604-VLZ3 16-Channel Mic/Line Mixer OWNER’S MANUAL
1604-VLZ3 Important Safety Instructions 1. 2. 3. 4. 5. 6. 7. Read these instructions. Keep these instructions. Heed all warnings. Follow all instructions. Do not use this apparatus near water. Clean only with a dry cloth. 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.
We realize that you must be keen to try out your new 1604-VLZ3. All we ask is that you read this page NOW, and the rest can wait until you’re good and ready. But do read it — you’ll be glad you did. WARNING: Before you plug the AC power cord into the mixer, make sure the VOLTAGE SELECTOR switch is set to the same voltage as your local AC mains supply (see page 13).
1604-VLZ3 Introduction Thank you for choosing a Mackie professional compact mixer. The 1604-VLZ3 is equipped with our precision-engineered XDR2TM Extended Dynamic Range premium studio-grade mic preamp. This icon marks information that is critically important or unique to the 1604-VLZ3. For your own good, read them and remember them. They will be on the final test. Now that you have your 1604-VLZ3, find out how to get the most from it. That’s where this manual comes in.
IMPORTANT SAFETY INSTRUCTIONS ........................ 2 INTRODUCTION ...................................................... 4 HOOKUP DIAGRAMS............................................... 6 CONVERTING TO RACKMOUNT MODE ...................... 8 PATCHBAY DESCRIPTION ......................................... 9 E-Z INTERFACE ......................................... 9 1. MIC INPUTS ............................................. 9 PHANTOM POWER .................................... 9 2. LINE INPUTS .............
1 Bass 2 Guitar 1 Mic 1-2 2 1604-VLZ3 HOOKUP DIAGRAMS 3 Processors Keyboard Drum Machine CHANNEL INSERTS CHANNEL INPUTS 4 Stereo Compressor 5 4 3 8 7 6 BAL/UNBAL BAL/UNBAL Recording System 6 1604-VLZ3 4 3 2 5 6 STEREO RETURNS 3 2 1 R L BAL/UNBAL OUT Headphones PHONES HR824s or other Powered Studio Monitors SUB OUTS C/R OUT TAPE TAPE BAL/UNBAL OUT IN Stereo Tape Deck 4 MAIN INSERT 1 DIRECT OUT AUX SENDS BAL/UNBAL Stereo Compressor and Stereo EQ STEREO MONO MAIN OUT 2
Owner’s Manual Stereo Compressors 1 2 3 3 2 1 Mics 1-4 11 10 9 8 Drum Machine CHANNEL INPUTS 7 6 Processor CHANNEL INSERTS 5 4 4 Guitar BAL/UNBAL 8 7 6 Mono EQ Mono EQ 3 4 BAL/UNBAL L 6 5 AUX SENDS 2 1 DIRECT OUT BAL/UNBAL Reverb Delay 4 BAL/UNBAL OUT Headphones PHONES SUB OUTS Multi-track Digital Recorders for Optional Live Recording STEREO RETURNS 3 2 1 R L R C/R OUT TAPE TAPE BAL/UNBAL OUT IN CD/DVD Player Stereo Compressor and Stereo EQ 5 4 3 15 16 MAIN IN
1604-VLZ3 Converting To Rackmount Mode Not only is the new 1604-VLZ3 a compact, professional-quality tabletop mixer, it’s rack- mountable. The unique rotating input pod makes this possible. 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.
Owner’s Manual Patchbay Description 1 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: a tape recorder, PA system, 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 1604-VLZ3.
1604-VLZ3 6 4 2 2. LINE INPUTS 4. INSERT 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.
multitrack machine sound sources 1–8 direct outputs 9–16 group outputs The point is that you never listen directly to the source channels (1–8). You listen to the monitor channels (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.
1604-VLZ3 18 19 14 15 13 12 11 9 8 7 16 7. STEREO RETURNS 9. C-R OUTS (CONTROL ROOM OUTPUTS) This is where you connect the outputs of your 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. These 1/4" jacks are usually patched to the inputs of your control room amplifier or a headphone distribution amplifier.
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-fi RCA cables. To learn how signals are routed from these inputs, see TAPE IN (LEVEL) [40] on page 20. Use these jacks for convenient playback of your mixes. You’ll be able to review a mix, and then rewind and try another pass without repatching or disturbing the mixer levels.
1604-VLZ3 20 22 19 19. FUSE 24 The 1604-VLZ3 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 flat 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 1604-VLZ3 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.
The sixteen 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 Mackie mixers have a “U” symbol on almost every level control. This “U” stands for “unity gain,” meaning no change in signal level.
04-VLZ3 27. SOLO 29. OL (MUTE) LED This lovable switch allows you to check signals in your 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. 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.
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.
1604-VLZ3 33. LOW CUT This switch, often referred to as a high pass filter (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 filter — 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.
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. 37.
1604-VLZ3 If you want the subgroup to appear in the center of the main 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 coming from the TAPE INPUT [12] RCA jacks.
44. MODE (NORMAL (AFL)/LEVEL SET (PFL)) The 1604-VLZ3’s solo system comes in two flavors: NORMAL (AFL) (sometimes called SIP, or solo-inplace) and LEVEL SET (PFL) (sometimes called PFL, or pre-fader-listen). In NORMAL (AFL), the soloed channel’s signal is sent directly to the control room, headphones and meter display just as it would sound to the channel’s assignment switches: post-EQ [32], post-FADER [25] and post-PAN [31].
1604-VLZ3 48. METERS Meters vs. Reality The 1604-VLZ3’s peak metering system is made up of two columns of twelve LEDs. Deceptively simple, considering the multitude of signals that can be monitored by it. If nothing is selected in the SOURCE [42] matrix, and no channels are in SOLO [27], the meter display will just sit there. To put them to work, you must make a selection in the SOURCE matrix (or engage a channel's SOLO switch). You may already be an expert at the world of “+4” (+4 dBu=1.
49 52 51 This is usually the knob you turn up when the lead singer glares at you, points at his stage monitor, and sticks his thumb in the air. (It would follow suit that if the singer stuck his thumb down, you’d turn the knob down, but that never happens.) 50. AUX SENDS SOLO 50 51 53 54 55 56 AUX TALK SENDS are outputs, RETURNS are inputs. Each channel's AUX [34] knobs tap the signal off the channel and send it to the AUX SEND [6] outputs.
1604-VLZ3 53. MAIN MIX TO SUBS (STEREO RETURN 3) With this switch up, STEREO RETURN 3 behaves like all the others — it delivers a stereo signal, regulated by its level knob, to the main mix. When you engage this switch, the signals are removed from the main mix buses and sent to the 1-2/3-4 switch, which diverts the signal once more. We’re not finished. Please read on. 54. 1–2/3–4 (STEREO RETURN 3) 49 52 51 53 50 51 55 54 56 52.
Owner’s Manual 55. C-R/PHNS ONLY (STEREO RETURN 4) Once again, the default for all the STEREO RETURNS is to feed them directly into the main mix. You’ve just learned about the optional exceptions involving STEREO RETURN 3. STEREO RETURN 4 also has an optional exception: By engaging this switch, you will remove STEREO RETURN 4’s stereo signal from the main mix and send it directly to the CTL ROOM/PHONES SOURCE [42] matrix.
1604-VLZ3 Appendix A: Service Information Warranty Service Repair If you think your Mackie product has a problem, please check out the following troubleshooting tips and do your best to confirm the problem. Visit the Support section of our website (www.mackie.com/support) where you will find lots of useful information such as FAQs, and documentation. You may find the answer to the problem without having to send your Mackie product away. For warranty service, refer to the warranty information on page 35.
“XLR” Connectors Mackie mixers use 3-pin female “XLR” connectors on all microphone inputs, with pin 1 wired to the grounded (earthed) shield, pin 2 wired to the “high” (”hot” or positive polarity) side of the audio signal and pin 3 wired to the “low” (“cold” or negative polarity) side of the signal. See Figure A. This is all totally aboveboard and in full accord with the hallowed standards dictated by the AES (Audio Engineering Society). You can cook up your own adapter for a stereo microphone adapter.
1604-VLZ3 RCA Plugs and Jacks Special Mackie Connections RCA-type plugs (also known as phono plugs) and jacks are often used in home stereo and video equipment and in many other applications (Figure D). They are unbalanced and electrically identical to a 1⁄4" TS phone plug or jack. See Figure C. Connect the signal to the center post and the ground (earth) or shield to the surrounding “basket.” The balanced-to-unbalanced connection has been anticipated in the wiring of Mackie jacks.
Channel Insert jack Direct out with no signal interruption to master. Insert only to first “click.” A mono signal connected to the RIGHT jack will show up in the right bus only. You probably will only want to use this sophisticated effect for special occasions. MONO PLUG Channel Insert jack Direct out with signal interruption to master. Insert all the way in to the second “click.” STEREO PLUG Channel Insert jack For use as an effects loop. (TIP = SEND to effect, RING = RETURN from effect.
1604-VLZ3 Appendix C: Technical Information Specifications Main Mix Noise Impedances (20 Hz–20 kHz bandwidth, 1/4" Main out, channel gains @ unity gain, channel EQs flat, all channels assigned to Main Mix, odd channels panned left, even channels panned right.) Mic in: 2.5 kilohms Channel Insert return: 2.5 kilohms All other inputs: 10 kilohms or greater Tape out: 1.1 kilohms All other outputs: 120 ohms Main Mix fader unity, channel faders down: –88.
Owner’s Manual Dimensions 19.0 in/ 483 mm (with Rack Ears fitted) 10 Rack Spaces 17.3 in/ 440 mm 8 Rack Spaces 5.7 in 146 mm (with Rack Ears fitted in upper position) 17.5 in 445mm Pod in normal position WEIGHT 20.0 lb/ 9.1 kg 8.7 in 222 mm 9.4 in 238 mm (with Rack Ears fitted in upper position) 13.0 in 330mm Pod in back position 11 Rack Spaces 5.1 in 129 mm 6.3 in 160 mm (with Rack Ears fitted in upper position) 5.7 in 144 mm (shown with optional RotoPod) 17.
1604-VLZ3 Track Sheet Session: Date: Notes: GAIN 1 BV -10d C GAIN U MI GAIN 0 60 +15dB -45dB AUX 2 BV -10d C GAIN U MI U 1 U +15 OO PRE 5 5 U U 6 4 5/6 SHIFT 5/6 SHIFT HI U -15 EQ +15 -15 -15 MID +15 -15 +15 -15 2k 8k MID +15 -15 8k -15 -15 +15 8k 8k -15 -15 +15 8k +15 -15 2k +15 8k -15 +15 -15 +15 +15 200 2k 100 LOW U -15 +15 LOW U 80Hz 2 8k 80Hz +15 LOW CUT 75 Hz 18dB/OCT LOW CUT 75 Hz 18dB/OCT LOW CUT 75 Hz 18dB/OCT LOW CUT 75 Hz
Owner’s Manual GAIN 11 BV -10d C GAIN U MI GAIN 12 BV -10d C GAIN U MI GAIN 13 BV -10d GAIN U MIC 14 GAIN BV -10d GAIN U MIC GAIN 15 BV -10d GAIN U MIC GAIN 16 BV -10d GAIN U MIC 12V 0.
LINE IN MIC IN 1604-VLZ3 GAIN R L R L R L R MACKIE 1604-VLZ3 SIGNAL FLOW 9th Feb 2007 STEREO RETURN 4 STEREO RETURN 3 STEREO RETURN 2 STEREO RETURN 1 L INPUT CHANNEL (1 OF 16) DIRECT OUT (CH'S 1–8 ONLY) PHANTOM POWER (GLOBAL SWITCH 75Hz HPF LOW CUT INSERT PRE MID EQ HI FREQ TO AUX 2 LEVEL LEVEL LEVEL TO L/R PFL SIP L SOLO ASSIGN TO C-R/PHNS ONLY 1–2/3–4 PFL SIP R 4 SIP R 2 1 R L 3 SOLO ASSIGN SIP L PAN MAIN/SUBS FADER TO SOLO LED LEVEL TO L/R SHIFT 5/6
Please keep your sales receipt in a safe place. This Limited Product Warranty (“Product Warranty”) is provided by LOUD Technologies Inc. (“LOUD”) and is applicable to products purchased in the United States or Canada through a LOUD-authorized reseller or dealer. The Product Warranty will not extend to anyone other than the original purchaser of the product (hereinafter, “Customer,” “you” or “your”). For products purchased outside the U.S. or Canada, please visit www.mackie.
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