User manual MACKIE 1642-VLZ3

[. . . ] 1642-VLZ3 16-Channel Mic/Line Mixer OWNER'S MANUAL 1642-VLZ3 Important Safety Instructions 1. Donotblockanyventilationopenings. Installinaccordancewiththe manufacturer'sinstructions. Donotinstallnearanyheatsourcessuchasradiators, heatregisters, stoves, orotherapparatus(includingamplifiers)thatproduceheat. Donotdefeatthesafetypurposeofthepolarizedorgrounding-type plug. Apolarizedplughastwobladeswithonewiderthantheother. [. . . ] ! 34 The 1642-VLZ3's PAN [31] controls employ a design called "Constant Loudness. " It has nothing to do with living next to a freeway. As you turn the PAN knob from left to right (thereby causing the sound to move from the left to the center to the right), the sound will appear to remain at the same volume (or loudness). If you have a channel panned hard left (or right) and reading 0 dB, it must dip down about 4 dB on the left (or right) when panned center. To do otherwise, like those Brand X mixers, would make the sound appear much louder when panned center. The MID EQ , or "midrange, " has a fixed bandwidth of 1 octave. The MID knob sets the amount of boost or cut, up to 15 dB, and is effectively bypassed at the center detent. The frequency knob sets the center frequency, sweepable from 100 Hz to 8 kHz. +15 +10 +5 +15 +10 +5 0 ­5 ­10 ­15 20Hz 100Hz 1kHz 10kHz 20kHz 0 ­5 ­10 ­15 20Hz 100Hz 1kHz 10kHz 20kHz 32 32. 3-BAND MID-SWEEP EQ The eight mono channels have a 3-band, mid-sweep equalization: LOW shelving at 80 Hz, MID sweep peaking from 100 Hz to 8 kHz, and HI shelving at 12 kHz. (Shelving means that the circuitry boosts or cuts all frequencies past the specified frequency. For example, the 1642-VLZ3's LOW EQ boosts bass frequencies starting at 80 Hz and continuing down to the lowest note you never heard. Peaking means that certain frequencies form a "hill" around the center frequency. ) The LOW EQ provides up to 15 dB boost or cut below 80 Hz. This frequency represents the punch in bass drums, bass guitar, fat synth patches, and some really serious male singers. +15 +10 +5 Most of the root and lower harmonics that define a sound are located in the 100 Hz­8 kHz 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 15 dB boost or cut above 12 kHz, 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 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. 0 ­5 ­10 ­15 20Hz 100Hz 1kHz 10kHz 20kHz Used in conjunction with the LOW CUT [34] switch, you can boost the LOW EQ without injecting a ton of subsonic debris into the mix. We recommend using the LOW CUT feature on all channels, except low frequency signals, like kick drums and bass guitars. 16 164-VLZ3 33. 4-BAND FIXED-FREQUENCY EQ The stereo channels (9-16) have a 4-band, fixed-frequency equalization: LOW shelving at 80 Hz, LOW MID peaking at 400 Hz, HI MID peaking at 2. 5 kHz, and HI shelving at 12 kHz. As with the mono channels, the circuit is flat (no boost or cut) at the center detent positions. using AUX 1 or 2 in the PRE [36] mode, these mix levels can be obtained independently of a channel's fader settings. [. . . ] (TIP = SEND to effect, RING = RETURN from effect. ) Figure F Mackie Stereo Inputs and Returns: Mono, Stereo, Whatever Stereo line inputs and stereo returns are a fine example of the Mackie philosophy (which we just made up) of Maximum Flexibility with Minimum Headache. The inputs and returns will automatically be mono or stereo, depending upon how you use the jacks. Here's how it works: A mono signal should be patched into the input or return jack labeled Left (MONO). The signal will be routed to both the left and right sides of the return circuit, and will show up in the center of the stereo pair of buses it's assigned to, or it can be panned with the PAN control. RING (IN) RING (RETURN) RING (RETURN) TIP (SEND) TIP (OUT) FROM PROCESSOR OUTPUT TO PROCESSOR INPUT TIP (SEND) TO MIXER CHANNEL INSERT Y-cord insert cable Y-cord splitter cable Owner's Manual 1642-VLZ3 Appendix C: Technical Information Specifications Main Mix Noise (20 Hz­20 kHz bandwidth, 1/4" Main out, channel gains @ unity gain, channel EQs flat, all channels assigned to Main Mix, odd channels panned left, even channels panned right. ) Main Mix fader unity, channel faders down: (90 dB Signal to Noise Ratio, ref +4 dBu) Main Mix fader unity, channel faders @ unity: ­86 dBu ­86. 5 dBu Low Mid Peaking Low Shelving Low Cut Filter (Ch. 9­12) ±15 dB @ 400 Hz ±15 dB @ 80 Hz 18 dB/octave, ­3 dB @ 75 Hz Power Consumption 50 watts Fuse Ratings 100­120 VAC 220­240 VAC 1A Slo Blo, 5 x 20 mm 0. 5A Slo Blo, 5 x 20 mm Total Harmonic Distortion (THD) (1 kHz 35 dB gain, 20 Hz­20 kHz bandwidth) Mic in to insert out: <0. 0007% Dimensions (H x W x D) in Normal Pod Position 16. 7" x 16. 6" x 5. 2" (425 mm x 421 mm x 131 mm) Weight 18. 2 lb (8. 3 kg) LOUD Technologies Inc. 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