User manual MACKIE CR1604VLZ

[. . . ] CR1604-VLZ MIC/LINE MIXER OWNER'S MANUAL 120 VAC 50/60 Hz 20W 315mA/250V SLO-BLO POWER PHANTOM MAIN OUT BAL/UNBAL MAIN INSERT TAPE INPUT TAPE OUTPUT BAL/UNBAL C-R OUTS SUB OUTS BAL/UNBAL AUX RETURN BAL/UNBAL AUX SEND BAL/UNBAL DIRECT OUT BAL/UNBAL L L L L L 3 1 4 L 3 L 2 L 1 5 3 1 7 5 3 1 (MONO) (MONO) (MONO) R MONO R R R R 4 2 CAUTION: TO REDUCE THE RISK OF FIRE REPLACE WITH SAME TYPE FUSE AND RATING O O R R R 6 4 2 8 6 4 2 +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 MIC 15 MIC 14 MIC 13 MIC 12 MIC 11 MIC 10 MIC 9 MIC 8 MIC 7 MIC 6 MIC 5 MIC 4 MIC 3 MIC 2 MIC 1 PATENT PENDING 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 CR1604-VLZ 16-CHANNEL MIC/LINE MIXER TRIM -10dBV GAIN MIC 1 TRIM -10dBV GAIN MIC 2 TRIM -10dBV GAIN MIC 3 TRIM -10dBV GAIN MIC 4 TRIM -10dBV GAIN MIC 5 TRIM -10dBV GAIN MIC 6 TRIM -10dBV GAIN MIC 7 TRIM -10dBV GAIN MIC 8 TRIM -10dBV GAIN MIC 9 TRIM -10dBV GAIN MIC 10 TRIM -10dBV GAIN MIC 11 TRIM -10dBV GAIN MIC 12 TRIM -10dBV GAIN MIC 13 TRIM -10dBV GAIN MIC 14 TRIM -10dBV GAIN MIC 15 TRIM -10dBV GAIN MIC 16 TM U 10 +10dB 60 -40dB U 10 +10dB 60 -40dB U 10 +10dB 60 -40dB U 10 +10dB 60 -40dB U 10 +10dB 60 -40dB U 10 +10dB 60 -40dB U 10 +10dB 60 -40dB U 10 +10dB 60 -40dB U 10 +10dB 60 -40dB U 10 +10dB 60 -40dB U 10 +10dB 60 -40dB U 10 +10dB 60 -40dB U 10 +10dB 60 -40dB U 10 +10dB 60 -40dB U 10 +10dB 60 -40dB U 10 +10dB 60 -40dB CR1604-VLZ U U 12V 0. 5A 16-CHANNEL MIC/LINE MIXER U U LAMP 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 1 +15 U O O 1 +10 U O O 1 +20 U O O TO AUX SEND 1 +15 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 SENDS 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 U MAIN MIX TO SUBS 1­2 3­4 2 6 SOLO PHAN PWR 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 +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 RETURNS 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 CLIP 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 C-R / 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 MODE NORMAL (AFL) LEVEL SET (PFL) 30 RUDE SOLO LIGHT 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 -20 -20 -20 -20 -20 -20 -20 -20 -20 -20 -20 -20 -20 -20 -20 2 3 4 dB MAIN L-R MIX dB 10 5 U SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO 10 5 U 5 10 20 30 40 50 60 O O 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 TRACK TRACK TRACK TRACK TRACK TRACK TRACK 1 2 3 4 5 6 7 8 CAUTION AVIS RISK OF ELECTRIC SHOCK DO NOT OPEN RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK DO NOT REMOVE COVER (OR BACK) NO USER-SERVICEABLE PARTS INSIDE REFER SERVICING TO QUALIFIED PERSONNEL 9. Object and Liquid Entry -- Care should be taken so that objects do not fall into and liquids are not spilled into the inside of this Mackie product. Damage Requiring Service -- This Mackie product should be serviced only by qualified service personnel when: A. Objects have fallen, or liquid has spilled into this Mackie product; or C. [. . . ] AUX RETURN 3 and AUX RETURN 4 have no such knobs. MAIN MIX TO SUBS (AUX RET 3) With this switch up, AUX RETURN 3 behaves like all the others -- it delivers a stereo signal, regulated by its level knob, to the MAIN L-R MIX . When you engage this switch, the signals are removed from the MAIN L-R MIX buses and sent to the 1-2/3-4 switch, which diverts the signal once more. Please read on. AUX RETURNS (LEVEL) These four controls set the overall level of effects received from the stereo AUX RETURN input jacks . These controls are designed to handle a wide range of signal levels -- each knob goes from off, to unity gain at the detent, to 20dB gain fully clockwise, to compensate for low-level effects. Signals passing through the STEREO AUX CR1604 -VLZ RETURN level controls will pro16 - CHANNEL MIC/LINE MIXER LAMP ceed directly to the MAIN L-R MIX fader , with exceptions 1 1 1 that we'll discuss in a moment. Typically, these knobs can 2 2 2 just live at the center detent, and the effects device's output AUX SENDS control should be set at what3 1 ever they call unity gain (check their manual). If that turns out 2 4 to be too loud or too quiet, adjust the effects device's outputs, STEREO AUX RETURNS not the mixer. That way, the mixer's knobs are easy to relocate at the center detent. TM 1­2/3­4 (AUX RET 3) As you've just read, if the MAIN MIX TO SUBS switch is disengaged, the 1­2/3­4 switch does absolutely nothing. AUX RETURN 3's stereo signal will not be sent to the MAIN MIX, but to subgroup faders 1 and 2 (1­2/3­4 switch up) or subgroup faders 3 and 4 (switch down). Let's say you've made a stereo drum submix on subgroup faders 1 and 2, so you can ride those two faders instead of the seven channels that the drums came from. Subgroup fader 1 has its ASSIGN TO MAIN MIX, LEFT button engaged and subgroup fader 2 has its ASSIGN TO MAIN MIX, RIGHT button engaged, blending the drum submix back into the MAIN L-R MIX. The drum channels are also sending signals to your reverb via the AUX sends and the reverb outputs are patched into AUX RETURN 3. Even though you could send AUX RETURN 3 directly to the MAIN L-R MIX (MAIN MIX TO SUBS switch up), you don't want to. Instead, engage the MAIN MIX TO SUBS switch and make sure the 1­2/3­4 switch is up. Now the reverb return will be blended into the drum submix, and as you ride those two faders, the reverb level will follow. Because if you had just sent the reverb directly to the MAIN L-R 12V 0. 5A U U U TO AUX SEND 1 O O +10 O O +20 O O +15 U U U EFFECTS TO MONITORS TO AUX SEND 2 O O +10 O O +20 O O +15 U ASSIGN OPTIONS SOLO O O +20 MAIN MIX TO SUBS 1­ 2 3­ 4 U SOLO PHAN PWR O O +20 C-R / PHNS ONLY RETURNS SOLO U LEFT RIGHT 0 dB=0 dBu CLIP 28 10 7 4 O O MAX O O +20 C-R / PHONES TAPE IN TAPE TAPE TO MAIN MIX 2 0 2 4 SUBS 1­ 2 O O MAX SUBS 3­4 SOLO LEVEL SET 7 10 20 MAIN MIX MODE NORMAL (AFL) LEVEL SET (PFL) 30 RUDE SOLO LIGHT SOURCE 26 MIX (MAIN MIX TO SUBS switch up) and you did a drum fade-out using subgroup faders 1 and 2, the "dry" signals would fade out, but the "wet" signals would keep on singing. All you would hear is the drum reverb (the "wet"), and none of the original drum signals (the "dry"). That's because the reverb is being fed by the channel's AUX sends, and they have no idea that you've pulled down the subgroup faders. That's why we threw in these switches. RETURNS SOLO This switch operates just like the channel SOLO switches -- engaging it sends signals to the C-R OUTS, PHONES output and meter display and interrupts whatever happened to be there before you soloed. The only difference is that when you engage the RETURNS SOLO switch, it sends all four STEREO AUX RETURNS signals to the SOLO circuit. Hit that channel's SOLO switch, and you get the "dry" (no effects) snare only. That helps, but you want to hear it with the reverb you have patched into an AUX RETURN. [. . . ] Use it to tell you if the outlet you're about to plug into is wired correctly. If you carry enough equipment that you need to wire directly into the electrical service, then use a voltmeter to ensure that the line voltage is correct, then use the outlet tester mentioned in #3, above. Chances are that your 120V gear won't be too happy if it sees 220V for any length of time. Cables that are too long are less likely to pick up hum if you uncoil them in their entirety, and then find a place to stow the excess. [. . . ]