Mackie 1604 User manual

Brand: Mackie

Model: 1604

Category: Audio mixers

Type: User manual

This manual is also suitable for

1604VLZ4

OWNER’S MANUAL

16-Channel 4-Bus Compact Mixer

1604VLZ4

Important Safety Instructions

1. Read these instructions.

2. Keep these instructions.

3. Heed all warnings.

4. Follow all instructions.

5. Do not use this apparatus near water.

6. Clean only with a dry cloth.

7. Do not block any ventilation openings. Install in accordance with the

manufacturer’s instructions.

8. Do not install near any heat sources such as radiators, heat registers,

stoves, or other apparatus (including ampliﬁers) that produce heat.

9. Do not defeat the safety purpose of the polarized or grounding-type

plug. A polarized plug has two blades with one wider than the other.

A grounding-type plug has two blades and a third grounding prong.

The wide blade or the third prong are provided for your safety. If the

provided plug does not ﬁt into your outlet, consult an electrician for

replacement of the obsolete outlet.

10.

Protect the power cord from being walked on or pinched particularly at

plugs, convenience receptacles, and the point where they exit from the

apparatus.

11.

Only use attachments/accessories speciﬁed by the manufacturer.

12.

Use only with a cart, stand, tripod, bracket, or

table speciﬁed by the manufacturer, or sold with

the apparatus. When a cart is used, use caution

when moving the cart/apparatus combination to

avoid injury from tip-over.

13.

Unplug this apparatus during lightning storms or

when unused for long periods of time.

14.

Refer all servicing to qualiﬁed service personnel. Servicing is required

when the apparatus has been damaged in any way, such as power-

supply cord or plug is damaged, liquid has been spilled or objects have

fallen into the apparatus, the apparatus has been exposed to rain or

moisture, does not operate normally, or has been dropped.

15.

This apparatus shall not be exposed to dripping or splashing, and no

object ﬁlled with liquids, such as vases or beer glasses, shall be placed

on the apparatus.

16.

Do not overload wall outlets and extension cords as this can result in a

risk of ﬁre or electric shock.

17.

This apparatus has been designed with Class-I construction and must

be connected to a mains socket outlet with a protective earthing

connection (the third grounding prong).

18.

This apparatus has been equipped with a rocker-style AC mains power

switch. This switch is located on the rear panel and should remain

readily accessible to the user.

19.

The MAINS plug or an appliance coupler is used as the disconnect

device, so the disconnect device shall remain readily operable.

PORTABLE CART

WARNING

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

ATTENTION: POUR EVITER LES RISQUES DE CHOC ELECTRIQUE, NE PAS ENLEVER LE COUVERCLE.

AUCUN ENTRETIEN DE PIECES INTERIEURES PAR L'USAGER.

CONFIER L'ENTRETIEN AU PERSONNEL QUALIFIE.

AVIS: POUR EVITER LES RISQUES D'INCENDIE OU D'ELECTROCUTION, N'EXPOSEZ PA S CET ARTICLE

A LA PLUIE OU A L'HUMIDITE

The lightning flash with arrowhead symbol within an equilateral triangle is

intended to alert the user to the presence of uninsulated "dangerous

voltage" within the product's enclosure, that may be of sufficient magnitude

to constitute a risk of electric shock to persons.

Le symbole éclair avec point de flèche à l'intérieur d'un triangle équilatéral

est utilisé pour alerter l'utilisateur de la présence à l'intérieur du coffret de

"voltage dangereux" non isolé d'ampleur suffisante pour constituer un risque

d'éléctrocution.

The exclamation point within an equilateral triangle is intended to alert the

user of the presence of important operating and maintenance (servicing)

instructions in the literature accompanying the appliance.

Le point d'exclamation à l'intérieur d'un triangle équilatéral est employé

pour alerter les utilisateurs de la présence d'instructions importantes pour le

fonctionnement et l'entretien (service) dans le livret d'instruction

accompagnant l'appareil.

20. NOTE: This equipment has been tested and found to comply

with the limits for a Class B digital device, pursuant to part 15

of the FCC Rules. These limits are designed to provide reasonable

protection against harmful interference in a residential installation.

This equipment generates, uses, and can radiate radio frequency

energy and, if not installed and used in accordance with the

instructions, may cause harmful interference to radio communications.

However, there is no guarantee that interference will not occur

in a particular installation. If this equipment does cause harmful

interference to radio or television reception, which can be determined

by turning the equipment off and on, the user is encouraged to try to

correct the interference by one or more of the following measures:

• Reorientorrelocatethereceivingantenna.

• Increasetheseparationbetweentheequipmentandthe

receiver.

• Connecttheequipmentintoanoutletonacircuitdifferentfrom

that to which the receiver is connected.

• Consultthedealeroranexperiencedradio/TVtechnicianfor

help.

CAUTION: Changes or modiﬁcations to this device not expressly

approved by LOUD Technologies Inc. could void the user's authority to

operate the equipment under FCC rules.

21.

This apparatus does not exceed the Class A/Class B (whichever is

applicable)

limits for radio noise emissions from digital apparatus as

set out in the radio interference regulations of the Canadian Department

of Communications.

ATTENTION — Le présent appareil numérique n’émet pas de bruits

radioélectriques dépassant las limites applicables aux appareils

numériques de class A/de class B (selon le cas) prescrites dans le

réglement sur le brouillage radioélectrique édicté par les ministere des

communications du Canada.

22.

Exposure to extremely high noise levels may cause permanent hearing

loss. Individuals vary considerably in susceptibility to noise-induced

hearing loss, but nearly everyone will lose some hearing if exposed to

sufﬁciently intense noise for a period of time. The U.S. Government’s

Occupational Safety and Health Administration (OSHA) has speciﬁed

the permissible noise level exposures shown in the following chart.

According to OSHA, any exposure in excess of these permissible limits

could result in some hearing loss. To ensure against potentially

dangerous exposure to high sound pressure levels, it is recommended

that all persons exposed to equipment capable of producing high

sound pressure levels use hearing protectors while the equipment

is in operation. Ear plugs or protectors in the ear canals or over the

ears must be worn when operating the equipment in order to prevent

permanent hearing loss if exposure is in excess of the limits set forth

here:

Duration,

per day in

hours

Sound Level

dBA, Slow

Response

Typical Example

8 90 Duo in small club

6 92

4 95 Subway Train

3 97

2 100 Veryloudclassicalmusic

1.5 102

1 105 Matt screaming at Troy about

deadlines

0.5 110

0.25 or less 115 Loudest parts at a rock concert

WARNING — To reduce the risk of ﬁre or electric shock, do not

expose this apparatus to rain or moisture.

Correct disposal of this product. This symbol indicates that this product should not be disposed of with your household waste, according to the WEEE Directive (2002/96/EC) and your national law. This product

should be handed over to an authorized collection site for recycling waste electrical and electronic equipment (EEE). Improper handling of this type of waste could have a possible negative impact on the environment and

human health due to potentially hazardous substances that are generally associated with EEE. At the same time, your cooperatio

n in the correct disposal of this product will contribute to the effective usage of natural

resources. For more information about where you can drop off your waste equipment for recycling, please contact your local city ofﬁce, waste authority, or your household waste disposal service.

Owner’s Manual

Part No. SW0972 Rev. A 06/13

Contents

25. CHANNEL FADER ..................................... 15

A CLEAN FADE ........................................ 15

26. ASSIGN (1–2, 3–4, L–R) ........................ 15

27. SOLO ..................................................... 16

28. –20 (SOLO) LED ..................................... 16

29. OL (MUTE) LED ....................................... 16

30. MUTE .................................................... 16

31. PAN....................................................... 17

STEREO SOURCES ................................... 17

CONSTANT LOUDNESS ! ! ! ...................... 17

32. 3-BAND MID-SWEEP EQ ......................... 17

33. LOW CUT .............................................. 18

34. AUX 1, 2, 3, & 4 .................................... 18

35. PRE ....................................................... 18

36. 5/6 SHIFT ............................................. 18

OUTPUT SECTION DESCRIPTION ............................. 19

37. MAIN MIX FADER ................................... 19

38. SUBGROUP FADERS ............................... 19

39. ASSIGN TO MAIN MIX ............................ 19

40. TAPE IN (LEVEL) ..................................... 20

41. TAPE TO MAIN MIX ................................ 20

42. SOURCE ................................................ 20

43. CR/PHONES .......................................... 20

44. MODE (AFL/PFL) .................................... 21

45. LEVEL SET LED ........................................ 21

46. SOLO (LEVEL) ......................................... 21

47. RUDE SOLO LIGHT .................................. 21

48. METERS ................................................. 22

METERS VS. REALITY .............................. 22

AUX TALK .............................................. 23

49. AUX SENDS (MASTER) ............................ 23

50. AUX SENDS SOLO .................................. 23

51. STEREO RETURNS (LEVEL) ....................... 23

52. TO AUX 1 AND TO AUX 2 ....................... 24

53. MAIN MIX TO SUBS (STEREO RET 3) ....... 24

54. 1–2/3–4 (STEREO RETURN 3) ................ 24

55. CR/PH ONLY (STEREO RETURN 4) .......... 25

56. RETURNS SOLO AND LED ........................ 25

APPENDIX A: SERVICE INFORMATION .................... 26

APPENDIX B: CONNECTIONS.................................. 26

APPENDIX C: TECHNICAL INFORMATION ................ 30

DIMENSIONS .................................................. 31

TRACK SHEET.................................................. 32

BLOCK DIAGRAM ............................................ 34

1604VLZ4 LIMITED WARRANTY ............................ 35

IMPORTANT SAFETY INSTRUCTIONS ........................ 2

CONTENTS .............................................................. 3

FEATURES / INTRODUCTION ................................... 4

GETTING STARTED ................................................... 5

HOOKUP DIAGRAMS............................................... 6

CONVERTING TO RACKMOUNT MODE ...................... 8

PATCHBAY DESCRIPTION ......................................... 9

EZ INTERFACE .......................................... 9

1. MIC INS ................................................... 9

PHANTOM POWER .................................... 9

2. LINE INS ................................................ 10

3. GAIN .................................................... 10

4. INSERT .................................................. 10

5. DIRECT OUT ........................................... 10

SPLIT MONITORING ............................... 10

6. AUX SENDS ............................................ 11

EFFECTS: SERIAL OR PARALLEL? .............. 11

7. STEREO RETURNS ................................... 12

8. SUB OUTS ............................................. 12

DOUBLE BUSING .................................... 12

9. CR OUTS (CONTROL ROOM OUTPUTS) .... 12

10. PHONES OUT (ON FRONT PANEL) ........... 12

11. TAPE OUT .............................................. 12

12. TAPE IN ................................................. 13

13. MAIN INSERT ......................................... 13

14. MAIN OUTS .......................................... 13

15. MONO OUT............................................ 13

16. MONO LEVEL ......................................... 13

17. VOLTAGE SELECTOR ................................ 13

18. POWER CONNECTION ............................. 13

19. FUSE ...................................................... 14

20. POWER SWITCH ..................................... 14

21. POWER LED ........................................... 14

22. PHANTOM SWITCH ................................ 14

23. 48V LED ................................................ 14

24. BNC LAMP SOCKET ................................. 14

CHANNEL STRIP DESCRIPTION ............................... 15

“U” LIKE UNITY GAIN ............................ 15

Please write your serial number here for future

reference (i.e., insurance claims, tech support,

return authorization, make dad proud, etc.)

Purchased at:

Date of purchase:

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1604VLZ4

Features

• 16-channelmixerfeaturingoursignature

high-headroom,low-noisedesign

• 16boutique-qualityOnyxmicpreamps

•Ultra-wide60dBgainrange

•128.5dBdynamicrange

•+22dBulineinputhandling

•Extendedfrequencyresponse

•Distortionunder0.0007%(20Hz-50kHz)

• ImprovedRFrejection,perfectforbroadcast

applications

• Phantompowerforcondensermics

• 16high-headroomlineinputswith

+4/–10operationcontrol

• 16balancedinsertsperfectforintegrating

outboardgear

• 3-bandEQwithsweepablemidrange

• 18dB/oct75Hzlow-cutlteronmicinput

channels

• Fourauxsends,level,panandsoloand

overload/muteLEDsoneachchannel

• Fourstereoreturns,eightdirectouts

andfourgroup/busoutputs

• 60mmlong-wearinglog-taperfaders

• Controlroom/phonesmulti-inputsource

matrix

• High-resolution12-segmentstereometers

• Sealedrotarycontrolresistdustandgrime

• “Built-Like-A-Tank”ruggedsteelchassiswith

powder-coatnish

• High-visibility,high-contrastcontrolsdeliver

convenient“at-a-glance”visualfeedback

• Rack-mountabledesignwiththreephysical

congurationsviaRotopodaccessory

(soldseparately)

• Multi-voltagepowersupplyforworldwideuse

Introduction

Alegendincompactmixerdesign,the1604VLZ4

nowcombinestheprovenperformanceofOnyxpreamps

withtheno-compromisehigh-headroom/low-noise

designthatmadethe1604anindustrymainstay.

All16channelsfeatureanOnyxmicpre,line

inputandinsertinacompact4-busdesignbuilt

forapplicationexibilityandprofessionalperformance.

Plus,itistruly“Built-Like-A-Tank”witharidiculously

ruggedsolid-steelchasisthatincludeshigh-contrast

controlsforultimatetactilecontrol.

Foundincountlessprofessionalbroadcastandpost

facilitiesandeasilythemostprovenband-friendly

analogmixerever,the1604standsaloneintheworld

ofcompactmixing.

How To Use This Manual

Aftertheintroduction,agettingstartedguidewill

helpyougetthingssetupfast.Thesearefollowedby

hookupdiagramswhichshowsometypicalsetups.

Nextisadetailedtouroftheentiremixer.

Thedescriptionsaredividedintosections,just

asyourmixerisorganizedintodistinctzones:

• Patchbay

• ChannelStrip

• OutputSection

Throughoutthesesectionsyou’llndillustrations

witheachfeaturenumberedanddescribedinnearby

paragraphs.

Thisiconmarksinformationthatiscritically

importantoruniquetothemixer.Foryourown

good,readthemandrememberthem.

Thisiconwillleadyoutosomeexplanations

offeaturesandpracticaltips.Theyusually

havesomevaluablenuggetsofinformation.

Need help with your mixer?

• Visit www.720trees.com and click Support to ﬁnd: FAQs, manuals and other useful information.

• Email us at: [email protected].

• Telephone 1-800-898-3211 to speak with one of our splendid technical support chaps

(Monday through Friday, normal business hours, Paciﬁc Time).

Owner’s Manual

Getting Started

Werealizethatyoumustbereallykeentotryout

themixer.Pleasereadthesafetyinstructionsonpage

2,thenhavealookthroughsomeofthefeaturesand

detailsinthismanual.

Setup

Usethemixerinanicecleananddryenvironment,

freefromdryerlintanddustbunnies.

Zero the controls

1. Fullyturndownalltheknobsandfaders

tominimum,exceptforthechannelEQ

andpancontrols,whichshouldbecentered.

2. Makesureallbuttonsareintheoutposition.

Connections

1. MakesuretheACpowerswitchisoffbefore

makinganyconnections.

WARNING:BeforepluggingtheACpower

cordintothemixer,makesuretheVOLTAGE

SELECTORswitchissettothesamevoltage

asthelocalACmainssupply(seepage13).

2. PushthelinecordsecurelyintotheIEC

connectorontherearpanel,andplugitintoa

3-prongACoutlet.Themixermayaccept

any

ACvoltagerangingfrom100VACto240VAC.

3. Plugabalancedmicrophoneintooneofthemic

XLR(3-pin)connectors.Orconnectany 

line-levelsignal(keyboard,orguitarpreamp)

toalineinputjackusingaTSoraTRS 

1/4"plug.

4. Ifyourmicrophonerequiresphantompower,

turnonthe48Vphantompowerbutton.

5. All16channelshaveinsertjacksthatcanbe

usedtoconnectanexternaleffectsordynamics

processorintothesignalchain.

6. ConnecttheTRS1/4"mainoutputsofthe

mixertothelinelevelinputsofyouramplier

(withspeakersalreadyattached)ortotheline

levelinputsofpoweredspeakers.

Set the levels

It’snotevennecessarytohearwhatyou’redoingto

setoptimallevels.Butifyou’dliketo:Plugheadphones

intothephonesoutputjack,thenturnupthe

CR/phonesknobjustalittle.

1. Turnonthemixerbypressingthetopedgeof

thepowerswitch.

2. Foronechannel,pressthesoloswitchin.

3. Engagethemodeswitchinthemaster

section.Agreenlevelsetlightwillturnon.

4. Playsomethingintothatinputatreal-world

levels.

5. Adjustthatchannel'sgaincontroluntilthe

leftmainmeterstaysaroundthe0dBLED

(marked“levelset”)andnevergoeshigher

than“+7.”

6. Disengagethechannel'ssoloswitch.

7. Repeatsteps2to6fortheremainingchannels.

8. Turnupthechannelfadertothe“U”mark.

9. Slowlyturnupthemainmixfaderuntilyou

hearthesignalsintheheadphones.

10.Ifneeded,applysomechannelEQwisely.

11.Adjustthechannelfaderstogetthebestmix.

Keepthegaincontrolsandlevelsfullydown

onunusedchannels.

12.Duringtheperformance,ifyounoticeachannel

OLLEDturningonduringpeaks,carefullyturn

downthatchannel'sgaincontroluntilOLdoes

notturnon.

Things to Remember

• Neverlistentoloudmusicforprolonged

periods.PleaseseetheSafetyInstructionson

page2forinformationonhearingprotection.

• Alwaysturndownthemainmixfaderand

controlroom/phonesknobdownwhenmaking

connectionstothemixer.Betteryet,turnoff

thepower.

• Whenshuttingdown,turnoffanypower

ampliersorpoweredspeakersrst.When

poweringup,turnthemonlast.Thiswill

reducethechanceofturn-onorturn-off

thumps.

• Savetheshippingbox!

1604VLZ4

Hookup Diagrams

Recording System

Drum microphones

Vocal

mics

Headphone amp

(Connected to the

phones jack on the

front of the mixer)

Stereo Compressor

and Stereo EQ

Stereo Tape Deck

Vocal

mics

MR8mk3

studio monitors

Headphones

Stereo Guitar Effects

Synth

Stereo Compressor

Digital Reverb

Digital Delay

Multi-track

Digital Recorder

Laptop

The rhythm and lead guitars play through stereo effects processors plugged into the line inputs of

channels 1 and 2. Microphones are connected to the mic inputs of channels 3-14 with vocal compressors

connected to the channel 3-4 and 13-14 insert jacks. [Drums are mic'd on channels 5-12]. A bass guitar

is connected to the line input of channel 15, while a synth is connected to the line input of channel 16.

A stereo compressor and stereo graphic EQ are connected to the L/R main inserts. Digital reverb and

delay processors are connected to aux sends 1 and 3, with the aux sends set to post-level. Effects are

added to the main mix via the stereo return inputs, and adjusted with the stereo return level control.

There are a multitude of recording possibilities geared for both analog purists and digital hounds.

There are three examples listed here, but feel free to experiment! (1) the RCA tape inputs and outputs are

connected to a stereo tape deck. It's an easy way to get a stereo recording of the entire band, as well as

listening to playback (over tape), (2) the eight direct outputs are connected to the eight inputs of a multi-

track digital recorder, and (3) the four subgroup outs are connected to the laptop. Again, there are many

choices for recording. Do what works for you and your setup!

A pair of MR8mk3 studio monitors are connected to the control room outputs to listen to playback of

your latest masterpiece.

Owner’s Manual

Live Stereo PA System

Drum microphones

Vocal

mics

Headphones

(Connected to the

phones jack on the

front of the mixer)

Stereo Compresor

and Stereo EQ

Vocal

mics

Stereo Guitar Effects

Synth

Stereo Compressor

Digital Reverb

Digital Delay

Laptop

DLM8 Stage Monitors

DLM12S subwoofers

Stereo EQ

DLM8 loudspeakers

The rhythm and lead guitars play through stereo effects processors plugged into the line inputs of

channels 1 and 2. Microphones are connected to the mic inputs of channels 3-14 with vocal compressors

connected to the channel 3-4 and 13-14 insert jacks. [Drums are mic'd on channels 5-12]. A bass guitar

is connected to the line input of channel 15, while a synth is connected to the line input of channel 16.

A stereo compressor and stereo graphic EQ are connected to the L/R main inserts. The 1/4" L/R main

outs connect to a stereo graphic EQ before connecting to a pair of DLM12S powered subwoofers which

are connected to a pair of DLM8 powered loudspeakers to please your audience.

Aux sends 1 and 2 are connected to DLM8 powered loudspeakers, used as stage monitors to please

the band. Digital reverb and delay processors are connected to aux sends 3 and 4, with the aux sends

set to post-level. Effects are added to the main mix via the stereo return inputs, and adjusted with the

stereo return level control.

The RCA tape inputs and outputs are connected to a laptop. It's an easy way to get a stereo recording

of the live show for posterity and crank your featured playlist over the PA between bands.

1604VLZ4

Converting To Rackmount Mode

Notonlyisthe1604VLZ4acompact,professional-

qualitytabletopmixer...it’srack-mountable!

Theuniquerotatinginputpodmakesthispossible.

Withatrustyphillipsscrewdriver,nervesofsteel,grit,

determination,charminggoodlooksandafewmoments

ofyourvaluabletime,itmaybeconvertedfromdesktop

mode(fromthefactory)torackmountmode:

1. TurnoffthepowerandremoveALLthecords

fromthemixer—powercord,audio,lamps,

everything.

2. Placethemixer,facedown,onacleansoft

surface,likeablanketorverylargedog.

3. Removethefourscrewssecuringthecable

cover[a]andsettheplateaside.

4. Replacetwoofthescrews;theonesatthepod

endofthemixer[b].

5. Removetwopod-mountingscrewsoneachside

ofthemixer[c].

6. Gentlypullthepodawayfromtheslots,rotate

it,andplaceit,tabsrst,intotherackmount

tabs[d],locatedontheundersideofthemain

chassis.Becarefulnottoconstrictorpinchany

oftheribbonorpowercables.

remove

screws

rackmount

tab slots

remove

plate

replace

screws

remove

screws

flush mount

rotate

pod

replace

screws

use the longer screws

that come in a little bag

sunken

position

use the longer screws

that come in a little bag

7. Carefullyinstallthepod-mountingscrewsin

theirnewlocations[d].

8. Installtherackearsthatcamewiththemixer,

usingthesuppliedpacketofscrews.These

screwsareabitlongerthantheonesyouhave

totakeout.Therackearsmaybeinstalledin

eitheroftwodepthsasshownatthebottom

ofthispage:[e]mixer’ssurfaceushwiththe

rackrails,likeordinaryrackmountequipment,

or[f]mixer’ssurfacesunkenintotherack,to

protecttheknobsfrombeingbumped.

NOTE:Ifyouremovetherackearsatalaterdate,

usetheoriginal(shorter)screwstosecurethe

sides.

AnoptionalaccessorycalledtheRotopod-VLZis

availableandmaybeusedindesktoporrackmount

installations.Itwillputthepatchbayjacksonthe

sameplaneasalltheknobs,buttonsandfaders.

Thisisalifesaverinapplicationsthatdemandfrequent

repatching,andcostsaheckofalotlessthanan

externalpatchbay,nottomentionalltheinterface

andpatchcords.Pleasevisityourdealerformore

excitingdetails.Besuretoorderthe“VLZ4”version

soyoudon’tendupwiththeonefortheclassicCR-1604!

Owner’s Manual

Patchbay Description

Attheriskofstatingtheobvious,thisiswhereyou

plugeverythingin:microphones,line-levelinstruments

andeffects,headphones,andtheultimatedestination

foryoursound:PAsystem,DAW,etc.Afewofthe

featuresdescribedinthissectionareontopofthe

mixer,butmostareoutbackonthis“pod.”

SeeAppendixB(page27)forfurtherdetailsand

someratherlovelydrawingsoftheconnectorsyou

canusewiththe1604VLZ4.

EZ Interface

Concernedaboutlevels,balancing,impedances,

polarity,orotherinterfacegoblins?Youcanpatch

anythingalmostanywhereonthe1604VLZ4,with

naryacare.Here’swhy:

• Everyinputandoutputisbalanced(except

insert,phonesandRCAjacks).

• Everyinputandoutputwillalsoaccept

unbalancedlines(exceptXLRjackswhen

phantompowerison).

• Everyinputisdesignedtoacceptvirtuallyany

outputimpedance.

• Themainleftandrightmixoutputscandeliver

28dBuintoaslowasa600ohmload.

• Alltheotheroutputscandeliver22dBuinto

aslowasa600ohmload.

• Alltheoutputsareinphasewiththeinputs.

Allweaskisthatyouperformthelevelsetting

procedure[page5]everytimeyoupatchinanew

soundsource.Sostopworryingandstartmixing!

1. Mic Ins

ThisisafemaleXLRconnectorthatacceptsa

balancedmicorlinelevelinputfromalmostanytype

ofsource.TheseOnyxmicpreampsfeaturehigher

delityandheadroomrivalinganystandalonemic

preamponthemarkettoday.Thesecircuitsare

excellentatrejectinghumandnoise.

TheXLRinputsarewiredasfollows:

 Pin1=Shieldorground

 Pin2=Positive(+orhot)

 Pin3=Negative(–orcold)

Professionalribbon,dynamic,andcondensermicsall

soundexcellentthroughtheseinputs.Themic/line

inputswillhandleanykindoflevelyoucantossat

them,withoutoverloading.

Noteveryinstrumentismadetoconnectdirectlyto

amixer.GuitarscommonlyneedaDirectInjection(DI)

boxtoconnecttothemixer'smicinputs.Theseboxes

convertunbalancedline-levelsignalsfromyourguitar,

intobalancedmic-leveloutputs,andprovidesignaland

impedancematching.Theyalsoletyousendyourgifted

guitarrenditionsoverlongcablesoraudiosnakes,

withminimuminterferenceorhigh-frequencysignal

loss.Askyourdealerorguitarmakerabouttheir

recommendationsforagoodDIbox.

Phantom Power

Mostmodernprofessionalcondensermicsare

equippedforphantompower,whichletsthemixer

sendlow-currentDCvoltagetothemic’selectronics

throughthesamewiresthatcarryaudio.(Semi-pro

condensermicsoftenhavebatteriestoaccomplishthe

samething.)“Phantom”owesitsnametoanabilityto

be“unseen”bydynamicmics(ShureSM57/SM58,for

instance),whichdon’tneedexternalpowerandaren’t

affectedbyitanyway.

The1604VLZ4’sphantompowerisgloballycontrolled

bythephantom[22]switchontherearpanel.

(Thismeansthephantompowerforallchannels

isturnedonandofftogether.)

Neverplugsingle-ended(unbalanced)

microphones,orribbonmicsintothemic

inputjacksifthephantompowerison.

Donotpluginstrumentoutputsintothe

micinputjackswithphantompoweron

unlessyouknowforcertainitissafetodoso.

1604VLZ4

4. Insert

Theseunbalanced1/4"jacksareforconnectingserial

effectsprocessorssuchascompressors,equalizers,

de-essers,orlters.Theinsertpointisafterthegain

[3]control,butbeforethechannel’sEQ[32],lowcut

[33],fader[25]andmute[30]controls.Insertcables

mustbewiredthusly:

 Tip=send(outputtoeffectsdevice)

Ring = return(inputfromeffectsdevice)

Sleeve = commonground

Eventhoughchannels1–8alreadyhavedirectout[5]

jacks,insertjackscanalsobeusedaschanneldirect

outputs;post-gain,pre-lowcut,andpre-EQ.Seethe

connectorsectiononpage29showingthreewaystouse

insertcables.

5. Direct Out

Foundonlyonchannels1–8,thesebalanced1/4"

jacksdeliverthesignalfromtheveryendofthechannel

path;post-gain[3],post-EQ[32],post-lowcut[33],

post-fader[25],andpost-mute[30].Theyarethekey

playerin“splitmonitoring,”makingthe1604VLZ4

perfectforan8-trackstudio.

Split Monitoring

Withsplitmonitoring,youusethersteight

channelsforyoursoundsources:vocalmics,

drummics,keyboard/synthoutputs,guitar

effectsoutputs,thatsortofthing.Fromthere,the

channelsmanipulatethesound,butarenotassignedto

theoutputsection.Instead,they’repatchedfromthe

channel’sdirectout[5]jackstothecorresponding

multitrackinput(directout1tomultitrackinput1,2to

2,3to3,etc.).Thesignalswillnowberecordedorpass

directlythroughthemultitrack,dependingoneach

track’srecord-readystatus.

tip

This plug connects to one of the

mixer’s Channel Insert jacks.

ring

tip

ring

sleeve

SEND to processor

RETURN from processor

(TRS plug)

multitrack

machine

sound sources

direct

outputs

group

outputs

1–8 9–16

2. Line Ins

These1/4"jackssharecircuitry(butnotphantom

power)withthemicpreamps,andcanbedrivenby

balancedorunbalancedsourcesatalmostanylevel.

Youcanusetheseinputsforvirtuallyanysignalyou’ll

comeacross,frominstrumentlevelsaslowas–50dBu,

tooperatinglevelsof–10dBVto+4dBu,sincethere

is–15to+45dBofgain(60dBrange)availablefor

lineinputsviathegain[3]knob.Alwaysmakesure

toperformthelevelsettingprocedureonpage5.

Toconnectbalancedlinestotheseinputs,use

a1⁄4"Tip-Ring-Sleeve(TRS)plug,wiredasfollows:

 Tip=Positive(+orhot)

 Ring=Negative(–orcold)

 Sleeve=Shieldorground

Toconnectunbalancedlinestotheseinputs,

usea1⁄4"mono(TS)phoneplug,wiredasfollows:

 Tip=Positive(+orhot)

 Sleeve=Shieldorground

3. Gain

Yesit’strue,thesecontrolsarenotinthepatchbay

sectionatall.They’refoundalongthetoprowof

knobsinthechannelstripsection.Buttheirpurpose

issocloselylinkedwiththemicandlineinputjacks

thatwecouldn’tbeartoseparatethem.Ifyouhaven’t

already,pleasereadthelevel-settingprocedureon

page5.

Gainadjuststheinputsensitivityofthe

micandlineinputs.Thisallowssignals

fromtheoutsideworldtobeadjustedto

optimalinternaloperatinglevels.

IfthesignaloriginatesthroughtheXLRjack,there

willbe0dBofgainwiththeknobfullydown,ramping

to60dBofgainfullyup.

Throughthe1⁄4"input,thereis20dBofattenuation

fullydownand40dBofgainfullyup,witha“U”(unity

gain)markat10:00.This20dBofattenuationcanbe

veryhandywhenyouareinsertingaveryhotsignal,or

whenyouwanttoaddalotofEQgain,orboth.Without

this“virtualpad,”thisscenariomightleadtochannel

clipping.

Owner’s Manual

4. Insert

Theseunbalanced1/4"jacksareforconnectingserial

effectsprocessorssuchascompressors,equalizers,

de-essers,orlters.Theinsertpointisafterthegain

[3]control,butbeforethechannel’sEQ[32],lowcut

[33],fader[25]andmute[30]controls.Insertcables

mustbewiredthusly:

 Tip=send(outputtoeffectsdevice)

Ring = return(inputfromeffectsdevice)

Sleeve = commonground

Eventhoughchannels1–8alreadyhavedirectout[5]

jacks,insertjackscanalsobeusedaschanneldirect

outputs;post-gain,pre-lowcut,andpre-EQ.Seethe

connectorsectiononpage29showingthreewaystouse

insertcables.

5. Direct Out

Foundonlyonchannels1–8,thesebalanced1/4"

jacksdeliverthesignalfromtheveryendofthechannel

path;post-gain[3],post-EQ[32],post-lowcut[33],

post-fader[25],andpost-mute[30].Theyarethekey

playerin“splitmonitoring,”makingthe1604VLZ4

perfectforan8-trackstudio.

Split Monitoring

Withsplitmonitoring,youusethersteight

channelsforyoursoundsources:vocalmics,

drummics,keyboard/synthoutputs,guitar

effectsoutputs,thatsortofthing.Fromthere,the

channelsmanipulatethesound,butarenotassignedto

theoutputsection.Instead,they’repatchedfromthe

channel’sdirectout[5]jackstothecorresponding

multitrackinput(directout1tomultitrackinput1,2to

2,3to3,etc.).Thesignalswillnowberecordedorpass

directlythroughthemultitrack,dependingoneach

track’srecord-readystatus.

tip

This plug connects to one of the

mixer’s Channel Insert jacks.

ring

tip

ring

sleeve

SEND to processor

RETURN from processor

(TRS plug)

multitrack

machine

sound sources

direct

outputs

group

outputs

1–8 9–16

Theoutputsofthemultitrackarethenpatched

tothenexteightline[2]inputsonthe1604VLZ4

(multitrackout1tolineinput9,2to10,3to11,etc.).

Thesechannels(9–16)willbeassignedtothemixer’s

outputsection,deliveringthesignalstotheirultimate

destination,whichmaybeyourmixdown2-track,your

controlroomsystem,oryourheadphones.

Butlet’snotforgetthatthe1604VLZ4isa4-bus

mixer.Thesebusesleadtothesubouts[8],andare

designedtoaccomplishthetaskofgettingchannels

tothemultitrackwithoutusingthedirectoutputs.

Forexample,achannelisassignedtosubout1.

Subout1’soutputispatchedtomultitrackinput1.

Fromthere,themultitrackoutputgoestothemixer’s

channel9lineinput,aswejustdiscussed.(Hottip:

Tofeedan8-trackdeckwith4suboutputs,simplyuse

Y-cords:subout1feedstracks1and5,2feeds2and6,

3feeds3and7,and4feeds4and8.Tracksinrecord

modewillacceptthesignal,andtracksinsafemode

willignorethesignal.)

Theadvantages:Youcanassignanychanneltoany

track,withoutrepatching.Youcanassignmultiplechan-

nelstoonetrackandcontroltheoveralllevelofthat

subgroup.Youcan’tbouncetrackswithoutthisfeature.

Perhapsthebestmethodistodoboth:Usethesub

outstofeedmultichannelsubmixes(likeadrumkit)

tosomeofthetracks,andthedirectoutjackstofeed

single-channelsignals(likebassguitar)totheother

tracks.

Thepointisthatyouneverlistendirectlytothe

sourcechannels(1–8).Youlistentothemonitorchan-

nels(9–16)andthey’relisteningtothemultitrackthat

islisteningtothesourcechannels.(Makesuretoassign

themonitorchannels9-16totheL/Rmix,andnotthe

sourcechannels1-8.)Themainadvantageisthatyou

won’tbeforcedtoconstantlyrepatchyourmultitrack—

justsetitupandforgetit.You’llalsoknowforcertain

thatthesignalsareindeedgettingtothemultitrack,

sinceyou’reconstantlylisteningtoit.

Anothermethodofinterfacingamultitrackiscalled

inlinemonitoring,andrequiresadedicatedmixing

console.Eachofitschannelsisactuallytwochannels:

onecarryingthemic/linesoundsourceandtheother

carryingthemultitrackoutput.

6. Aux Sends

These1/4"jacksusuallypatchtotheinputsof

aparalleleffectsdevicesortotheinputsofstage

monitoramps.Fordetailssee

“

AuxTalk

”

onpage23.

Effects: Serial Or Parallel?

You’vehearduscarelesslytossaroundtheterms

“serial”and“parallel.”Here’swhatwemeanbythem:

“Serial”meansthattheentiresignalleavesthemixer

[insert(4)send],isroutedthroughtheeffectsdevice,

andreturnstothemixer[insertreturn].Examples:

compressor/limiters,graphicequalizers.

“Parallel”meansthataportionofthesignalinthe

mixeristappedofftothedevice(auxsend),processed

andreturnedtothemixer(stereoreturn)tobemixed

withtheoriginal“dry”signal.Thisway,multiple

channelscanallmakeuseofthesameeffectsdevice.

Examples:reverb,digitaldelay.

Dry Signal

Processed

Signal

Insert

Send

Insert

Return

Dry Signal(s)

Aux

Send

Aux

Return

Wet Signal

Channel Path

Mix

Stage

Output

Section

Processed

Signal

Signal Processor

(e.g., Compressor)

Signal Processor

(e.g., Reverb)

Dry Signal

Processed

Signal

Insert

Send

Insert

Return

Dry Signal(s)

Aux

Send

Aux

Return

Wet Signal

Channel Path

Mix

Stage

Output

Section

Processed

Signal

Signal Processor

(e.g., Compressor)

Signal Processor

(e.g., Reverb)

Dry Signal

Processed

Signal

Insert

Send

Insert

Return

Dry Signal(s)

Aux

Send

Aux

Return

Wet Signal

Channel Path

Mix

Stage

Output

Section

Processed

Signal

Signal Processor

(e.g., Compressor)

Signal Processor

(e.g., Reverb)

1604VLZ4

9. C-R Outs (Control Room Outputs)

These1/4"jacksareusuallypatchedtotheinputsof

acontrolroomamplieroraheadphonedistribution

amplier.Tolearnhowsignalsareroutedtothese

outputs,seectlroom/phones[43]onpage20.

10. Phones Out (On Front Panel)

The1604VLZ4’sstereo1/4"phones

jackwilldriveanystandard

headphonetoveryloudlevels.

Tolearnhowsignalsareroutedto

theseoutputs,seectlroom/phones

[43]onpage20.Ifyou’rewiringyour

owncableforthephonesoutput:

 Tip=leftchannel

Ring = right channel

Sleeve = commonground

WARNING:Whenwesaytheheadphone

ampisloud,we’renotkidding.Itcancause

permanenteardamage.Evenintermediate

levelsmaybepainfullyloudwithsomeearphones.

BE CAREFUL!Alwaysturnthectlroom/phones[43]

knoballthewaydownbeforeconnectingheadphones.

Keepitdownuntilyou’veputthephoneson.Thenturn

itupslowly.Why?“Engineerswhofrytheirearsnd

themselveswithshortcareers.”

11. Tape Out

TheseunbalancedRCAjackstapthemainmix

outputstomakesimultaneousrecordingandPAwork

moreconvenient.Connectthesetoyour2-track

recorder’sinputs.Tolearnhowsignalsarerouted

totheseoutputs,seemainmix[37]faderdetails

onpage19.

Mono:Ifyouwanttofeedamonosignaltoyourtape

deckorotherdevice,simplyusethe1/4"mono[15]

outputjack.

12. Tape In

TheseunbalancedRCAjacksaredesignedtowork

withsemiproaswellasprorecorders.Connectyour

2-tracktaperecorder’soutputshere,usingstandardhi-

RCAcables.Tolearnhowsignalsareroutedfromthese

inputs,seetapein(level)[40]onpage20.

7. Stereo Returns

Thisiswheretoconnecttheoutputsofparallel

effectsdevices(orextraaudiosources).They’llaccept

justaboutanyproorsemiproeffectsdeviceonthe

market.Tolearnhowsignalsareroutedfromthese

inputs,seestereoreturnlevel[51]onpage23.

Mono:Ifyouhaveaneffectsdevicewithamono

output(onecord),plugthatintotheleftinputof

astereoreturnandleavetherightinputunplugged.

Thatway,thesignalwillbesenttobothsides,

magicallyappearinginthecenterasamonosignal.

8. Sub Outs

Thesefour1/4"jacksareusuallypatchedto

theinputsofamultitrackdeck,ortosecondary

ampliersinacomplexinstallation.Tolearnhow

signalsareroutedtotheseoutputs,seesubgroup

faders[38],page19.

Double Busing

Howonearthdoyougetfourjackstofeedeight

tracks?Tofeedan8-trackdeckwithonlyfoursubouts,

simplyusefourY-cords:

• SubOut1feedstracks1and5

• SubOut2feedstracks2and6

• SubOut3feedstracks3and7

• SubOut4feedstracks4and8

Tracksinrecordmodewillacceptthesignal,and

tracksinsafemodewillignorethesignal.It’sthateasy.

Thismethodisexactlythesameasthe

double-busingfeaturefoundinothermixers.

Built-indouble-busingisnothingmorethan

Y-cordslivinginsidethemixerinsteadofhangingout

theback.Ifwehadroomfortheextrajacks,wewould

havethrownthemin,butwedon’t,sowedidn’t.

Sonically,thereisnodifference.

Y-cordadvice:Donotusethestereo“headphone-to-

left/right”splitteradapters.Usethetypethatsendthe

samesignaltotwoplaces;thetipofthesourceplug

feedsthetipsofbothdestinationplugs.

9 11

7 8 12 13

Owner’s Manual

Usethesejacksforconvenientplaybackofmixes.

You’llbeabletoreviewamix,andthenrewindandtry

anotherpasswithoutrepatchingordisturbingthemixer

levels.YoucanalsousethesejackswithaCDplayer

tofeedmusictoaPAsystembetweensets.

WARNING:Pushingtapetomainmix[41]

intheoutputsectioncancreateafeedback

pathbetweentapeinputandtapeoutput.

Makesureyourtapedeckisnotinrecord,record-pause

orinputmonitormodewhenyouengagethisswitch,

ormakesurethetapeinlevelknobisfullycounter-

clockwise(off).

13. Main Insert

These1/4"jacksareforconnectingserialeffectssuch

ascompressors,equalizers,de-essers,orlters.The

insertpointisafterthemixamps,butbeforethemain

mix[37]fader.Insertcablesmustbewiredthusly:

 Tip=send(outputtoeffectsdevice)

Ring = return(inputfromeffectsdevice)

Sleeve = commonground

14. Main Outs

These1/4"jacksareusuallypatchedtotheinputs

ofyour2-trackmixdowndeck(unlessyou’vechosen

tousethetapeoutput[11]RCAjacks),ortothehouse

amplierduringlivesoundsessions.Tolearnhow

signalsareroutedtotheseoutputsseemainmix[37]

faderdetailsonpage19.Tousetheseoutputstodrive

balancedinputs,connect1/4"TRS(Tip-Ring-Sleeve)

phoneplugslikethis:

 Tip=Positive(+orhot)

 Ring=Negative(–orcold)

 Sleeve=Shieldorground

Tousetheseoutputstodriveunbalancedinputs,

connect1/4"TS(Tip-Sleeve)phoneplugslikethis:

 Tip=Positive(+orhot)

 Sleeve=Shieldorground

15. Mono Out

Ithappenstoeverybodysoonerorlater:Theforces

thatgovernyourworldwilldemandamonaural

outputfromyourpainstakingly-createdstereo

panorama.Thelastthingyouwanttodoisstart

twirlingallyourcarefully-placedpansettingstoone

side.Whattodo?Stickacordinthis1/4"jack,hand

theotherendtoMr.Mono,andyou’redone.He’sgot

hismonomixandyou’vestillgotyourstereomix.

Themonooutputisnothingmorethanamixof

theleftandrightmainmix.

16. Mono Level

So,Mr.Monocomesrunningback,screamingabout

themonomixbeingsoloudthathiscamcorderis

melting.Justreachforthisknobandturnitdown

abit.Justthethingforsendingmonosignalstomic

inputslikecamcorders,telephoneinterfaceboxes,even

answeringmachines.Withthepotallthewayup(fully

clockwise),you’llhave6dBofextragain,withunity

gainhalfwaybetweentheoneandtwoo’clockpositions.

17. Voltage Selector

Locatedonthebottompanel,isavoltageselector

switch.

WARNING: Beforeyouplugthe

ACpowercordintothe1604VLZ4,

youmustmakesurethatthisslide

switchissettothesamevoltageasthelocal

ACmainssupply.Onlyslidethevoltageswitch

withthepowercordunplugged.

Useaatheadedscrewdrivertoslidetheswitch

ifneeded.Theswitchallowsyoutousethemixerin

differentcountriesandvoltages,meetinteresting

peoplefromothercultures,andentertainthem.

18. Power Connection

Justincaseyoulosethecordprovidedwiththe

1604VLZ4,itspowerjackacceptsastandard3-prong

IECcordlikethosefoundonmostprofessional

recorders,musicalinstruments,andcomputers.

WARNING:BeforeyouplugtheACpower

cordintothe1604VLZ4,youmustmakesure

thatthevoltageselector[17]slideswitchis

settothesamevoltageasthelocalACmainssupply.

WARNING:Disconnectingtheplug’sground

pincanbedangerous.Don’tdoit.

1604VLZ4

20 22

22. Phantom Switch

Thisswitchcontrolsthephantompowersupply

forallthemic[1]inputs,asdiscussedonpage9.

Whenturnedon(oroff),thephantompowercircuitry

takesafewmomentsforvoltagetorampup(ordown).

Thisisperfectlynormal.Makesurethatyoupulldown

themasterfader,andheadphone/controlroomvolume

beforeengagingthephantomswitch.

23. 48V LED

LocatedrightnexttothepowerLED,thisisjusttolet

youknowwhichwayyouhavethephantom[22]switch

set.Ifyourdynamicmicsworkandyourcondensers

don’t,chancesarethisLEDisoff,soturniton.

You’llnoticethatwhenyouturnthephantompower

off,theLEDstaysonforawhile.Thisisanaturalphe-

nomenon—theLEDisactuallyavoltmetertellingyou

thatthephantompowertakestimetorampitselfdown

tozerovolts.So,ifyou’veturnedphantompoweroffto

connectsomethingtothemicinputs,waituntiltheLED

stopsglowingandthenmakeyourconnectionssafely.

24. BNC Lamp Socket

Locatedinthetoprightcorneroftheoutput

section,this12Vsocketwilldriveanystandard

BNC-typelamp(aLittlite®#12Gor#12G-HI

(high-intensity),forinstance).

19. Fuse

The1604VLZ4isfusedforyour(anditsown)

protection.Ifyoususpectablownfuse,disconnect

thepowercord,popoutthefusedrawerwithasmall

atscrewdriver,andreplacethefusewitha1ASLO

BLO,5x20mm,availableatelectronicsstoresor

yourdealer(ora500mASLOBLO5x20mmif

your1604VLZ4issetto220V-240V).

Iftwofusesblowinarow,somethingisverywrong.

Pleasecallourtoll-freenumber1-800-898-3211from

withintheU.S.(orcallthedistributorinyourcountry)

andndoutwhattodo.

20. Power Switch

Pressthetopofthisrockerswitchinwardstoturn

onthemixer.Thepowerled[21]onthetopsurface

ofthemixerwillglowwithhappiness,oratleastit

willifyouhavethemixerpluggedintoasuitable

liveACmainssupply.

Pressthebottomofthisswitchtoputthemixerinto

standbymode.Itwillnotfunction,butthecircuitsare

stilllive.ToremoveACpower,eitherturnofftheAC

mainssupply,orunplugthepowercordfromthemixer

andtheACmainssupply.

Asageneralguide,youshouldturnthemixeron

rst,beforethepoweramplierorpoweredspeakers,

andturnitofflast.Thiswillreducethepossibilities

ofanyturn-on,orturn-offthumpsinthespeakers.

21. Power LED

You’veprobablyalreadyguredthisout,butifthe

power[20]switchison,thisLED(light-emitting

diode),locatedintheoutputsection,willlight.Ifthe

switchisoff,well,yougettheidea.Ifthepowerswitch

isonandtheLEDdoesnotglow,oneofthreethings

hashappened:Somebodytrippedoverthepowercord

andyankeditfromtheoutlet,yourelectricityhasbeen

turnedoffduetononpayment,orthefusehasblown.

23 21

Owner’s Manual

Channel Strip Description

The16channelstripslookalikeand

functionidentically.Soifyoulearnone,

youhavelearnedthemall.Theonly

differenceisthattheeightontheleft

havedirectout[5]jacksandtheeight

ontherightdon’t.We’llstartatthe

bottomandworkourwayup.

“U” Like Unity Gain

VLZ4mixershavea“U”symbolon

almosteverylevelcontrol.This“U”stands

for“unitygain,”meaningnochangein

signallevel.Onceyouhaveperformed

thelevel-settingprocedure,youcanset

everycontrolat“U”andyoursignalswill

travelthroughthemixeratoptimallevels.

What’smore,allthelabelsonourcontrols

aremeasuredindecibels(dB),soyou’ll

knowwhatyou’redoinglevel-wiseifyou

choosetochangeacontrol’ssettings.

25. Channel Fader

Thefaderisalmostthelastcontrol

inachannel’ssignalpath.It’splaced

aftertheEQ[32]andmute[30]

controls(post-EQ/post-mute)and

beforethepan[31]control(pre-pan).

The“U”mark,aboutthree-quartersof

thewayup,indicatesunitygain,meaning

noincreaseordecreaseofsignallevel.

Allthewayupprovidesanadditional

10dB,shouldyouneedtoboostasection

ofasong.Ifyoundthattheoveralllevel

istooquietortooloudwithafadernear

unity,you’llwanttoconrmthesetting

byperformingthelevel-settingprocedure

onpage5.

A Clean Fade

Fadersarenotrocketscience—they

operatebydraggingametalpin(the

wiper)acrossacarbon-basedstrip(the

track).Itispossibleforairbornecrudto

landonthetrack.Shouldthathappen,youmayhear

scratchynoisesorsignaldropoutsasthewiperstumbles

overthecrud.Doallyoucantokeepairbornecrudout

ofyourprofession.Useair-conditionedroomswhenever

possible,avoidsmokingnearthemixer,keepfoodand

drinkawayfromthemixer,andforpity’ssake,never

putthemixerinyourkitchen!Wealsorecommend

“exercising”thefaders—givethemafewfull-travel

excursionsonceaweekorso,andthatwillhelpscare

thecrudaway.Donotusespraycleaners,ratheruse

compressedair,oravacuumwithbrushattachment.

26. Assign (1–2, 3–4, L–R)

Alongsideeachchannelfaderarefourbuttons,

labeledsolo,1–2,3–4andL–R.Thelatterthreeare

collectivelyreferredtoaschannelassignmentswitches.

1,3andLaretheleftsidesofthesestereopairs,and

2,4andRaretherightsides.Usedinconjunctionwith

thechannel’span[31]knob,theseswitchesdetermine

thedestinationofachannel’ssignal:Withpansetat

thecenterdetent,theleftandrightsidesreceiveequal

signallevels.Tofeedonlyonesideortheother,justturn

thepanknobaccordingly.

Ifyou’redoingamixdowntoa2-track,simplyengage

theL–Rswitchoneachchannelthatyouwanttohear,

andthey’llbesenttothemainmix.Ifyouwanttocreate

asubgroupofcertainchannels,engageeitherthe1–2

or3–4switchesinsteadoftheL–R,andthey’llbesent

totheappropriatesubgroupfaders.Fromthere,the

subgroupscanbesentbacktothemainmix,allowing

youtousethesubgroupfadersasamastercontrolfor

those channels.

Ifyou’reprintingnewtracksorbouncingexisting

ones,you’llalsousethe1–2and3–4switches,but

nottheL–Rswitch.Here,youdon’twantthesubgroups

sentbackintothemainmix,butsentout,viathe

subouts[8]jacks,toyourmultitrackinputs.

However,ifyou’reprintingtracksviathedirect

out[5]jacks,allthechannelassignmentswitches

shouldbedisengaged(up).

The1604VLZ4iswhatwecalla“true4-busmixer.”

Eachchannelmaybeassignedorunassignedtoanyof

thesubgroupswithoutaffectingtheothersubgroups

orsettingswithinthechannel,andeachsubgrouphas

itsownmasterfaderanddedicatedoutput.Infact,

sincethereare4subgroupsandthemainL/Rmix,

it’sactuallyatrue6-busmixer.Wecouldhavenamed

itthe1606VLZ4.Darn!

1604VLZ4

27. Solo

Thislovableswitchallowsyoutochecksignalsin

thephonesorcontrolroomwithouthavingtoassign

themtotheL-R,1-2or3-4mixes.Youcansoloas

manychannelsasyoulike.Solodoesnotinterrupt

anyoftheotherchannels,busesoroutputs—that’s

callednondestructivesolo.

Usingthemode[44]

switch,the1604VLZ4’ssolo

systemcomesintwoavors:

normal(AFL)(sometimes

calledSIP,orsolo-in-place)

andlevelset(PFL)(sometimescalledPFL,

orpre-fader-listen).Themodeswitchisdescribed

intenderlovingdetailonpage21.

Levelset(PFL)tapsthechannelsignalbefore

thefader.Ifyouhaveachannel’sfadersetway

below“U”(unitygain),solowon’tknowthat

andwillsendaunitygainsignaltothecontrolroom,

headphones,andmeterdisplay.Thatmayresultin

astartlinglevelboostattheseoutputs,depending

onthepositionofthesolo[46]levelknob.

Inanutshell,soloedchannelsaresenttothesource

[42]mix,thatultimatelyfeedsyourcontrolroom,

headphonesandmeterdisplay.Wheneversolois

engaged,allsourceselections(mainmix,1–2,3–4,

andtape)aredefeated,toallowthesoloedchannel

todojustthat—solo!

28. –20 (Solo) LED

AnLEDthatdoestwocompletely

differentthings!Savesspace,recycles

theplanet,butrequiressome

explanation.First,the“–20”part:

Oftenreferredtoas“signalactivity,”

thisLEDwillickerintimewiththe

signalpresentinthatchannel.It’shandy

forconrmingthatachannelisindeed

active,andmayalsolendaclueasto

whatthesignalis.Forinstance,akick

drumwillcausetheLEDtopulseintime

withthedrum,andasynthpadwillcause

ittoglowabitmoresteadily.

Nowforthe“solo”part.Whena

channel’ssoloswitchisengaged,this

LEDwillglowsteadily,withoutickering.

Itwillalsobebrighterthanitwouldbe

asa–20indicator.Inconjunctionwith

therudesololight[47],youcannd

aroguesoloswitchquickly.

29. OL (Mute) LED

AnotherLEDthatdoestwocompletelydifferent

things!First,the“OL”part:“OL”meansoverload,or

clip.Youdon’twantthattohappen.Ever.Clippingcan

happentoanymixer—it’sthepointwherethesignal’s

voltagetriestoexceedthesupplyvoltagesthatpower

thecircuitry.The1604VLZ4’sOLLEDwillcomeonjust

beforeclipping,soifyouseeit,takeimmediateaction:

Performthelevel-settingprocedureonpage5.Ifthat

doesn’thelp,checkforexcessiveuseofEQboostor

fadergain.Likethe–20LED,itwilltendtoickerin

timewiththatchannel’ssignal.

Nowforthe“mute”part.Assumingyourlevelsareset

correctly,theOLLEDwillnevercomeonasaresultof

clipping.That’sprettyboring.So,toliventhingsup,this

LEDwillglowsteadilywhenthatchannel’smute[30]

switchisengaged.

HereisaquickreferencetotheseLEDs:

30. Mute

Engagingthisswitchprovidesthesameresults

asturningthechannel'sfaderallthewaydown:

AnychannelassignmenttoL-R,1-2or3-4willbe

interrupted.Allthepostauxsendswillbesilenced,

aswillthedirectoutsignalsonchannels1through8,

andtheOL(mute)LEDwillglow.Thepreauxsends,

channelinsertsend,andsolo(inlevelset(PFL)mode)

willcontinuetofunctionduringmute.

Dependingontheaudiocontentinachannel,

engagingitsmuteswitchmaycauseaslightpopping

sound.Thisisnotaproblemwithinthemixer,andit

canbeavoided:Simplyengagethelowcut[33]switch

oneachchannel(unlessitslowfrequencycontentis

vitallyimportant,suchasakickdrumorbassguitar).

Lowcuteliminatessubsonicdebris,whichcausesthe

pop,anditseffectisusuallytransparent.

Name Color Flickering Glowing

–20(SOLO) green signalpresent channel soloed

OL(MUTE) red channelclipping channelmuted

Owner’s Manual

ThelowEQprovidesupto

15dBboostorcutbelow80Hz.

Thecircuitisat(noboostor

cut)atthecenterdetentposi-

tion.Thisfrequencyrepresents

thepunchinbassdrums,bass

guitar,fatsynthpatches,andsomereallyseriousmale

singerswhoeatbrokenglassforbreakfast.

Usedinconjunctionwiththelowcut[33]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.

ThemidEQ,or“midrange,”hasaxed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.

Mostoftherootandlowerharmonicsthatdenea

soundarelocatedinthe100Hz–8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nd

apointwhereitsoundsjustterrible,thenbackthemid

downintothecutrange,causingthoseterriblefrequen-

ciestodisappear.Soundssilly,butitworks.Sometimes.

ThehiEQprovidesyouup

to15dBboostorcutabove

12kHz,anditisalsoat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.

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loveyou,andknowthateveryone

willoccasionallyneedthat.ButifyoumaxtheEQon

everychannel,you’llgetmixmush.Equalizesubtlyand

usetheleftsidesoftheknobs(cut),aswellastheright

(boost).Ifyound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.

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31. Pan

Thisadjuststheamountofchannelsignalsentto

theleftversustherightoutputs.Pandeterminesthe

fateoftheL-Rassignment,subgroups1–2and3–4,

andthesolo(inAFLmode).Withthepanknobhard

left,thesignalwillfeedtheleftmainmix,subgroup1,

subgroup3andleftnormal(AFL)solomode(assuming

theirassignmentswitchesareengaged).Withtheknob

hardright,signalfeedstherightmainmix,subgroup2,

subgroup4andrightnormal(AFL)solomode.Withpan

setsomewherein-betweenleftandright,thesignalwill

bedividedbetweentheleftandrightbuses.

Stereo Sources

Yourlifewillbeeasierifyoufollowthisstandard

convention:Whenpatchingstereosoundsources

toamixer,alwaysplugtheleftsignalintoan“odd”

channel(1,3,5,etc.)andtherightsignalintothe

adjacent“even”channel(2,4,6,etc.).Thenpanthe

oddchannelhardleftandtheevenchannelhardright.

Constant Loudness ! ! !

The1604VLZ4’span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.

32. 3-Band Mid-Sweep EQ

The1604VLZ4has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.It’sprobablyall

theEQyou’lleverneed!(Shelvingmeansthatthe

circuitryboostsorcutsallfrequenciespastthe

speciedfrequency.Forexample,the1604VLZ4’s

lowEQboostsbassfrequenciesbelow80Hzand

continuingdowntothelowestnoteyouneverheard.

Peakingmeansthatcertainfrequenciesforma“hill”

aroundthecenterfrequency.)

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1604VLZ4

33. Low Cut

Thisswitch,oftenreferredtoasahighpasslter(all

dependsonhowyoulookatit),cutsbassfrequencies

below75Hzatarateof18dBperoctave.Thisain’tno

thrown-indime-storelter—an18dBperoctavecurve

requiresanelaboratecircuit.Nothingbutthebest.

Werecommendthatyouusethisoneverysound

sourceexceptkickdrum,bassguitar,orbassysynth

patches.Theseaside,thereisn’tmuchdowntherethat

youwanttohear,andltering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amplier

power.

Withlowcut,youcansafelyboostlowEQ.Many

times,bassshelvingEQcanreallybenetvoices.

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blowingyoursubwoofers.

Here’safrequencycurveoflowEQcombinedwith

lowcut:

34. 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[6]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[49]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[35]mode,these

mixlevelscanbeobtainedindependently

ofachannel’sfader[25]settings.

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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.Thereareexceptions,sofeelfreetotryit

bothways.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.

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.

35. 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.

Seethe“Prevs.Post”diagrambelow.Aux3through6

arealwaysinpostmode.

Inpostmode(switchup),aux1and2willfollow

theEQ[32],lowcut[33],fader[25],andmute[30]

settings.Ifyoufadethechannel,youfadethesend.

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

gainandlowcutsettingsonly.EQ,pan,fader,andmute

settingshavenoeffectonthepresends.Thisisthe

preferredmethodforsettingupstagemonitorfeeds

—they’llbecontrolledindependentlyofthefaderand

mutemoves.

36. 5/6 Shift

Don’tletthefactthatthere’sonlyfourauxknobs

perchannelfoolyou—the1604VLZ4hassixaux

sends[6].Withthis5/6shiftswitchup,theknobs

labeledaux3andaux4delivertheirsignalstoaux

send3and4outputs.Withthisswitchdown,the

signalsappearattheauxsend5and6outputs.

Werecommendthatauxsend3and4bepatchedinto

your“utility”effects,likeashortreverbandslapdelay;

effectsyouuseallthetime.Useauxsend5and6for

“exotic”effects,likeharmonizersandmulti-tapdelays;

theyarenotlikelytobeusedasoften.

INPUT TRIM INSERT

LOW

CUT

PAN ASSIGN

MUTE

FADER

'POST' SIGNAL

'PRE' SIGNAL

PRE SWITCH

AUX 1

AUX 2

Owner’s Manual

Output Section Description

You’vejustlearnedabouttheinputchannelsandhow

thesignalsgetinandout.Thesignalscomeinviamic

[1]andline[2]inputjacks,aremanipulatedbythe

channels,andthensenttotheoutput(master)section.

Thingsgetalittlemorecomplicated,soputonyour

thinkingcaps,takeadeepcleansingbreath,takethis

manual,getonabycycle,ridedowntothecanal,ponder

yourlifeandallitsuniqueexperiences,thenreadthis

section.

3738

37. Main Mix Fader

Thisfadercontrolsthelevelsofsignalssenttothe

mainout[14]jacksandtapeoutput[11]RCAjacks.

Allchannelsandstereoreturnsthatareassignedtothe

mainmix,notmutedandnotturnedfullydownwill

appearatthemainouts.Beforethemainmixgetsto

thisfader,thesignalspassthroughthemaininsert[13].

Themainmixsignalsareoffwiththefaderfullydown,

the“U”markingisunitygain,andfullyupprovides

10dBadditionalgain.Thisadditionalgainwilltypically

neverbeneeded,butonceagain,it’snicetoknow

it’sthere.Thefaderitselfisastereoversionofthe

channelandsubgroupfaders—samesupersmooth

customtaper,samedeadsilencewhenturnedfully

down.Thisisthefadertopulldownattheendofthe

songwhenyouwant“TheGreatFade-Out.”

38. Subgroup Faders

Asyoumightexpect,thesefaderscontrolthelevels

ofsignalssenttothesubouts[8].Allchannelsthatare

assignedtosubgroupswiththeassign[26]switches,

notmutedandnotturnedfullydownwillappearatthe

subouts.Unlikethemainout[14],thesubgroupsignals

donotpassthroughaninsertjackontheirwaytothe

subgroupfaders.That’snoproblem—shouldyouwant

tosendthesesignalsthroughaserialeffectsprocessor,

simplypatchfromthesuboutstotheeffect’sinput,

andfromtheeffect’soutputtowhateverthenal

destinationis,usuallyamultitrackrecorder.

Thesubgroupsignalisoffwhenitsfaderisfullydown,

the“U”markingisunitygain,andfullyupprovides

10dBadditionalgain.Rememberthatifyou’re

treatingtwosubgroupsasastereopair,subgroup

1and2forexample,makesurethatbothsubgroup

faders“ride”together,tomaintaintheleft/rightbalance.

39. Assign To Main Mix

Onepopularuseofthesubgroupsistousethem

asmasterfadersforagroupofchannelsontheirway

tothemainmix.Let’ssayyou’vegotadrumkithogging

upsevenchannelsandyou’regoingtowanttofadethem

outatadifferentratethantheotherchannels.Youdon’t

wanttotrythatwithsevenhandsorsevenngers,

sojustun-assignthesechannelsfromL–R,reassign

themtosubgroup1–2,engagetheassigntomainmix,

leftonsubgroup1andtheassigntomainmix,right

onsubgroup2.Nowyoucanridetheentirestereodrum

mixwithtwofaders—1and2.

Ifyouengagejustoneassigntomainmixswitchper

subgroup(leftorright),thesignalsenttothemain

mixwillbethesamelevelasthesubouts[8].Ifyou

wantthesubgrouptoappearinthecenterofthemain

1604VLZ4

mix,engageboththeassigntomainmix,leftandright

switches.Thesignalwillbesenttobothsides,and

willbeattenuatedjustenoughtopreserveconstant

loudness,justlikethechannelpan[31]knobswhen

set in the center.

40. Tape In (Level)

Thisknobcontrolsthelevelofthestereosignalcom-

ingfromthetapeinput[12]RCAjacks.Itsrangeisoff

whenfullydown,unityatthecenterdetent,with20

dBadditionalgainturnedfullyup,whichmaycomein

handyifyou’vepatchedinadevicewithwimpyoutput

levels.Afterthelevelisdetermined,thestereotape

signalcanbesenttoeitheroftwoplaces—themain

mixorthesource[42]matrix.

41. Tape To LR

EngagingthisswitchisjustlikeengagingtheL-R

switchonachannel—thesignal,stereointhiscase,is

senttothemainmix.Itdoesnotinterruptothersignals,

justaddsitselftothem.Thisswitchcanbeveryhandy

inalivesoundsituationwhenyouwanttoplaysoothing

elevatormusictoananxiouscrowd.

WARNING:Engagingtapetomainmixcan

createafeedbackpathbetweentapeinput

[12]andtapeoutput[11].Makesureyour

tapedeckisnotinrecord,record-pauseorinput

monitormodewhenyouengagethisswitch,orthat

thetapein[40]levelknobisturnedfullydown.

42. Source

Typically,theengineersendsthemainmixtoan

audienceortoamixdowndeck(ifrecording).Butwhat

iftheengineerneedstohearsomethingotherthanthe

mainmix?Withthe1604VLZ4,theengineerhasseveral

choicesofwhattolistento.Thisisoneofthosetricky

parts—haveadoubleespressorst.

Usingtheseswitches,youcanchoosetolistentoany

combinationofmainmix,subs1-2,subs3-4andtape.

Selectionsmadeheredeliverstereosignalstothe

controlroom,headphones,andmeterdisplay.These

signalsaretappedoffasfollows—post-mainmixfader,

postsubgroupfaders[38],andpost-tapein[40]knob.

Withnoswitchesengaged,therewillbenosignal

attheseoutputsandnometerindication,withtwo

exceptions:soloandstereoreturn4.

Regardlessofthesourcematrixselection,engaging

asoloswitchwillreplacethatselectionwiththesolo

signal,alsosenttothecontrolroom,headphones,and

meterdisplay.Thisiswhatmakesthelevel-setting

proceduresoeasy.

Nowyouknowhowtoselectthesignalsyouwant

tosendtotheengineer’scontrolroomand/orphones.

Onceselected,thesesignalsallpassthroughthesame

levelcontrol,aptlynamed:

43. CR/Phones

Asyoumightexpect,thisknobcontrolsthelevels

ofboththestereocontrolroom,andtheheadphones.

Makesurethatyoumoveittominimumbeforeselecting

oraddinganewsource.

Whateveryourselection,youcanalsouse

thecontrolroomoutputsforotherapplications.

Thesoundqualityisjustasimpeccableasthemain

outputs.Itcanbeusedasanadditionalmainmix

outputandthisonewillhaveitsownlevelcontrol.

However,shouldyoudothis,beawarethatifyou

engageasolo[27]switch,thatwillinterruptthemix:

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Mackie 1604 User manual

Brand: Mackie

Model: 1604

Category: Audio mixers

Type: User manual

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