User manual MACKIE CR-1604-VLZ

[. . . ] 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. The power-supply cord or the plug has been damaged; or B. [. . . ] The AUX knob taps the signal off the channel and sends it to the AUX SEND outputs . AUX 1 and 2 are sent to the AUX SENDS 1 and 2 master knobs before the AUX SEND outputs and AUX 3 through 6 are sent directly. These outputs are fed to the inputs of a reverb or other device. From there, the outputs of the external device are fed back to the mixer's AUX RETURN inputs . Then these signals are sent through the AUX RETURN level controls, and finally delivered to the MAIN L-R MIX . So, the original "dry" signals come from the channels to the MAIN L-R MIX and the affected "wet" signals come from the AUX RETURNS to the MAIN L-R MIX, and once mixed together, the dry and wet signals combine to create a glorious sound. Armed with this knowledge, let's visit the Auxiliary World: AUX SENDS (MASTER) These knobs provide overall level control of AUX SENDS 1 and 2, just before they're delivered to their AUX SEND outputs . This is perfect for controlling the level of stage monitors, since you'll be using AUX 1 and 2 for this, with their PRE switches engaged . AUX SENDS 3 through 6 have no such CR1604 -VLZ control -- they'll just send their 16 - CHANNEL MIC/LINE MIXER LAMP mixes directly to their respective AUX SEND outputs at unity gain. 1 1 1 This knob goes from off (turned fully down), to unity 2 2 2 gain at the center detent, with 10dB of extra gain (turned fully AUX SENDS up). As with some other level 3 1 controls, you may never need the additional gain, but if you 2 4 ever do, you'll be glad you bought a Mackie. STEREO AUX RETURNS This is usually the knob you turn up when the lead singer glares at you, points at his stage monitor, and sticks his thumb in the air. (It would follow suit that if the singer stuck his thumb down, you'd turn the knob down, but that never happens. ) TM U U U O O Meters vs. Reality You may already be an expert at the world of "+4" (+4dBu=1. 23V) and "­10" (­10dBV=0. 32V) operating levels. Basically, what makes a mixer one or the other is the relative 0dB VU (or 0VU) chosen for the meter display. A "+4" mixer, with a +4dBu signal pouring out the back will actually read 0VU on its meter display. A "­10" mixer, with a ­10dBV signal trickling out, will read, you guessed it, 0VU on its meter display. At the risk of creating another standard, Mackie's compact mixers address the need of both crowds by calling things as they are: 0dBu (0. 775V) at the output shows as 0VU on the meter display. By the way, the most wonderful thing about standards is that there are so many to choose from. Thanks to the CR1604-VLZ's wide dynamic range, you can get a good mix with peaks flashing anywhere between ­20 and +10dB on the meter display. Most amplifiers clip at about +10dB, and some recorders aren't so forgiving either. For best real-world results, try to keep your peaks between "0" and "+7. " Please remember: Audio meter displays are just tools to help assure you that your levels are "in the ballpark. " You don't have to stare at them (unless you want to). 12V 0. 5A TO AUX SEND 1 +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 2 0 2 4 7 O O MAX O O +20 C-R / PHONES TAPE IN TAPE TAPE TO MAIN MIX SUBS 1­ 2 O O MAX SUBS 3­4 SOLO LEVEL SET 10 20 MAIN MIX MODE NORMAL (AFL) LEVEL SET (PFL) 30 RUDE SOLO LIGHT SOURCE 25 AUX SENDS SOLO Once again, in a live sound situations AUX SEND 1 and 2 are likely to feed your stage monitors. [. . . ] 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. Leaving the excess coiled only helps the cable pick up hum more efficiently. Don't run unbalanced lines to or from the stage. It's not the impedance, it's the fact that they're unbalanced. [. . . ]