Mackie 1604-VLZ PRO Owner's Manual
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Mackie 1604-VLZ PRO Owner's Manual

16-channel mic/line mixer
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See also: Service Manual , Reference Manual
1604-VLZ PRO
16-CHANNEL
MIC/LINE MIXER
OWNER'S MANUAL
120 VAC 50/60 Hz 20W
POWER
PHANTOM
MAIN OUT
MAIN INSERT
(TIP SEND
1A/250V SLO-BLO
ON
ON
BAL/UNBAL
RING RETURN)
L
L
MONO
R
R
CAUTION:
TO REDUCE THE RISK OF
FIRE REPLACE WITH SAME
TYPE FUSE AND RATING
O O
+6
UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE. DEBRANCHER AVANT DE REMPLACER LE FUSIBLE
UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE. DEBRANCHER AVANT DE REMPLACER LE FUSIBLE
INSERT
INSERT
INSERT
INSERT
INSERT
16
15
14
13
LINE
LINE
LINE
LINE
LINE
BAL
BAL
BAL
BAL
BAL
UN-
UN-
UN-
UN-
UN-
BAL
BAL
BAL
BAL
BAL
MIC 16
MIC 15
MIC 14
MIC 13
MIC 12
CONCEIVED, DESIGNED, AND MANUFACTURED BY MACKIE DESIGNS INC • WOODINVILLE • WA • USA • MADE IN USA • FABRIQUE AU USA • COPYRIGHT ©1998 • THE FOLLOWING ARE TRADEMARKS OR REGISTERED TRADEMARKS OF MACKIE DESIGN INC.: "MACKIE", "VLZ", "XDR", AND THE "RUNNING MAN" FIGURE • US PATENT NUMBER 29/049,129
1
2
3
4
5
1604-VLZ PRO
16-CHANNEL MIC/ LINE MIXER
WITH PREMIUM XDR
TM
MIC PREAMPLIFIERS
3
TRIM
1
TRIM
2
TRIM
TRIM
4
TRIM
5
TRIM
U
U
U
U
U
U
0
60
0
60
0
60
0
60
0
60
0
60
+15dB -45dB
+15dB -45dB
+15dB -45dB
+15dB -45dB
+15dB -45dB
+15dB -45dB
AUX
AUX
AUX
AUX
AUX
AUX
U
U
U
U
U
U
1
1
1
1
1
1
+15
+15
+15
+15
+15
+15
O O
O O
O O
O O
O O
O O
U
U
U
U
U
U
2
2
2
2
2
2
O O
+15
O O
+15
O O
+15
O O
+15
O O
+15
O O
+15
PRE
PRE
PRE
PRE
PRE
PRE
U
U
U
U
U
U
3
5
3
5
3
5
3
5
3
5
3
O O
+15
O O
+15
O O
+15
O O
+15
O O
+15
O O
+15
U
U
U
U
U
U
4
6
4
6
4
6
4
6
4
6
4
O O
+15
O O
+15
O O
+15
O O
+15
O O
+15
O O
+15
5/6
5/6
5/6
5/6
5/6
5/6
SHIFT
SHIFT
SHIFT
SHIFT
SHIFT
SHIFT
EQ
EQ
EQ
EQ
EQ
EQ
HI
HI
HI
HI
HI
U
U
U
U
U
U
12k
12k
12k
12k
12k
-15
+15
-15
+15
-15
+15
-15
+15
-15
+15
-15
+15
U
MID
U
MID
U
MID
U
MID
U
MID
U
-15
+15
-15
+15
-15
+15
-15
+15
-15
+15
-15
+15
800
800
800
800
800
800
200
2k
200
2k
200
2k
200
2k
200
2k
200
100
8k
100
8k
100
8k
100
8k
100
8k
100
8k
LOW
LOW
LOW
LOW
LOW
U
U
U
U
U
U
80Hz
80Hz
80Hz
80Hz
80Hz
-15
+15
-15
+15
-15
+15
-15
+15
-15
+15
-15
+15
LOW CUT
LOW CUT
LOW CUT
LOW CUT
LOW CUT
LOW CUT
75 Hz
75 Hz
75 Hz
75 Hz
75 Hz
75 Hz
18dB/OCT
18dB/OCT
18dB/OCT
18dB/OCT
18dB/OCT
18dB/OCT
PAN
PAN
PAN
PAN
PAN
PAN
L
R
L
R
L
R
L
R
L
R
L
R
1
2
3
4
5
6
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
OL
OL
OL
OL
OL
-20
-20
-20
-20
-20
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
1–2
1–2
1–2
1–2
1–2
3–4
3–4
3–4
3–4
3–4
3–4
L - R
L - R
L - R
L - R
L - R
L - R
O O
O O
O O
O O
O O
O O
TAPE
TAPE
C-R OUT
SUB OUT
AUX RETURN
INPUT
OUTPUT
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
L
3
1
4
L
L
L
(MONO)
(MONO)
R
4
2
R
R
R
INSERT
INSERT
INSERT
INSERT
INSERT
12
11
10
9
8
LINE
LINE
LINE
LINE
LINE
BAL
BAL
BAL
BAL
BAL
UN-
UN-
UN-
UN-
UN-
BAL
BAL
BAL
BAL
BAL
MIC 11
MIC 10
MIC 9
MIC 8
MIC 7
TM
XDR
EXTENDED DYNAMIC RANGE MIC PREAMPLIFIERS ARE PROPRIETARY TO MACKIE DESIGNS, INC.
6
7
8
9
10
6
TRIM
7
TRIM
8
TRIM
9
TRIM
10
TRIM
11
TRIM
U
U
U
U
U
U
0
60
0
60
0
60
0
60
0
60
0
+15dB -45dB
+15dB -45dB
+15dB -45dB
+15dB -45dB
+15dB -45dB
+15dB -45dB
AUX
AUX
AUX
AUX
AUX
AUX
U
U
U
U
U
U
1
1
1
1
1
1
+15
+15
+15
+15
+15
+15
O O
O O
O O
O O
O O
O O
U
U
U
U
U
U
2
2
2
2
2
2
O O
+15
O O
+15
O O
+15
O O
+15
O O
+15
O O
+15
PRE
PRE
PRE
PRE
PRE
PRE
U
U
U
U
U
U
5
3
5
3
5
3
5
3
5
3
5
3
O O
+15
O O
+15
O O
+15
O O
+15
O O
+15
O O
+15
U
U
U
U
U
U
6
4
6
4
6
4
6
4
6
4
6
4
O O
+15
O O
+15
O O
+15
O O
+15
O O
+15
O O
+15
5/6
5/6
5/6
5/6
5/6
5/6
SHIFT
SHIFT
SHIFT
SHIFT
SHIFT
SHIFT
EQ
EQ
EQ
EQ
EQ
EQ
HI
HI
HI
HI
HI
HI
U
U
U
U
U
U
12k
12k
12k
12k
12k
12k
-15
+15
-15
+15
-15
+15
-15
+15
-15
+15
-15
+15
MID
U
MID
U
MID
U
MID
U
MID
U
MID
U
-15
+15
-15
+15
-15
+15
-15
+15
-15
+15
-15
+15
800
800
800
800
800
800
2k
200
2k
200
2k
200
2k
200
2k
200
2k
200
100
8k
100
8k
100
8k
100
8k
100
8k
100
LOW
LOW
LOW
LOW
LOW
LOW
U
U
U
U
U
U
80Hz
80Hz
80Hz
80Hz
80Hz
80Hz
-15
+15
-15
+15
-15
+15
-15
+15
-15
+15
-15
+15
LOW CUT
LOW CUT
LOW CUT
LOW CUT
LOW CUT
LOW CUT
75 Hz
75 Hz
75 Hz
75 Hz
75 Hz
75 Hz
18dB/OCT
18dB/OCT
18dB/OCT
18dB/OCT
18dB/OCT
18dB/OCT
PAN
PAN
PAN
PAN
PAN
PAN
L
R
L
R
L
R
L
R
L
R
L
7
8
9
10
11
12
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
OL
OL
OL
OL
OL
OL
-20
-20
-20
-20
-20
-20
SOLO
SOLO
SOLO
SOLO
SOLO
1–2
1–2
1–2
1–2
1–2
1–2
3–4
3–4
3–4
3–4
3–4
L - R
L - R
L - R
L - R
L - R
O O
O O
O O
O O
O O
O O
TRACK
TRACK
TRACK
1
2
3
AUX SEND
DIRECT OUT
BAL/UNBAL
BAL/UNBAL
3
2
1
5
3
1
7
L
L
L
(MONO)
6
4
2
8
R
R
R
INSERT
INSERT
INSERT
INSERT
INSERT
7
6
5
4
3
LINE
LINE
LINE
LINE
LINE
BAL
BAL
BAL
BAL
BAL
UN-
UN-
UN-
UN-
UN-
BAL
BAL
BAL
BAL
BAL
MIC 6
MIC 5
MIC 4
MIC 3
MIC 2
11
12
13
14
14
12
TRIM
13
TRIM
TRIM
15
TRIM
16
U
U
U
U
1604-VLZ PRO
16-CHANNEL MIC/ LINE MIXER
WITH PREMIUM XDR
TM
MIC PREAMPLIFIERS
60
0
60
0
60
0
60
0
60
+15dB -45dB
+15dB -45dB
+15dB -45dB
+15dB -45dB
AUX
AUX
AUX
AUX
U
U
U
U
U
1
1
1
1
1
1
+15
+15
+15
+15
+10
O O
O O
O O
O O
O O
O O
U
U
U
U
U
2
2
2
2
2
2
O O
+15
O O
+15
O O
+15
O O
+15
O O
+10
O O
PRE
PRE
PRE
PRE
AUX
SEND
U
U
U
U
5
3
5
3
5
3
5
3
5
1
3
SOLO
O O
+15
O O
+15
O O
+15
O O
+15
O O
U
U
U
U
2
6
4
6
4
6
4
6
4
6
SOLO
4
O O
+15
O O
+15
O O
+15
O O
+15
PHAN
PWR
O O
5/6
5/6
5/6
5/6
SHIFT
SHIFT
SHIFT
SHIFT
EQ
EQ
EQ
EQ
HI
HI
HI
HI
HI
U
U
U
U
12k
12k
12k
12k
12k
-15
+15
-15
+15
-15
+15
-15
+15
O O
MAX
O O
CTL ROOM / PHONES
MID
U
MID
U
MID
U
MID
U
MID
TAPE IN
TAPE
TAPE TO
-15
+15
-15
+15
-15
+15
-15
+15
MAIN MIX
800
800
800
800
SUBS 1–2
2k
200
2k
200
2k
200
2k
200
2k
8k
100
8k
100
8k
100
8k
100
8k
O O
LOW
LOW
LOW
LOW
LOW
SOLO
U
U
U
U
SUBS 3–4
80Hz
80Hz
80Hz
80Hz
80Hz
MAIN MIX
MODE
-15
+15
-15
+15
-15
+15
-15
+15
LOW CUT
LOW CUT
LOW CUT
LOW CUT
CTL ROOM
NORMAL
75 Hz
75 Hz
75 Hz
75 Hz
SOURCE
LEVEL SET
18dB/OCT
18dB/OCT
18dB/OCT
18dB/OCT
PAN
PAN
PAN
PAN
ASSIGN TO MAIN MIX
LEFT
LEFT
R
L
R
L
R
L
R
L
R
13
14
15
16
RIGHT
RIGHT
MUTE
MUTE
MUTE
MUTE
1
2
OL
OL
OL
OL
OL
-20
-20
-20
-20
-20
SOLO
SOLO
SOLO
SOLO
SOLO
1–2
1–2
1–2
1–2
1–2
3–4
3–4
3–4
3–4
3–4
L - R
L - R
L - R
L - R
L - R
O O
O O
O O
O O
TRACK
TRACK
TRACK
TRACK
TRACK
4
5
6
7
8
5
3
1
6
4
2
INSERT
2
1
LINE
BAL
UN-
BAL
MIC 1
15
16
12V
0.5A
LAMP
U
U
TO AUX
1
SEND 1
+20
+15
O O
EFFECTS TO
MONITORS
U
U
TO AUX
2
SEND 2
+20
O O
+15
U
ASSIGN OPTIONS
MAIN MIX
1–2
+20
3–4
TO SUBS
U
C-R / PHNS
RETURNS
+20
ONLY
SOLO
STEREO AUX RETURN
LEFT RIGHT
U
0 dB=0 dBu
28
10
+20
7
4
2
0
2
4
MAX
LEVEL
7
SET
10
20
30
(AFL)
RUDE
SOLO
(PFL)
LIGHT
LEFT
LEFT
PHONES
RIGHT
RIGHT
MAIN
3
4
MIX
dB
dB
10
10
5
5
U
U
5
5
10
10
20
20
30
30
40
40
50
50
60
60
O O
O O

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Summary of Contents for Mackie 1604-VLZ PRO

  • Page 1 CONCEIVED, DESIGNED, AND MANUFACTURED BY MACKIE DESIGNS INC • WOODINVILLE • WA • USA • MADE IN USA • FABRIQUE AU USA • COPYRIGHT ©1998 • THE FOLLOWING ARE TRADEMARKS OR REGISTERED TRADEMARKS OF MACKIE DESIGN INC.: "MACKIE", "VLZ", "XDR",...

  • Page 2: Safety Instructions

    être insérées 3. Heed Warnings — All warnings on this Mackie product and à fond sans laisser aucune pariie à découvert. in these operating instructions should be followed.

  • Page 3: Level-Setting Procedure

    When a another one. Mackie Designs mixer clip light comes on, you INSTANT MIXING really are about to clip. This procedure really works — it assures Here’s how to get going...

  • Page 4: Channel Strips

    CONCEIVED, DESIGNED, AND MANUFACTURED BY MACKIE DESIGNS INC • WOODINVILLE • WA • USA • MADE IN USA • FABRIQUE AU USA • COPYRIGHT ©1998 • THE FOLLOWING ARE TRADEMARKS OR REGISTERED TRADEMARKS OF MACKIE DESIGN INC.: "MACKIE", "VLZ", "XDR",...

  • Page 5: Table Of Contents

    CONTENTS LEVEL-SETTING PROCEDURE ........3 ............... 21 INSTANT MIXING 5/6 SHIFT ............ 3 ............. 21 HOOKUP DIAGRAMS OUTPUT SECTION DESCRIPTION ..........6 ......22 CONVERTING TO RACKMOUNT MODE MAIN MIX FADER ....9 .......... 22 PATCHBAY DESCRIPTION ......... 10 VLZ MIX ARCHITECTURE ........

  • Page 6: Hookup Diagrams

    HOOKUP DIAGRAMS FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN Stereo Power Amplifier 1604-VLZ PRO 8-Track Tracking...
  • Page 7 1604-VLZ PRO Stereo P.A.
  • Page 8 1604-VLZ PRO Video Setup...

  • Page 9: Converting To Rackmount Mode

    CONVERTING TO RACKMOUNT MODE Not only is the new 1604-VLZ PRO a compact, An optional accessory called the ROTOPOD- professional-quality tabletop mixer, it’s rack- VLZ is available and can be used in desktop or mountable! Its unique rotating input pod rackmount installations.

  • Page 10: Patchbay Description

    CONCEIVED, DESIGNED, AND MANUFACTURED BY MACKIE DESIGNS INC • WOODINVILLE • WA • USA • MADE IN USA • FABRIQUE AU USA • COPYRIGHT ©1998 • THE FOLLOWING ARE TRADEMARKS OR REGISTERED TRADEMARKS OF MACKIE DESIGN INC.: "MACKIE", "VLZ", "XDR",...

  • Page 11: Line Inputs

    LINE INPUTS This 15dB of attenuation can be very handy TRIM when you are inserting a signal that is very hot, These " jacks share circuitry (but not or you want to add a lot of EQ gain, or both. phantom power) with the mic preamps.

  • Page 12: Split Monitoring

    Another method of interfacing a multitrack is called inline monitoring, and requires a mixing console dedicated to that, like the Mackie The outputs of the multitrack are then 8•Bus. Each of its channels is actually two chan-...

  • Page 13: Effects: Serial Or Parallel

    CONCEIVED, DESIGNED, AND MANUFACTURED BY MACKIE DESIGNS INC • WOODINVILLE • WA • USA • MADE IN USA • FABRIQUE AU USA • COPYRIGHT ©1998 • THE FOLLOWING ARE TRADEMARKS OR REGISTERED TRADEMARKS OF MACKIE DESIGN INC.: "MACKIE", "VLZ", "XDR",...

  • Page 14: C-R Outs (Control Room Outputs)

    This method is exactly WARNING: When we say the same as the double- the headphone amp is busing feature found in loud, we’re not kidding. It other mixers. Built-in double can cause permanent ear busing is nothing more than damage. Even intermedi- Y-cords living inside the mixer instead of ate levels may be painfully loud with some hanging out the back.

  • Page 15: Main Insert

    Just reach for this knob EXTENDED DYNA and turn it down a bit. Just the thing for send- CONCEIVED, DESIGNED, AND MANUFACTURED BY MACKIE DESIGNS INC • WOODINVILLE • WA • USA • MADE IN USA • FABRIQUE AU USA • COPYRIG...

  • Page 16: Power Switch

    CONCEIVED, DESIGNED, AND MANUFACTURED BY MACKIE DESIGNS INC • WOODINVILLE • WA • USA • MADE IN USA • FABRIQUE AU USA • COPYRIGHT ©1998 • THE FOLLOWING ARE TRADEMARKS OR REGISTERED TRADEMARKS OF MACKIE DESIGN INC.: "MACKIE", "VLZ", "XDR",...

  • Page 17: Channel Strip Description

    (the track). It is possible for airborne “U” LIKE UNITY GAIN crud to land on the track. Should that happen, Mackie mixers have a “U” you may hear scratchy noises or signal drop- symbol on almost every level outs as the wiper stumbles over the crud. Do control.

  • Page 18: Solo

    LEVEL SET (PFL) is also the preferred mode If you’re printing new tracks or bouncing ex- isting ones, you’ll also use the 1–2 and 3–4 for SR (sound reinforcement, or live sound), to switches, but not the L–R switch. Here, you preview channels before they are let into the mix.

  • Page 19: Mute

    CONSTANT LOUDNESS ! ! ! come on as a result of clipping. That’s pretty boring. So, to liven things up, this LED will The 1604-VLZ PRO’s glow steadily when that channel’s MUTE PAN controls employ a de- switch is engaged. sign called “Constant If you need a quick reference to these LEDs, Loudness.”...

  • Page 20: Low Cut

    LOW CUT The LOW CUT switch, often referred to as a high pass filter (all depends on how you look at it), cuts bass frequencies below 75Hz at a rate of 18dB per octave. This ain’t no thrown-in –5 TRIM dime-store filter —...

  • Page 21: Pre

    In PRE mode (switch down), AUX 1 and 2 We recommend going into a stereo reverb in follow the TRIM and LOW CUT settings only. mono and returning in stereo. We have found EQ, PAN, fader and MUTE settings have no ef- that on most “stereo”...

  • Page 22: Output Section Description

    OUTPUT SECTION DESCRIPTION You’ve just learned about the At Mackie, audio quality is much more im- input channels and how the sig- portant than the price of wall warts. All of our 1604-VLZ PRO 0.5A 16-CHANNEL MIC/ LINE MIXER nals get in and out. The signals...

  • Page 23: Tape In (Level)

    TAPE IN (LEVEL) Now you know how to select the signals you want to send to the engineer’s control room This knob controls the level of the stereo signal and/or phones. From there, these signals all pass coming from the TAPE INPUT RCA jacks. Its range through the same level control, aptly named: is off when fully down, unity at the center detent, CTL ROOM/PHONES...

  • Page 24: Mode (Normal (Afl)/Level Set (Pfl))

    It won’t give you stereo placement, but will give you signal even if the fader is turned down. you’re mixing on a Mackie. No other company Remember, LEVEL SET (PFL) taps the chan- is so concerned about your level of SOLO nel signal before the fader.

  • Page 25: Meters

    SEND 2 At the risk of creating another standard, gain (turned fully up). As with SEND Mackie’s compact mixers address the need of some other level controls, you may ASSIGN OPTIONS both crowds by calling things as they are: 0dBu never need the additional gain, but 1 –...

  • Page 26: Aux Send Solo

    AUX SENDS SOLO EFFECTS TO MONITORS Once again, in a live sound situations AUX If you want to add reverb or delay to the SEND 1 and 2 are likely to feed your stage stage monitor mixes, these are the knobs for monitors.

  • Page 27: C-R/Phns Only (Aux Ret 4)

    RETURNS SOLO (MAIN MIX TO SUBS switch up) and you did a drum fade-out using subgroup faders 1 and 2, This switch operates just like the channel the “dry” signals would fade out, but the “wet” SOLO switches — engaging it sends signals to signals would keep on singing.

  • Page 28: 1604-Vlz Pro Modifications

    1604-VLZ PRO Post-EQ Mod Mackie Disclaimer This changes AUX SENDS 1 and 2, with the Any modification of any Mackie Designs prod- pre switch engaged, to receive their signals post-EQ uct must be performed by a competent electronic instead of pre-EQ. The signal remains post-low cut, technician.
  • Page 29 Mackie Disclaimer This changes the CTL ROOM/PHONES level control in the SOURCE matrix to receive the Any modification of any Mackie Designs prod- main mix stereo signal pre-MAIN MIX fader in- uct must be performed by a competent electronic stead of post-MAIN MIX fader.

  • Page 30: 1604-Vlz Pro Block Diagram

    1604-VLZ PRO BLOCK DIAGRAM CR/PHN R CR/PHN L LOGIC SIP R SIP L AUX 6 AUX 5 AUX 4 AUX 3 AUX 2 AUX 1 SUB 4 SUB 3 SUB 2 SUB 1 MAIN R MAIN L...

  • Page 31: Gain Structure Diagram

    GAIN STRUCTURE DIAGRAM...

  • Page 32: Specifications

    SPECIFICATIONS Main Mix Noise Maximum Levels 20Hz–20kHz bandwidth, ⁄ " Main Out, channel Trims @ Mic in: +22dBu unity gain, channel EQs flat, all channels assigned to Main Mix, All other inputs: +22dBu odd channels panned left, even channels panned right Main Mix ⁄...

  • Page 33: Service Info

    • Try the same source signal in another channel, set number, please let Tech Support know if up exactly like the suspect channel. you need a new box. Mackie is not respon- sible for any damage that occurs due to Bad Output non-factory packaging.

  • Page 34: Appendix: Glossary

    Peterson & Oppenheimer; Handbook for now used universally for balanced microphone Sound Engineers, by Glen Ballou, Mackie Mixer connections. In sound work, a Cannon connec- Book by Rudy Trubitt and Sound Reinforcement tor is taken to mean a Cannon XLR-3 mic Handbook, by Gary Davis.
  • Page 35 “cueing” circuit is the same as pre-fader (PFL) many audio effects units. detent solo on a Mackie mixer, and often the terms are interchangeable. A point of slight physical resistance (a click-stop) in the travel of a knob or slide con- See decibel.
  • Page 36 echo A lot of how we refer to equalization has to The reflection of sound from a surface such do with what a graph of the frequency re- as a wall or a floor. Reverberation and echo are sponse would look like. A flat response (no terms that can be used interchangeably, but in EQ) is a straight line;...
  • Page 37 If you have tionships is important to avoid distortion and noise in your system due to technical grounding minimize added noise. Mackie input and out- problems, check your manual for wiring tips or put impedances are set to work well with the call technical support.
  • Page 38 input module mixer A holdover from the days when the only way An electronic device used to combine that real consoles were built was in modular various audio signals into a common output. fashion, one channel per module. See channel Different from a blender, which combines vari- strip.
  • Page 39 “invisible” to ordinary dynamic fader. Sends connected this way are typically microphones. Mackie mixers use standard +48 (but not always) used for monitors (foldback). volt DC power, switchable on or off. Most qual- See post-fader.
  • Page 40 But make no mistake: the devices. Mackie mixers call it an Aux Send. shelving only thing that the phono jack (or plug) has going for it is low cost.
  • Page 41 With added reverberation or other effect In Mackie mixers, the tip is send, ring is re- like echo, delay or chorusing. XLR connector turn, and sleeve is ground.

  • Page 42: Appendix: Connections

    APPENDIX B: CONNECTIONS “XLR” CONNECTORS sleeve to ground (earth). Mackie mixers do not directly accept 1-plug-type stereo Mackie mixers use 3-pin female “XLR” microphones. They must be separated into a connectors on all microphone inputs, with left cord and a right cord, which are plugged pin 1 wired to the grounded (earthed) shield, into the two mic preamps.
  • Page 43 (earth) or shield SPECIAL MACKIE CONNECTIONS to the surrounding “basket.” The balanced-to-unbalanced connection has UNBALANCING A LINE been anticipated in the wiring of Mackie jacks. ⁄ " TS plug inserted into a ⁄ " TRS balanced...
  • Page 44 " phone. They are Stereo line inputs and stereo AUX returns unbalanced, but have both the mixer output are a fine example of the Mackie philosophy (send) and the mixer input (return) signals in (which we just made up) of Maximum Flex- one connector (See Figure F).
  • Page 45 MULTS AND “Y”s A mult or “Y” connector allows you to route one output to two or more inputs by simply providing parallel wiring connections. You can make “Y”s and mults for the outputs of both unbalanced and balanced circuits. Remember: Only mult or “Y”...

  • Page 46: Grounding And Other Arcane Mysteries

    APPENDIX C: BALANCED LINES, PHANTOM POWERING, GROUNDING AND OTHER ARCANE MYSTERIES Balanced Lines What is it, exactly? Balanced lines offer increased immunity to ex- The obvious external power source for any ternal noise (specifically, hum and buzz). Because modern microphone is a battery. About the only a balanced system is able to minimize noise, it is electronic advantage that a battery has is that the preferred interconnect method, especially in...
  • Page 47 Many old ribbon microphones were Phantom powering is defined in DIN standard supplied connected this way. Have a techni- 45 596 or IEC standard 268–15A. Your Mackie cian lift the ground from the center tap. Designs mixer conforms to this standard.
  • Page 48 Do’s and Don’ts of Fixed Installations 8. Ensure that the electrician uses the star- ground system for the safety grounds in If you install sound systems into fixed installa- your electrical system. All of the audio tions, there are a number of things that you can system grounds should terminate at the do to make your life easier and that increase same physical point.
  • Page 49 Woodinville, WA 98072 Mackie, the "Running Man" figure, VLZ and XDR are trademarks or registered trademarks of Mackie Designs Inc. All other brand names mentioned are trademarks or registered trademarks of their respective holders, and are hereby acknowledged.
  • Page 50 1604-VLZ PRO 16-CHANNEL MIC/ LINE MIXER WITH PREMIUM XDR MIC PREAMPLIFIERS Session: Date: NOTES: TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM +15dB -45dB +15dB -45dB +15dB -45dB +15dB -45dB +15dB -45dB +15dB -45dB +15dB -45dB +15dB -45dB SHIFT SHIFT SHIFT SHIFT SHIFT...
  • Page 51 CONCEIVED, DESIGNED, AND MANUFACTURED BY MACKIE DESIGNS INC • WOODINVILLE • WA • USA • MADE IN USA • FABRIQUE AU USA • COPYRIGHT ©1998 • THE FOLLOWING ARE TRADEMARKS OR REGISTERED TRADEMARKS OF MACKIE DESIGN INC.: "MACKIE", "VLZ", AND THE "RUNNING...

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