User manual MACKIE 1604-VLZ PRO

[. . . ] 1604-VLZ PRO 16-CHANNEL MIC/LINE MIXER OWNER'S MANUAL 120 VAC 50/60 Hz 20W 1A/250V SLO-BLO POWER ON PHANTOM ON MAIN OUT BAL/UNBAL L MAIN INSERT (TIP SEND RING RETURN) TAPE INPUT TAPE OUTPUT C-R OUT BAL/UNBAL SUB OUT BAL/UNBAL AUX RETURN BAL/UNBAL AUX SEND BAL/UNBAL DIRECT OUT BAL/UNBAL L L L L 3 1 4 L (MONO) 3 L (MONO) 2 L (MONO) 1 5 3 1 7 5 3 1 R MONO R R R R 4 2 R R R 6 4 2 8 6 4 2 CAUTION: TO REDUCE THE RISK OF FIRE REPLACE WITH SAME TYPE FUSE AND RATING UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE. DEBRANCHER AVANT DE REMPLACER LE FUSIBLE UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE. DEBRANCHER AVANT DE REMPLACER LE FUSIBLE O O +6 INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT LINE BAL UNBAL 16 BAL UNBAL LINE 15 BAL UNBAL LINE 14 BAL UNBAL LINE 13 BAL UNBAL LINE 12 BAL UNBAL LINE 11 BAL UNBAL LINE 10 BAL UNBAL LINE 9 BAL UNBAL LINE 8 BAL UNBAL LINE 7 BAL UNBAL LINE 6 BAL UNBAL LINE 5 BAL UNBAL LINE 4 BAL UNBAL LINE 3 BAL UNBAL LINE 2 BAL UNBAL LINE 1 MIC 16 XDR MIC PR E MIC 15 XDR MIC PR E MIC 14 XDR MIC PR E MIC 13 XDR MIC PR E MIC 12 XDR MIC PR E MIC 11 XDR MIC PR E MIC 10 XDR MIC PR E XDR MIC 9 MIC PR E XDR MIC 8 MIC PR E XDR MIC 7 MIC PR E XDR MIC 6 MIC PR E XDR MIC 5 MIC PR E MIC 4 XDR MIC PR E MIC 3 XDR MIC PR E XDR MIC 2 MIC PR E XDR MIC 1 MIC PR E XDRTM EXTENDED DYNAMIC RANGE MIC PREAMPLIFIERS ARE PROPRIETARY TO MACKIE DESIGNS, INC. DESIGNED BY MACKOIDS IN WOODINVILLE, WA, 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 16-CHANNEL MIC/ LINE MIXER WITH PREMIUM XDRTM MIC PREAMPLIFIERS 1604-VLZ PRO TRIM -10dBV IC GAIN UM 1 TRIM -10dBV IC GAIN UM 2 TRIM -10dBV IC GAIN UM 3 TRIM -10dBV IC GAIN UM 4 TRIM -10dBV IC GAIN UM 5 TRIM -10dBV IC GAIN UM 6 TRIM -10dBV IC GAIN UM 7 TRIM -10dBV IC GAIN UM 8 TRIM -10dBV IC GAIN UM 9 TRIM -10dBV IC GAIN UM 10 TRIM -10dBV IC GAIN UM 11 TRIM -10dBV IC GAIN UM 12 TRIM -10dBV GAIN U MIC 13 TRIM -10dBV GAIN U MIC 14 TRIM -10dBV GAIN U MIC 15 TRIM -10dBV GAIN U MIC 16 16-CHANNEL MIC/ LINE MIXER WITH PREMIUM XDRTM MIC PREAMPLIFIERS 1604-VLZ PRO 12V 0. 5A 0 60 +15dB -45dB 0 60 +15dB -45dB 0 60 +15dB -45dB 0 60 +15dB -45dB 0 60 +15dB -45dB 0 60 +15dB -45dB 0 60 +15dB -45dB 0 60 +15dB -45dB 0 60 +15dB -45dB 0 60 +15dB -45dB 0 60 +15dB -45dB 0 60 +15dB -45dB 0 60 +15dB -45dB 0 60 +15dB -45dB 0 60 +15dB -45dB 0 60 +15dB -45dB LAMP U U U AUX 1 O O U AUX 1 +15 O O U AUX 1 +15 O O U AUX 1 +15 O O U AUX 1 +15 O O U AUX 1 +15 O O U AUX 1 +15 O O U AUX 1 +15 O O U AUX 1 +15 O O U AUX 1 +15 O O U AUX 1 +15 O O U AUX 1 +15 O O U AUX 1 +15 O O U AUX 1 +15 O O U AUX 1 +15 O O U AUX 1 +15 O O U 1 +15 U O O 1 +10 O O 1 +20 O O TO AUX SEND 1 +15 U U U U U U U U U U U U U U U U U U EFFECTS TO MONITORS TO AUX SEND 2 2 O O 2 +15 O O 2 +15 O O 2 +15 O O 2 +15 O O 2 +15 O O 2 +15 O O 2 +15 O O 2 +15 O O 2 +15 O O 2 +15 O O 2 +15 O O 2 +15 O O 2 +15 O O 2 +15 O O 2 +15 O O 2 +15 O O 2 +10 O O 2 +20 O O +15 PRE U PRE U PRE U PRE U PRE U PRE U PRE U PRE U PRE U PRE U PRE U PRE U PRE U PRE U PRE U PRE U AUX SEND 5 1 SOLO U ASSIGN OPTIONS 3 O O 5 +15 U 3 O O 5 +15 U 3 O O 5 +15 U 3 O O 5 +15 U 3 O O 5 +15 U 3 O O 5 +15 U 3 O O 5 +15 U 3 O O 5 +15 U 3 O O 5 +15 U 3 O O 5 +15 U 3 O O 5 +15 U 3 O O 5 +15 U 3 O O 5 +15 U 3 O O 5 +15 U 3 O O 5 +15 U 3 O O 3 O O +15 U +20 MAIN MIX TO SUBS 1­2 3­4 2 6 SOLO U 4 O O 6 +15 4 O O 6 +15 4 O O 6 +15 4 O O 6 +15 4 O O 6 +15 4 O O 6 +15 4 O O 6 +15 4 O O 6 +15 4 O O 6 +15 4 O O 6 +15 4 O O 6 +15 4 O O 6 +15 4 O O 6 +15 4 O O 6 +15 4 O O 6 +15 4 O O 4 O O +15 PHAN PWR +20 C-R / PHNS ONLY RETURNS SOLO 5/6 SHIFT 5/6 SHIFT 5/6 SHIFT 5/6 SHIFT 5/6 SHIFT 5/6 SHIFT 5/6 SHIFT 5/6 SHIFT 5/6 SHIFT 5/6 SHIFT 5/6 SHIFT 5/6 SHIFT 5/6 SHIFT 5/6 SHIFT 5/6 SHIFT 5/6 SHIFT STEREO AUX RETURN 12k EQ U 12k HI EQ U 12k HI EQ U 12k HI EQ U 12k HI EQ U 12k HI EQ U 12k HI EQ U 12k HI EQ U 12k HI EQ U 12k HI EQ U 12k HI EQ U 12k HI EQ U 12k HI EQ U 12k HI EQ U 12k HI EQ U 12k HI EQ U HI U LEFT RIGHT 0 dB=0 dBu 28 -15 U +15 -15 +15 U -15 +15 U -15 +15 U -15 +15 U -15 +15 U -15 +15 U -15 +15 U -15 +15 U -15 +15 U -15 +15 U -15 +15 U -15 +15 U -15 +15 U -15 +15 U -15 +15 U O O MAX O O +20 10 7 4 MID MID MID MID MID MID MID MID MID MID MID MID MID MID MID MID CTL ROOM / PHONES TAPE IN -15 +15 800 -15 +15 800 -15 +15 800 -15 +15 800 -15 +15 800 -15 +15 800 -15 +15 800 -15 +15 800 -15 +15 800 -15 +15 800 -15 +15 800 -15 +15 800 -15 +15 800 -15 +15 800 -15 +15 800 -15 +15 800 TAPE TAPE TO MAIN MIX 2 0 2 4 200 100 U 8k 2k 200 100 8k U 2k 200 100 8k U 2k 200 100 8k U 2k 200 100 8k U 2k 200 100 8k U 2k 200 100 8k U 2k 200 100 8k U 2k 200 100 8k U 2k 200 100 8k U 2k 200 100 8k U 2k 200 100 8k U 2k 200 100 8k U 2k 200 100 8k U 2k 200 100 8k U 2k 200 100 8k U 2k SUBS 1­2 O O MAX LOW 80Hz LOW 80Hz LOW 80Hz LOW 80Hz LOW 80Hz LOW 80Hz LOW 80Hz LOW 80Hz LOW 80Hz LOW 80Hz LOW 80Hz LOW 80Hz LOW 80Hz LOW 80Hz LOW 80Hz LOW 80Hz SUBS 3­4 SOLO LEVEL SET 7 10 20 -15 LOW CUT 75 Hz 18dB/OCT +15 -15 LOW CUT 75 Hz 18dB/OCT +15 -15 LOW CUT 75 Hz 18dB/OCT +15 -15 LOW CUT 75 Hz 18dB/OCT +15 -15 LOW CUT 75 Hz 18dB/OCT +15 -15 LOW CUT 75 Hz 18dB/OCT +15 -15 LOW CUT 75 Hz 18dB/OCT +15 -15 LOW CUT 75 Hz 18dB/OCT +15 -15 LOW CUT 75 Hz 18dB/OCT +15 -15 LOW CUT 75 Hz 18dB/OCT +15 -15 LOW CUT 75 Hz 18dB/OCT +15 -15 LOW CUT 75 Hz 18dB/OCT +15 -15 LOW CUT 75 Hz 18dB/OCT +15 -15 LOW CUT 75 Hz 18dB/OCT +15 -15 LOW CUT 75 Hz 18dB/OCT +15 -15 LOW CUT 75 Hz 18dB/OCT +15 MAIN MIX CTL ROOM MODE NORMAL (AFL) LEVEL SET (PFL) RUDE SOLO LIGHT 30 SOURCE PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN ASSIGN TO MAIN MIX 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 LEFT LEFT LEFT MUTE OL 1 MUTE OL 2 MUTE OL 3 MUTE OL 4 MUTE OL 5 MUTE OL 6 MUTE OL 7 MUTE OL 8 MUTE OL 9 MUTE OL 10 MUTE OL 11 MUTE OL 12 MUTE OL 13 MUTE OL 14 MUTE OL 15 MUTE OL 16 PHONES RIGHT RIGHT RIGHT RIGHT 1 -20 2 3 4 dB MAIN MIX dB 10 -20 -20 -20 -20 -20 -20 -20 -20 -20 -20 -20 -20 -20 -20 -20 10 5 U 5 10 20 30 40 50 60 O O 5 U SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO 5 10 20 3­4 3­4 3­4 3­4 3­4 3­4 3­4 3­4 3­4 3­4 3­4 3­4 3­4 3­4 3­4 3­4 1­2 1­2 1­2 1­2 1­2 1­2 1­2 1­2 1­2 1­2 1­2 1­2 1­2 1­2 1­2 1­2 30 40 50 60 O O L-R O O O O L-R O O L-R O O L-R O O L-R O O L-R O O L-R O O L-R O O L-R O O L-R O O L-R O O L-R O O L-R O O L-R O O L-R L- R O O TRACK 1 TRACK 2 TRACK 3 TRACK 4 TRACK 5 TRACK 6 TRACK 7 TRACK 8 CAUTION AVIS 12. [. . . ] We recommend that you use LOW CUT on every sound source except kick drum, bass guitar, bassy synth patches, or recordings of earthquakes. These aside, there isn't much down there that you want to hear, and filtering it out makes the low stuff you do want much more crisp and tasty. Not only that, but low cut can help reduce the possibility of feedback in live situations, and it helps to conserve amplifier power. Trouble is, adding LOW EQ also boosts the subsonic debris: Stage rumble, mic handling clunks, wind noise and breath pops. LOW CUT removes all that debris so you can boost the LOW EQ without frying your woofer. Here's a frequency curve of LOW EQ combined with LOW CUT: +15 +10 +5 0 TRIM -10dBV GA U MIC IN 1 ­5 ­10 ­15 0 60 +15dB -45dB 20Hz 100Hz 1kHz 10kHz 20kHz AUX 1 O O U +15 +15 +10 +5 U 2 O O +15 0 ­5 5 PRE U 3 O O ­10 ­15 20Hz 100Hz 1kHz 10kHz 20kHz +15 U 4 O O 6 +15 5/6 SHIFT EQ U 12k HI -15 +15 U MID -15 +15 800 200 100 8k 2k U LOW 80Hz -15 LOW CUT 75 Hz 18dB/OCT +15 PAN L R MUTE OL 1 Most of the root and lower harmonics that define a sound are located in the 100Hz­8kHz frequency range, and you can create drastic changes with these two knobs. Many engineers use MID EQ to cut midrange frequencies, not boost them. One popular trick is to set the MID fully up, turn the frequency knob until you find a point where it sounds just terrible, then back the MID down into the cut range, causing those terrible frequencies to disappear. The HI EQ provides you up to 15dB boost or cut at 12kHz, and it is also flat at the detent. Use it to add sizzle to cymbals, an overall sense of transparency, or an edge to keyboards, vocals, guitar and bacon frying. Turn it down a little to reduce sibilance or to mask tape hiss. +15 +10 +5 0 ­5 ­10 ­15 20Hz 100Hz 1kHz 10kHz 20kHz -20 AUX 1, 2, 3, & 4 These four knobs tap a portion of each channel's signal, mix them together and send them to the AUX SEND outputs . They are off when turned fully down, deliver unity gain at the center detent, and can provide up to 15dB of gain turned fully up. Chances are you'll never need this extra gain, but it's nice to know it's there if you do. The AUX SEND output are then patched to parallel effects processor inputs or stage monitor amp inputs. AUX SENDS 1 and 2 levels are controlled not only by the channel's AUX knobs, but also by the AUX SEND master knobs . AUX SENDS can also be used to generate separate mixes for recording or "mix-minuses" for broadcast. By using AUX 1 or 2 in the PRE mode , these mix levels can be obtained independently of a channel's fader settings. SOLO 0 1­2 ­5 ­10 3­4 ­15 L-R O O 20Hz 100Hz 1kHz 10kHz 20kHz With too much EQ, you can screw things up royally. We've designed a lot of boost and cut into each equalizer circuit because we know everyone will occasionally need that. Equalize subtly and use the left sides of the knobs (cut), as well as the right (boost). If you find yourself repeatedly using full boost or cut, consider altering the sound source, such as placing a mic differently, trying a different kind of mic, changing the strings, or gargling. 20 We recommend going into a stereo reverb in mono and returning in stereo. We have found that on most "stereo" reverbs, the second input just ties up an extra aux send and adds nothing to the sound. Should you choose to use two aux sends, use the "odd" AUX (1, 3 or 5) to feed its left input and the "even" AUX (2, 4 or 6) to feed the right input. [. . . ] Make sure that you have a copy of your product's sales receipt from the store where you bought the product. It is necessary to establish purchase date and thus determine whether or not your product is still under warranty. If you can't find it, the Authorized Service Center may charge you for repairs even if your product is still covered by Mackie's 3-Year Limited Warranty. If you bring your product to an Authorized Service Center and they can't find anything wrong with it, you may be charged a service fee. [. . . ]