine
composed on a rinky-dink PC using a low-budget
Mackie T-Shirt! By “commercially released,” we
word processor, then converted to this amazing
mean “offered for sale,” even if it’s just being
piece of work using a 13-story 1000 gigawhopper
sold out the back door of a local Karaoke joint.
Macintosh operated by Mackie’s notorious Adver-
No hand-lettered covers, please and thank you.
tising staff. Please, feel free to let us know if you
Furthermore, if you send us an interesting
find an error or stumble over a confusing para-
story or photograph about your production we
graph. Thank you for reading the entire manual
might use it! To get your genuine 100% cotton
(we know you have, or you wouldn’t be here).
Mackie T-shirt, send your CD (and optional
Mackie Designs is always striving to improve our
story or photo) to:
mixers by incorporating new and improved materi-
Mackie Designs als, components and manufacturing methods.
FREE T-SHIRT OFFER Because we’re always trying to make things better,
attn: Communications Department we reserve the right to change these specifications
16220 Wood-Red Rd. NE at any time, without notice.
Woodinville, WA 98072
Mackie, the "Running Man" figure, VLZ and XDR are trademarks or registered trademarks of Mackie Designs Inc. All other brand names
mentioned are trademarks or registered trademarks of their respective holders, and are hereby acknowledged.
©1999 Mackie Designs Inc.

All rights reserved.
Printed in the U.S.A. 49
1604-VLZ PRO
Session:
Date:
NOTES:
TRIM 1 TRIM 2 TRIM 3 TRIM 4 TRIM 5 TRIM 6 TRIM 7 TRIM 8 T
-10dGBV -10dGBV -10dGBV -10dGBV -10dGBV -10dGBV -10dGBV -10dGBV
C AIN C AIN C AIN C AIN C AIN C AIN C AIN C AIN
U MI U MI U MI U MI U MI U MI U MI U MI
0 60 0 60 0 60 0 60 0 60 0 60 0 60 0 60
+15dB -45dB +15dB -45dB +15dB -45dB +15dB -45dB +15dB -45dB +15dB -45dB +15dB -45dB +15dB -45dB
AUX AUX AUX AUX AUX AUX AUX AUX A

U U U U U U U U
1 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 2
PRE PRE PRE PRE PRE PRE PRE PRE

U U U U U U U U
3 5 3 5 3 5 3 5 3 5 3 5 3 5 3 5 3
U U U U U U U U
4 6 4 6 4 6 4 6 4 6 4 6 4 6 4 6 4
5/6 5/6 5/6 5/6 5/6 5/6 5/6 5/6

SHIFT SHIFT SHIFT SHIFT SHIFT SHIFT SHIFT SHIFT
EQ U HI EQ HI EQ HI EQ HI EQ HI EQ HI EQ HI EQ HI E
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
200 2k 200 2k 200 2k 200 2k 200 2k 200 2k 200 2k 200 2k 2
100 8k 100 8k 100 8k 100 8k 100 8k 100 8k 100 8k 100 8k

U LOW U LOW U LOW U LOW U LOW U LOW U LOW U LOW
80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz
-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 L
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 18
PAN PAN PAN PAN PAN PAN PAN PAN P
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
-20 -20 -20 -20 -20 -20 -20 -20
SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO
1–2 1–2 1–2 1–2 1–2 1–2 1–2 1–2
3–4 3–4 3–4 3–4 3–4 3–4 3–4 3–4
L-R L-R L-R L-R L-R L-R L-R L-R

OO OO OO OO OO OO OO OO
®
RING RETURN)
L L L 3 1 4 3 2 1 5 3 1 7 5 3 1
L L
L L L
MONO
R R R 4 2 6 4 2 8 6 4 2
R R R
CAUTION: R R
UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE. DEBRANCHER AVANT DE REMPLACER LE FUSIBLE
MICM 16 MICM 15 MICM 14 MICM 13 MICM 12 MICM 11 MICM 10 MIC 9 MIC 8 MIC 7 MIC 6 MIC 5 MIC 4 MIC 3 MIC 2 MIC 1
IC PR IC PR IC PR IC PR IC PR IC PR IC PR M IC PR M IC PR M IC PR M IC PR M IC PR M IC PR M IC PR M IC PR MIC PR
CONCEIVED, DESIGNED, AND MANUFACTURED BY MACKIE DESIGNS INC • WOODINVILLE • WA • USA • MADE IN USA • FABRIQUE AU USA • COPYRIGHT ©1998 • THE FOLLOWING ARE TRADEMARKS OR REGISTERED TRADEMARKS OF MACKIE DESIGN INC.: "MACKIE", "VLZ", AND THE "RUNNING MAN" FIGURE • US PATENT NUMBER 29/049,129
TRIM 9 TRIM 10 TRIM 11 TRIM 12 TRIM 13 TRIM 14 TRIM 15 TRIM 16

-10dGBV -10dGBV -10dGBV -10dGBV -10dGBV -10dGBV -10dGBV -10dGBV
C AIN C AIN C AIN C AIN A C AIN A A
U MI U MI U MI U MI U MIC IN U MI U MIC IN U MIC IN
1604-VLZPRO 12V
0.5A
0 60 0 60 0 60 0 60 0 60 0 60 0 60 0 60
+15dB -45dB +15dB -45dB +15dB -45dB +15dB -45dB +15dB -45dB +15dB -45dB +15dB -45dB +15dB -45dB 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
PRE PRE PRE PRE PRE PRE PRE PRE AUX

U U U U U U U U SEND U ASSIGN OPTIONS
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 RETURN
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
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 CTL ROOM / 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 CTL ROOM NORMAL (AFL) RUDE
75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz SOURCE LEVEL SET (PFL) SOLO
18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT LIGHT
PAN PAN PAN PAN PAN PAN PAN PAN ASSIGN TO MAIN MIX
LEFT LEFT LEFT LEFT

L R L R L R L R L R L R L R L R
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 MIX
OL OL OL OL OL OL OL OL dB dB
10 10
-20 -20 -20 -20 -20 -20 -20 -20 5 5
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
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 50 50
60 60
OO OO OO OO OO OO OO OO OO OO

1 2 3 4 5 6 7 8

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1604-VLZ PRO

LEFT LEFT LEFT LEFT

TRACK TRACK TRACK TRACK TRACK TRACK TRACK TRACK

We realize that you must have a powerful Other Nuggets of Wisdom

Part No. 820-034-01 Rev. A1 04/99

blank, flip to this glossary for a quick explanation.

A PLUG FOR THE CONNECTORS SECTION

OUTPUT ARCANE MYSTERIES ILLUMINATED

Appendix discusses some of the down ’n’

dirty practical realities of microphones, fixed

installations, grounding, and balanced versus

LEFT LEFT LEFT LEFT

TRACK TRACK TRACK TRACK TRACK TRACK TRACK TRACK

LEVEL-SETTING PROCEDURE .................................... 3 PRE ............................................................... 21

HIGH RESOLUTION HIGH RESOLUTION

Keyboard, or other line-level input

FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN

Stereo Power Amplifier

1604-VLZ PRO 8-Track Tracking

Mono in / stereo out

Keyboard, or other line-level input

Optional Live Recording Drum

NOTE: for mono PA, use

1604-VLZ PRO Stereo P.A.

Mono in / stereo out

HIGH RESOLUTION HIGH RESOLUTION

1604-VLZ PRO Video Setup

Mono in / stereo out

mixer’s surface flush with

mixer’s surface sunken into the

flush mount sunken

1604-VLZ PRO, you can patch anything almost 1 SHIELD

low as –50dB to operating levels of –10dBV to INSERT OO

+4dBu, as there is 60dB of gain available via 2

the Level-Setting Procedure . effects processors such as compressors, equaliz- PRE

RING This plug connects to one of the “ring” -15 +15

Ring = negative (– or cold) Sleeve = common ground 200 2k

DIRECT OUT jacks , INSERT jacks can also

SLEEVE Channel Insert jack

couldn’t bear to separate them. Here’s why:

EFFECTS: SERIAL OR PARALLEL? Mono: If you have an effects device with a

Serial Device (e.g., Compressor)

Stick a cord in this 1/4" jack, hand the other L L L

The MONO output is nothing more than a mix

of the left and right MAIN MIX.

MONO LEVEL BAL

MIC 16 MIC 15 MIC 14 MIC 13 MIC 12 MIC 11 MIC 10

ing about the mono mix being so loud that his

even closer look, refer to Appendix C. U U U

OO +10 OO +20 OO +15

STEREO AUX RETURN

change a control’s settings. spray cleaners.

bought a Mackie. the right sides. Used in conjunction with the

FADER mine the destination of a channel’s signal: 1

5/6 defeated, to allow the soloed channel to do just

MUTE remain at the same volume (or loudness). 0 60

AUX sends will be silenced, as will the when panned center.

8. And of course, that fun-loving OL (MUTE) 3-BAND MID-SWEEP EQ 3 5

subgroups 1–2 and 3–4, and the SOLO (in +5

LEVEL SET (PFL) mode). With the PAN knob 0 -20