User manual MACKIE 1642VLZPRO

[. . . ] 1642-VLZ PRO 16-CHANNEL MIC/LINE MIXER OWNER'S MANUAL STEREO PLUG MONO PLUG MONO PLUG CAUTION RISK OF ELECTRIC SHOCK DO NOT OPEN 16-CHANNEL MIC / LINE MIXER WITH PREMIUM XDRTM MIC PREAMPLIFIERS 1642-VLZPRO TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. REFER SERVICING TO QUALIFIED PERSONNEL. WARNING: SERIAL NUMBER MANUFACTURING DATE TIP OUT TO EFFECTS DEVICE RING RETURN FROM EFFECTS INSERT ALL THE WAY IN TO THE "SECOND CLICK" INSERT ONLY INTO THE "FIRST CLICK" AVIS: RISQUE DE CHOC ELECTRIQUE -- NE PAS OUVRIR UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE. DEBRANCHER AVANT DE REMPLACER LE FUSIBLE FOR USE AS AN EFFECTS LOOP (TIP = SEND, RING = RETURN) DIRECT OUT WITH SIGNAL INTERRUPTION TO MASTER DIRECT OUT WITH NO SIGNAL INTERRUPTION TO MASTER REPLACE WITH THE SAME TYPE FUSE AND RATING. DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE XDRTM EXTENDED DYNAMIC RANGE MIC PREAMPLIFIERS ARE PROPRIETARY TO MACKIE DESIGNS, INC. MAIN OUTS DESIGNED BY MACKOIDS IN WOODINVILLE, WA, USA PATENTS PENDING COPYRIGHT ©1998 · THE FOLLOWING ARE REGISTERED TRADEMARKS OF MACKIE DESIGN INC. : "MACKIE", "XDR", AND THE "RUNNING MAN" FIGURE AUX SENDS (BAL/UNBAL) DIRECT OUTS (BAL/UNBAL) 1 L 2 3 4 8 7 6 5 4 3 2 1 120 VAC 50/60 Hz 40W 1A/250V SLO-BLO POWER ON PHANTOM ON +4 MIC (BAL/UNBAL) U MONO (BAL/UNBAL) MAIN MAIN INSERT (TIP SEND RING RETURN) C-R OUTS (BAL/UNBAL) (BAL/UNBAL) SUB OUTS 2 1 3 4 1 AUX RETURN (BAL/UNBAL) 2 3 4 R MAIN OUTPUT LEVEL O O +6 LEVEL L R L R L R 5 6 7 8 (MONO) L (MONO) L (MONO) L (MONO) L R R R R CAUTION: TO REDUCE THE RISK OF FIRE REPLACE WITH SAME TYPE FUSE AND RATING MIC 1 XDR MIC 2 XDR MIC 3 XDR MIC 4 XDR MIC PR E MIC 5 XDR MIC 6 XDR MIC 7 XDR MIC 8 XDR MIC PR E MIC 9-10 XDR MIC PR E MIC 11-12 XDR TAPE IN LEFT TAPE OUT LEFT LAMP 16-CHANNEL MIC/ LINE MIXER WITH PREMIUM XDRTM MIC PREAMPLIFIERS 12V 0. 5A MIC PR E MIC PR E MIC PR E MIC PR E MIC PR E MIC PR E MIC PR E 1642-VLZPRO RIGHT RIGHT LINE IN BAL UNBAL LINE IN BAL UNBAL LINE IN BAL UNBAL LINE IN BAL UNBAL LINE IN BAL UNBAL LINE IN BAL UNBAL LINE IN BAL UNBAL LINE IN BAL UNBAL LINE IN 9 MONO LINE IN 11 MONO BAL UNBAL LINE IN MONO BAL UNBAL LINE IN MONO PHONES L LINE IN 10 L LINE IN 12 LEFT BAL / UNBAL 13 LEFT BAL / UNBAL 15 A INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT R R RIGHT 14 RIGHT 16 B -10dBV IC GAIN UM TRIM 1 -10dBV IC GAIN UM TRIM 2 -10dBV IC GAIN UM TRIM 3 -10dBV IC GAIN UM TRIM 4 -10dBV IC GAIN UM TRIM 5 -10dBV IC GAIN UM TRIM 6 -10dBV IC GAIN UM TRIM 7 -10dBV IC GAIN UM TRIM 8 TRIM GAIN MIC 9 10 TRIM GAIN MIC 11 12 -20 TRIM U 13 14 -20 TRIM U 15 16 AUX SEND U EFFECTS TO MONITORS U U 1 O O U 1 +10 O O U 1 +20 O O U TO AUX SEND 1 +15 60 0 +15dB -45dB LOW CUT 75 Hz 18dB/OCT 60 0 +15dB -45dB LOW CUT 75 Hz 18dB/OCT 60 0 +15dB -45dB LOW CUT 75 Hz 18dB/OCT 60 0 +15dB -45dB LOW CUT 75 Hz 18dB/OCT 60 0 +15dB -45dB LOW CUT 75 Hz 18dB/OCT 60 0 +15dB -45dB LOW CUT 75 Hz 18dB/OCT 60 0 +15dB -45dB LOW CUT 75 Hz 18dB/OCT 60 0 +15dB -45dB LOW CUT 75 Hz 18dB/OCT 0 60 0 60 +20 +20 LOW CUT 75 Hz 18dB/OCT LOW CUT 75 Hz 18dB/OCT 2 AUX 1 U 2 O O 2 O O 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 TO AUX SEND 2 O O U +10 +20 +15 U +15 U O O +15 U O O +15 U ASSIGN OPTIONS U U U U U U U U U 1 SOLO 3 O O 2 O O 2 +15 U O O 2 +15 U O O 2 +15 U O O 2 +15 U O O 2 +15 U O O 2 +15 U O O 2 +15 U O O 2 +15 U O O 2 +15 U O O 2 +15 U O O 2 +15 U O O +20 U MAIN MIX TO SUBS 1­2 3­4 +15 PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE 2 SOLO PHAN PWR 4 O O U +20 C-R / PHNS ONLY RETURNS SOLO 3 O O 3 +15 U O O 3 +15 U O O 3 +15 U O O 3 +15 U O O 3 +15 U O O 3 +15 U O O 3 +15 U O O 3 +15 U O O 3 +15 U O O 3 +15 U O O 3 +15 U O O STEREO AUX RETURN +15 U U 4 O O 4 +15 U HI 12k -15 U MID +15 -15 U MID +15 O O 4 +15 U HI 12k -15 U MID +15 O O 4 +15 U HI 12k -15 U MID +15 O O 4 +15 U HI 12k -15 U MID +15 O O 4 +15 U HI 12k -15 U MID +15 O O 4 +15 U HI 12k -15 U MID +15 O O 4 +15 U HI 12k -15 U MID +15 O O 4 +15 U HI 12k -15 U HI MID 3K +15 O O 4 +15 U HI 12k -15 U HI MID 3K +15 O O 4 +15 U HI 12k -15 U HI MID 3K +15 O O 4 +15 U HI 12k -15 U HI MID 3K +15 O O +15 U HI 12k O O MAX O O PHONES +20 TAPE IN LEFT RIGHT 0 dB=0 dBu 28 10 7 EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ EQ O O MAX CONTROL ROOM TAPE TO MAIN MIX 4 2 0 -15 200 100 +15 800 2k 8k U LOW 80Hz FREQ -15 200 100 +15 800 2k 8k U LOW 80Hz FREQ -15 200 100 +15 800 2k 8k U LOW 80Hz FREQ -15 200 100 +15 800 2k 8k U LOW 80Hz FREQ -15 200 100 +15 800 2k 8k U LOW 80Hz FREQ -15 200 100 +15 800 2k 8k U LOW 80Hz FREQ -15 200 100 +15 800 2k 8k U LOW 80Hz FREQ -15 200 100 +15 800 2k 8k U LOW 80Hz FREQ -15 +15 U LOW MID 800Hz -15 +15 U LOW MID 800Hz -15 +15 U LOW MID 800Hz -15 TAPE 2 O O +15 U LOW MID 800Hz SUBS 1­2 MAX SOLO 4 7 10 -15 U +15 -15 U LOW 80Hz +15 -15 LOW 80Hz +15 U LOW 80Hz -15 +15 U LOW 80Hz MODE SUBS 3­ 4 NORMAL (AFL) LEVEL SET (PFL) LEVEL SET 20 30 MAIN MIX -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 CR SOURCE PAN LEFT LEFT LEFT LEFT RUDE SOLO LIGHT PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN L R L R L R L R L R L R L R L R L R L R L R L R RIGHT RIGHT RIGHT RIGHT MUTE dB 10 5 U SOLO 5 10 20 30 40 50 60 O O 1 MUTE OL dB 10 5 U SOLO 5 10 20 3-4 30 40 50 60 O O 2 MUTE OL dB 10 5 U SOLO 5 10 20 3-4 30 40 50 60 O O 3 MUTE OL dB 10 5 U SOLO 5 10 20 3-4 30 40 50 60 O O 4 MUTE OL dB 10 5 U SOLO 5 10 20 3-4 30 40 50 60 O O 5 MUTE OL dB 10 5 U SOLO 5 10 20 3-4 30 40 50 60 O O 6 MUTE OL dB 10 5 U SOLO 5 10 20 3-4 30 40 50 60 O O 7 MUTE OL dB 10 5 U SOLO 5 10 20 3-4 30 40 50 60 O O 8 9-10 MUTE OL dB 10 5 U SOLO 5 10 20 3-4 30 40 50 60 O O 11-12 MUTE OL dB 10 5 U SOLO 5 10 20 3-4 30 40 50 60 O O 13-14 MUTE OL dB 10 5 U SOLO 5 10 20 3-4 30 40 50 60 O O 15-16 MUTE OL dB 10 5 U SOLO 5 10 20 3-4 30 40 50 60 O O 1 5 OL dB 2 6 3 7 4 8 dB MAIN MIX 10 5 U 5 10 20 30 40 50 60 O O 10 -20 -20 -20 -20 -20 -20 -20 -20 -20 -20 -20 -20 5 U 5 1-2 1-2 1-2 1-2 1-2 1-2 1-2 1-2 1-2 1-2 1-2 1-2 10 20 3-4 30 40 50 60 O O L/R L/R L/R L/R L/R L/R L/R L/R L/R L/R L/R L/R REC 1 REC 2 TRACK 1 TRACK 2 TRACK 3 TRACK 4 TRACK 5 TRACK 6 TRACK 7 TRACK 8 EFX A EFX B CAUTION AVIS 12. [. . . ] 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 +5 0 ­5 ­10 -15 +15 PAN ­15 20Hz 100Hz 1kHz 10kHz 20kHz L R MUTE dB 10 5 U SOLO 5 10 20 30 40 50 60 O O 1 OL -20 1-2 3-4 L/R REC 1 Mono Channel Most of the root and lower harmonics that define a sound are located in the 100Hz­8kHz frequency range, and you can create drastic changes with these two knobs. Many engineers use MID EQ to cut midrange frequencies, not boost them. One popular trick is to set the MID fully up, turn the frequency knob until you find a point where it sounds just terrible, then back the MID down into the cut range, causing those terrible frequencies to disappear. The HI EQ provides you up to 15 dB boost or cut at 12kHz, and it is also flat at the detent. Use it to add sizzle to cymbals, an overall sense of transparency, or an edge to keyboards, vocals, guitar and bacon frying. Turn it down a little to reduce sibilance or to mask tape hiss. +15 +10 +5 0 ­5 ­10 ­15 20Hz 100Hz 1kHz 10kHz 20kHz 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 15 dB 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 outputs are then patched to parallel effects processor inputs or stage monitor amp inputs. AUX SENDS 1 and 2 levels are controlled not only by the 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. 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 or 3) to feed its left input and the "even" AUX (2 or 4) to feed the right input. Remember, if you're also dealing with a stereo source signal, you'll want to follow the sides -- use the odd AUX on the channel carrying the left side and the even AUX on the channel carrying the right. U TRIM 15 16 -20 +20 AUX 1 O O U PRE This switch determines the tap point of AUX 1 and 2. Generally, "post" sends are used to feed effects devices, and "pre" sends are used to feed your stage monitors. In post mode (switch up), AUX 1 and 2 will follow the EQ, LOW CUT, fader and MUTE settings. This is a must for effects sends, since you want the levels of your "wet" signals to follow the level of the "dry. " In PRE mode (switch down), AUX 1 and 2 follow the TRIM and LOW CUT settings only. This is the preferred method for setting up stage monitor feeds -- they'll be controlled independently of the fader and mute moves. +15 U 2 O O +15 U PRE 3 O O +15 U 4 O O +15 U HI 12k EQ -15 U +15 HI MID 3K -15 +15 U LOW MID 800Hz -15 +15 U LOW 80Hz -15 +15 PAN L R Pre Vs. [. . . ] 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. 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